I hand her Morrison and Marley and she hands me four dollars
I am the hounded slave, I wince at the bite of the dogs,
Hell and despair are upon me, crack and again crack the marksmen,
I clutch the rails of the fence, my gore dribs, thinn'd with the
ooze of my skin,
I fall on the weeds and stones,
The riders spur their unwilling horses, haul close,
Taunt my dizzy ears and beat me violently over the head with whip-stocks.
Walking While Black | Literary Hub
I believe in those wing'd purposes,
And acknowledge red, yellow, white, playing within me,
And consider green and violet and the tufted crown intentional,
And do not call the tortoise unworthy because she is not something else,
And the in the woods never studied the gamut, yet trills pretty well to me,
And the look of the bay mare shames silliness out of me.
I saw the marriage of the trapper in the open air in the far west,
the bride was a red girl,
Her father and his friends sat near cross-legged and dumbly smoking,
they had moccasins to their feet and large thick blankets
hanging from their shoulders,
On a bank lounged the trapper, he was drest mostly in skins, his luxuriant
beard and curls protected his neck, he held his bride by the hand,
She had long eyelashes, her head was bare, her coarse straight locks
descended upon her voluptuous limbs and reach'd to her feet.
A list of all the characters in A Christmas Carol
More loosely, Tolkien relies on structural twinning or duplication to create parallels such as doubles, conflicting aspects of personality, and through The Lord of the Rings, even if the oppositions are not essentially necessary to define each other in strict structuralist terms. Marjorie Burns notes several examples of this. For "doubles," she points to the similar roles Goldberry and Galadriel play in their respective domains. Minas Tirith and Minas Morgol, the two towers echo each other. For conflicting aspects of personality, Burns shows how Tolkien creates oppositions between the staid Baggins and the adventurous Took sides of Frodo's family, showing a split or internal division in Frodo himself. A more schizophrenic split between Sméagol and Gollum serve as manifestations of his split desires. For foils, she points to the way Gandalf contrasts with the Balrog in Moria. There, he declares himself a "servant of the secret fire" and a "wielder of the flame of Anor," but he faces his opposite in the Balrog, "the flame of Udûn," a "worker of dark fire." Trolls and Ents serve as opposites for each other, and both Trolls and Ents in their massive size serve as foils to the little people of the hobbits during battle scenes. Boromir and Farmir contrast, with Boromir being proud and rash in his desire for glory while Faramir is "wiser, more restrained, and more peaceable," and so forth. For extended discussion, see Burns' entry on "double" in Drout 127-128).
SparkNotes: A Christmas Carol: Quiz
SLEEPING HERO MOTIF: A motif common in Celtic folklore and Arthurian literature in which the heroes or mythological beings of old are not dead, but rather sleeping, waiting in heaven, or stored in alternative worlds like Fairyland. At some future time, they will awake or be called forth to fulfill some important function. In the legends of King Arthur, for instance, Malory recounts him as "Rex quandam et rex futurus," the once and future king who will return to Britain in the hour of its greatest need. We see 20th-century versions of this recreated in C.S. Lewis's Chronicles of Narnia. For instance, in Prince Caspian, Caspian's forces re-summon High King Peter and the other Pevensie children to save them from the Telmarine usurpers. More apocalyptically, in The Last Battle, we read of how a giant named Time sleeps in a cavern under the earth, waiting for Aslan to wake him so he can blow his horn to summon the stars from the sky before he plucks the sun of Narnia and destroys the world. Anthropologists might argue that, in the Christian tradition, the idea that Christ will have a second coming and return to earth is another example of the motif.
Mrs. Woodliff's English III - Home Page
With music strong I come, with my cornets and my drums,
I play not marches for accepted victors only, I play marches for
conquer'd and slain persons.