I call That piece a wonder, now: She had A heart — how shall I say? My favor at her breast, The dropping of the daylight in the West, The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace — all and each Would draw from her alike the approving speech, Or blush, at least. She thanked men, — good!
At the time of her death she was already engaged in getting together essays for a further volume, which she proposed to publish in the autumn of or the spring Of She also intended to publish a new book of short stories, including in it some or all of Monday or Tuesday, which has been long out of print.
She left behind her a considerable number of essays, sketches, and short stories, some unpublished and some previously published in newspapers; there are, indeed, enough to fill three or four volumes. For this book I have made a selection from these.
If she had lived, there is no doubt that she would have made large alterations and revisions in nearly all these essays before allowing them to appear in volume form. Knowing this, one naturally hesitates to publish them as they were left. I have decided to do so, first because they seem to me worth republishing, and second because at any rate those which have already appeared in journals have in fact been written and revised with immense care.
I do not think that Virginia Woolf ever contributed any article to any paper which she did not write and rewrite several times.
The following facts will, perhaps, show how seriously she took the art of writing even for the newspaper. Shortly before her death she wrote an article reviewing a book.
The author of the book subsequently wrote to the editor saying that the article was so good that he would greatly like to have the typescript of it if the editor would give it to him.
The editor forwarded the letter to me, saying that he had not got the typescript and suggesting that if I could find it, I might send it to the author. I found among my wife's papers the original draft of the article in her handwriting and no fewer than eight or nine complete revisions of it which she had herself typed out.
Nearly all the longer critical essays included in this volume have been subjected by her to this kind of revision before they were originally published. This is, however, not true of the others, particularly of the first four essays.
These were written by her, as usual, in handwriting and were then typed out in rather a rough state. I have printed them as they stand, except that I have punctuated them and corrected obvious verbal mistakes. I have not hesitated to do this, since I always revised the mss.
The Death of the Moth Moths that fly by day are not properly to be called moths; they do not excite that pleasant sense of dark autumn nights and ivy-blossom which the commonest yellow-underwing asleep in the shadow of the curtain never fails to rouse in us.
They are hybrid creatures, neither gay like butterflies nor sombre like their own species. Nevertheless the present specimen, with his narrow hay-coloured wings, fringed with a tassel of the same colour, seemed to be content with life.
It was a pleasant morning, mid-September, mild, benignant, yet with a keener breath than that of the summer months. The plough was already scoring the field opposite the window, and where the share had been, the earth was pressed flat and gleamed with moisture.
Such vigour came rolling in from the fields and the down beyond that it was difficult to keep the eyes strictly turned upon the book. The rooks too were keeping one of their annual festivities; soaring round the tree tops until it looked as if a vast net with thousands of black knots in it had been cast up into the air; which, after a few moments sank slowly down upon the trees until every twig seemed to have a knot at the end of it.
Then, suddenly, the net would be thrown into the air again in a wider circle this time, with the utmost clamour and vociferation, as though to be thrown into the air and settle slowly down upon the tree tops were a tremendously exciting experience.
The same energy which inspired the rooks, the ploughmen, the horses, and even, it seemed, the lean bare-backed downs, sent the moth fluttering from side to side of his square of the window-pane. One could not help watching him.
One was, indeed, conscious of a queer feeling of pity for him.
The possibilities of pleasure seemed that morning so enormous and so various that to have only a moth's part in life, and a day moth's at that, appeared a hard fate, and his zest in enjoying his meagre opportunities to the full, pathetic.
He flew vigorously to one corner of his compartment, and, after waiting there a second, flew across to the other. What remained for him but to fly to a third corner and then to a fourth? That was all he could do, in spite of the size of the downs, the width of the sky, the far-off smoke of houses, and the romantic voice, now and then, of a steamer out at sea.
What he could do he did. Watching him, it seemed as if a fibre, very thin but pure, of the enormous energy of the world had been thrust into his frail and diminutive body. As often as he crossed the pane, I could fancy that a thread of vital light became visible. He was little or nothing but life.
Yet, because he was so small, and so simple a form of the energy that was rolling in at the open window and driving its way through so many narrow and intricate corridors in my own brain and in those of other human beings, there was something marvellous as well as pathetic about him.
It was as if someone had taken a tiny bead of pure life and decking it as lightly as possible with down and feathers, had set it dancing and zig-zagging to show us the true nature of life.‘Porphyria’s Lover’ and ‘My Last Duchess’ by Robert Browning Essay Sample The two poems ‘Porphyria’s Lover’ and ‘My Last Duchess’ are both written .
THE SPIKE. It was late-afternoon. Forty-nine of us, forty-eight men and one woman, lay on the green waiting for the spike to open. We were too tired to talk much. The genre of horror has ancient origins with roots in folklore and religious traditions, focusing on death, the afterlife, evil, the demonic and the principle of the thing embodied in the person.
These were manifested in stories of beings such as witches, vampires, werewolves and ph-vs.coman horror fiction became established through works by the Ancient Greeks and Ancient Romans. "My Last Duchess" is narrated by the duke of Ferrara to an envoy (representative) of another nobleman, whose daughter the duke is soon to marry.
These details are revealed throughout the poem, but understanding them from the opening helps to illustrate the irony that Browning employs.
At the poem's. Robert Browning's poem "My Last Duchess" conveys a Duke's feelings toward his deceased wife. The Duke addresses his feelings to her lifelike portrait. “My Last Duchess,” by Robert Browning is renowned for being an ideal model of a dramatic monologue.
He employs the primary elements of a dramatic monologue to produce a poem that compels his readers to interpret the poem from a psychological perspective, and thus form opinions or conclusions about the poem’s subjects.