It is a place of potentialholiness, shown to us in the irony ofthe garden's barrenness and the priest's worldliness: the garden hasnow onlya "central apple tree" and a "few straggling bushes"; thepriest had died and left behind himevidence of his preoccupationwith secular literature and with collecting money and furniture.
Because they are a union of contraries, the power dilemma is a moot point even though a hierarchy exists; it is a hierarchy of knowledge, not of power, and it in no way implies that Adam needs Eve any less than she needs him....
ahimsa parmo dharma essay in sanskrit language?
In theface of ugly,drab reality-"amid the curses of laborers," "jostled bydrunken men and bargaining women"-hecarries his aunt's parcelsas she shops in the market place, imagining that he bears, not parcels,but a "chalicethrough a throng of foes." The "noises converged in asingle sensation of life" and in a blendingof Romantic and Christiansymbols he transforms in his mind a perfectly ordinary girl into anenchanted princess:untouchable, promising, saintly.
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Some workswill not warrant an essay devoted to setting and at-mosphere; others, like Joyce's "Araby," will be soprofoundly dependentupon a particular setting that to ignore its importance will be to miss muchof the meaningof the work.
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Personally, I would prefer more discussions of these techniques using riddles, associations, contrasts, oneness, sense-switching, narrowing focus, metaphor and simile (yes! judicially and in moderation), sketch (Shiki's ), double entendre, close linkage, leap linkage, pure objectivism, and more, rather than the mysterious idea that if one has a true haiku moment the resulting ku will be an excellent haiku. This is pure rot. The experience is necessary and valid (and probably the best part of the haiku path), but writing is writing is skill and a craft to belearned.
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The boy in the story"Araby" is intensely subject to the city's dark, hopelessconformity,and his tragic yearning toward the exotic in the face of drab, uglyreality forms the center of the story.
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For me, this is a red flag that the writer either did not believe in the "haiku has two parts" rule or didn't stay with the rewrite long enough to solve the problem properly. Frankly, I see most punctuation as a cop-out. Almost any ku written as a run-on sentence (with or without its dash) can be rewritten so that the grammar syntax forms the proper breaks. Or the author forms places where the reader can decide where to make the break and thus, give the haiku additional meaning. From this philosophy, I view haiku with punctuation as haiku which perhaps fail to fit this basic form. Some writers, unable, or unwilling to understand the use of fragment and phrase will write the ku in one line. If the author has a well developed feeling for fragment and phrase, the grammar will expose which is which. In these cases, my feeling is - why not write the ku in the threelines it 'shows' by the way it sounds.