Providing a Method to Learning

The universal preparation of tell apart is a subject of many a poet and writer passim history. As such, severally is relevant to their specific periods and their specific value systems. This dissolve be seen in the text Sonnets from the Portuguese by Elizabeth Barret brown, where Browning explores a sentimentalist vision of love and romance finished and with the abandonment of the Petrachan praise from. Likewise, the text The Great Gatsby by F. Scott Fitzgerald, explores the turmoils of love in the 1920s a world obsessed with materialism and hedonism. and so through the ways in which each author produces a narrative relevant to the values and contexts of their particular coevals we are able to discern how the theme of the transformative power of love and spirituality continues to be avid topics of literature today. In Sonnet 1, Browning conveys the wild-eyed motif of love and spirituality against the prudish rationalism of the Victorian era. Her Greco-allusion How Theo cractes had birdsong references the 3rd century BC Greek pastoral poet mourning the muddled art of renaissance passion.The aural metaphor reflects how poetry as a craft, had been lost the past tense reinforcing that love as spiritual and not materialistic is neglected by Victorian culture. This is echoed in the lines of the sweet long time, the practiced and wished for years, in which Browning utilizes assonance to accentuate the repetition of years rhymed in the line, through my tears to emphasize the Victorians shifting focus of love to a convention of marri time that relies upon dowries and status.The enjambment, who by turns had flung / A shadow across me is a metaphor illustrating her isolation and sombreness in this context the literal shadow cast by Browning across her is a simulacrum of Victorian conservatism. Her depravity of the petrachan form is unpatterned as the Volta is linked and the Iambic pentameter has been broken conveying the challenge express by Brownin g toward the rationality of the Victorian mindset and her embrace of the Romantic idealism of love and spirituality, as Browning has progressed from a solipsistic interest in grief and isolation to an affirmation of love, firmly grounded in reality.In contrast F Scott Fitzgerald reflects the roaring 20s distillation of love into pragmatism and materialism, abandonment traditional romanticisms such as spirituality and hope. Juxtaposed against the Victorian stifling of passion, the wildly liberalized and sexually expressive twenties are expressed by Fitzgerald to be detrimental to the development of love. Chatter laughter innuendomeetings mingled with women who never knew each others names, in which Nicks observations be fuck off anecdotes of legitimate social behaviour.Exemplars such as Jordan was going to yield him up her psyche so oner or later illustrates the same loss of the universal actors line of love that Browning laments for the Victorian, as hyper-sexualisation of tra ffichips erode spiritual values of love. This ungainly inability to understand love for its own sake can be observed in Nicks indecisive tone I wasnt actually in love but I matte up a sort of tender curiosity, and his mechanical metaphor of his own emotions and passions, still I am full of interior rules that acts as breaks. The contextual idea that love and hope are no longer associated with romantic relations is lastly compounded in his admission that I am one of the few honest people that I have ever known. typification that even stripped of pretence and lust, he is unable to interpret love as anything other than hedonism. Browning reflects her strict Victorian patriarchal context through her exploration of the transformative power of love. Sonnet 14 is a subversion of the petrachan sonnets conveying her assertive role in marriage.For these things in themselves, beloved, may/ be changed, or change Here the persona challenges the petrachan tradition, which confronts the tradi tional conventions of Victorian women through the repetitive I love her for her smileher lookher way of intercommunicate gently , mocking gender expectations of womanly behaviour. The repetitive juxtaposition in changed, or change, and the anadiplosis in love so shaped /May be unwrought so, highlights how easily love may come undone when it is based on transient qualities by literally attaching prefixes to devotional connotations. The imperative tone ofcommand delivered in neither love me for thine own forbearance wiping my cheeks dry. This paradox of neither suggests her rejection of the feminine role of women. Her dismissal of the ephemeral attractions of the sensual is not only a rejection of Victorian female stereotypes, but also a statement to the transformative power of true love. In comparison to Browning, F Scott Fitzgeralds The Great Gatsby explores the lack of the transformative power of love in parapet America and the need for society to adopt moral values. The Ja zz bestride see women as sexual beings and mainstreamed the idea that repression was self-destructive.This sexual departure is personified in Jordan Baker whose androgyny and lifestyle is summed up by her typic name as two automobiles. She is a dichotomy of the 20s, the freedom and desolation afforded by a period of rapid industrialization. Jordan is the antithesis to Browning, whose deliberate vocabulary seeks enjoyment within a restrictive setting she is instead careless, selfish, and immoral. Nick describes her self-seeking pragmatism too wise to carry well forgotten dreams from age to age This indicates a lack of hope and spirituality in her school of thought of life, which is emphasized through the repetitive age.The foreboding tone created through the assonance in turned abruptly away and ran up the porch steps illustrates her selfishness towards a Nick who cannot satisfy her own need for careless happiness. Thus Jordan embodies the egocentric love feared by Browning a love wanting(p) all transformative power and instead focuses solely on self-pleasure. Thus through the analysis of poetic and narrative techniques we are able to see how both authors are engaged by and through the worlds in which their narrative is produced as a result of their context and values.