Category: Short Essays

Introduction: Second Duchess in “My Last Duchess”

The second duchess in “My Last Duchess” by Robert Browning is supposed to be the duke’s wife who is negotiating the arrival of his next duchess with her emissary. Although not much is clear about the painters Robert Browning has named, one thing is certain: the setting of the poem is Ferrara, Italy, in the year 1564 or around. The duke is Alfonso II, according to some researchers, while the victim is Lucrezia de Medici, who is said to have died in mysterious circumstances. The poem explains in the first-person voice how the Duke is negotiating his second marriage with Barbara of Austria, mentioned in the poem as having met her in Innsbruck. Although it seems from the first reading in the initial lines that the speaker, the Duke, is an aesthete and connoisseur of the arts, as he praises the painting too much with the negotiator of Barbara of Austria (Ryals 1983, 152-155), his tone becomes highly ironic and sarcastic when he starts informing him about her little courtesies, which according to him, were tainting his “nine-hundred-years old name” (Browning 33). The Duke further tells him that he could not brook it any longer to let her smile at everybody. Therefore, he orders her execution but tells it ironically and indirectly, “This grew; I gave commands, / Then all smiles stopped together” (45-46). His reminisce ends with his assertion that his order is not just a pretense. Then he takes him to see the statue, Neptune. The poem effectively conveys its theme through the use of dramatic monologue, poetic structure, and the historical account of the cruel treatment and dictatorial attitude of the duke.

Dramatic Monologue in “My Last Duchess”

“My Last Duchess” is written as a dramatic monologue, a form where a single speaker addresses an audience as if engaged in a conversation. In this case, the Duke speaks alone throughout the poem, with the interlocutor being the emissary of the Duchess’s father who has come to negotiate with the Duke. Despite the emissary’s near silence, the poem unfolds as an extended speech by the Duke, incorporating elements characteristic of a formal address or speech, including the use of punctuation, sentence structure, rhetorical questions, and implicit assertions. The poem’s opening, starting with a demonstrative pronoun followed by a personal pronoun, is indicative of a speech. Punctuation is used sparingly to create the impression that the Duke is engaged in a regular conversation, with commas breaking sentences in the fourth and sixth lines. The poem also employs parentheses, as seen in the ninth and tenth lines, and ellipsis in lines 22 and 32. The use of hyphens, such as in “nine-hundred-years-old,” and dashes in lines 36, 42, and elsewhere, contribute to the conversational flow. Browning also uses conventions like quotations and exclamation marks to convey the speaker’s demonstration of feelings and the presence of another person. Rhetorical questions like “Will’t please you rise?” and “This sort of trifling” (22-35 & 47) emphasize the Duke’s authority and power, showcasing how he navigates the conversation. Beyond these conventions, the tone of the speaker aligns with the language, effectively conveying his feelings, emotions, and status through carefully chosen words and the overall poetic structure.

Musicality and Second Duchess in “My Last Duchess”

Written in dramatic monologue, “My Last Duchess” adheres to an iambic pentameter structure, with each line containing five iambs, as seen in the first line, “That is my last duchess painted on the wall” (1). This meter, often used by Shakespeare in his plays, conveys a sense of grandiosity, indicating the serious theme explored by Robert Browning in the poem. Additionally, Browning employs a heroic couplet, where rhyming words conclude each line, as evident in the first two lines and throughout the poem, as seen in the lines “That piece a wonder, now: Fra Pandolf’s hands / Worked busily a day, and there she stands” (3-4). The use of this couplet contributes to the poem’s formal and structured tone. Given its nature as a dramatic monologue, the poem features interruptions in the conversation, marked by breaks or enjambments. This technique allows Browning to create a seamless flow in the narrative, as seen in lines like, “How such a glance came there; so, not the first, / Are you to turn and ask me thus. Sir, t’was not” (12-13). The use of enjambment ensures a smooth reading experience without disrupting the rhyming words, showcasing the poet’s skill in crafting a dramatic monologue.

Poetic Structure and Second Duchess in “My Last Duchess”

The combination of the poetic structure and historical context in “My Last Duchess” accentuates the prominence of its themes. The use of a dramatic monologue, coupled with a first-person perspective, showcases the speaker’s arrogant and haughty attitude, evident in lines like “I call / That piece a wonder,” and “The curtain I have drawn for you,” and “how shall I say?” (1-5 & 22). The narrative also highlights the Duke’s wealth and elevated social status, providing insight into why he considers women as mere objects and narrates stories of their murders in such a disdainful tone. The Duke’s decision to kill the Duchess stems from her displaying a courteous smile to everyone, an act that he finds disagreeable. Browning employs pointed sentences full of sarcasm to convey the Duke’s displeasure, emphasizing how this seemingly innocent smile is perceived as tarnishing their “nine-hundred-years-old name,” alluding to the Duke’s pride and status (33). The use of dramatic irony is particularly evident in the last line, where the Duke emphasizes the known munificence of the Count, the Duchess’s father, suggesting that there is no justifiable reason for her mistreatment (48-49 & 50). The poetic structure, characterized by the dramatic monologue, supports the effective rendering of these themes, allowing readers to delve into the complexities of the Duke’s character and his skewed perspective on power, status, and relationships.

Conclusion: Second Duchess in “My Last Duchess”

In “My Last Duchess,” Robert Browning skillfully employs the dramatic monologue to reveal the inner workings of a character marked by pride, haughtiness, and arrogance, particularly concerning his family name and wealth. The Duke’s personality is effectively portrayed through conversational strategies and literary devices. While Browning incorporates some allusions to enhance the theme, the primary role in depicting the themes is played by the dramatic monologue. Additionally, the poet adeptly employs necessary conventions for a genuine conversation, making it easy for readers to grasp the character’s engagement in negotiating a deal and asserting his sense of self to the emissary.

Second Duchess in “My Last Duchess”: Works Cited

1. Browning, Robert. “My Last Duchess.” Reading and Writing about Literature. Ed. Janet E. Gardener. New York. Bedford / St. Martin’s. 60. Print.
2. Ryals, Clyde de L. Becoming Browning: The Poems and Plays of Robert Browning, 1833-1846. Ohio. Ohio State University Press. 1983.152-155. Print.

Relevant Questions Selection about “My Last Duchess”

1. Motivation Behind the Selection: What motivates the Duke’s decision to choose a second duchess, particularly after the demise of the first? How does his motivation reflect his values, desires, or societal expectations?
2. Characteristics Sought in the Second Duchess: What specific qualities or characteristics is the Duke seeking in the second duchess? How do these preferences contribute to the themes of power, control, and the objectification of women within the context of the poem?
3. Narrative Implications: How does the Duke’s account of the second duchess shed light on his perceptions of women and relationships? What narrative implications can be drawn from the way he describes the selection process and the expectations he places on the new duchess?

Introduction: “The Road Not Taken” and “Stopping by Woods”

Wavering, hesitation, reluctance; these words immediately comes to mind when we call to make a choice in life when reading “The Road Not Taken” and “Stopping by Woods” by Frost. Everybody has some options at every point of his life and he is to make a choice based on the rational decision after long or short deliberations. This choice made reviewing the topical situation takes a person on the road to ideal solution of the issue at hand. However, sometimes the same choice lead to highly tough situation where both of the choices or all other available choices seem equally good or equally bad and person has to choose one or the other based on his rational judgment. Poetry is fraught with the theme of such choices made by “The Road Not Taken” and “Stopping by Woods on a Snowy Evening” by Robert Frost have demonstrated how the action of making a choice and selection an option weighs heavily upon a person’s mind. The first one is about when the life time decision is made and second is perhaps when the poet has had some liking for natural but he was also under moral obligations. Whatever the case is both the poems “The Road Not Taken” as well as “Stopping by Woods” shows the same thing as to what choices are there, nature of decisions to select one and limits on the decision to make ideal solutions.

Choices in “The Road Not Taken” and “Stopping by Woods”

In “The Road Not Taken” frost immediately discloses his choice “Two roads diverged in yellow wood, / And sorry I could not take travel both” (The Road Not Taken 1-2) which is also an expression of remorse that both seems equally good but he cannot take both at the same time. He is to leave one and chose the other and when one is left, there is no way he can come to it later in life. This is where the youth comes and it is perhaps his choice of career as a poet that he has made. In fact, Frost calls attention only to the role of human choice. A second target was the notion that “whatever choice we make, we make at our peril” (Montiero, On “The Road Not Take”). However, he also seems to be hell bent on keeping the other “I kept the first for another day” (12) which shows that he does not want to leave the first and has some thinking in his mind that he might turn back and take it but it is not possible as he is doubtful of his return in the future. However, he is satisfied that the type of choices he has, he has made the second one “I took the one less travelled by” (19) that no other person have taken. Similarly, in “Stopping by Woods on a Snowing Evening” he has same two types of choices either to watch the woods and enjoy the nature at this hour of the evening or leave it as he is forced to leave. He is lured by the beauty “The woods are lovely, dark and deep” (13) and he has almost there to enjoy it. However, the issue is that he has to go to perform his mundane responsibilities. He hesitates and “It is an [this] internal will and force that keeps the speaker unsettled in the few moments that he stops to watch the woods fill up with snow” (Pederson). Even his little horse in is wavering whether to stop and see or leave and finaly the poet is weighed down by the other choice that is “But I have promises to keep” (14) that is demands more urgency on the part of the poet.

Nature of Decisions in “The Road Not Taken” and “Stopping by Woods”

The decision in both the cases depend on paragmtic nature. In “The Road Not Taken” the decision depends on whether it would prove fruitful for futrue and that he would make some gains for it is “I took the one less travelled by” (The Road Not Taken 19) which means that in career choice he has made the decision not made but all and sundary “And that has made all the differnce” (20) showing where the poet stands now as it is the result of the same decision that he has made. The decision was hard and tough but the problem is that he has to made in in any way which is very much clear from the first stanza that “And I looked one as far as I could” (4) but ultimately he has to choose the one that is “less travelled by” (19). The decision, whether it is arbitrary or not, depends solely on him at this point. Same thing is in “Stopping by Woods on a Snowy Evening” where he comes to pass by a woods and he is fully aware that he can enjoy it as long as he could despite the fact that his little horse is also aware of his mental wavering. But he has two choices and his decision depends on rational thinking of that “But I have promises to keep” (Stopping by Woods 12) and there is along distance that he has to cover to keep his words. This is the obligation of mundane responsibilities that is weighing heavy upon him, ultimately forcing him to abandon the first choice and keep the second to leave for promises. The situation is the same whether he is to “go forward to the touch,” or will he “stand still in wonderment and let him pass by” in the anecdote” (Montiero).

Limits in “The Road Not Taken” and “Stopping by Woods”

The point of limitation is not so easy to decide as in “The Road Not Taken” he is limited by his choice that both roads are the same and “both that morning equally lay” (The Road Not Taken 11) where he is to think about the one not have been trodden as much as the other one, but the issue is both are almost the same. This takes carefull and deliberate thinking in the face of only two equal choices and finally he, depending on his own decision, made the ideal choice of “I took the one less travelled by” (19) which was to last long for him and set his career path. Similarly, in “Stopping by Woods on a Snowy Evening” he has not only two choices, but also the worldly limitation of covering a long distance before he has to reach home and fulfill his promises, for he knows mundane obligations are urgent that mere enjoyment of nature “And miles to go before I sleep” (Stopping by Woods 16) is another choice before him. The repetition of this sentence is a reminder of the limit that he has to see before leaving.

Conclusion: “The Road Not Taken” and “Stopping by Woods”

Summing up the debate, it is clear that both the poems have presented the speaker two choices, the hard deliberation in making the final decision and limitations before making the ideal solution and that is that the speaker has to be pragmatic in his choice. First the choice of road is the choice of career that everybody is to make in life and second the choice to enjoy nature and keep mundane promises also puts the same burden on mind to make a choice. Therefore, the weight of choice in both the poems is equally difficult not only involving types of choice, but also the situation in which the decision is to be made and finally to choose the decision to go for ideal solution.

Works Cited: “The Road Not Taken” and “Stopping by Woods”

1. Frost, Robert. Robert Frost’s Poems. Edited by Louis Untermeyer, Washington Square Press, 1968.
2. Montiero, George. “On ‘Stopping by Woods on a Snowy Evening’.” 2003. 07 December 2013 http://www.english.illinois.edu/maps/poets/a_f/frost/woods.htm.
3. Montiero, George. “On ‘The Road Not Taken’.” 2003. 27 December 2013 http://www.english.illinois.edu/maps/poets/a_f/frost/road.htm.
4. Pederson, Steve. “‘Stopping by Woods on a Snowy Evening’: A Burkean/Ecocritical Reading.” n.d. 07 December 2013 http://rhetoric.sdsu.edu/lore/6_1/6.5_pederson.pdf.

Three Relevant Questions: “The Road Not Taken” and “Stopping by Woods”

1. How does Robert Frost use nature and the imagery of woods in both “The Road Not Taken” and “Stopping by Woods on a Snowy Evening” to convey deeper meanings and themes in the poems?
2. In “The Road Not Taken,” the speaker reflects on a choice that has made all the difference in their life, while in “Stopping by Woods on a Snowy Evening,” the speaker contemplates the beauty of nature. Compare and contrast the themes of individual choice and the appreciation of nature in these two poems.
3. Analyze the tone and mood in both “The Road Not Taken” and “Stopping by Woods on a Snowy Evening.” How does Frost use language and poetic devices to evoke specific emotions in each poem, and what impact does this have on the reader’s interpretation of the works?

Introduction: “Stopping by Woods on Snowy Evening”

Every person faces a dual conflict in life, much like Frost’s poem “Stopping by Woods on a Snowy Evening.” On one hand, there are the allurements of pleasures, luxuries, and the enjoyments of life, while on the other hand, there is the burden of mundane responsibilities to bear. This dual conflict ensures that a person is mindful of their obligations, such as caring for home, family, and children. In the poem, Frost captures the universal struggle between the enticements of the world, full of luxuries, pleasures, and the beauty of nature, and the weight of daily responsibilities. There are numerous opportunities that might lead one to engage in actions not considered moral, yet seem “lovely, dark and deep” (Stopping by Woods 13). However, the sense of the burden of mundane responsibilities acts as a restraint, preventing excessive indulgence. Frost himself grapples with this dual conflict, contemplating whether to linger in the enchanting beauty of nature or move forward to fulfill his “promises” (14) in his poem “Stopping by Woods on a Snowy Evening.”

Pleasure in “Stopping by Woods on Snowy Evening”

The pleasures of nature unfold as the poet traverses through the woods, particularly on “the darkest evening of the year” (8), signifying December 21, the longest night. Commencing with the inquiry “Whose woods are these I think I know” (1), the poet suggests that he is alone, engaged in a soliloquy, perhaps acquainted with the owner of the woods and possibly on good terms with them. Being alone, he can enjoy the surroundings freely, as the owner would not witness him “stopping” (2) to inquire about his presence in the forest at this late hour.

Since such solitary moments in nature are infrequent for the poet, it becomes an unusual experience for his little horse as well. The horse, accustomed to traveling only when there is a farmhouse nearby, finds it peculiar to “stop without a farmhouse near” (6), especially at night. Similar to the poet’s awareness of this departure from his routine, the horse also senses that his owner has never stopped in such a place at this hour. The setting, described as “lovely, dark and deep” (12), with an “easy wind and downy flake” (11), entices both the poet and his horse to savor the atmosphere.

In this introspective moment, the little horse “gives his harness bells a shake” (9), questioning if his master has made an error in deviating from their usual routine. However, it becomes evident that the poet’s intention is to appreciate the beauty of the woods, acknowledging that they are “lovely, dark and deep” (13), and he desires to fully immerse himself in this enchanting experience.

Frost’s depiction reveals a conflict within the human mind, including Frost’s own, as it grapples with the attraction to what is lovely and the simultaneous struggle to resist its allure. The forest, often associated with isolation and potential evil in biblical contexts, creates a sinister yet captivating atmosphere. This conflict is a recurring theme as individuals navigate the juxtaposition of attraction and the self-discipline needed to resist it.

Conflict in Pleasure in “Stopping by Woods on Snowy Evening”

On the other side of the conflict in “Pleasure in Stopping by Woods on Snowy Evening” lies the burden of responsibilities that an individual carries. Two crucial character traits of a responsible person are highlighted: one’s commitment to their words and the extent to which they go to fulfill promises. A responsible individual rests only when they have met their moral obligation of keeping their word and doing everything within their capacity to honor their commitments. Frost exemplifies these traits, declaring, “But I have promises to keep” (14), emphasizing his awareness that, despite the allure of the “lovely, dark and deep” woods (13), he is bound by promises he cannot disregard.

The second character trait involves recognizing the obligation to travel “miles to go” (15) in order to uphold one’s promises. This moral responsibility takes precedence over the alluring beauty of nature, and Frost reinforces this commitment by reminding himself twice that he has “miles to go” (15) before he can rest. The conflict in Frost’s mind tilts in favor of his mundane responsibilities, despite the captivating attractions and enticements of nature represented by the solitude in the “lovely, dark and deep” woods (13). Frost redirects his attention, acknowledging the more significant tasks in his life.

The shaking of the harness bells by his horse serves as a symbolic gesture, indicating the animal’s loyalty and reminding Frost of his responsibility. This subtle interaction underscores the internal conflict Frost experiences as he navigates between the enchantment of nature and the steadfast commitment to his duties and promises.

Conclusion: Pleasure in “Stopping by Woods on Snowy Evening”

In short, mundane responsibilities carry a profound commitment that must be honored for one to navigate life successfully. The poet, a dedicated individual, doesn’t indulge in the allure of the dark and enchanting forest. Upon stopping, he swiftly realizes the crucial tasks awaiting him at home and the promises he must fulfill. Despite the tempting beauty of the woods and his knowledge of the owner whose “house is in the village though” (2), his responsibility as a committed person takes precedence. Responding to the unspoken call of his horse and the resounding call of his conscience, he chooses to leave, emphasizing both his commitment and responsibility. The poem, beginning with a curious inquiry in “I think I know” (1), concludes by affirming that he indeed knows what he must accomplish before he can “sleep” (16). This juxtaposition of inquiry and affirmation enhances the poem’s beauty, portraying the poet’s journey from uncertainty to a clear sense of purpose and responsibility.

 Works Cited: “Stopping by Woods on Snowy Evening”

Frost, Robert. “Stopping by Woods on a Snowy Evening.” 1951. Poetry Foundation, 19 June 2013, http://www.poetryfoundation.org/poem/171621.

Three Relevant Questions: “Stopping by Woods on Snowy Evening”

1. In “Stopping by Woods on Snowy Evening,” how does the poet navigate the dual conflict between the enchanting allure of nature’s beauty and the weight of mundane responsibilities, and what choices does he make during his journey through the woods?
2. How does Robert Frost employ the setting and the character of the poet’s horse in “Stopping by Woods on Snowy Evening” to convey the tension between the captivating scene of nature’s beauty and the responsibilities that weigh on the traveler?
3. Within the context of “Stopping by Woods on Snowy Evening,” what symbolic significance do the woods hold, and how does the poet reconcile the conflict between the captivating allure of the scene and his sense of duty and obligation?

Introduction: “All I Really Want to Do”

The song titled “All I Really Want to Do” is a love and pop song written by the famous writer and singer, Bob Dylan. Although it differed from his traditional songs, when it was released on the album “Another Side of Bob Dylan,” it proved to be a tremendous success for the album. Not only did it endear itself to the audience, but it also resonated with the pop and rock audience. The song, along with its poetry and music, differs from what Bob Dylan was accustomed to singing. Written in 1964 and performed in the same year, “All I Really Want to Do” depicted not only a different type of love but also a distinct character of a lover.

Lyrics of “All I Really Want to Do”

The song’s lyrics consist of six stanzas, each comprising six lines. Bob Dylan skillfully plays with words in the song. The first stanza hints that all he desires is to be friends with his sweetheart, emphasizing that he does not seek to possess her. It opens with the famous line, “I ain’t lookin’ to compete with you” (1-7), a theme echoed in subsequent stanzas.

The essence of the lyrics is that he does not want to compete, cheat, mistreat, snatch rights, or engage in possessive behavior. His sole intention is to be her friend. This sentiment is reiterated in the second and third stanzas, where he emphasizes his desire to avoid violence, resist making her an object of beauty or a showpiece, and simply be her friend. He rejects the typical lover’s approach of pursuing, confining, defining, studying, or planning his entire life around her. Instead, he wants an authentic friendship and rejects the insincerity of fake offers.

In literal terms, the poet sits with his sweetheart, expressing his difference from other lovers who pursue a girl merely to become her husband and assert ownership over her beauty. He distances himself from traditional masculine behaviors, asserting that his only desire is friendship. Unlike those who marry to showcase their wives as property, mold them to their liking, and exhibit possession, his intention is genuine friendship and nothing else.

Subject of “All I Really Want to Do”

The lyrics convey the song as the lament of a broken heart, with the context that Bob Dylan wrote it shortly after parting ways with his sweetheart. Consequently, the bitterness he experienced during this period permeates the lines. Repetition is a notable feature, where the same theme recurs throughout each stanza. In the first stanza, the cluster of words like “compete, beat, cheat, mistreat, then simplify, deny, and crucify” emphasizes a common theme (1-5), and this pattern continues through the final line of each stanza.

These repetitive phrases illustrate the typical ways in which men are expected to treat their sweethearts or wives, reflecting a conventional narrative. However, the poet distinguishes himself by rejecting this conventional approach and expressing his desire to maintain a friendship with his sweetheart. The closing lines, “All I want to do / Is, baby, be friends with you,” articulate the poet’s true intentions, emphasizing that he seeks nothing more (12-13).

The lyrics fluctuate between being straightforward and occasionally mischievous and humorous. For instance, when he states, “I don’t want to fake you out,” it conveys a sense of seriousness and sincerity from the writer. The lyrics, therefore, reveal a complexity that combines both heartfelt emotions and a touch of playfulness.

Music of “All I Really Want to Do”

The song features a compelling musical structure with a time signature of 12/8, representing four groups of three quavers in a bar. Musicians can follow a beat in fours, emphasizing the first quaver in each bar, creating a rhythmic pattern of 123 123 123 123 from start to finish.

This unconventional 12/8 beat is a distinctive element of the song, contributing to its popularity. Bob Dylan’s choice to use this rhythmic structure sets the song apart from more common musical patterns. The lilting feeling of 123 123 123 123 is maintained throughout the entire composition, creating a unique and memorable musical experience.

Examining specific verses, the division of beats is evident, as seen in lines like “I don’t/ want to fake/ you out/” and “Take or/ shake or/ forsake/ you out.” The song’s success can be attributed, in part, to this distinctive 12/8 beat, which complements the serious yet occasionally humorous message conveyed by the lyrics.

Conclusion: “All I Really Want to Do”

In essence, “All I Really Want to Do” stands out as one of the most popular songs of its time, breaking away from traditional songwriting and singing conventions. Bob Dylan uses this song as a platform to express his feelings after separating from his sweetheart, presenting an unconventional plea for friendship instead of a traditional romantic relationship. The song represents a declaration of freedom from the confines of traditional marital expectations, challenging the notion of a wife sacrificing her life for her husband’s love. Dylan’s unique approach, emphasizing the desire for friendship over romantic entanglements, has resonated with audiences, making the song a beloved and enduring piece in pop and rock music history.

Works Cited: “All I Really Want to Do”

Dylan, Bob. “Bob Dylan Songs.” Bob Dylan. N. d. Web. 25 Feb. 2023.

Three Relevant Questions: “All I Really Want to Do”

1. “All I Really Want to Do”: How does Bob Dylan use the lyrics of this song to convey his perspective on love and relationships, and what insights can be gained from the contrast between what he wants to do and societal expectations?
2. “All I Really Want to Do”: In what ways does the song reflect the cultural and social context of the 1960s, and how does Dylan’s lyrical expression contribute to the broader countercultural movements of that era?
3. “All I Really Want to Do”: How does the music and poetic language in this song contribute to the overall emotional impact, and what themes or messages does Dylan communicate about personal freedom and authenticity through his lyrics?

 “Some Keep the Sabbath Going to Church”: Introduction

Before interpreting “Some Keep the Sabbath Going to Church” by Dickinson, it must be kept in mind that Dickinson’s philosophy of faith is that she does not favor a side in the polemic between fact and faith. She presents arguments from both sides and leaves it to the reader to draw his or her own conclusion.

Summary: “Some Keep the Sabbath Going to Church”

The poem “Some Keep the Sabbath Going to Church” follows the same philosophy of skepticism seen in Emily Dickinson’s approach to faith. It criticizes the Church establishment and emphasizes personal faith in religion. The poem reflects Dickinson’s self-satisfaction with her own understanding and acceptance of religion. She openly expresses having a direct relationship with the Divine, outside the confines of mass worship in a church.

Dickinson distinguishes herself from those who “keep the Sabbath going to Church” (1) by choosing to spend it “staying at Home,” emphasizing the initial capitalization of “Home” to underscore her point. She replaces traditional church elements with nature, opting for “a Bobolink for a chorister / and an orchard for a dome” (3-4). For her, these alternatives surpass the traditional house of God, contrasting with others who may consider these natural elements superior to human beings, God’s own creations.

Drawing on a concept similar to Milton’s idea that the mind can create both “hell of heaven and heaven of hell,” Dickinson suggests that if the mind can transform home into a place of worship, it is a superior choice. The poem implies that private prayer at home surpasses the ceremony of mass worship. Dickinson conveys her disdain for the formalities associated with religious rituals, expressing a distaste for the idea of wearing a “Surplice” (5), contrasting it with her own mental faculty symbolized by “Wings” (6). She contends that external adornments do not make a person more pleasing to God; divine favor is indifferent to outward appearances. The poet may be subtly sarcastic about the formalities that have infiltrated religious rituals and congregations.

Sarcasm in “Some Keep the Sabbath Going to Church”

Nevertheless, Dickinson approaches her sarcasm with care, ensuring that the reader does not perceive her as superior to those who openly display their religious convictions. Instead, she conveys her confidence in feeling that “God preaches” (9) to her. The sermon she experiences is not lengthy, tedious, or frightening; rather, it is balanced and directed towards His creation. This portrayal reflects Dickinson’s personal and individual relationship with the Creator, one that exists independently of traditional church structures and clergy.

Conclusion: “Some Keep the Sabbath Going to Church”

In the second-to-last line, “So instead of getting to Heaven, at last” (11), Dickinson appears to challenge the conventional religious notion that suggests only regular churchgoers attain heaven, and that piety is achieved solely through consistent attendance at sermons. She rejects this perspective, asserting, “I’m going, all along,” expressing her unwavering confidence that there is no reason why she cannot or will not reach Heaven. The poet seems to be inviting the reader to join her on this spiritual journey, suggesting that everyone is accompanying her, and therefore, there is no reason why the reader would not go along as well.

Works Cited: “Some Keep the Sabbath Going to Church”

Dickinson, Emily. “Some keep the Sabbath going to Church.” Final Harvest: Emily Dickinson’s Poems (1995).

Relevant Questions: “Some Keep the Sabbath Going to Church”

1. “Some Keep the Sabbath Going to Church”: How does Emily Dickinson challenge conventional religious practices and express her personal philosophy of faith in this poem?
2. “Some Keep the Sabbath Going to Church”: How does Dickinson use symbolism and vivid imagery to contrast her unconventional approach to spirituality with the traditional idea of attending church on the Sabbath?
3. “Some Keep the Sabbath Going to Church”: In what ways does Dickinson convey her skepticism towards organized religion, and how does she assert her individual, personal connection with the Divine outside the confines of traditional worship?

Introduction: Representation of Sexuality in Walt Whitman

Regarding sexuality in Walt Whitman, the two poems “I Sing the Body Electric” and “Song of Myself” are crucial for understanding Whitman’s attitude toward the physicality of the human body and sexuality during his time. Both poems explore the themes of body and soul, as well as sex and attitudes toward sexuality. While scholars deduce various meanings from his verses in both poems regarding his attitude and inclination toward homosexuality and heterosexuality, a deeper reading of both poems reveals something different compared to the superficial meanings deduced by critics.

In “I Sing the Body Electric,” Whitman discusses the interaction between body and soul, exploring the bodies of both genders, male and female, different types of bodies, and the character of a specific farmer. The poem also delves into the topic of slavery and the position of the body in this trade. On the other hand, in “Song of Myself,” Whitman presents himself seemingly suffering from narcissism. He discusses the interaction of his body with his soul through stories and parables, concluding that he believes in “the flesh and appetites” (“Song of Myself,” Lines 520).

However, within “Song of Myself,” he speaks in connotations that are interpreted as none other than the sexual tendencies of the poet. Gene Bluestein argues that Whitman, a powerful American poet, has been dubbed by critics and scholars as a “good, gay poet,” emphasizing that the presentation of sexuality in his poems, specifically in “I Sing the Body Electric” and “Song of Myself,” is crucial to understanding his “sexual orientation and attitudes” toward sex. In fact, Whitman’s sexuality needs analysis not only in the light of his own poetry but also considering the symbols he uses for sexual orientation and his cultural milieu (Bluestein, p. 153).

Sexuality in Walt Whitman

Regarding Whitman’s sexuality in light of his poetry and comments, both poems clearly express his attitude toward sex. In the poem “I Sing the Body Electric,” he extensively compares the male and female body in the first three sections. Whitman’s perspective is that both the male and female bodies are perfect in every way. He praises both types of bodies in the second and third sections, culminating in his opinion: “Such-like I love—I loosen myself, pass freely, am at the mother’s breast with the little child” (“I Sing The Body Electric,” Line 31). Analyzing these sections along with the last lines reveals his admiration for both male and female bodies.

Gene Bluestein quotes Whitman, stating that it is “imperative to achieve a shifted attitude from superior men and women toward the thought and fact of sexuality, as an element in character, personality, the emotions, and a theme in literature” (qtd. Whitman, p. 154). This suggests that Whitman considers sexuality as a thematic strand in poetry rather than revealing his personal orientation towards hom*-or-heterosexuality.

Similarly, in “Song of Myself,” Whitman declares in the first section, “I will go to the bank by the wood and become undisguised and naked, / I am mad for it to be in contact with me” (“Song of Myself,” Line 19-20). Again, Bluestein’s quoted comments from Whitman emphasize that “meanings…that do not usually go along with those words are behind all” (qtd. Whitman, p. 154). These comments defy the interpretations of critics and scholars, suggesting that Whitman is refuting charges and asserting that the meanings deduced by others are not what he intended. It is akin to the “clef of a symphony” (qtd. Whitman, p. 154) with various interpretations. Therefore, it is not necessary to interpret his sexuality in terms of hom* or heterosexuality.

Symbols and Sexuality in Walt Whitman

Concerning symbols, both of these poems are rich in symbolic elements. Gene Bluestein asserts that Whitman was a symbolist who “believed that truth lay only in indirection rather than direct statement” (p. 154). Applying this perspective to Whitman’s work, it appears that he praises both male and female bodies indirectly, symbolically equating them in terms of their capacity for reproduction. This comparison is evident in the second and third sections of the poem “I Sing the Body Electric,” emphasizing inclusiveness rather than exclusion. Whitman expresses this inclusiveness as everything being diffused, stating, “Hair, bosom, hips, bend of legs, negligent falling hands all diffused, mine too diffused” (“I Sing the Body Electric,” Line 58). Bluestein comments on this, clarifying that it is not “homoeroticism” but an acknowledgment that “male and female are inclusive rather than exclusive terms” (p. 154). Essentially, Bluestein suggests that Whitman’s position was in line with other poets of his time, indicating his advanced thinking for that era.

The poem “Song of Myself” similarly conveys a similar message in its fifth section. Bluestein notes that the use of shocking symbols in this context is intentional, describing it as the “shock value.” Whitman was aware that his audience would be surprised, but he believed it was necessary to use these symbols as an act of “universality” (p. 154). In essence, Bluestein argues that Whitman employed these symbols to discuss the connection between body and soul, even in Section Five of “Song of Myself,” which was notoriously omitted from readings in schools and colleges. This suggests that Whitman was attuned to his social milieu, and his sexual orientation provided broader perspectives for his poetic output.

Themes and Sexuality in Walt Whitman

Concerning the themes of body and soul, this was an enduring and widely popular topic during Whitman’s time. However, Whitman approached it in a radically new way by directly addressing sexuality, especially considering the cultural milieu where discussions around sexuality were considered taboo. Gene Bluestein notes that during Whitman’s era, the body was often deemed inferior, and sexuality was viewed as a sin capable of impurifying the soul. Whitman found it necessary to portray sexuality not as impure but in pure terms. Interestingly, the images Whitman presents in his poetry seem to suggest his heterosexuality (p. 159), a theme evident in both poems.

Bluestein clarifies this perspective when discussing the fifth section of “Song of Myself,” citing specific lines that explicitly point to Whitman’s homosexual orientation (p. 159). For instance, the line “How you settled your head athwart my hips and gently turn’d over upon me” (“Song of Myself,” Line 88) is cited as evidence by critics. While similar connotations exist in “I Sing the Body Electric,” it is approached in symbolic terms, as pointed out by Bluestein. He argues that, true to his upbringing, Whitman was a spiritual individual, and thus, his sexuality transcends categories such as hetero, hom*, or mono. Bluestein suggests that it represents Whitman’s philosophy of body and soul, serving as a symbol of the poet’s creative power (p. 159). Living in a highly repressive culture, Whitman turned to poetry to express these ideas.

Conclusion: Sexuality in Walt Whitman

In summing it up, the explicit portrayal of sexuality in both the poems “Song of Myself” and “I Sing the Body Electric” by Whitman does not necessarily attribute to his being gay or indicate a specific sexual proclivity. According to Whitman’s own opinion, these meanings are different from what is commonly understood, as he aimed to influence men and women to adopt a different attitude toward sexuality, as argued by Bluestein (p. 154). Whitman deliberately used explicit language to prompt his audience to develop a new perspective on a natural phenomenon that was equated with sin during his lifetime. As a symbolist, Whitman’s intention may not align with the literal interpretation of his words; rather, these explicit symbols serve as representatives of his creative soul. He sought to reintroduce the age-old dialectic of body and soul, challenging societal norms around sex and sexuality that were considered taboo during his time. The connotations of Whitman’s explicit sexual passages from both poems take on a different meaning when analyzed and interpreted on a symbolic level, considering the cultural context, understanding, and orientation of his audience. Therefore, Gene Bluestein’s argument that critics and scholars may have missed the point of Whitman and ignored his own comments about his poetry seems justified after this brief analysis.

Sexuality in Walt Whitman: References

1. Bluestein, G., 1997. Sex as a literary theme: Is Whitman the good, gay poet?. Journal of popular culture, 31(3), p.153.
2. Whitman, W., 1996. I sing the body electric. Phoenix.
3. Whitman, W., 2001. Song of myself. Courier Corporation.

Sexuality in Walt Whitman: Relevant Questions

1. How does the exploration of sexuality in Walt Whitman’s works, particularly evident in poems like “Song of Myself” and “I Sing the Body Electric,” challenge societal norms of his time and contribute to a broader understanding of human sexuality?
2. In what ways does Walt Whitman employ explicit language and symbolic representation to convey his perspectives on sexuality, and how do these literary choices align with his overarching artistic and societal objectives?
3. Considering the cultural context and societal attitudes towards sexuality in Whitman’s era, how do critics and scholars interpret, and potentially misinterpret, his explicit sexual passages, and what insights can be gained by reexamining his own comments about the sexuality embedded in his poetry?

Violence in Beowulf: Introduction

Violence in Beowulf, an ancient English epic, is the means by which human beings achieve objectives that might otherwise appear unattainable. Under various pretexts, individuals resort to violence, engaging in combat and warfare against their fellow human beings. Throughout human civilizations, violent acts have been prevalent on various scales, ranging from smaller battles to large wars and even world wars involving multiple countries and nations. However, there are instances where violence is employed to establish order amidst chaos, serving as a method to combat the evil responsible for disrupting harmony. In such cases, violence is deemed necessary to restore order that has been lost due to someone’s malevolent deeds or the presence of an evil character. In Beowulf, the epic’s protagonist, Beowulf, utilizes violence to establish order, achieve success and glory, and bring relief and comfort to the people. Nevertheless, the argument posits that although violence may seem controlled and confined within the boundaries a wise king should observe, it is accompanied by gory details and serves as a grim reminder of the killings prevalent in that era. Consequently, the role of violence in Beowulf’s life is crucial, not only as a demonstration of his bravery, power, and strength but also to showcase the benevolence of his nature. This benevolence is reflected in his efforts to provide comfort to the oppressed, display compassion for suffering human beings, and express his determination to earn God’s favor.

Violence in Beowulf: Human Emotions

One prominent role of violence in Beowulf is its association with the human desire for glory, success, and popularity—a desire deeply ingrained in the human character. This longing for recognition is evident in the character of Beowulf, the King of Geats, renowned for his courage and resolution, as acknowledged by Wulfgar (Beowulf 340-341). Beowulf is driven to prove his valor by engaging in “single combat” (426) with Grendel, the monstrous menace causing havoc among the Danes. Motivated by tales of the Danes’ plight in the legendary hall (411-412), Beowulf sees this as an opportunity to seek glory and has traveled to their land for this purpose.

Despite having nothing tangible to showcase his bravery and courage, Beowulf relies on recounting past tales of his “great triumphs” (419). His boasts are not mere words; they are backed by a display of strength (419), a crucial element in challenging someone to combat. Another noteworthy aspect is the acceptance of challenges and the determination to prove oneself. Beowulf indicates that he can challenge Unferth for his insolent remarks but also responds with sagacity, highlighting Unferth’s inability to defend against Grendel’s attacks on the king (593). Beowulf recognizes this as an opportunity to fight Grendel and confidently asserts, “I will show him [in the] battle” (602).

Even after achieving deeds of valor, Beowulf’s commitment to glory persists, as seen when he urges the king to “win glory before death” (1388). This emphasizes that Beowulf engages in battles, whether against Grendel or the dragon, not merely out of necessity but driven by the pursuit of glory, honor, and a formidable reputation. Importantly, this quest for glory is not confined to Beowulf’s youth; he maintains the same fervor in his old age, risking his life and saving the people to secure and uphold his reputation (512-2515). Beowulf’s consistent pursuit of glory underscores its central role as a motivating force behind his willingness to face formidable challenges and engage in acts of violence throughout his life.

Violence in Beowulf and the Goodness of the Human Heart

The second recurrent role of violence in Beowulf stems from the natural goodness of the human heart, compelling individuals to fight and protect others. Beowulf, the King of Geats, exemplifies this inherent goodness, reacting with deep concern upon hearing of Grendel’s killings in the Heorot Hall. Motivated by a sense of responsibility, Beowulf recalls having slain “nine sea-monsters” (575) and feels compelled to intervene and save the Danes. He reassures the king, advising against mourning and asserting that avenging the dear ones is a more worthy pursuit (1387-1389).

Beowulf’s use of violence is consistently driven by a noble purpose: to shield fellow human beings from suffering, death, and oppression. The battles against Grendel and his mother serve as clear examples, but Beowulf’s commitment to this cause extends over almost fifty years of ruling the Geats, during which he successfully combats Swedish invaders. His benevolence becomes apparent towards the narrative’s conclusion when he gifts “the collar of gold from his neck” to a young thane (2809-2811). The poem concludes with the narrator describing Beowulf as “the man most gracious and fair-minded, kindest to his people and keenest to win fame” (3181-3183). Both his attributes—the innate goodness of heart that compels him to resort to violence for the protection of his brethren and his desire to “win fame” (3184)—stand out as prime motives behind his engagement in acts of violence.

Violence in Beowulf  and Evil

Indeed, in Beowulf, violence serves as a means to eliminate evil forces that oppress and inflict suffering upon the innocent. Grendel, a demonic entity, represents a malevolent force that torments and kills the innocent for its own pleasure. Even Grendel’s mother, lacking a justifiable pretext, resorts to violence. Beowulf’s actions of killing Grendel and subsequently seeking out and defeating Grendel’s mother are portrayed as virtuous acts aimed at ridding the world of these malevolent forces that have made life unbearable for the common people.

Beowulf’s final battle against the dragon also follows this pattern, as it is motivated by the dragon being “the bane of the people, the fire-breathing dragon” (2687). The narrative suggests a divine purpose behind Beowulf’s actions, portraying him as an instrument sent by God to eradicate these evils. The text emphasizes that “the Lord of life, / The Glorious Almighty, made this man renowned” (16-17), underlining Beowulf’s pursuit of divine favor. By removing these evil entities, Beowulf seeks the grace of God, and it is through these acts of violence that he achieves renown.

The narrative implies a moral justification for the use of violence in these instances, as these evils have “given offense to God” (810). The removal of such malevolent forces is deemed suitable, as it not only protects the immediate victims but also prevents further harm to others. The portrayal of Beowulf as a champion against evil reinforces the idea that, in certain contexts, violence can be seen as a righteous and necessary means to safeguard the innocent and uphold moral order.

Violence in Beowulf and God

Violence in Beowulf is portrayed as a means to win the favor of God, with the hero Beowulf understanding from the outset that his actions are intended to please his Creator. Beowulf is seen as a divine gift, “sent / By God to that nation” (13-14), and his purpose is to demonstrate through his battles that he is fighting on behalf of God. The narrative uses references to fiends, demons, and evil-natured monsters to emphasize that Beowulf’s combat is undertaken in service of God.

The mention of Grendel as a “fiend out of hell” (100-102) underscores the narrative’s association of these monsters with the biblical story of Cain, who was made anathema by the Almighty (110). The ogres, elves, evil phantoms, and giants, all descended from the cursed lineage of Cain, face a similar fate, met with death at the hands of a hero. This biblical framework justifies the violence enacted by Beowulf, framing it as a divine duty to combat creatures condemned by God.

However, the vivid and gruesome details of violence in Beowulf serve dual purposes. On one hand, they reinforce the gravity of the hero’s task and the malevolence of the foes he faces, highlighting the necessity of his actions to fulfill a divine mission. On the other hand, the negative portrayal of violence adds a layer of moral complexity, prompting reflection on the brutality inherent in the pursuit of righteousness. The narrative suggests that while violence may be justified in the context of battling evil, it is not without its disturbing and morally challenging aspects. This nuanced presentation of violence contributes to the broader themes of the epic, emphasizing the complex interplay between divine duty, moral righteousness, and the harsh realities of conflict.

Violence in Beowulf  and Negativity

The depiction of violence in negative terms in Beowulf can be attributed to two possible reasons. First, it might have been a cultural requirement of that civilization to present violence and bloodshed in a repulsive light, serving as a deterrent to curb further aggression, especially in a time marked by frequent invasions. This negative portrayal could have been a cautionary measure to discourage the glorification of violence and emphasize its destructive consequences.

Secondly, many instances of violence in Beowulf are directed against evil entities, with the intention of winning the grace of God. The writers may have deemed it crucial to present these acts with horrifying and graphic details to emphasize the severity of the battles between good and evil. The intention might have been to convey a strong message that evil should not dare to challenge the forces of good, and that these violent encounters were undertaken to uphold righteousness and gain divine favor.

Even as the narrative provides grisly details, it often accompanies them with curses, such as labeling Grendel as “The God-cursed brute” (121) during his killing spree in the land of the Danes. Examples of graphic detail include Beowulf’s underwater battles against sea-beasts and his intense physical struggle with Grendel, resulting in a significant injury described as “The monster’s whole body / was in pain, a tremendous wound / appeared on his shoulder” (814-816). Similar vivid descriptions are presented when Beowulf confronts Grendel’s mother and battles the dragon, ultimately losing his own life in the process.

These detailed depictions serve two primary objectives. Firstly, they contribute to the cautionary tone, discouraging future acts of violence by highlighting its gruesome nature. Secondly, the vivid portrayal of these encounters underscores the hero’s sacrifices and the severity of the threats faced, reinforcing the narrative’s themes of the eternal struggle between good and evil.

Violence in Beowulf: Conclusion

In summing it up, violence in Beowulf is not presented as an inherent characteristic of the civilization depicted in the narrative, but rather as a controlled and purposeful force. It is tightly bound to human desires for glory, popularity, and the quest to win the grace of God. The narrative associates violence with the noble intention of eradicating evil forces that have long suppressed the innocent. Despite the graphic details that may convey a negative tone, it is suggested that these descriptions serve the historical context and cultural necessity of the time.

The four battles of Beowulf, each detailed with graphic elements, all have pious objectives. For example, the battle against Grendel aims to free the Danes from the monster’s deadly rule, and the confrontation with Grendel’s mother serves the purpose of ending her killing spree in vengeance for her son. Beowulf’s unelaborated fight against invaders and the final battle against the dragon also share the common objective of protecting and bringing relief to his people.

The use of violence in Beowulf is portrayed as a means for survival, intertwined with the preservation of human progeny. Without these acts of violence against the depicted evils, the Danes might have faced annihilation, and Beowulf may not have attained the popularity and glory he sought through the events narrated in the epic. Thus, the narrative suggests that violence, when employed with purpose and restraint, becomes a crucial tool for survival and the pursuit of noble causes in the face of existential threats.

Violence in Beowulf : Works Cited

Heaney, Seamus. Beowulf. Faber & Faber, 2009.

Relevant Questions about Violence in Beowulf 

1. How does the theme of violence in Beowulf contribute to the characterization of Beowulf as a heroic figure in the epic poem?
2. In what ways does the depiction of violence in Beowulf reflect the cultural values and warrior ethos of the time in which violence in Beowulf was written?
3. How do the various instances of violence in Beowulf serve as a means of exploring the complex relationships between loyalty, honor, and the pursuit of glory within the context of violence in Beowulf and the heroic code?

Introduction: Euphemism by Government

Before exploring euphemism by government, we are delving into the various ways and perspectives through which governments employ them. It, however, is essential to understand what euphemism is, how it has manifested in literature, its intended purposes, and the reasons prompting governments to incorporate it for either ulterior or sincere motives. These words and phrases are crafted with diverse intentions – some cater to a global audience, while others target a domestic or public audience. Objectives may range from deflecting undue criticism and maintaining diplomatic relations to swaying public opinion or even inciting rebellion or agitation. In essence, euphemisms serve various political purposes, often aiming to veil facts with language that conveys information in a more pleasant manner.

Euphemism by Government: Etymology and Derivation

Linguistically, euphemism is derived from the Greek word “euphemia” or “euphemis,” signifying words that convey goodwill, praise, or highlight glory. Interestingly, its pronunciation suggests an antonymic relationship with “blaspheme,” conveying an opposite meaning (Durkin 2009). Oxford Advanced Learner’s Dictionary (OAL) defines euphemism as the “indirect use of words or phrases that people often use to refer to something embarrassing or unpleasant, sometimes to make it seem more acceptable than it really is” (“Euphemism”).

However, this definition is not exhaustive, as several words touch upon the concept of euphemism without being classified as such. There exists a subtle difference between euphemisms and other related terms. For instance, jargon pertains to technical language specific to a particular field. Similarly, doublespeak is designed to deceive or mislead people or audiences, but the distinction from euphemism is often blurred, making the differences unclear (Childs and Fowler 2006).

Euphemism by Government: Common Usage

Certainly, a euphemism can be described as the mild use of words or expressions to refer to something strong, harsh, or blunt, with the intention of making it seem more agreeable or pleasant. Essentially, it involves the substitution of inoffensive and less troublesome language for words or phrases that may be considered offensive or harsh. While it is employed to conceal potentially offensive ideas or expressions, its primary goal is to convey information in a manner that pleases or reassures people, even if there is no material benefit derived from the language used. This linguistic device is commonly observed in government, the press, and official statements concerning various events and occurrences. In essence, a euphemism serves as a polite way of expressing something that might otherwise be considered impolite.

Euphemism by Government: Politics and Wars

In the realm of political language, doublespeak and euphemism serve distinct purposes, with doublespeak being more prevalent in war or military contexts, while euphemism is commonly employed in both internal and international politics to navigate delicate situations. Notably, a euphemism takes on the characteristics of doublespeak when its primary intent is to confuse the audience or obscure the truth.

For instance, in military terminology, the use of “casualties” instead of explicitly stating deaths is an example of euphemism. The term “casualties” is milder compared to words like “killed,” “murdered,” or “died.” Similarly, the compound term “collateral damage” is frequently used in military operations to refer to the unintended deaths of civilians. This euphemistic expression is employed to mitigate the unpleasant nature of the situation. In the realm of international politics, the killing of civilians not only triggers international outrage but is also deemed illegal and could lead to accusations of war crimes. Thus, euphemisms like “casualties” and “collateral damage” are utilized to soften the impact of these grim realities and, in some cases, to avoid international condemnation.

Euphemism by Government: Opinion of Economist

The article “Making Murder Respectable” in The Economist sheds light on the diverse uses of euphemism across different cultures, emphasizing how these linguistic devices serve political and diplomatic purposes. One notable example cited is the Japanese emperor Hirohito’s euphemistic statement following the nuclear attacks on Hiroshima and Nagasaki during World War II. Instead of acknowledging defeat, he stated that “The war situation has developed not necessarily to Japan’s advantage,” showcasing how euphemisms can be employed for political mileage even in dire circumstances.

The article contends that each nation has its own set of political euphemisms, with the Americans, Chinese, and British being among the most famous. Diplomatic euphemisms are noted to be slightly more refined than political ones. For instance, Americans use the term “senior citizens” as a euphemism for the elderly, avoiding potentially offensive language. The Chinese, known for their diplomatic finesse, use the expression “not convenient” to politely decline invitations, demonstrating a diplomatic and non-offensive approach.

The overarching argument is that the use of euphemisms at the governmental level reveals certain truths about governments and nations that they may be unwilling to directly disclose. Euphemisms become a tool for shaping public perception and navigating sensitive topics, allowing political leaders to present information in a more acceptable or palatable manner, even when the underlying realities may be challenging or uncomfortable.

Euphemism by Government: Internal Politics

Even in internal politics, governments employ euphemisms to pacify the public or shape public opinion. Here, euphemisms are used either to calm public sentiments or to gain an advantage over political rivals. In some instances, a government may face excessive criticism regarding a particular agenda or task and aims to create confusion, discouraging interference or agitation.

For instance, consider the United States’ war on terror initiated in 2001. When President Obama came into power, there was a shift in terminology. The term “rogue states” began to be used for countries that did not align with the United States or the Western states. Additionally, instead of explicitly stating the deployment of soldiers, the military refers to it as “boots on the ground.” When certain countries require additional troops, the term “surge” is employed, potentially pacifying anti-war lobbies. Even in emergencies, the deployment of troops may be framed as an “overseas contingency operation,” emphasizing the necessity of sending troops to secure victory in a conflict (Liebau).

In the context of external politics, the use of euphemism becomes particularly distinct and is often aimed at influencing the international audience. An example can be observed in the case of Israel during the recent conflict in Gaza. Reports indicate a significant number of civilian casualties due to Israeli bombardment. However, instead of directly acknowledging civilian deaths, the Israeli government refers to them as “human shields,” attributing responsibility to its rival, Hamas. Prime Minister Netanyahu employed the euphemism that “we use missiles to protect civilians while Hamas uses civilians to protect its missiles” (Fantz). This language aims to downplay the civilian casualties and shift blame, potentially avoiding scrutiny for war crimes.

On the other side, Gazans use strong euphemistic terms like “massacre,” “genocide,” or even “mini-holocaust” to convey the severity of the situation and strengthen their case on the international stage. The war of euphemisms in this external or international context reflects the efforts of both sides to shape public perception and garner support while framing their actions in a more favorable light.

Euphemism by Government: Conclusion

Indeed, the use of euphemism by governments serves various purposes, whether it’s glossing over offensive terms, pacifying the audience, or manipulating international opinion. George Orwell aptly captured the essence of this phenomenon in his essay on political language, stating that it is crafted “to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind” (Orwell). Orwell’s insight highlights how political language, often laden with euphemisms and doublespeak, is designed to convey meanings in a way that avoids negative reactions and maintains a semblance of respectability. This deliberate manipulation of language allows governments to shape narratives and influence public perception in a manner that aligns with their objectives.

Euphemism by Government: Works Cited

1. “Euphemism.” Oxford Advanced Leaner’s. 8^th Edition. Oxford Univeristy Press. 2010. Print.
2. Durkin, Phillip. Oxford Guide to Etymology. Oxford: Oxford University Press, 2009.
3. Fantz, Ashley. “Why are so many civilians dying in Hamas-Israel war?” CNN. 06 Aug. 2014. Newssource. Web. Accessed 08 Aug. 2014.
4. Liebau, Carol Platt. “Obama Uses Euphemism to Obscure His Unpopular Agenda.”. Townhall.  05 Sep.  2011.  Newspaper Source. Accessed 08 Aug. 2014.
5. Making Murder Respectable. “Making Murder Respectable.” The Economist. 11 Dec. 2011. Newspaper Sourec. Web. Accessed 08 Aug. 2014.
6. Orwell, George. “Politics and the English Language.” 1946. Web. Accessed 08 Aug. 2014
7. Peter Childs, ‎Roger Fowler. Routledge Dictionary of Literary Terms. Oxon: Routledge Taylor and Francis Group, 2006. Print.

Euphemism by Government: Relevant Questions

1. Euphemism by Government: How does the government’s usage of euphemism in communication affect public perception and understanding of its actions or policies?
2. Euphemism by Government: In what ways is euphemistic language employed by the government, particularly in addressing sensitive issues, and how does this linguistic approach impact public opinion?
3. Euphemism by Government: Can you provide examples of the government’s use of euphemism in official statements, and how might these linguistic choices influence public discourse and interpretation of governmental actions?

Government’s Usage of Euphemism: Introduction

Government’s Usage of Euphemism refers to the use of polite and indirect expressions instead of disrespectful and harsh phrases and words. These considerate expressions may also replace words that refer to something unpleasant. However, over time, the literal meaning of euphemism has evolved. It now encompasses the idea of concealing the truth, a tactic employed not only by dishonest individuals but also by various political parties, government officials, and military personnel.

The use of euphemism is not restricted to specific contexts; it can be applied in various situations. For example, the euphemism “kick the bucket” is a way to refer to an individual’s death. The term “downsizing” is utilized by many organizations and companies as a substitute for “firing” their employees (Euphemism). Euphemism is quite common and popular in situations that necessitate the substitution of specific words to avoid sounding overly harsh, rude, or impolite. For instance, it is frequently employed in office settings to convey news to employees with utmost respect, minimizing the risk of causing offense.

Government’s Usage of Euphemism: Creating Them

Euphemism serves the purpose of delivering a concept respectfully, clearly, and completely through the use of polite and indirect expressions. Crafting euphemisms involves employing various techniques, and it is not a singular task. In addition to traditional phrases and terminologies, abbreviations can also function as a form of euphemism, offering a means to convey messages indirectly. Another strategy to avoid sounding rude or offensive is the use of foreign words and languages. However, it’s important to note that euphemisms are not foolproof and may not always work effectively. In certain circumstances, the substitutions employed to mask the actual expression can still sound harsh, rude, offensive, or impolite. Under such conditions, it is advisable to discard the euphemistic approach, opting for direct expressions to convey the message clearly and precisely (“Euphemism”).

Government’s Usage of Euphemism: Conveying Ideas

Euphemism serves as a valuable tool for writers, allowing them to convey ideas accurately and respectfully without coming across as too offensive to their readers. Especially when dealing with topics influenced by factors such as religion or politics, writers tactfully and indirectly discuss and refer to these subjects using carefully chosen phrases and words. Writers understand the significance of ensuring that readers are not offended by the language and expressions used in their books, particularly when addressing highly sensitive topics. The use of euphemism enables writers to metaphorically discuss and explain complex crises and issues faced by a country. By employing euphemism in a proper and polite manner, readers can not only enjoy the book but also gain awareness of the facts and truth without feeling offended (Sebkova).

In the past, the use of euphemism was primarily confined to the positive intention of replacing impolite and harsh statements with more respectful ones, all while maintaining clarity in conveying the message. However, over time, government and military officials started employing euphemism negatively to deliberately withhold facts and truth from the general public of their own country. An example of this negative use is reflected in Christopher Hitchens’ criticism of his acquaintance Martin Amis, where he referred to “the moral offense of euphemism” – a phrase that, while eloquent, carries a harsh undertone. The inability to directly name a particular thing for what it truly is can spark a contentious and enduring debate about the truth. Recognizing the moral wrongdoing associated with euphemism early on serves as the first indication that one may have succumbed to corruption. Only with the passage of time can it become clear whether this corruption is deeply entrenched or merely intellectual in nature (“Euphemism”).

Government’s Usage of Euphemism: Use in Wars

Since its inception, the war on Iraq has been portrayed and characterized through the lens of euphemism. The term “Operation Iraqi Freedom” symbolizes a military operation in Iraq conducted by foreign forces, primarily the American troops. American officials have consistently framed such operations in Iraq as a form of liberation. While liberation, in its literal sense, denotes freedom, the actions carried out by the American troops in Iraq have a starkly different interpretation of the term “freedom.” For over five years, American troops have been granted the legitimate authority to execute any Iraqi individual, regardless of gender, and to search any house in Iraq. Regrettably, this authority has been extensively abused, with reports of the troops executing Iraqis they deem fit for killing or searching Iraqi houses they consider suitable for detention. The stark contrast between the actions undertaken by the American troops and the concept of “freedom” raises profound questions about the justification of the war, the lives lost on both sides, and the legal rights granted to the American forces. The present condition in Iraq, marred by ongoing conflict and its aftermath, is far from achieving true independence or “freedom” (Ackerman).

Government’s Usage of Euphemism: Common Usage

Language indeed wields significant influence on reality, capable of either accurately representing it or distorting it entirely. An example from history is evident during the Second World War when the military and government officials of the United States employed euphemisms to describe their actions against individuals of Japanese ancestry living in America at that time. This demonstrates the crucial role that euphemism plays for government and military officials, as well as for the general public and various other sectors, in shaping and framing the narrative surrounding events and actions.

Personal justice, government reports, and the findings of the commission on the imprisonment of many civilians and wartime relocation indicate that several Americans with Japanese ancestry, along with various reliable sources, employ traditional and historical terminologies and languages. This choice is driven by the belief that the terminologies used in the past offer a more authentic reflection of the historic era. However, certain Japanese Americans, educators, historians, and others opt for languages and terminologies that they believe provide a more realistic and accurate meaning and reflection of that era (Kelly).

Government’s Usage of Euphemism: Shakespearean Examples

Even the renowned English poet, William Shakespeare, employed euphemism in many of his plays. During the fifteenth century, discussing or describing sex directly was considered impolite, rude, and offensive, leading to the widespread use of euphemism in such contexts. Shakespeare utilized euphemism to describe sexual intercourse in some of his most famous plays, such as “Othello” and “Antony and Cleopatra.”

In Act 1, Scene 1 of “Othello,” Iago says to Brabantio, “I am one, sir, that comes to tell you your daughter and the Moor are now making the beast with two backs.” Here, Iago uses the euphemism “making the beast with two backs” to refer to sexual intercourse, conveying the message and storyline clearly to the reader indirectly, without sounding harsh, rude, or impolite.

Similarly, in Shakespeare’s play “Antony and Cleopatra,” in Act 2, Scene 2, Agrippa talks about Cleopatra: “Royal wench! She made great Caesar lay his sword to bed. He plowed her, and she cropped.” Here, Shakespeare uses the terms “plowed” and “cropped” as euphemisms to describe sexual intercourse and pregnancy, respectively, allowing the narrative to unfold without causing offense to the readers (Euphemism).

Government’s Usage of Euphemism: Conclusion

The euphemism or phrase “economical with the truth” gained prominence during legal cases involving political charges. Notably, Robert Armstrong, the Cabinet Secretary of the United Kingdom, is remembered for using this particular phrase in a court in Sydney, Australia, in 1986. This occurred during the government’s efforts to prevent the publication of the journals of a former MI5 agent, compiled into the book “Spycatcher.”

During the Matrix Churchill trial in 1992, several years after the UK government’s actions, Alan Clark, a former Prime Minister, admitted that he had been “economical… with the actualite.” Subsequently, Robert Armstrong wrote to The Times, stating that the phrase he used was derived from Edmund Burke, an Eighteenth Century Statesman (Kelly).

Government’s Usage of Euphemism: Works Cited

1. Ackerman, Spencer. “A Glossary of Iraq Euphemisms.” The American Prospect. 06, Aug. 2008. Web. 01 Aug 2014<http://prospect.org/article/glossary-iraq-euphemisms>
2. “Euphemism.” Literary Devices. n. d. Web. 01 Aug. 2014 <www.literarydevices.net/euphemism>
3. “Euphemism.” Online Dictionary and Reference. n. d. Web. 01 Aug. 2014 <http://dictionary.reference.com/browse/euphemism>
4. Kelly, Jon. “The 10 most scandalous euphemisms.” BBC News Magazine. 15 May 2013. 01August 2014. <http://www.bbc.com/news/magazine-22470691>
5. Šebková, Kristýna. “Euphemism.” Masaryk University. n. d. Web. 01 Aug. 2014.<https://is.muni.cz/th/403451/pedf_c/Euphemisms.txt>

Relevant Questions: Government’s Usage of Euphemism

1. How does the government’s use of euphemism in describing military operations impact public perception and understanding of the true nature of those activities?
2. In what ways does the government employ euphemistic language when discussing economic policies, and how does this linguistic choice influence public opinion on issues such as taxation and budgetary decisions?
3. Can you provide examples of how the government’s usage of euphemism in addressing social and political issues may shape public discourse and sentiment on sensitive topics?

Introduction: Popularity of “One Pound Fish”

The key feature of the song “One Pound Fish” is that it addresses the common man’s quest for purchasing affordable fish for just “one pound,” a concept spontaneously created by Shahid Nazir. In fact, Shahid Nazir himself was working as a part-time seller at a stall in 2011 when he improvised the tune and composed the lyrics on the spot to address the challenge of attracting customers. The song features simple lyrics urging the audience to buy inexpensive fish from the young man, with the uncomplicated lyrics serving as the backbone of the song. Living in the United Kingdom, Shahid Nazir adapted the song to British culture, where he was employed to sell fish (Fairbairn, 2012). To draw customers to his budget-friendly fish, he coined and sang this song at his fish stall.

Work and Popularity of “One Pound Fish”

“One Pound Fish” was initially performed by Shahid Nazir in the United Kingdom while he was working at a fish stall. It wasn’t released as part of an album or as a single; rather, it was a spontaneous creation aimed at attracting customers. Someone, possibly Colin Miller, recorded and uploaded a video of Shahid Nazir singing the song on YouTube. This video quickly gained immense popularity, accumulating 14,654,312 views and 71,000 likes. Despite his lack of experience, critics praised the singer. The song is intercultural as it addresses the common man’s challenge of buying affordable fish (Butter, 2012). Its popularity is particularly notable in South Asia and Europe, and the reasons for its widespread appeal extend beyond cultural and economic factors to include feminist perspectives.

Medium and Popularity of “One Pound Fish”

In the age of the Internet, cultural objects and artifacts often go viral within moments. When “One Pound Fish” was uploaded, its creator and uploader were initially unaware of its cultural associations. The song was sung in Pakistani or Indian accents, particularly in Punjabi, which are not very common in the United Kingdom. Upon its release on YouTube, it resonated instantly with the audience, particularly with women. The cultural background is specific in this case, as the singer belonged to the former colony of the United Kingdom. Given the significant number of Punjabis residing in the United Kingdom, locals were somewhat familiar with the cultural nuances and linguistic elements of the song.

Features of Popularity of “One Pound Fish”

Zeeshan Sheikh, a cultural commentator from Pakistan, emphasizes that the humorous spirit in which the song was sung played a significant role in its popularity. He points out that it’s amusing, starting from the authentic Pakistani accent to British women mimicking Pakistani actresses (Sheikh, 2013). In essence, it represented a blend of cultural traits that particularly appealed to the ladies, a common occurrence in popular culture. Sheikh further argues that people appreciate a departure from conventional and traditional music videos in favor of more authentic, live performances. This was precisely what the public was seeking, and this intercultural aspect contributed to its popularity not only in the United Kingdom and Pakistan but also in India and worldwide wherever people found it intriguing. The song became a sensation, primarily because it directly addressed middle-class ladies, resonating with Pakistan’s middle-class culture. However, underlying its appeal was another factor—financial considerations.

Economic Motive and Popularity of “One Pound Fish”

Indeed, economic motives often underlie the creation and popularity of cultural or non-cultural artifacts. Shahid Nazir, a marketing student, recognized this dynamic and understood that marketing success hinges on appealing to women. In an interview with Zeeshan Sheikh, he mentioned that he was aware that if women are attracted to a product, they would bring men along (Sheikh, 2013). This underscores the significant impact women can have on the success of a product, a principle also evident in advertising and marketing strategies. Another crucial factor in the equation was Shahid Nazir’s financial situation. Arriving in the United Kingdom on a student visa, he faced financial constraints. Recognizing that substantial earnings were necessary and that selling fish in large quantities was essential, he combined his personal financial motive with a marketing strategy targeting the feminine side of the middle class.

Woman and Popularity of “One Pound Fish”

Felix B. Fatunwase argues that Shahid Nazir initially attracted women as part of marketing the fish he was hired to sell. Despite the song mentioning only “lady,” Fatunwase contends that both men and women rushed to purchase the fish because Shahid Nazir was the only black person among them. This argument gains credibility as he was selling fish within a white community where race typically might not matter (Fatunwase, 2014, p. 14). The crucial point is that he successfully attracted women, a strong marketing strategy that contributed significantly to his popularity. The economic benefits became apparent to him later when he discovered that the uploader had earned thousands of dollars through YouTube (Fatunwase, 2014, p. 14). It’s worth noting that Shahid Nazir was initially employed as a seller on the fish stall, unaware of the song’s potential benefits. Ultimately, the song proved to be more beneficial for him than the fish stall, largely because he tapped into the feminine market.

While Shahid Nazir may not be aware of feminism in political or literary circles, he possesses a keen understanding of women’s shopping habits. Having a background linked to feminist areas in Punjab, where women manage their homes with the limited money they receive from their husbands, he is familiar with the nature of middle-class women. His awareness likely stems from experiencing domestic life in Pakistan and adapting to the English lifestyle while employed in the United Kingdom. Shahid Nazir recognized that rising expenses on food made thrifty housewives more sensitive to their expenditures. This insight prompted him to include “ladies” in the lyrics of his song. In a conversation with Zeeshan Sheikh, he expressed that attracting the feminine perspective was his expected return. He anticipated that when women turned to him to buy fish, men would follow in large numbers. While he may have understood crowd psychology, it is evident that he recognized the importance of appealing to the feminine perspective and shopping addiction as his primary target. He successfully achieved this through the creation of his “One Pound Fish” phrase, which drew in middle-class women with its simple lyrics and the catchy slogan of spending only one pound for the fish (Sheikh, 2013).

Conclusion and Popularity of “One Pound Fish”

In short, the popularity of “One Pound Fish” can be attributed to its multifaceted reasons, including cultural, financial, and feministic factors. Pop artifacts often have various motivations behind their creation before gaining popularity. The intercultural connection of the song contributes to its widespread appeal, resonating not only in the United Kingdom and South Asia but also reaching audiences in America and Canada, showcasing its global success. Additionally, the economic background should not be overlooked, as the fish-selling boy aimed to earn more for his family and education. Shahid Nazir’s understanding of the feministic perspective on shopping and crowd psychology played crucial roles in the song’s success. He recognized the need to be creative, colorful, and melodious to captivate women’s hearts and sell more fish. The unexpected attraction of English ladies to Punjabi male melody further exceeded the singer’s expectations. Subsequently, Shahid Nazir leveraged his newfound fame for marketing opportunities with other companies, adding another layer to the cultural and economic aspects of this pop phenomenon (“‘One Pound Fish’ family prays for Christmas hit”).

Popularity of “One Pound Fish”: References

1. Butter, Susannah. (November 20, 2012). “The One Pound Fish man: everyone’s hooked, including Warners.” Evening Standard. Evening Standard. Retrieved on November 4, 2016 from http://www.standard.co.uk/lifestyle/london-life/the-one-pound-fish-man-everyones-hooked-including-warners-8335130.html
2. Fatunwase, F. B. Pound Fish. BAFA. Xlibris LLC.
3. Fairbairn, E. (November 25, 2012). “Fish Seller’s Catchy Tuna May Hit No1.” The Sun. Retrieved on November 4, 2016 from https://www.thesun.co.uk/archives/news/285266/fish-sellers-catchy-tuna-may-hit-no1/
4. ‘One Pound Fish’ family prays for Christmas hit. (December 16, 2012). Dawn. Dawn. Retrieved on November 4, 2016 from http://www.dawn.com/news/771673/one-pound-fish-family-prays-for-christmas-hit
5. Sheikh, Z. (January 4, 2013). “One pound fish to million-pound hit!” Pakistan Tribune. Retrieved on November 14, 2016 from http://blogs.tribune.com.pk/story/15469/one-pound-fish-to-million-pound-hit/

Relevant Questions: Popularity of “One Pound Fish”

1. Cultural Impact: How has the song “One Pound Fish” achieved popularity and what cultural factors contribute to its widespread recognition?
2. Viral Success: What role did social media and online platforms play in the rapid and widespread popularity of “One Pound Fish”?
3. Legacy and Longevity: How has “One Pound Fish” maintained its popularity over time, and what elements of the song or its cultural context have contributed to its enduring legacy?