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Thomas Gray, by John Giles Eccardt—48, National Portrait Gallery, London Gray's life was surrounded by loss and death, and many people that he knew died painfully and alone.
Inseveral events occurred that caused Gray stress. On 7 November, Mary Antrobus, Gray's aunt, died; her death devastated his family.
The loss was compounded a few days later by news that his friend since childhood  Horace Walpole had been almost killed by two highwaymen.
As a side effect, the events caused Gray to spend much of his time contemplating his own mortality. As he began to contemplate various aspects of mortality, he combined his desire to determine a view of order and progress present in the Classical world with aspects of his own life.
With spring nearing, Gray questioned if his own life would enter into a sort of rebirth cycle or, should he die, if there would be anyone to remember him.
Gray's meditations during spring turned to how individuals' reputations would survive. Eventually, Gray remembered some lines of poetry that he composed in following the death of West, a poet he knew.
Using that previous material, he began to compose a poem that would serve as an answer to the various questions he was pondering. Immediately, he included the poem in a letter he sent to Walpole, that said: I have been here at Stoke a few days where I shall continue good part of the summer ; and having put an end to a thing, whose beginnings you have seen long ago.
I immediately send it you. You will, I hope, look upon it in light of a Spoon river analysis albert schirding with an end to it; a merit that most of my writing have wanted, and are like to want, but which this epistle I am determined shall not want. Gray dismisses its positives as merely being that he was able to complete the poem, which was probably influenced by his experience of the churchyard at Stoke Poges, where he attended the Sunday service and was able to visit the grave of Antrobus.
Before the final version was published, it was circulated in London society by Walpole, who ensured that it would be a popular topic of discussion throughout By FebruaryGray received word that William Owen, the publisher of the Magazine of Magazines, would print the poem on 16 February; the copyright laws of the time did not require Gray's approval for publication.
With Walpole's help, he was able to convince Robert Dodsley to print the poem on 15 February as a quarto pamphlet. It is the Approbation which makes it unnecessary for me to make any Apology but to the Author: As he cannot but feel some Satisfaction in having pleas'd so many Readers already, I flatter myself he will forgive my communicating that Pleasure to many more.
Immediately after, Owen's magazine with Gray's poem was printed but contained multiple errors and other problems. In a 20 February letter to Walpole, Gray thanked him for intervening and helping to get a quality version of the poem published before Owen. William Masonin Memoirs, discussed his friend Gray and the origins of Elegy: Though I am aware that as it stands at present, the conclusion is of a later date; how that was originally I shall show in my notes on the poem.
The manuscript copy contained many ideas which were reworked and revised as he attempted to work out the ideas that would later form the Elegy. A later copy was entered into Gray's commonplace book and a third version, included in an 18 December letter, was sent to Thomas Wharton.
The draft sent to Walpole was subsequently lost. The first, Mason's concept, argues that the Eton copy was the original for the Elegy poem and was complete in itself. Later critics claimed that the original was more complete than the later version;  Roger Lonsdale argued that the early version had a balance that set up the debate, and was clearer than the later version.
Lonsdale also argued that the early poem fits classical models, including Virgil 's Georgics and Horace 's Epodes. Mason argued that the poem was in response to West's death, but there is little to indicate that Mason would have such information.
At least I am sure that I had the twelve or more first lines from himself above three years after that period, and it was long before he finished it.
But Gray's outline of the events provides the second possible way the poem was composed: The letters show the likelihood of Walpole's date for the composition, as a 12 June letter from Gray to Walpole stated that Walpole was provided lines from the poem years before and the two were not on speaking terms until after The only other letter to discuss the poem was one sent to Wharton on 11 Septemberwhich alludes to the poem being worked on.
The use of "elegy" is related to the poem relying on the concept of lacrimae rerumor disquiet regarding the human condition. The poem lacks many standard features of the elegy: The theme does not emphasise loss as do other elegies, and its natural setting is not a primary component of its theme.
Through the "Epitaph" at the end, it can be included in the tradition as a memorial poem,  and it contains thematic elements of the elegiac genre, especially mourning. Gray's is natural, whereas Milton's is more artificially designed. However, it diverges from this tradition in focusing on the death of a poet.
Although universal in its statements on life and death, the poem was grounded in Gray's feelings about his own life, and served as an epitaph for himself. As such, it falls within an old poetic tradition of poets contemplating their legacy.Abraham Lincoln, Ann Rutledge, and the Evidence of Herndon's Informants Douglas L.
Spoon River Anthology The Spoon River Anthology is a story of many different cultured people all dying in a small town known as Spoon River. This play was based upon free-verse, and gravestone epitaphs, where the dead actually told their own story. List of Spoon River Monologues Acting I Students here is the link for the List of Spoon River Monologues. Some of you had difficulty finding the link on the Course Schedule document; therefore I made it easy for EVERYONE to find the link. Sep 29, · Spoon River inspiration I've been reading Edgar Lee Masters' The Spoon River Anthology recently and there are just so many great names! At the very least, interesting and relatively unheard of - and if we are going by the year rule, these names are bound to be the next Nameberry .
Wilson Civil War History, Volume 36, Number 4, December , pp. (Article) Lee Masters's epitaph for Ann Rutledge in Spoon River Anthology: ' Herndon's lecture, "ABRAHAM LINCOLN.
MISS ANN RUTLEDGE. NEW. Spoon River Analysis Albert Schirding. 12 December Fiction; What is the character’s “essential spirit”—that is, what was the single greatest motivating force in her/his life?
In other words, consider the story the character tells, and then consider what is so important about this story that the character chose to tell it from the. Jan 02, · "Albert Schirding" and "Jonas Keene" both focus on their children in their epitaphs.
Both men committed suicide because of their children. Albert Schirding was so jealous of his successful children that he thought dying was better then living, while Jonas Keene killed himself because his children were caninariojana.coms: 2. Jan 02, · Edgar Lee Masters' "Albert Schirding" and "Jonas Keene" Updated on January 25, Linda Sue Grimes.
Albert Schirding. Both Jonas Keene and Albert Schirding may be the most ignorant men in all of Spoon River, but they do have lots of competition. Second Movement: Stupid Jonas Reviews: 2. Find and follow posts tagged pelikanink on Tumblr.
The Pieces. Spoon River Anthology is a series of poems by Edgar Lee Masters. Each is the epitaph of a member of the fictional community of Spoon River.