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After Us

AAFTER US In this poem, the poet uses a surplus of imagery to allow the reader to fully see what she is trying to get us to picture. In the first line, she talks about how rain, which can be destructive or helpful, is seeping into a room where books and other material things reside. In the lines to follow, she writes about how everything that flourished under the sun, turned away to try and find the light that they so desperately need. This shows the destructive side to rain because it paints the picture of a dark day with rain falling and silencing all activities that happen during the day. In the second paragraph, the poet writes about a portrait, which has sketches of boats and barns and this creates the image of a perfect utopia where everything is peaceful and nothing has disturbed it. The paragraph that follows this peaceful picture, is where the foreboding and evil rain begins to make its appearance again. She writes about how everything that was ever thought of or invented or t
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Lycidas

LLycidas

"Lycidas" is perhaps the most wonderful sonnets composed as a peaceful requiem in 1637, and is last of his Horton sonnets. A school companion Edward King, had been suffocated in the Irish Sea, and Milton following the graceful custom of the age, portrays both himself and his companion in the pretense of shepherds driving the peaceful life. The sonnet can be helpfully partitioned into six areas, an introduction, four fundamental parts, and an epilog. In the preface (lines 1-24) Milton conjures the Muse and brings up the aim of composing the sonnet. This epitaph is a result of the artist's unpleasant encounters and dismal recollections; accurately the memory is the inopportune passing of Lycidas. The subsequent area (lines 25-84) is essentially worried about the depiction of the time the artist and Lycidas have spent at Cambridge. The portrayal is a progression of completely painted peaceful pictures; the two companions started their examination in the first part of the day, and proceeded till the evening; they possessed some energy for amusements as well. Yet, the record returns back to the first melancholic tone, with the acknowledgment that since Lycidas is dead, 

The portrayal is a progression of entirely painted peaceful pictures; the two companions started their examination toward the beginning of the day, and proceeded till the evening; they possessed some energy for diversions as well. In any case, the record returns back to the first melancholic tone, with the acknowledgment that since Lycidas is dead, thing has changed definitely. The artist addresses the Muse, with regards to where she was the point at which his companion was biting the dust, however before long goes to the acknowledgment that even she would not have had the option to save him. The sonnet allows the peruser to ponder the idea of life and passing; notoriety and destiny. The uselessness of deserting the joys and diversions, to accomplish an effective life which is the aftereffect of arduous days when all closures with death have been addressed in the sonnet. In the shakiness of human existence lies the deplorable incongruity; yet Milton, thus, dismisses the unadulterated natural notorieties as the genuine prize of life; this award is in the heavenly judgment. The third segment (line 164-184) begins with the artist's re-visitation of the substantial peaceful pictures, and he entertains himself with the depiction of a parade of grievers regretting the passing of his companion. The parade is driven by Triton, the envoy of the Sea, and the last to come is St. Peter "the pilot of the Galilean lake". Milton gives us a picture of a consuming reprobation of contemporary pastorate and the dismal truth of the Protestant Church in England, through St. Peter. 

The fourth segment (line 132-164), is the part where the artist portrays the "flowerets of 1,000 shades" cast on the hearts of Lycidas, as an "escape from insufferable reality into a dazzling universe of pretend. The fifth area (lines 164-184) is put resources into communicating the writer's trust in everlasting status. Melancholy, distress, and torment are largely impermanent throughout everyday life, which should be driven away; however the companion is dead he has emerged from the dead: "through the dear may of Him that strolled the waves." And now his companion is in paradise and in this manner there is no motivation to cry, as he is in harmony; he is being engaged by the holy people in the "sweet social orders/that sing, and singing I their magnificence move."

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