اريد ملخص لبعض القصائد

[abuosameh]

ارجو من جميع الاخوه المساعده بخصوص بعض القصائد اريد الملخص وهذي القصائد هي :

to adaughter leaving home

leningrad cemetery

slim cunnung hands

the ruined maid

[بربلوس]

اخوي abuosameh

هذا الي موجود عندي

leningrad cemetery القصيده فقط
the ruined maid شرح بسيط

[مرغيد]

4- Slim Cunning Hands
Walter de la Mare

Slim Cunning Hands Slim cunning hands at rest, and cozening eyes
Under this stone one loved too wildly lies;
How false she was, no granite could declare;
Nor all earth’s flowers, how fair.

this poem caught my attention because poems about death usually to. it's a really common subject, so it's interesting to see how people write about it so differently. the word choice in this poem is awesome. the author used words such as cunning, cozen, and false to constantly declare how deceiving this person was in life. the poem says no one could write on her stone how untrue she was. then in the next line it contradicts itself and says that she was more beautiful than any flower on earth. What I gathered from this poem is that it was about a whore who was killed at a young age who was never true to any man nor herself, but was beautiful even in death.



To a Daughter Leaving Home
By Linda Pastan

I taught you
at eight to ride
a bicycle, loping along
beside you
as you wobbled away
on two round wheels,
my own mouth rounding
in surprise when you pulled
ahead down the curved
path of the park,
I kept waiting
for the thud
of your crash as I
sprinted to catch up,
while you grew
smaller, more breakable
with distance,
pumping, pumping
for your life, screaming
with laughter,
the hair flapping
behind you like a
handkerchief waving
goodbye.
Commentary:
The of time and place in "To a Daughter Leaving Home" are even less specific(comparing to some poems), but the incident the poem describes happened a long time ago, and it is important to notice that it’s vividness in the poem is a function of memory. The mother is the speaker here, and we are told very little about her, at least directly. But she is thinking back nostalgically to a moment long ago when her daughter made an earlier (but briefer) departure from home, and the poem implies the occasion for her doing so. The daughter now is old enough to "leave" home in a full sense; the poem does not tell us why or what the present circumstances are, but the title tells us the situation. We may infer quiet a bit about the speaker here-her affection for the daughter, the kind of mother she has been, her anxiety at the new departure that seems to reflect the earlier wobbly ride into the distance- but the poem is all situation. There are almost no details of present action, and we have no specific information about place or time for either the remembered event or the present one.
Some poems , however, depend heavily on specifics of time and place, sometimes on a knowledge of actual places and events.
Explanation :
This is a fairly simple poem about a mother whose daughter was learning how to first ride a bike. It tells of the mother’s fright as the bicycle gains speed and hurries away from her. She is worrisome of her daughter possibly falling and hurting herself. Though, when relating the title to the poem, one can easily see that it is all a phor for when a daughter finally packs up and leaves home. The speed of the bike corresponds to the speed of which children seem to flee from the home and how far away they can seem. The mother’s worry reflects the trepidation of what might happen to the newly departed daughter. Will she be okay? Does she have enough money for food? Will a young boy break her precious heart? But in the poem the daughter does not fall. In life, the child generally does not meet the worst of his or her parent’s fears. Some hard times come and will always come, but they will always come out alright in the end. The goodbye at the end makes me think of acceptance. The mother accepts that her daughter can continue on her own.


13-The Ruined Maid
Thomas Hardy

Summary of The Ruined Maid - Poetry Analysis and Summation
The Poem
Thomas Hardy’s “The Ruined Maid” is a dialogue between two farm girls in late Victorian England, one of whom has left the farm for city life, and the other of whom has remained in the country. The poem consists of six quatrains, each of which is organized in the same fashion. The first girl—unidentified by name and yet living on a farm—addresses the other girl, named Melia, who answers. In all but one stanza, the last one, the first girl has three lines of the quatrain, and Melia is given a one-line response in which she uses the word “ruin” or some...
"O 'Melia, my dear, this does everything crown!
Who could have supposed I should meet you in Town?
And whence such fair garments, such prosperi-ty?"--
"O didn't you know I'd been ruined?" said she.

--"You left us in tatters, without shoes or socks,
Tired of digging potatoes, and spudding up docks;
And now you've gay bracelets and bright feathers three!"--
"Yes: that's how we dress when we're ruined," said she.

--"At home in the barton you said 'thee' and 'thou,'
And 'thik oon,' and 'theäs oon,' and 't'other'; but now
Your talking quite fits 'ee for high compa-ny!"--
"Some polish is gained with one's ruin," said she.

--"Your hands were like paws then, your face blue and bleak
But now I'm bewitched by your delicate cheek,
And your little gloves fit as on any la-dy!"--
"We never do work when we're ruined," said she.

--"You used to call home-life a hag-ridden dream,
And you'd sigh, and you'd sock; but at present you seem
To know not of megrims or melancho-ly!"--
"True. One's pretty lively when ruined," said she.

"--I wish I had feathers, a fine sweeping gown,
And a delicate face, and could strut about Town!"--
"My dear--a raw country girl, such as you be,
Cannot quite expect that. You ain't ruined," said she.
I think that the poem is about two country women who both are the same, until one of them loses her virginity. The poem shows how that when one woman has sex, her whole attitude to life changes and her friend wonders why. She acts superior to the other woman and talks and dresses more elaborately than she did. Her speech improves and within herself she believes that she is a better person. When the other country girl asks her questions on her new way of life, she always answers with the same statement, ‘...when you’ve been ruined.’

"The Ruined Maid": An Examination of the Words by Sandy Carawan
In his work entitled Thomas Hardy Autobiography in Verse, the famous poet Thomas Hardy asserted: "What is essential in poetry is that it should be charged with emotion, and secondly that the moods of this emotion have aesthetic or ethical value ... " Indeed, Hardy proves this assertion true in his 1866 poem "The Ruined Maid" where he adeptly establishes a conversation between two feminine speakers in which there is an exchange of contrasting emotions. The primary speaker encounters "'Melia," a young woman and perhaps a friend, whom she has not seen in some time. The topic of discussion is clearly about 'Melia's "new way of life" and how it has changed her. Although her new way of life appears ambiguous, a careful examination of their diction reveals that 'Melia's new way of life is that of a prostitute. By examining the diction of the two speakers -- their word choices, vowel sounds of certain words, and word etymologies -- the reader not only perceives the contrast of emotions, but also 'Melia's change from rusticity to refinement and how she places some ethical value upon her new way of life.
Hardy's primary speaker is a young woman whose dialogue occurs in the first three lines of each quatrain of all six stanzas, except for the last. Her diction, as well as 'Melia's diction, reveals that she is of a lower status. This speaker's discourse displays emotions of surprise, disgust, recollection, admiration, and envy. However, his second speaker is the young woman whose response occurs in the last line of each quatrain and the last two lines of the final quatrain. Her succinct discourse displays an attitude of arrogance and elevation.
The primary speaker's word choice about 'Melia's change is unique. The very first sentence "'O 'Melia, my dear, this does everything crown!'" not only establishes her surprise in seeing her friend but the final word of that line, "crown," qualifies her friend's appearance as a majestic sight. Then, expanding upon 'Melia's new way of life, the primary speaker notices her friend's extremely tidy appearance and uses successive words that depict images of a refined lady. For instance, "fair garments" and "prosperity" (3), "gay bracelets" and "bright feathers" (7), a "delicate cheek" (14), some "little gloves" (15), a "fine sweeping gown" (21), and, a "delicate face" (22). However, the primary speaker also uses words that suggest the state of 'Melia's former rustic environment. For example, "tatters" and "without shoes or socks" (5), "digging potatoes" and "spudding up docks" (6), "barton," "thee" and "thou" (9), "paws" and "blue and bleak" (13), "hag-ridden dream" (17), and "megrims of melancho-ly" (19). Thus, her choice of words shows her emotions swaying from extreme surprise and admiration to a deep recollection about a harsh and repulsive life, one of which she still endures.
Secondly, an examination of the sounds that these two categories of words make, refined and rustic, also shows a division of the emotions. The reader may or may not realize it, but the vowel sounds made by certain words may subconsciously spark his or her emotions. Certain vowel sounds may cause us to feel "high" one moment and other vowel sounds may cause us to feel "low" the next. High-frequency vowel sounds are found in words that make the sounds i (guy), a (say), ee (see) and are associated with an increase in energy. Therefore, the primary speaker's words that reflect her expression of surprise and admiration as well as the deions of 'Melia's elevated status are among the words with high-frequency vowel sounds. For instance, the i sound in "high compa-ny" (11) and "fine sweeping gown" (21) depict imagery of elevation. Then, the i sound in "lively" when 'Melia says of her own estate that "One's pretty lively when ruined" (20). The a sound can be found in "gay bracelets" (7) and "delicate face" (22). Then, the ee sound in "prosperity”"(3), "feathers three" (7), "compa-ny" (11), and "delicate cheek" (14) affirm this imagery of 'Melia's elevated status.
Additionally, "la-dy" combines both the a sound and the ee sound.
On the other hand, low-frequency vowel sounds are found in words that make the sounds oo (coo), o (cone), oo (cook), aw (caught), oi (coy), ow (cow), and ah (car). The low-frequency vowel words that make these low sounds are related to largeness and reveal a sense of omniscience, power, gloom, and weariness. Thus, the primary speaker's words that reflect either a sense of largeness or her recollection of 'Melia's past life are among the words with low-frequency vowel sounds. Again, "crown" in the very first sentence, "O 'Melia, my dear, this does everything crown!" not only makes the ow sound but depicts a sense of majestic power. The ow sound in "Town" (2) and "fine sweeping gown”"(21) depicts a sense of largeness. The aw sound in "without . . . socks" (5) and "spudding up docks" (6), which are broad-leafed weeds, reveals senses of gloom and weariness, while "paws" (13) and "raw country girl" (23) portrays animal-like and undeveloped images. The ah sound in "barton," which is an archaic word for "farmyard," also reveals a sense of gloom and disadvantage. The o sound in "digging potatoes" (6) also provides a sense of weariness. Then, the oo sound in "work" (16), stated by 'Melia herself, reflects a sense of drudgery. Finally, the oo sound in "your face blue" (13) reveals 'Melia's former sense of gloom.
Another interesting factor is the etymologies of these two divisions of words. Most of the words that reflect 'Melia's former life of rusticity -- words that connote a sense of omniscience, power, gloom, and weariness and are categorized as low-frequency vowel words -- are words with language origins of Old English. For example, "shoes" (5) comes from an Old English word scoh; "socks" (5) comes from an Old English word socc and earlier from prehistoric German from Latin; "docks" (6), comes from Old English docce and earlier from a prehistoric German word; "barton" (9), a farmyard, comes from Old English beretun meaning "threshing floor," from bere meaning barley plus tun meaning "place, farm, or town"; "work" (16) comes from the Old English weorc and earlier from an Indo-European word that is also the ancestor of English "energy," "organ," and "orgy"; "hag" (17) comes from the prehistoric German word hexe (witch); and, "raw" comes from Old English hreaw.
However, most of the words that reflect 'Melia's refinement -- words that not only connote a sense of improvement, beauty, leisure, and wealth, but also are categorized as high-frequency vowel words -- are words with language origins of either Old French or French. For example, "fair" (3) comes from 13th Century Old French and feire from Late Latin; "garments" (3) comes from 14th Century French garnement, literally meaning "equipment"; "prosperi-ty" (3) comes from the 14th Century and directly or via Old French from Latin prosperare, from prosperus meaning "doing well"; "gay" (7) comes from 13th Century Old French gai meaning "happy"; "bracelets" (7) comes 15th Century French from Latin bracchiale meaning "armlet"; "polish" (12) comes from the 13th Century Old French stem poliss- from Latin polire; "delicate" (14) comes from the 14th Century and directly or via French délicat from Latin delicates; "fine" (21) is from 13th Century French; and, "gown" (21) is from 14th Century Old French.
Another interesting sound feature is that of the words in the title: "The Ruined Maid." "Ruin," as a noun, possesses the oo sound, a low-frequency vowel sound. Even the word "ruin" connotes imagery of gloom and destruction. Unlike some of the low-frequency vowel words previously mentioned, "ruin," which possesses the meaning "to seduce then abandon a woman," comes from 14th Century French ruine and Latin ruena. On the other hand, the word "maid" possesses the a sound, a high-frequency vowel sound. This word seems to connote an image of a young and lively woman. But, "maid," which initially means a "woman servant," also means "a virgin or a woman who has never had sexual intercourse," comes from Old English mægden from a prehistoric Germanic ancestor meaning "young woman." Both of these words contrast against the previously mentioned patterns that certain vowel words form in Hardy's poem.
Throughout the poem, 'Melia's response to the primary speaker's different emotions regarding her new status is one of arrogance and elevation. Her speech, which occurs in the last line of each stanza, seems to be one of a mediocre tone as she uses but a few words that depict images of her past or present life. However, at the end of the poem, 'Melia's fine example of a refined woman who has access to leisure and material wealth causes the primary speaker to want to change her life. 'Melia addresses her envy by saying: "'My dear -- a raw country girl, such as you be, / Cannot quite expect that. You ain't ruined,' said she" (23-24). 'Melia values her way life, but realizes that she not only has sacrificed her virginity to gain worldly pleasures and status, but also is engaging in a disreputable occupation.
Hardy's poem "The Ruined Maid" possesses an enlightening discourse that reveals so much about its two feminine speakers. Yet, a careful examination of the classification of words to the sounds made by those words to the word etymologies reveals so much more about the two speakers. Hardy not only carefully selects words to emphasize the contrasting emotions between the two speakers, but the whole idea of 'Melia's status change from rusticity to refinement. Such attention to detail distinguishes Hardy not only as a credible poet, but also as a master of the English language.


Leningrad cemetery, winter of 1941

That winter, the dead could not be buried.
The ground was frozen, the gravediggers weak from hunger,
the coffin wood used for fuel. So they were covered with something
and taken on a child's sled to the cemetery
in the sub-zero air. They lay on the soil,
some of them wrapped in dark cloth
bound with rope like the tree's ball of roots
when it waits to be planted; others wound in sheets,
their pale, gauze, tapered shapes
stiff as cocoons that will split down the center
when the new life inside is prepared;
but most lay like corpses, their coverings
coming undone, naked calves
hard as corded wood spilling
from under a cloak, a hand reaching out
with no sign of peace, wanting to come back
even to the bread made of glue and sawdust,
even to the icy winter, and the siege.

this poem was one of those morbid ones about death i deffinatly don't like, but some of the imagery helped to paint better pictures to make it bearable. the similies were cool, like in the third stanza where the speaker compares the wrapped corpses to butterflys in caccoons where a "new life inside is prepared". i interpreted this as these are the me going to heaven, the ones who are saved. they have a new life in heaven. the next two lines after this seem to refer to the men who are not religious and are not saved. the last three lines where interesting becuase they hint that even though life is so hard in this war that these men are in, they don't want to leave it, that they would keep fighting forever if they could.

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