The Tale of Peter Rabbit is a British children's book written and illustrated by Beatrix Potter that follows mischievous and disobedient young Peter Rabbit as he is chased about the garden of Mr. McGregor. He escapes and returns home to his mother, who puts him to bed after dosing him with camomile tea. The tale was written for five-year-old Noel Moore, son of Potter's former governess Annie Carter Moore, in 1893. It was revised and privately printed by Potter in 1901 after several publishers' rejections, but was printed in a trade edition by Frederick Warne & Co. in 1902. The book was a success, and multiple reprints were issued in the years immediately following its debut. It has been translated into 36 languages,[1] and with 45 million copies sold it is one of the best-selling books of all time.[2]
Chamomile (洋甘菊).
Chamomile or camomile (/ˈkæməˌmaɪl, -ˌmiːl/ kam-ə-myl or kam-ə-meel[1][2]) is the common name for several daisy-like plants of the family Asteraceae that are commonly used to make herb infusions to serve various medicinal purposes. Popular uses of chamomile preparations include treating hay fever, inflammation, muscle spasms, menstrual disorders, insomnia, ulcers, gastrointestinal disorders, and hemorrhoids.[3]
To Helen.
"To Helen" is the first of two poems to carry that name written by Edgar Allan Poe. The 15-line poem was written in honor of Jane Stanard, the mother of a childhood friend.[citation needed] It was first published in 1831 collection Poems of Edgar A. Poe. It was then reprinted in 1836 in the Southern Literary Messenger. In "To Helen," Poe is celebrating the nurturing power of woman.[1] Poe was inspired in part by Samuel Taylor Coleridge, particularly in the second line ("Like those Nicean barks of yore") which resembles a line in Coleridge's "Youth and Age" ("Like those trim skiffs, unknown of yore").[2]
Poe revised the poem in 1845, making several improvements, most notably changing "the beauty of fair Greece, and the grandeur of old Rome" to "the glory that was Greece and the grandeur that was Rome." Poe biographer Jeffrey Meyers referred to these as "two of Poe's finest and most famous lines".[3]
Edgar Allan Poe.
Edgar Allan Poe (/poʊ/; born Edgar Poe; January 19, 1809 – October 7, 1849) was an American writer, editor, and literary critic. Poe is best known for his poetry and short stories, particularly his tales of mystery and the macabre. He is widely regarded as a central figure of Romanticism in the United States and American literature as a whole, and he was one of the country's earliest practitioners of the short story. Poe is generally considered the inventor of the detective fiction genre and is further credited with contributing to the emerging genre of science fiction.[1] He was the first well-known American writer to try to earn a living through writing alone, resulting in a financially difficult life and career.[2]
Onomatopoeia.
An onomatopoeia (
i/ˌɒnəˌmætəˈpiːə, -ˌmɑː-/,[1][2] or chiefly NZ /-ˈpeɪə/; from the Greek ὀνοματοποιία;[3] ὄνομα for "name"[4] and ποιέω for "I make",[5] adjectival form: "onomatopoeic" or "onomatopoetic") is a word that phonetically imitates, resembles or suggests the source of the sound that it describes. As an uncountable noun, onomatopoeia refers to the property of such words. Common occurrences of onomatopoeias include animal noises such as "oink", "miaow" (or "meow"), "roar" or "chirp". Onomatopoeias are not the same across all languages; they conform to some extent to the broader linguistic system they are part of;[6][7] hence the sound of a clock may be tick tockin English, dī dā in Mandarin, or katchin katchin in Japanese, or "tik-tik" (टिक-टिक) in Hindi.
i/ˌɒnəˌmætəˈpiːə, -ˌmɑː-/,[1][2] or chiefly NZ /-ˈpeɪə/; from the Greek ὀνοματοποιία;[3] ὄνομα for "name"[4] and ποιέω for "I make",[5] adjectival form: "onomatopoeic" or "onomatopoetic") is a word that phonetically imitates, resembles or suggests the source of the sound that it describes. As an uncountable noun, onomatopoeia refers to the property of such words. Common occurrences of onomatopoeias include animal noises such as "oink", "miaow" (or "meow"), "roar" or "chirp". Onomatopoeias are not the same across all languages; they conform to some extent to the broader linguistic system they are part of;[6][7] hence the sound of a clock may be tick tockin English, dī dā in Mandarin, or katchin katchin in Japanese, or "tik-tik" (टिक-टिक) in Hindi.
List of Onomatopoeia.
This is a list of onomatopoeias, i.e. words that imitate, resemble or suggest the source of the sound that they describe. For more information, see the linked articles.
Human vocal sounds.
Sound make by human actions.
- Knock
- Smack
- Thump
- Screech
The Tyger.
"The Tyger" is a poem by the English poet William Blake published in 1794 as part of the Songs of Experience collection. Literary critic Alfred Kazin calls it "the most famous of his poems,"[1] and The Cambridge Companion to William Blake says it is "the most anthologized poem in English."[2] It is one of Blake's most reinterpreted and arranged works.[3] The Songs of Experience was published in 1794 as a follow up to Blake's 1789 Songs of Innocence.[4] The two books were published together under the merged title Songs of Innocence and Experience, showing the Two Contrary States of the Human Soul: the author and printer, W. Blake[4] featuring 54 plates. The illustrations are arranged differently in some copies, while a number of poems were moved from Songs of Innocence to Songs of Experience. Blake continued to print the work throughout his life.[5] Of the copies of the original collection, only 28 published during his life are known to exist, with an additional 16 published posthumously.[6] Only 5 of the poems from Songs of Experience appeared individually before 1839.
Valediction.
A valediction (derivation from Latin vale dicere, "to say farewell"),[1] or complimentary close in American English,[2] is an expression used to say farewell, especially a word or phrase used to end a letter or message,[3][4] or the act of saying parting words whether brief or extensive. For the greetings counterpart to valediction, see salutation.
The term is also used to refer to the speech given by a valedictorian at a commencement and to refer to final prayers and remarks at the graveside before a burial.
John Donne.
John Donne (/ˈdʌn/ dun) (22 January 1573[1] – 31 March 1631)[2] was an English poet and a cleric in the Church of England. He is considered the pre-eminent representative of the metaphysical poets. His works are noted for their strong, sensual style and include sonnets, love poems, religious poems, Latin translations, epigrams, elegies, songs, satires and sermons. His poetry is noted for its vibrancy of language and inventiveness of metaphor, especially compared to that of his contemporaries. Donne's style is characterised by abrupt openings and various paradoxes, ironies and dislocations. These features, along with his frequent dramatic or everyday speech rhythms, his tense syntax and his tough eloquence, were both a reaction against the smoothness of conventional Elizabethan poetry and an adaptation into English of European baroque and mannerist techniques. His early career was marked by poetry that bore immense knowledge of English society and he met that knowledge with sharp criticism. Another important theme in Donne's poetry is the idea of true religion, something that he spent much time considering and about which he often theorized. He wrote secular poems as well as erotic and love poems. He is particularly famous for his mastery of metaphysical conceits.[3]
Wit "Death, Be Not Proud"
Death Be Not Proud (Poem).
Sonnet X, also known by part of its first line as "Death Be Not Proud", is a fourteen-line poem, or sonnet, by English poet John Donne (1572–1631), one of the leading figures in the metaphysical poets of sixteenth-century English literature. Written between February and August 1609 the poem was not published during Donne's lifetime and was first published posthumously in 1633. It is included as one of the nineteen sonnets that comprise Donne's Holy Sonnets or Divine Meditations, among his most well-known works. Most editions number the poem as the tenth in the sonnet sequence, which follows the order of poems in the Westmoreland Manuscript (circa 1620), the most complete arrangement of the cycle, discovered in the late nineteenth century. However, two editions published shortly after Donne's death include some of the sonnets in different order where this poem appears as eleventh in the Songs and Sonnets (published 1633) and sixth in Divine Meditations (published 1635).
No Man is an Island.
The Flea (Poem).
The Flea is an erotic metaphysical poem (first published posthumously in 1633) by John Donne (1572–1631). The exact date of its composition is unknown. The poem uses the conceit of a flea, which has sucked blood from the male speaker and his female lover, to serve as an extended metaphor for the relationship between them. The speaker tries to convince a lady to sleep with him, arguing that if their blood mingling in the flea is innocent, then sexual mingling would also be innocent. His argument hinges on the belief that blood mixes during sexual intercourse.[1] This poem evokes the concept of carpe diem, which is "seize the day" in Latin. Donne encourages the lady to focus on the present day and time versus saving herself for the afterlife.
A Valediction: Forbidding Mourning.
"A Valediction: Forbidding Mourning" is a metaphysical poem by John Donne. Written in 1611 or 1612 for his wife Anne before he left on a trip to Continental Europe, "A Valediction" is a 36-line love poem that was first published in the 1633 collection Songs and Sonnets, two years after Donne's death. Based on the theme of two lovers about to part for an extended time, the poem is notable for its use of conceits and ingenious analogies to describe the couple's relationship; critics have thematically linked it to several of his other works, including "A Valediction: of my Name, in the Window", Meditation III from the Holy Sonnets and "A Valediction: of Weeping".
The Scarlet Letter.
The Scarlet Letter: A Romance is an 1850 work of fiction in a historical setting, written by American author Nathaniel Hawthorne. The book is considered to be his "masterwork".[1] Set in 17th-century Puritan Boston, Massachusetts, during the years 1642 to 1649, it tells the story of Hester Prynne, who conceives a daughter through an affair and struggles to create a new life of repentance anddignity. Throughout the book, Hawthorne explores themes of legalism, sin, and guilt.
Honore De Balzac.
Honoré de Balzac (/ˈbɔːlzæk, ˈbæl-/;[2] French: [ɔ.nɔ.ʁe d(ə) bal.zak], born Honoré Balzac,[1] 20 May 1799 – 18 August 1850) was a French novelist and playwright. The novel sequence La Comédie Humaine, which presents a panorama of post-Napoleonic French life, is generally viewed as his magnum opus.
Owing to his keen observation of detail and unfiltered representation of society, Balzac is regarded as one of the founders of realismin European literature.[3] He is renowned for his multi-faceted characters; even his lesser characters are complex, morally ambiguous and fully human. Inanimate objects are imbued with character as well; the city of Paris, a backdrop for much of his writing, takes on many human qualities. His writing influenced many famous writers, including the novelists Émile Zola, Charles Dickens, Gustave Flaubert, Jack Kerouac, Akira Kurosawa and Henry James, as well as important philosophers such as Friedrich Engels. Many of Balzac's works have been made into films, and they continue to inspire other writers.
La Comedic Humaine.
La Comédie humaine (French pronunciation: [la kɔmedi ymɛn], The Human Comedy) is the title of Honoré de Balzac's (1799–1850)multi-volume collection of interlinked novels and stories depicting French society in the period of the Restoration and the July Monarchy (1815–1848).
The Comédie humaine consists of 91 finished works (stories, novels or analytical essays) and 46 unfinished works (some of which exist only as titles).[1] It does not include Balzac's five theatrical plays or his collection of humorous tales, the "Contes drolatiques" (1832–37). The title of the series is usually considered an allusion to Dante's Divine Comedy;[2] while Ferdinand Brunetière, the famous French literary critic, suggests that it may stem from poems by Alfred de Musset or Alfred de Vigny.[3] While Balzac sought the comprehensive scope of Dante, his title indicates the worldly, human concerns of a realist novelist. The stories are placed in a variety of settings, with characters reappearing in multiple stories.
Divine Comedy.
The Divine Comedy (Italian: Divina Commedia [diˈviːna komˈmɛːdja]) is an epic poem by Dante Alighieri, begun c. 1308 and completed 1320, a year before his death in 1321. It is widely considered the preeminent work of Italian literature[1] and is seen as one of the greatest works of world literature.[2] The poem's imaginative vision of the afterlife is representative of the medieval world-view as it had developed in the Western Church by the 14th century. It helped establish the Tuscan language, in which it is written, as the standardized Italian language.[3] It is divided into three parts: Inferno, Purgatorio, and Paradiso.
In many mythological, folklore and religious traditions, hell is a place of torment and punishment in an afterlife. It is viewed by most Abrahamic traditions as punishment.[1] Religions with a linear divine history often depict hells as eternal destinations. Religions with acyclic history often depict a hell as an intermediary period between incarnations. Typically these traditions locate hell in another dimension or under the Earth's surface and often include entrances to Hell from the land of the living. Other afterlife destinations include Heaven,Purgatory, Paradise, and Limbo.
Other traditions, which do not conceive of the afterlife as a place of punishment or reward, merely describe hell as an abode of the dead, the grave, a neutral place located under the surface of Earth (for example, see sheol and Hades). Hell is sometimes portrayed as populated with demons who torment those dwelling there. Many are ruled by a death god such as Nergal, Hades, Hel, Enma or the Devil.
Purgatory.
In Christian theology, and especially in Catholic theology, Purgatory (Latin: Purgatorium, via Anglo-Norman and Old French)[1] is an intermediate state after physical death in which those destined for heaven "undergo purification, so as to achieve the holiness necessary to enter the joy of heaven".[2] Only those who die in the state of grace but have not yet fulfilled the temporal punishment due to their sin can be in Purgatory, and therefore no one in Purgatory will remain forever in that state or go to hell. This notion has old roots.
Heaven.
Heaven, the heavens or seven heavens, is a common religious, cosmological, or transcendent place where beings such as gods, angels, jinn, saints, or venerated ancestors are said to originate, be enthroned, or to live. According to the beliefs of some religions, heavenly beings can descend to earth or incarnate, and earthly beings can ascend to Heaven in the afterlife, or in exceptional cases enter Heaven alive.
Heaven is often described as a "higher place", the holiest place, a Paradise, in contrast to Hell or the Underworld or the "low places", and universally or conditionally accessible by earthly beings according to various standards of divinity, goodness,piety, faith, or other virtues or right beliefs or simply the will of God. Some believe in the possibility of a Heaven on Earth in a World to Come.
Ordinary Miracle Song.
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