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اجابات الاسئله المقالية واجابات الاختيارات في مادة الشعر 447

قسم اللغات الأوروبية و آدابها

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منتديات طلاب وطالبات جامعة الملك عبد العزيز منتديات طلاب وطالبات جامعة الملك عبد العزيز
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قديم 20-06-2009, 12:05 AM

mohammad_4909 mohammad_4909 غير متواجد حالياً

mohammad_4909

 
تاريخ التسجيل: Apr 2008
التخصص: لغة انجليزية
نوع الدراسة: انتساب
المستوى: متخرج
الجنس: ذكر
المشاركات: 161
Skaau.com (15) اجابات الاسئله المقالية واجابات الاختيارات في مادة الشعر 447


اخواني الكرام / السلام عليكم ورحمة الله وبركاته
هذه اجابات ل 14 سؤال من الاسئله المقالية التي وزعها الدكتور/ باقبص في الدوره
واجابات اسئلة الاختيارات كذالك وايضا شرح لقصيده (Ozymandias)
ارجو ملاحظة الاتي
1- الاسئلة الاختيارية من 1-5 و 14-17 و 24-33 غير داخله في القصائد المحدده ولذالك حذفتها
2- الاسئلة المضلله غير متاكد من حلها
3- بعض الاسئله كتبت تحتها ملاحضة توضيحاً لاجابه
اذا اكملت حل الاسئلة المقالية الاخرى سوف اضعها في هذا الموقع إن شاء الله
اسال الله ان يوفقنا جميعا
الملفات المرفقة
نوع الملف: docx الاسئلة المقالية للشعر.docx‏ (60.0 كيلوبايت, المشاهدات 198)
نصائح مهمة : 1 - إفحص الملف المرفق بأي برنامج مضاد للفيروسات
2 - قم بمراسلة الإدارة عن أي مرفق يوجد به فيروس
3 - المنتدى غير مسوؤل عن مايحتويه المرفق من بيانات
رد مع اقتباس

 

منتديات طلاب وطالبات جامعة الملك عبد العزيز منتديات طلاب وطالبات جامعة الملك عبد العزيز
قديم 20-06-2009, 12:12 AM   #2

mohammad_4909

mohammad_4909

 
تاريخ التسجيل: Apr 2008
التخصص: لغة انجليزية
نوع الدراسة: انتساب
المستوى: متخرج
الجنس: ذكر
المشاركات: 161
افتراضي رد: اجابات الاسئله المقالية واجابات الاختيارات في مادة الشعر 447

1- Explain what is meant by “ in the magic of puberty” in “ Barbie Doll”.
The “magic of puberty” introduces the theme of growth. It is a magical time because the body changes rapidly. Girls begin to menstruate and their bodies change. Piercy uses the term ironically here, as she is also referring to the pain that comes with puberty. Adolescents become more aware of one another as sexual and social beings and are frequently cruel towards one another. The “girlchild” is told she has “a great big nose and fat legs” even though she is smart, healthy and strong. The latter deors, however, are seen as being positive only for males, not females. Being good with one’s hands (manual dexterity) is a conventional male trait. Similarly, while having an “abundant sexual drive” for boys might be seen as “sowing oats” or being a “real” man, for girls it is often considered aggressive or the mark of a “whore.”

2- What did the classmate say to the girl in “ Barbie Doll”?
She has “a great big nose and fat legs”. This rude classmate symbolizes society and its focus on physical beauty.
3- Why did she undergo plastic surgery?
She underwent the plastic surgery in order to satisfy her society to be the model feminine. So she cut off her nose and thick leg. Even though she did that, she was still had big nose and fat leg. The expectations society has for the female are obvious. The speaker reveals that society advises the girl to "play coy". In other words, the girl should be shy, quiet, and timid. The girl was encouraged to "exercise, diet, smile and wheedle". In other words, society encourages the girl to be in great shape, smile all the time, and charm people. One can see that the girl in the poem is expected to be like a Barbie doll. After all, Barbie has an amazingly thin body. In addition, Barbie always has a smile on her face and charms America by being a highly valuable collector’s item. Finally, we see how the girl in the poem can no longer tolerate society’s pressure to be like Barbie, the ideal woman. By comparing the girl’s discouragement to a fan belt, Piercy shows how the girl's despair is compared to an object. "Fan belts wear out because of overuse. Fan belts are also commodities—things—like Barbie dolls themselves and, Piercy suggests, like women".
The Barbie doll symbolizes the way society expects a young lady to be. The irony begins to be revealed when the author reveals that the girl’s "good nature [is wearing] out".

4- What qualities did the girl possess and why did the poet mention them?
The girl appears to be strong, intelligent, and possesses the qualities of most young adults at her age, such as a sex drive and dexterity. Even though she possesses these great qualities, she is still seen only as “a fat nose on thick legs”.. She is not referred to as a girl, she is only classified by her physical features. This represents how society tends to objectify women, and see them as only as a physical thing. It is also ironic that she apologizes for being the way she is, when she has done nothing wrong. It is everyone who should be apologizing for being shallow and narrow-minded.
5- Comment on the line in the final Stanza: “Doesn’t she look pretty? Everyone said? And when was this said?
It is ironic that society, symbolized by "everyone" in the poem, says she is pretty. Even though she is dead, society finally views her as pretty because she now has an acceptable nose, even though it is made of putty. She is also accepted because she is wearing make-up and a nightie in the colors that represent purity and femininity, pink and white. In line twenty-four, it is obvious that only in the girl’s death does society view her as perfect.
6- How does the poem end? Comment on the final line:” to every woman a happy ending”. How does the ending reinforce the poem’s message?
The final line of the tragic fairly tale-like poem implies that the ending is a happy one. However, the irony is that the ending is sad and shocking. The "happy ending" is ironic because it is not happy at all. Because the ending is described as happy, one can see how "every woman" could view the girl’s death as a happy ending because the female in the poem is no longer alive to challenge a woman’s place in society. Since the unique girl with an ugly nose and fat legs is dead, it is a happy ending for women in society because she was an outcast who represented what society considered to be abnormal. With the use of symbolism and irony, Piercy conveys a message about society's unrealistic expectations for women. By taking readers through a fairytale-like story that ends in tragedy, Piercy shows us that some women do not take these social pressures lightly. It greatly affects women, whether we realize it or not. Piercy realizes that many young girls look up to Barbie as a role model, and they aspire to be like her. That is why she wrote this poem. She wanted to point out that being like a Barbie doll may not be such a good thing after all. Ironically, her death is described as a happy ending, even though it was a shocking and tragic death, but it seems like a happy ending because she is finally being accepted by her peers.


7- What is the picture that the final stanza in “ Dover Beach” draw of our world? In other words, how authentic is that image of our modern world?

In this poem. One can see clearly the real world, in which people lose their goals and their trust and cannot find peace and conviction. Thus, one of the two worlds in all of his poems is disappointing. This is a reflection on the unstable age in which he lived. Arnold had little hope for the real world, and hoped instead for another world, an imaginary, heavenly world.
In 'Dover Beach' hope manifests itself as love. This poem was written in 1851, when Arnold married and his heart was full of hope - 'Ah, love, let us be true/To one another' is the positive affirmation of the poem, the firm ground of trust which the poet stands on in this 'darkling plain' of the world. There dream of a better world is seen in the relationship Arnold seeks with the woman he loved. However, his anxiety about the real world causes him to seek for a more stable, more ideal world. At the same time, as portraying the uncertainties of life with honesty and directness, he also expresses hope, and his words revolve around the moment when a better world is created through love.

8- Comment fully on these lines:
And we are here as on a darkling plain………………….clash by night
The last three lines of Arnold's poem "Dover Beach", express the author's bewilderment at the state of the world, which, instead of being filled with "joy...love...and light", is more like a battleground, where confusion and destruction reign. It is the author's hope that the love he shares with the woman to whom the poem is addressed will transcend a reality where comfort and peace are lacking.
I think that in his poem "Dover Beach", Hecht is both making fun of Arnold's pessimistic belief and affirming it as well. His cross portrayal of the object of Arnold's affections as a woman who is, unknown to him, vulgar and unfaithful, is told with an earthy realism which makes Arnold's flowery, romantic notions seem ludicrous. Ironically, the effect of this portrayal affirms Arnold's pessimistic fears at the same time as it mocks them. The world is indeed not a place where high-mindedness and noble ideals prevail, and Arnold's hope for refuge in an untainted love is empty and meaningless as well.
9- Why couldn’t the dead be buried in “Leningrad Cemetery”? Give three Reasons.

The "dead could not be buried" because the "ground was frozen, "and even the "gravediggers" closer to death than they should've been, being "weak from hunger." Olds immediately plunges the reader into a desolate world, where even the "dead" cannot be properly laid to rest. Hunger prevails, and "coffin wood is used for fuel.

10- Why does the hand stretch out?
The "hand" reaches for life, wanting vitality and life so desperately, that it is willing to come alive again, even in the dismal "winter of 1941.
12/Why does the mother in Marks decide to drop up at the end?
In the poem "Marks" the speaker is using a school phor to vent her frustration at being constantly evaluated by her family. "Marks" means grades, and each family member has his or her own system of grading the mother: the husband uses letter grades, giving his wife an "A / for last night's supper." She gets and "I"--incomplete--for ironing, because no doubt she didn't finish and probably left some of his clothes unironed. All of the grades are good grades, except for the ironing, but then an incomplete can be converted to an "A" as soon as the work is finished. The son is less discriminating than the husband; he just claims his mom is average, but he also thinks she has potential to become above average "if / [she puts her] mind to it." The daughter uses the pass/fail system, and the good news is the mother passes.
what does the mother mean by saying she's dropping out? Does she mean she's leaving the household, divorcing the husband, abandoning the children? Does she mean she's going to commit suicide? I suggest that these measures are too drastic. The situation is not that ominous. After all, her "marks" are really good ones: A, B+, I (which can be replaced with an A); average, with the potential to be above average; and pass. The family is not negatively marking her. Why would she be motivated to abandon the family or commit suicide for getting such good marks? I suggest that her "dropping out" is a mild exaggeration and probably indicates that she is no longer going to care if they evaluate her. She's dropping out of the school phor; she will no longer consider herself open to evaluation. The poem is too playful to allow for the dire interpretation of family abandonment and suicide. The school phor makes it playful. In order to hint at abandonment or suicide I would argue that a speaker might use a legal phor, claim that she had been judged wrongly, imply that she was committed to prison unjustly; then the speaker might imply family abandonment or suicide.


13/Why does the husband in the vacuum say that his life is so cheap as dirt?
he husband’s life also is now “cheap as dirt,” (Ln. 13). “Cheap as dirt” symbolizes how the husband feels without his wife; his life’s worth is comparable to dirt in her absence. phorically, the vacuum is the clean soul of the speaker’s wife. The vacuum is a person to him. The vacuum is his wife and his memory of her. His wife’s cleanliness and purity was the past, while in the present the speaker’s phor for his life is dirty and slovenly. Nemerov writes, “maybe at my/ Slovenly life, my dog-dead youth” (Ln. 4-5) to explain how the husband no longer can exert energy to clean and vacuum his house. The husband sees no reason to operate the vacuum to clean his house, because he sees no use for him to expend effort when his wife is not near him. The husband also utilizes phors in the deion that there is “old filth everywhere” in his house, because his wife is no longer there to clean. It is as if his life is cheap and useless as dirt without his wife. His “heart hangs on and howls; biting at air” (Ln.14-15). The vacuum used to howl when his wife was alive, but now the husband is the one who howls in his painful loneliness. The speaker’s house was once clean and filled with love, but now it is dirty and filled with loneliness.


14/Explain fully the line: Its bag limp as a stopped lung.
Nemerov writes, "Its bag limp as a stopped lung (3), to draw a comparison between the inactive vacuum bag and inactive lungs. Breathing lungs symbolize life. No longer does the vacuum, or the speaker's wife, breathe with life. This simile contributes to the vacuum's personification of his wife because the vacuum is a living, breathing entity to the husband.
20/ What does ly think of the sculptor who made Ozymandias’s statue?
The sculptor did a good job at expressing the ruler’s personality. The ruler was a wicked guy, but he took care of his people.

 

mohammad_4909 غير متواجد حالياً   رد مع اقتباس
 

منتديات طلاب وطالبات جامعة الملك عبد العزيز منتديات طلاب وطالبات جامعة الملك عبد العزيز
قديم 20-06-2009, 12:14 AM   #3

mohammad_4909

mohammad_4909

 
تاريخ التسجيل: Apr 2008
التخصص: لغة انجليزية
نوع الدراسة: انتساب
المستوى: متخرج
الجنس: ذكر
المشاركات: 161
افتراضي رد: اجابات الاسئله المقالية واجابات الاختيارات في مادة الشعر 447

Ozymandias
By Percy Bysshe ley
________________________________________
of the Poem Annotations
Rhyming Words:ababacdcedefef

I met a traveler from an antique land antique: ancient
Who said: "Two vast and trunkless legs of stone
Stand in the desert. Near them, on the sand, desert: Sahara
Half sunk, a shattered visage lies, whose frown, visage: face
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read, well . . . read: the sculptor skillfully interpreted the king's feelngs.
Which yet survive, stamped on these lifeless things, survive, stamped: the pharaoh's passions survive in the sculpture
The hand that mocked them, and the heart that fed, hand . . . them: the sculptor mimicked and mocked the passions
And on the pedestal these words appear: heart . . . fed: the pharaoh's passions, which
'My name is Ozymandias, King of Kings: The quotation: His works are so magnificent that no one can
Look upon my works, ye Mighty, and despair!' hope to top them.
Nothing beside remains. Round the decay The pharaoh's boasts are now as empty as the desert
.....Of that colossal wreck, boundless and bare surrounding his decaying statue. The sands are like time itself:
.....The lone and level sands stretch far away. endless and boundless. Note: In the published version of the poem,
quotation marks appeared at the beginning of the traveler's tale
(Line 2) but not at the end (Line 14).
أوزيماندياس ترجمة: ندى الرفاعي

قابلتُ مسافراً من بلدٍ قديم
قال: ساقان حجريان كبيران بلا جذع
يقفان في الصحراء. وبجوارهما على الرمال
يستلقي وجهٌ مهشم نصف غارقٍ، يُخبرُ عبوسه
وشفاهه المجعدة، وسخرية أوامره الفاترة،
أن النحات قرأ تلك المشاعر جيداً،
وما بقي مطبوعاً على هذه الأشياء التي لا حياةَ فيها،
هي اليد التي صورت ذلك، والقلبُ الذي أوصل.
وعلى قاعدة التمثال تظهر هذه الكلمات
"اسمي أوزيماندياس ملك الملوك:
انظروا إلى أعمالي أيها الجبابرة واعتبروا !"
لا شيء سيبقى بعد. وحول تحلل
ذلك الحطام الضخم، بلا حدودٍ ولا غطاء
تمتد الرمال المنعزلة المستوية على مد البصر.
"Ozymandias" Summary
The 'Younger Memnon' statue of Ramesses II in the British Museum thought to have inspired the poem
The speaker recalls having met a traveler "from an antique land," who told him a story about the ruins of a statue in the desert of his native country. Two vast legs of stone stand without a body, and near them a massive, crumbling stone head lies "half sunk" in the sand. The traveler told the speaker that the frown and "sneer of cold command" on the statue's face indicate that the sculptor understood well the passions of the statue's subject, a man who sneered with contempt for those weaker than himself, yet fed his people because of something in his heart ("The hand that mocked them and the heart that fed"). On the pedestal of the statue appear the words: "My name is Ozymandias, king of kings: / Look on my works, ye Mighty, and despair!" But around the decaying ruin of the statue, nothing remains, only the "lone and level sands," which stretch out around it, far away.

Form
"Ozymandias" is a sonnet, a fourteen-line poem metered in iambic pentameter. The rhyme scheme is somewhat unusual for a sonnet of this era; it does not fit a conventional Petrarchan pattern, but instead interlinks the octave (a term for the first eight lines of a sonnet) with the sestet (a term for the last six lines), by gradually replacing old rhymes with new ones in the form ABABACDCEDEFEF.

Commentary
This sonnet from 1817 is probably ley's most famous and most anthologized poem--which is somewhat strange, considering that it is in many ways an atypical poem for ley, and that it touches little upon the most important themes in his oeuvre at large (beauty, expression, love, imagination). Still, "Ozymandias" is a masterful sonnet. Essentially it is devoted to a single phor: the shattered, ruined statue in the desert wasteland, with its arrogant, passionate face and monomaniacal inion ("Look on my works, ye Mighty, and despair!"). The once-great king's proud boast has been ironically disproved; Ozymandias's works have crumbled and disappeared, his civilization is gone, all has been turned to dust by the impersonal, indiscriminate, destructive power of history. The ruined statue is now merely a monument to one man's hubris, and a powerful statement about the insignificance of human beings to the passage of time. Ozymandias is first and foremost a phor for the ephemeral nature of political power, and in that sense the poem is ley's most outstanding political sonnet, trading the specific rage of a poem like "England in 1819" for the crushing impersonal phor of the statue. But Ozymandias symbolizes not only political power--the statue can be a phor for the pride and hubris of all of humanity, in any of its manifestations. It is significant that all that remains of Ozymandias is a work of art and a group of words; as Shakespeare does in the sonnets, ley demonstrates that art and language long outlast the other legacies of power.

Of course, it is ley's brilliant poetic rendering of the story, and not the subject of the story itself, which makes the poem so memorable. Framing the sonnet as a story told to the speaker by "a traveller from an antique land" enables ley to add another level of obscurity to Ozymandias's position with regard to the reader--rather than seeing the statue with our own eyes, so to speak, we hear about it from someone who heard about it from someone who has seen it. Thus the ancient king is rendered even less commanding; the distancing of the narrative serves to undermine his power over us just as completely as has the passage of time. ley's deion of the statue works to reconstruct, gradually, the figure of the "king of kings": first we see merely the "shattered visage," then the face itself, with its "frown / And wrinkled lip and sneer of cold command"; then we are introduced to the figure of the sculptor, and are able to imagine the living man sculpting the living king, whose face wore the expression of the passions now inferable; then we are introduced to the king's people in the line, "the hand that mocked them and the heart that fed." The kingdom is now imaginatively complete, and we are introduced to the extraordinary, prideful boast of the king: "Look on my works, ye Mighty, and despair!" With that, the poet demolishes our imaginary picture of the king, and interposes centuries of ruin between it and us: "'Look on my works, ye Mighty, and despair!' / Nothing beside remains. Round the decay / Of that colossal wreck, boundless and bare, / The lone and level sands stretch far away."

 

mohammad_4909 غير متواجد حالياً   رد مع اقتباس
 

منتديات طلاب وطالبات جامعة الملك عبد العزيز منتديات طلاب وطالبات جامعة الملك عبد العزيز
قديم 20-06-2009, 02:52 AM   #4

ali2008

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تاريخ التسجيل: Apr 2008
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نوع الدراسة: إنتساب
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المشاركات: 54
افتراضي رد: اجابات الاسئله المقالية واجابات الاختيارات في مادة الشعر 447

بيض الله وجهك

ووفقك دنيا واخره

 

ali2008 غير متواجد حالياً   رد مع اقتباس
 

منتديات طلاب وطالبات جامعة الملك عبد العزيز منتديات طلاب وطالبات جامعة الملك عبد العزيز
قديم 20-06-2009, 04:44 PM   #5

mohammad_4909

mohammad_4909

 
تاريخ التسجيل: Apr 2008
التخصص: لغة انجليزية
نوع الدراسة: انتساب
المستوى: متخرج
الجنس: ذكر
المشاركات: 161
افتراضي رد: اجابات الاسئله المقالية واجابات الاختيارات في مادة الشعر 447

The Vacuum
In “The Vacuum,” by Howard Nemerov, figures of speech are utilized throughout the poem, in order for the reader to visualize the speaker’s memories and to experience the speaker’s emotions. The vacuum, to the speaker, the husband, symbolizes the memory of his deceased wife. When the speaker sees the vacuum, the speaker remembers his wife and their life together. Whenever he sees the vacuum, he describes his memories through figures of speech such as personification, similes, phors, and traditional symbols to describe his emotions of his wife’s absence, which allows the reader to experience and respond to his pain.
To the speaker in “The Vacuum,” the vacuum that sits stationary in his house is not only a reminder of his wife, but also a symbol of their life together before her death. The vacuum symbolizes his many memories and his present lifestyle. Because he cannot bear to use the vacuum, his “house is so quiet now” (Ln. 1) without the noise of his wife vacuuming. After the husband notes the quietness of his house without the sound of the vacuum, he utilizes personification when he states, “The vacuum cleaner sulks in the corner closet,” (Ln. 2). Personification also occurs throughout the remainder of the poem. For example, the husband describes the vacuum with, “its mouth/ Grinning into the floor,” (Ln. 3-4), and remembers how the vacuum used to “[eat] the dust” (Ln. 9) and “howl” (Ln. 10). In “The Vacuum,” personification is a powerful instrument, which Nemerov implements to give the vacuum a human quality, symbolizing the speaker’s wife.
The utilization of similes is another figure of speech that appears within Nemerov’s poem. The first simile that appears also is a traditional symbol. Nemerov writes, “The vacuum’s] bag limp as a stopped lung (Ln. 3), as it is a comparison between the non-operating vacuum bag and a non-breathing lung. It also exemplifies a traditional symbol. Lungs traditionally symbolize life or the breath of life. The vacuum, like the speaker’s wife, no longer breathes with life. This symbol adds to the vacuum’s personification as a living, breathing object to the husband. The husband also utilizes another simile and personification when he explains that he cannot bring himself to operate the vacuum, as he cannot bear, “To see the bag swell like a belly,” (Ln. 9). The husband’s life also is now “cheap as dirt,” (Ln. 13). “Cheap as dirt” symbolizes how the husband feels without his wife; his life’s worth is comparable to dirt in her absence.
phorically, the vacuum is the clean soul of the speaker’s wife. The vacuum is a person to him. The vacuum is his wife and his memory of her. His wife’s cleanliness and purity was the past, while in the present the speaker’s phor for his life is dirty and slovenly.
Nemerov writes, “maybe at my/ Slovenly life, my dog-dead youth” (Ln. 4-5) to explain how the husband no longer can exert energy to clean and vacuum his house. The husband sees no reason to operate the vacuum to clean his house, because he sees no use for him to expend effort when his wife is not near him. The husband also utilizes phors in the deion that there is “old filth everywhere” in his house, because his wife is no longer there to clean. It is as if his life is cheap and useless as dirt without his wife. His “heart hangs on and howls; biting at air” (Ln.14-15). The vacuum used to howl when his wife was alive, but now the husband is the one who howls in his painful loneliness. The speaker’s house was once clean and filled with love, but now it is dirty and filled with loneliness.
Nemerov’s utilization of figurative language throughout “The Vacuum” enables me as the reader to visualize the speaker sitting in his chair, looking at the vacuum, thinking of his wife. Through Nemerov’s figures of speech, I am able to visualize an older model vacuum, for example, a “Kirby” with a deflated cloth bag, empty of “dust” (Ln. 9) and “woolen mice” (Ln. 10). I also visualize the husband’s flashbacks of his wife crawling “in the corner and under the stair” (Ln. 12) while she vacuumed meticulously. Nemerov's language enables me to experience the speaker’s emotions, and to visualize his memories of his wife by viewing the vacuum through his eyes. Nemerov’s vivid use of figurative language throughout the entirety of his poem provides the reader with a greater amount of significance than if the speaker had stated, for example, “I miss my wife. My life is empty without her.” Through Nemerov’s deive language, I am able to grasp the enormity of the speaker’s pain, and his “hungry, angry heart” that “hangs on and howls, biting at the air” (Ln. 14-15) in memory of his wife.



Why does the husband in the vacuum say that his life is so cheap as dirt?
he husband’s life also is now “cheap as dirt,” (Ln. 13). “Cheap as dirt” symbolizes how the husband feels without his wife; his life’s worth is comparable to dirt in her absence. phorically, the vacuum is the clean soul of the speaker’s wife. The vacuum is a person to him. The vacuum is his wife and his memory of her. His wife’s cleanliness and purity was the past, while in the present the speaker’s phor for his life is dirty and slovenly. Nemerov writes, “maybe at my/ Slovenly life, my dog-dead youth” (Ln. 4-5) to explain how the husband no longer can exert energy to clean and vacuum his house. The husband sees no reason to operate the vacuum to clean his house, because he sees no use for him to expend effort when his wife is not near him. The husband also utilizes phors in the deion that there is “old filth everywhere” in his house, because his wife is no longer there to clean. It is as if his life is cheap and useless as dirt without his wife. His “heart hangs on and howls; biting at air” (Ln.14-15). The vacuum used to howl when his wife was alive, but now the husband is the one who howls in his painful loneliness. The speaker’s house was once clean and filled with love, but now it is dirty and filled with loneliness.
Explain fully the line: Its bag limp as a stopped lung.”
Nemerov writes, "Its bag limp as a stopped lung (3), to draw a comparison between the inactive vacuum bag and inactive lungs. Breathing lungs symbolize life. No longer does the vacuum, or the speaker's wife, breathe with life. This simile contributes to the vacuum's personification of his wife because the vacuum is a living, breathing entity to the husband.

 

mohammad_4909 غير متواجد حالياً   رد مع اقتباس
 

منتديات طلاب وطالبات جامعة الملك عبد العزيز منتديات طلاب وطالبات جامعة الملك عبد العزيز
قديم 20-06-2009, 05:13 PM   #6

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تاريخ التسجيل: Jan 2009
التخصص: لغات اوروبية
نوع الدراسة: انتساب
المستوى: السابع
الجنس: ذكر
المشاركات: 67
افتراضي رد: اجابات الاسئله المقالية واجابات الاختيارات في مادة الشعر 447

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نقرتين لعرض الصورة في صفحة مستقلةسبحانك اللهم استغفرك واتوب اليكنقرتين لعرض الصورة في صفحة مستقلة

 

m1402 غير متواجد حالياً   رد مع اقتباس
 

منتديات طلاب وطالبات جامعة الملك عبد العزيز منتديات طلاب وطالبات جامعة الملك عبد العزيز
قديم 21-06-2009, 01:34 AM   #7

m1402

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تاريخ التسجيل: Jan 2009
التخصص: لغات اوروبية
نوع الدراسة: انتساب
المستوى: السابع
الجنس: ذكر
المشاركات: 67
افتراضي رد: اجابات الاسئله المقالية واجابات الاختيارات في مادة الشعر 447

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