Mark Twain in the Culture of Performance.
Shall we be trotting home again? The mention of the sea establishes the landscape of the action of the poem. The jaunty rhythm of the poem carries the reader and suggests the easiness of light verse, belying the grim subjects of the poem—seduction, betrayal, and death.
Stanza 2 A wry sort of conflict is introduced since the moon is sulking because of the sun's presence in a realm in which he does not belong. He is robbing the moon of the pleasure of presiding over her domain. The theme of conflicting interests is thus introduced.
Stanza 3 The third stanza is devoted entirely to description. Sea and sand are described by their predominant characteristics of wetness and dryness.
The sky is presented as cloudless. Birds are not flying in it for the simple reason that they are not there, or perhaps because, although they exist as a word and a concept, they actually do not exist in the world of the poem. The reality of the poem is a construction of words, not a reflection of the actual world in which the readers live.
Stanza 4 The two principals of the poem, the walrus and the carpenter, are introduced walking along the shore. They are crying at the amount of sand they see and think the setting would be significantly improved if the sand were removed.
Stanza 5 The walrus reflects on the impossibility of clearing the sand from the beach even if a great effort were dedicated to the task. The carpenter agrees with his assessment and cries, apparently because it is so. The apparent absurdity of their conversation, and even the fact that they can be having it, prepares the reader for the interaction between these two and the oysters.
Within the film, "The Walrus and the Carpenter" is presented as a musical number with the verses altered and rearranged. Stanza 6 With no transition, as in the movement of dreams, the walrus turns from talk of clearing the sand from the beach and addresses some oysters in the water, inviting them to take a walk on the beach.
He notes, however, that he and the carpenter can only accommodate four oysters because they have only two hands each. By noting the scarcity of opportunity, he attempts to make his offer seem more desirable.
Stanza 7 The patriarch of the oysters looks at the carpenter from his oyster bed without speaking. He does wink his eye and shake his head, indicating that he has no intention of moving.
It is unclear whether he is wise or only weary.
Stanza 8 Four younger oysters, however, are seduced by the walrus's invitation and leave the water to join the walrus and the carpenter on the beach. The oysters are anthropomorphized, or given human characteristics, at first and described as having clean faces and coats and shoes that are polished.
But this humanization is challenged in the last two lines of the stanza by the introduction of the fact that oysters do not have feet. By mixing the fantastic and the actual, the poem not only adds to its foolishness but also signals that it is a fable, cautioning the reader not to fall for word tricks.
Stanza 9 After the first oysters make their way to the beach, they are followed by four more and then by recurring groups of oysters all quitting the water for the beach. The psychology of mass movements is keen here.
Once a process is set in motion, people often follow others blindly.
Stanza 10 The walrus and the carpenter walk along the beach for a few miles and then stop to rest, perching themselves on a low rock as the oysters stand lined up in front of them.
They have mesmerized the oysters with expectation. Stanza 11 The walrus addresses the waiting oysters, telling them that the moment has arrived to discuss a variety of matters, a rather random list, followed by the kind of nonsensical propositions characteristic of the poem, including questions regarding the reason that the sea is hot to the point of boiling and whether pigs are winged.
Rather than offering any real information, the walrus offers a kind of con man's patter, further confusing the oysters. Stanza 12 The oysters interrupt his discourse, asking him to wait because they say they are fat and need to catch their breath.
The carpenter is happy to comply and the oysters thank him. They have no sense of the trickery involved. Stanza 13 Without transition, the walrus says they need some bread and several condiments, particularly vinegar and pepper.
He then addresses the oysters, saying they can begin to eat, using the inclusive first-person plural, thus not revealing that the walrus and carpenter intend to eat them.
Stanza 14 The oysters, however, finally realize with helpless shock that they are the intended meal and protest against such behavior after the apparent kindness the two have shown them. The walrus responds only by speaking of the clarity of the night and asks them if they do not enjoy seeing it.
Stanza 15 With the gracious politeness of a host, and smooth mockery, the walrus continues, thanking the oysters for coming and complimenting them. The carpenter assumes no share in his politeness.Koreana Winter (English) 코리아나 겨울호 (영어) unlike the wagons of the American wild west, are horseless and motionless.
To celebrate these two novelists’ lives and. The conclusion discusses Masefield in the same terms as the other Edwardian novelists treated in Chapter One. in marked the beginning of a new phase in his work (The Golden Bowl , The American Scene ). The most remarkable case First printed as 'I must go down to the sea again, to the lonely sea and the sky', in The Speaker.
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This annotated version of the Charlotte Mason Series is copyrighted to yunusemremert.com Preface to the 'Home Education' Series The educational outlook is rather misty and depressing both at home and abroad. “Dostoyevsky is regarded as one of the greatest and most influential novelists of the Golden Age. “Cowboy,” Illya hisses into the speaker. “Let me in.” as Gaby can be very motherly. It almost makes Napoleon jealous. While Valeria debates the hidden symbolism in Da Vinci paintings, Napoleon only half-heartedly engages her with. n/a American Literature study guide by skidmore23 includes questions covering vocabulary, terms and more. The fact that Mother Shipton refers to Piney as "the child" suggests that she. The people in the room are waiting for the speaker's final moment.
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The boys. A. This annotated version of the Charlotte Mason Series is copyrighted to yunusemremert.com Preface to the 'Home Education' Series The educational outlook is rather misty and depressing both at home and abroad. In a tutor s house all boys had a separate private room, except that two brothers were together, whilst in a dame s there were often three or four boys, not relations.
This was the case with Mrs. Holt s house, where simplicity of manners lingered long after some amount of luxury had invaded other dames. Drama was to involve the direct observation of human behaviour; therefore, there was a thrust to use contemporary settings and time periods, and it was to deal with everyday life and problems as subjects.