Charles Lamb is a shining star in the sky of English essay.

He is called the prince

among English essayists. His essays are the finest in English prose. He brought to
prose the finest qualities of Romanticism. Lamb's readers appreciate him for his
wisdom, for his humanity, for his genial humour, for his profound pathos, for his sweet
temperament and for his style.

BEGINNING: Born in a lower class family, Lamb came in contact with Cole ridge. He
started his career as a poet but could not succeed. He acquired immortal recognition as
an essayist. From 1820 to 1833, essay writing was his main occupation. He wrote under
the pseudonym of Elia. His first essay appeared in the London Magazine in 1820. The
first volume of his essays was published in 1823 as Essays Of Elia and the second as
the Last Essays Of Elia in 1833. Each essay of Lamb is a little wonder. Here we find a
fine combination of wit, fancy, anecdote and reflection. According to Cazamian, he is
above all an artist.

PERSONAL AND AUTOBIOGRAPHICAL ELEMENT: Lamb's essays are personal and

autobiographical. They reflect his nobility of his soul, his good nature, his simplicity, his
geniality and his charity. Lamb talks about his relatives, friends and acquaintances. But
he is silent about the murder of his mother for the sake of his sister. It was she who
killed Lamb's mother. He often changes the name of his relations and mystifies the

Charles Lamb is a shining star in the sky of English essay. He is called the prince
among English essayists. His essays are the finest in English prose. He brought to
prose the finest qualities of Romanticism. Lamb's readers appreciate him for his
wisdom, for his humanity, for his genial humour, for his profound pathos, for his sweet
temperament and for his style.

BEGINNING: Born in a lower class family, Lamb came in contact with Cole ridge. He
started his career as a poet but could not succeed. He acquired immortal recognition as
an essayist. From 1820 to 1833, essay writing was his main occupation. He wrote under
the pseudonym of Elia. His first essay appeared in the London Magazine in 1820. The
first volume of his essays was published in 1823 as Essays Of Elia and the second as
the Last Essays Of Elia in 1833. Each essay of Lamb is a little wonder. Here we find a
fine combination of wit, fancy, anecdote and reflection. According to Cazamian, he is
above all an artist.

PERSONAL AND AUTOBIOGRAPHICAL ELEMENT: Lamb's essays are personal and

autobiographical. They reflect his nobility of his soul, his good nature, his simplicity, his
geniality and his charity. Lamb talks about his relatives, friends and acquaintances. But
he is silent about the murder of his mother for the sake of his sister. It was she who
killed Lamb's mother. He often changes the name of his relations and mystifies the

is completely forgotten for the deep sea is his society, he can hear music in its roar. The Ocean is a
friend, a companion to him. The lines remind us of Wordsworth’s Tintern Abbey and Arnold’s Dover
Beach. Wordsworth hears the still music of humanity in nature, Arnold finds a melancholic note in the
music of the waves flinging pebbles at the rocky beach and makes him think of the sad plight of human
beings. Byron does not associate man’s unhappy lot with the rhythmic music of the sea. He makes it
clear that he does not emphasise the solitude of the natural surrounding because he dislikes the
company of man. He loves Man but he loves Nature more. “This is a very unusual sentiment for Byron”
who was fond of human company. He often retires to this secluded place to get away from the
‘interviews’ of human beings and to have communion with nature, particular!}’ with the sea, and to
listen to its music. He loves ‘lonelines’ in Nature for it makes him forget himself and his bitter
experiences and provides him an opportunity ‘to mingle with the universe’. The lines remind us of his
Epistle to Augusta where he expresses his desire to mingle with the quiet of the sky. He. wants to have a

Colour symbolism
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmm
) the material world.
‘The Bodies vest' is a Platonic image: the body is just a garment, which the soul can slip out of ‘like a Bird' since,
birds have freedom of movement, as the imagination does, and can soar up toheaven, as the soul.
Absurdity

As in many absurdist works, The Birthday Party is full of disjointed information that defies efforts
to distinguish between reality and illusion. For example, despite the presentation of personal
information on Stanley and his two persecutors, who or what they really are remains a mystery.
Goldberg, in particular, provides all sorts of information about his background, but he offers only
oblique clues as to why he has intruded upon Stanley's life.

What has Stanley done to deserve persecution? The facts of his past are so unclear that his claim to be a
pianist may even be false. The Birthday Party influences the audience to doubt anything with certainty,
which as it does in Kafka's work, intensifies the dreadful angst experienced by the protagonist. This
effect is achieved through truncaure to provide conclusive or consistent information, and by his use of
ambiguity and nonsense.
kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk
kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk
kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk
kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk
kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk
kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk
kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk
The speaker derives immenge pleasure in meandering through the pathless woods (not inhabited or
trampled by man) and is filled with ecstatic joy ‘in the lonely shore’. In the first four lines Byron very
deftly establishes the loneliness and quietness of the sea-shore and surrounding woods with the use of
the words Pathless woods, lonely shore, where none intrudes. In this lonely, uninhabited and natural
surrounding, the speaker is filled with great pleasure and rapture. The lonely shore, the pathless woods
and the deep sea excite him
andpppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppp
ppppppppppppppp his personal loneliness is completely forgotten for the deep sea is his society, he can
hear music in its roar. The Ocean is a friend, a companion to him. The lines remind us of Wordsworth’s
Tintern Abbey and Arnold’s Dover Beach. Wordsworth hears the still music of humanity in nature,
Arnold finds a melancholic note in the music of the waves flinging pebbles at the rocky beach and makes
him think of the sad plight of human beings. Byron does not associate man’s unhappy lot with the
rhythmic music of the sea. He makes it clear that he does not emphasise the solitude of the natural
surrounding because he dislikes the company of man. He loves Man but he loves Nature more. “This is a
very unusual sentiment for Byron” who was fond of human company. He often retires to this secluded
place to get away from the ‘interviews’ of human beings and to have communion with nature,
particular!}’ with the sea, and to listen to its music. He loves ‘lonelines’ in Nature for it makes him forget
himself and his bitter experiences and provides him an opportunity ‘to mingle with the universe’. The
lines remind us of his Epistle to Augusta where he expresses his desire to mingle with the quiet of the
sky. He. wants to have a rapport with nature and the pleasure which he will have with this mingling with
nature cannot be concealed and yet it can not be described. The immense pleasure can be felt and
experienced but can not be expressed in words. The speaker addresses the ocean and exhorts it to roll
on. It is a deep and dark blue ocean. The rolling of the ocean makes the speaker reflect on the cruelty of
man. He contrasts nature with man. Although ten thousand fleets (war ships) move over the ocean-float
on the ocean-sweep over it but the waves continue to move-roll on-without any hesitation or
obstruction. Man is not able to control or rule the movement of the ocean water

Colour symbolism
Critics commenting on the colour symbolism Marvell uses have discussed endlessly the meaning of ‘green Thought'
and ‘green Shade', and the force of ‘annihilating', which literally means ‘to reduce to nothing'. Here as throughout
the poem, green is the literal colour of the garden, but Marvell also plays with the other meanings of the word:
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmm
) the material world.
‘The Bodies vest' is a Platonic image: the body is just a garment, which the soul can slip out of ‘like a Bird' since,
birds have freedom of movement, as the imagination does, and can soar up toheaven, as the soul.
Absurdity

As in many absurdist works, The Birthday Party is full of disjointed information that defies efforts
to distinguish between reality and illusion. For example, despite the presentation of personal
information on Stanley and his two persecutors, who or what they really are remains a mystery.
Goldberg, in particular, provides all sorts of information about his background, but he offers only
oblique clues as to why he has intruded upon Stanley's life.

What has Stanley done to deserve persecution? The facts of his past are so unclear that his claim to be a
pianist may even be false. The Birthday Party influences the audience to doubt anything with certainty,
which as it does in Kafka's work, intensifies the dreadful angst experienced by the protagonist. This
effect is achieved through truncaure to provide conclusive or consistent information, and by his use of
ambiguity and nonsense.

The speaker derives immenge pleasure in meandering through the pathless woods (not inhabited or
trampled by man) and is filled with ecstatic joy ‘in the lonely shore’. In the first four lines Byron very
deftly establishes the loneliness and quietness of the sea-shore and surrounding woods with the use of
the words Pathless woods, lonely shore, where none intrudes. In this lonely, uninhabited and natural
surrounding, the speaker is filled with great pleasure and rapture. The lonely shore, the pathless woods
and the deep sea excite him and his personal loneliness is completely forgotten for the deep sea is his
society, he can hear music in its roar. The Ocean is a friend, a companion to him. The lines remind us of
Wordsworth’s Tintern Abbey and Arnold’s Dover Beach. Wordsworth hears the still music of humanity in
nature, Arnold finds a melancholic note in the music of the waves flinging pebbles at the rocky beach
and makes him think of the sad plight of human beings. Byron does not associate man’s unhappy lot
with the rhythmic music of the sea. He makes it clear that he does not emphasise the solitude of the
natural surrounding because he dislikes the company of man. He loves Man but he loves Nature more.
“This is a very unusual sentiment for Byron” who was fond of human company. He often retires to this
secluded place to get away from the ‘interviews’ of human beings and to have communion with nature,
particular!}’ with the sea, and to listen to its music. He loves ‘lonelines’ in Nature for it makes him forget
himself and his bitter experiences and provides him an opportunity ‘to mingle with the universe’. The
lines remind us of his Epistle to Augusta where he expresses his desire to mingle with the quiet of the
sky. He. wants to have a rapport with nature and the pleasure which he will have with this mingling with
nature cannot be concealed and yet it can not be described. The immense pleasure can be felt and
experienced but can not be expressed in words. The speaker addresses the ocean and exhorts it to roll
on. It is a deep and dark blue ocean. The rolling of the ocean makes the speaker reflect on the cruelty of
man. He contrasts nature with man. Although ten thousand fleets (war ships) move over the ocean-float
on the ocean-sweep over it but the waves continue to move-roll on-without any hesitation or
obstruction. Man is not able to control or rule the movement of the ocean water

Colour symbolism
Critics commenting on the colour symbolism Marvell uses have discussed endlessly the meaning of ‘green Thought'
and ‘green Shade', and the force of ‘annihilating', which literally means ‘to reduce to nothing'. Here as throughout
the poem, green is the literal colour of the garden, but Marvell also plays with the other meanings of the word:

mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmm
) the material world.
‘The Bodies vest' is a Platonic image: the body is just a garment, which the soul can slip out of ‘like a Bird' since,
birds have freedom of movement, as the imagination does, and can soar up toheaven, as the soul.
Absurdity

As in many absurdist works, The Birthday Party is full of disjointed information that defies efforts
to distinguish between reality and illusion. For example, despite the presentation of personal
information on Stanley and his two persecutors, who or what they really are remains a mystery.
Goldberg, in particular, provides all sorts of information about his background, but he offers only
oblique clues as to why he has intruded upon Stanley's life.

What has Stanley done to deserve persecution? The facts of his past are so unclear that his claim to be a
pianist may even be false. The Birthday Party influences the audience to doubt anything with certainty,
which as it does in Kafka's work, intensifies the dreadful angst experienced by the protagonist. This
effect is achieved through truncaure to provide conclusive or consistent information, and by his use of
ambiguity and nonsense.

The speaker derives immenge pleasure in meandering through the pathless woods (not inhabited or
trampled by man) and is filled with ecstatic joy ‘in the lonely shore’. In the first four lines Byron very
deftly establishes the loneliness and quietness of the sea-shore and surrounding woods with the use of
the words Pathless woods, lonely shore, where none intrudes. In this lonely, uninhabited and natural
surrounding, the speaker is filled with great pleasure and rapture. The lonely shore, the pathless woods
and the deep sea excite him and his personal loneliness is completely forgotten for the deep sea is his
society, he can hear music in its roar. The Ocean is a friend, a companion to him. The lines remind us of
Wordsworth’s Tintern Abbey and Arnold’s Dover Beach. Wordsworth hears the still music of humanity in
nature, Arnold finds a melancholic note in the music of the waves flinging pebbles at the rocky beach
and makes him think of the sad plight of human beings. Byron does not associate man’s unhappy lot
with the rhythmic music of the sea. He makes it clear that he does not emphasise the solitude of the
natural surrounding because he dislikes the company of man. He loves Man but he loves Nature more.
“This is a very unusual sentiment for Byron” who was fond of human company. He often retires to this
secluded place to get away from the ‘interviews’ of human beings and to have communion with nature,
particular!}’ with the sea, and to listen to its music. He loves ‘lonelines’ in Nature for it makes him forget
himself and his bitter experiences and provides him an opportunity ‘to mingle with the universe’. The
lines remind us of his Epistle to Augusta where he expresses his desire to mingle with the quiet of the
sky. He. wants to have a rapport with nature and the pleasure which he will have with this mingling with
nature cannot be concealed and yet it can not be described. The immense pleasure can be felt and
experienced but can not be expressed in words. The speaker addresses the ocean and exhorts it to roll
on. It is a deep and dark blue ocean. The rolling of the ocean makes the speaker reflect on the cruelty of
man. He contrasts nature with man. Although ten thousand fleets (war ships) move over the ocean-float
on the ocean-sweep over it but the waves continue to move-roll on-without any hesitation or
obstruction. Man is not able to control or rule the movement of the ocean water
Colour symbolism
Critics commenting on the colour symbolism Marvell uses have discussed endlessly the meaning of ‘green Thought'
and ‘green Shade', and the force of ‘annihilating', which literally means ‘to reduce to nothing'. Here as throughout
the poem, green is the literal colour of the garden, but Marvell also plays with the other meanings of the word:

mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmm
) the material world.
‘The Bodies vest' is a Platonic image: the body is just a garment, which the soul can slip out of ‘like a Bird' since,
birds have freedom of movement, as the imagination does, and can soar up toheaven, as the soul.
Absurdity

As in many absurdist works, The Birthday Party is full of disjointed information that defies efforts
to distinguish between reality and illusion. For example, despite the presentation of personal
information on Stanley and his two persecutors, who or what they really are remains a mystery.
Goldberg, in particular, provides all sorts of information about his background, but he offers only
oblique clues as to why he has intruded upon Stanley's life.

What has Stanley done to deserve persecution? The facts of his past are so unclear that his claim to be a
pianist may even be false. The Birthday Party influences the audience to doubt anything with certainty,
which as it does in Kafka's work, intensifies the dreadful angst experienced by the protagonist. This
effect is achieved through truncaure to provide conclusive or consistent information, and by his use of
ambiguity and nonsense.

Colour symbolism
Critics commenting on the colour symbolism Marvell uses have discussed endlessly the meaning of ‘green Thought'
and ‘green Shade', and the force of ‘annihilating', which literally means ‘to reduce to nothing'. Here as throughout
the poem, green is the literal colour of the garden, but Marvell also plays with the other meanings of the word:
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmm
) the material world.
‘The Bodies vest' is a Platonic image: the body is just a garment, which the soul can slip out of ‘like a Bird' since,
birds have freedom of movement, as the imagination does, and can soar up toheaven, as the soul.
Absurdity

As in many absurdist works, The Birthday Party is full of disjointed information that defies efforts
to distinguish between reality and illusion. For example, despite the presentation of personal
information on Stanley and his two persecutors, who or what they really are remains a mystery.
Goldberg, in particular, provides all sorts of information about his background, but he offers only
oblique clues as to why he has intruded upon Stanley's life.

What has Stanley done to deserve persecution? The facts of his past are so unclear that his claim to be a
pianist may even be false. The Birthday Party influences the audience to doubt anything with certainty,
which as it does in Kafka's work, intensifies the dreadful angst experienced by the protagonist. This
effect is achieved through truncaure to provide conclusive or consistent information, and by his use of
ambiguity and nonsense.

The speaker derives immenge pleasure in meandering through the pathless woods (not inhabited or
trampled by man) and is filled with ecstatic joy ‘in the lonely shore’. In the first four lines Byron very
deftly establishes the loneliness and quietness of the sea-shore and surrounding woods with the use of
the words Pathless woods, lonely shore, where none intrudes. In this lonely, uninhabited and natural
surrounding, the speaker is filled with great pleasure and rapture. The lonely shore, the pathless woods
and the deep sea excite him and his personal loneliness is completely forgotten for the deep sea is his
society, he can hear music in its roar. The Ocean is a friend, a companion to him. The lines remind us of
Wordsworth’s Tintern Abbey and Arnold’s Dover Beach. Wordsworth hears the still music of humanity in
nature, Arnold finds a melancholic note in the music of the waves flinging pebbles at the rocky beach
and makes him think of the sad plight of human beings. Byron does not associate man’s unhappy lot
with the rhythmic music of the sea. He makes it clear that he does not emphasise the solitude of the
natural surrounding because he dislikes the company of man. He loves Man but he loves Nature more.
“This is a very unusual sentiment for Byron” who was fond of human company. He often retires to this
secluded place to get away from the ‘interviews’ of human beings and to have communion with nature,
particular!}’ with the sea, and to listen to its music. He loves ‘lonelines’ in Nature for it makes him forget
himself and his bitter experiences and provides him an opportunity ‘to mingle with the universe’. The
lines remind us of his Epistle to Augusta where he expresses his desire to mingle with the quiet of the
sky. He. wants to have a rapport with nature and the pleasure which he will have with this mingling with
nature cannot be concealed and yet it can not be described. The immense pleasure can be felt and
experienced but can not be expressed in words. The speaker addresses the ocean and exhorts it to roll
on. It is a deep and dark blue ocean. The rolling of the ocean makes the speaker reflect on the cruelty of
man. He contrasts nature with man. Although ten thousand fleets (war ships) move over the ocean-float
on the ocean-sweep over it but the waves continue to move-roll on-without any hesitation or
obstruction. Man is not able to control or rule the movement of the ocean water

Colour symbolism
Critics commenting on the colour symbolism Marvell uses have discussed endlessly the meaning of ‘green Thought'
and ‘green Shade', and the force of ‘annihilating', which literally means ‘to reduce to nothing'. Here as throughout
the poem, green is the literal colour of the garden, but Marvell also plays with the other meanings of the word:
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmm
) the material world.
‘The Bodies vest' is a Platonic image: the body is just a garment, which the soul can slip out of ‘like a Bird' since,
birds have freedom of movement, as the imagination does, and can soar up toheaven, as the soul.
Absurdity

As in many absurdist works, The Birthday Party is full of disjointed information that defies efforts
to distinguish between reality and illusion. For example, despite the presentation of personal
information on Stanley and his two persecutors, who or what they really are remains a mystery.
Goldberg, in particular, provides all sorts of information about his background, but he offers only
oblique clues as to why he has intruded upon Stanley's life.

What has Stanley done to deserve persecution? The facts of his past are so unclear that his claim to be a
pianist may even be false. The Birthday Party influences the audience to doubt anything with certainty,
which as it does in Kafka's work, intensifies the dreadful angst experienced by the protagonist. This
effect is achieved through truncaure to provide conclusive or consistent information, and by his use of
ambiguity and nonsense.

The speaker derives immenge pleasure in meandering through the pathless woods (not inhabited or
trampled by man) and is filled with ecstatic joy ‘in the lonely shore’. In the first four lines Byron very
deftly establishes the loneliness and quietness of the sea-shore and surrounding woods with the use of
the words Pathless woods, lonely shore, where none intrudes. In this lonely, uninhabited and natural
surrounding, the speaker is filled with great pleasure and rapture. The lonely shore, the pathless woods
and the deep sea excite him and his personal loneliness is completely forgotten for the deep sea is his
society, he can hear music in its roar. The Ocean is a friend, a companion to him. The lines remind us of
Wordsworth’s Tintern Abbey and Arnold’s Dover Beach. Wordsworth hears the still music of humanity in
nature, Arnold finds a melancholic note in the music of the waves flinging pebbles at the rocky beach
and makes him think of the sad plight of human beings. Byron does not associate man’s unhappy lot
with the rhythmic music of the sea. He makes it clear that he does not emphasise the solitude of the
natural surrounding because he dislikes the company of man. He loves Man but he loves Nature more.
“This is a very unusual sentiment for Byron” who was fond of human company. He often retires to this
secluded place to get away from the ‘interviews’ of human beings and to have communion with nature,
particular!}’ with the sea, and to listen to its music. He loves ‘lonelines’ in Nature for it makes him forget
himself and his bitter experiences and provides him an opportunity ‘to mingle with the universe’. The
lines remind us of his Epistle to Augusta where he expresses his desire to mingle with the quiet of the
sky. He. wants to have a rapport with nature and the pleasure which he will have with this mingling with
nature cannot be concealed and yet it can not be described. The immense pleasure can be felt and
experienced but can not be expressed in words. The speaker addresses the ocean and exhorts it to roll
on. It is a deep and dark blue ocean. The rolling of the ocean makes the speaker reflect on the cruelty of
man. He contrasts nature with man. Although ten thousand fleets (war ships) move over the ocean-float
on the ocean-sweep over it but the waves continue to move-roll on-without any hesitation or
obstruction. Man is not able to control or rule the movement of the ocean water

Colour symbolism
Critics commenting on the colour symbolism Marvell uses have discussed endlessly the meaning of ‘green Thought'
and ‘green Shade', and the force of ‘annihilating', which literally means ‘to reduce to nothing'. Here as throughout
the poem, green is the literal colour of the garden, but Marvell also plays with the other meanings of the word:

mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmm
) the material world.
‘The Bodies vest' is a Platonic image: the body is just a garment, which the soul can slip out of ‘like a Bird' since,
birds have freedom of movement, as the imagination does, and can soar up toheaven, as the soul.
Absurdity

As in many absurdist works, The Birthday Party is full of disjointed information that defies efforts
to distinguish between reality and illusion. For example, despite the presentation of personal
information on Stanley and his two persecutors, who or what they really are remains a mystery.
Goldberg, in particular, provides all sorts of information about his background, but he offers only
oblique clues as to why he has intruded upon Stanley's life.

What has Stanley done to deserve persecution? The facts of his past are so unclear that his claim to be a
pianist may even be false. The Birthday Party influences the audience to doubt anything with certainty,
which as it does in Kafka's work, intensifies the dreadful angst experienced by the protagonist. This
effect is achieved through truncaure to provide conclusive or consistent information, and by his use of
ambiguity and nonsense.

The speaker derives immenge pleasure in meandering through the pathless woods (not inhabited or
trampled by man) and is filled with ecstatic joy ‘in the lonely shore’. In the first four lines Byron very
deftly establishes the loneliness and quietness of the sea-shore and surrounding woods with the use of
the words Pathless woods, lonely shore, where none intrudes. In this lonely, uninhabited and natural
surrounding, the speaker is filled with great pleasure and rapture. The lonely shore, the pathless woods
and the deep sea excite him and his personal loneliness is completely forgotten for the deep sea is his
society, he can hear music in its roar. The Ocean is a friend, a companion to him. The lines remind us of
Wordsworth’s Tintern Abbey and Arnold’s Dover Beach. Wordsworth hears the still music of humanity in
nature, Arnold finds a melancholic note in the music of the waves flinging pebbles at the rocky beach
and makes him think of the sad plight of human beings. Byron does not associate man’s unhappy lot
with the rhythmic music of the sea. He makes it clear that he does not emphasise the solitude of the
natural surrounding because he dislikes the company of man. He loves Man but he loves Nature more.
“This is a very unusual sentiment for Byron” who was fond of human company. He often retires to this
secluded place to get away from the ‘interviews’ of human beings and to have communion with nature,
particular!}’ with the sea, and to listen to its music. He loves ‘lonelines’ in Nature for it makes him forget
himself and his bitter experiences and provides him an opportunity ‘to mingle with the universe’. The
lines remind us of his Epistle to Augusta where he expresses his desire to mingle with the quiet of the
sky. He. wants to have a rapport with nature and the pleasure which he will have with this mingling with
nature cannot be concealed and yet it can not be described. The immense pleasure can be felt and
experienced but can not be expressed in words. The speaker addresses the ocean and exhorts it to roll
on. It is a deep and dark blue ocean. The rolling of the ocean makes the speaker reflect on the cruelty of
man. He contrasts nature with man. Although ten thousand fleets (war ships) move over the ocean-float
on the ocean-sweep over it but the waves continue to move-roll on-without any hesitation or
obstruction. Man is not able to control or rule the movement of the ocean water

Colour symbolism
Critics commenting on the colour symbolism Marvell uses have discussed endlessly the meaning of ‘green Thought'
and ‘green Shade', and the force of ‘annihilating', which literally means ‘to reduce to nothing'. Here as throughout
the poem, green is the literal colour of the garden, but Marvell also plays with the other meanings of the word:

mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmm
) the material world.
‘The Bodies vest' is a Platonic image: the body is just a garment, which the soul can slip out of ‘like a Bird' since,
birds have freedom of movement, as the imagination does, and can soar up toheaven, as the soul.
Absurdity

As in many absurdist works, The Birthday Party is full of disjointed information that defies efforts
to distinguish between reality and illusion. For example, despite the presentation of personal
information on Stanley and his two persecutors, who or what they really are remains a mystery.
Goldberg, in particular, provides all sorts of information about his background, but he offers only
oblique clues as to why he has intruded upon Stanley's life.

What has Stanley done to deserve persecution? The facts of his past are so unclear that his claim to be a
pianist may even be false. The Birthday Party influences the audience to doubt anything with certainty,
which as it does in Kafka's work, intensifies the dreadful angst experienced by the protagonist. This
effect is achieved through truncaure to provide conclusive or consistent information, and by his use of
ambiguity and nonsense.

The speaker derives immenge pleasure in meandering through the pathless woods (not inhabited or
trampled by man) and is filled with ecstatic joy ‘in the lonely shore’. In the first four lines Byron very
deftly establishes the loneliness and quietness of the sea-shore and surrounding woods with the use of
the words Pathless woods, lonely shore, where none intrudes. In this lonely, uninhabited and natural
surrounding, the speaker is filled with great pleasure and rapture. The lonely shore, the pathless woods
and the deep sea excite him and his personal loneliness is completely forgotten for the deep sea is his
society, he can hear music in its roar. The Ocean is a friend, a companion to him. The lines remind us of
Wordsworth’s Tintern Abbey and Arnold’s Dover Beach. Wordsworth hears the still music of humanity in
nature, Arnold finds a melancholic note in the music of the waves flinging pebbles at the rocky beach
and makes him think of the sad plight of human beings. Byron does not associate man’s unhappy lot
with the rhythmic music of the sea. He makes it clear that he does not emphasise the solitude of the
natural surrounding because he dislikes the company of man. He loves Man but he loves Nature more.
“This is a very unusual sentiment for Byron” who was fond of human company. He often retires to this
secluded place to get away from the ‘interviews’ of human beings and to have communion with nature,
particular!}’ with the sea, and to listen to its music. He loves ‘lonelines’ in Nature for it makes him forget
himself and his bitter experiences and provides him an opportunity ‘to mingle with the universe’. The
lines remind us of his Epistle to Augusta where he expresses his desire to mingle with the quiet of the
sky. He. wants to have a rapport with nature and the pleasure which he will have with this mingling with
nature cannot be concealed and yet it can not be described. The immense pleasure can be felt and
experienced but can not be expressed in words. The speaker addresses the ocean and exhorts it to roll
on. It is a deep and dark blue ocean. The rolling of the ocean makes the speaker reflect on the cruelty of
man. He contrasts nature with man. Although ten thousand fleets (war ships) move over the ocean-float
on the ocean-sweep over it but the waves continue to move-roll on-without any hesitation or
obstruction. Man is not able to control or rule the movement of the ocean water

The speaker derives immenge pleasure in meandering through the pathless woods (not inhabited or
trampled by man) and is filled with ecstatic joy ‘in the lonely shore’. In the first four lines Byron very
deftly establishes the loneliness and quietness of the sea-shore and surrounding woods with the use of
the words Pathless woods, lonely shore, where none intrudes. In this lonely, uninhabited and natural
surrounding, the speaker is filled with great pleasure and rapture. The lonely shore, the pathless woods
and the deep sea excite him and his personal loneliness is completely forgotten for the deep sea is his
society, he can hear music in its roar. The Ocean is a friend, a companion to him. The lines remind us of
Wordsworth’s Tintern Abbey and Arnold’s Dover Beach. Wordsworth hears the still music of humanity in
nature, Arnold finds a melancholic note in the music of the waves flinging pebbles at the rocky beach
and makes him think of the sad plight of human beings. Byron does not associate man’s unhappy lot
with the rhythmic music of the sea. He makes it clear that he does not emphasise the solitude of the
natural surrounding because he dislikes the company of man. He loves Man but he loves Nature more.
“This is a very unusual sentiment for Byron” who was fond of human company. He often retires to this
secluded place to get away from the ‘interviews’ of human beings and to have communion with nature,
particular!}’ with the sea, and to listen to its music. He loves ‘lonelines’ in Nature for it makes him forget
himself and his bitter experiences and provides him an opportunity ‘to mingle with the universe’. The
lines remind us of his Epistle to Augusta where he expresses his desire to mingle with the quiet of the
sky. He. wants to have a rapport with nature and the pleasure which he will have with this mingling with
nature cannot be concealed and yet it can not be described. The immense pleasure can be felt and
experienced but can not be expressed in words. The speaker addresses the ocean and exhorts it to roll
on. It is a deep and dark blue ocean. The rolling of the ocean makes the speaker reflect on the cruelty of
man. He contrasts nature with man. Although ten thousand fleets (war ships) move over the ocean-float
on the ocean-sweep over it but the waves continue to move-roll on-without any hesitation or
obstruction. Man is not able to control or rule the movement of the ocean water

Colour symbolism
Critics commenting on the colour symbolism Marvell uses have discussed endlessly the meaning of ‘green Thought'
and ‘green Shade', and the force of ‘annihilating', which literally means ‘to reduce to nothing'. Here as throughout
the poem, green is the literal colour of the garden, but Marvell also plays with the other meanings of the word:
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmm
) the material world.
‘The Bodies vest' is a Platonic image: the body is just a garment, which the soul can slip out of ‘like a Bird' since,
birds have freedom of movement, as the imagination does, and can soar up toheaven, as the soul.
Absurdity

As in many absurdist works, The Birthday Party is full of disjointed information that defies efforts
to distinguish between reality and illusion. For example, despite the presentation of personal
information on Stanley and his two persecutors, who or what they really are remains a mystery.
Goldberg, in particular, provides all sorts of information about his background, but he offers only
oblique clues as to why he has intruded upon Stanley's life.

What has Stanley done to deserve persecution? The facts of his past are so unclear that his claim to be a
pianist may even be false. The Birthday Party influences the audience to doubt anything with certainty,
which as it does in Kafka's work, intensifies the dreadful angst experienced by the protagonist. This
effect is achieved through truncaure to provide conclusive or consistent information, and by his use of
ambiguity and nonsense.

The speaker derives immenge pleasure in meandering through the pathless woods (not inhabited or
trampled by man) and is filled with ecstatic joy ‘in the lonely shore’. In the first four lines Byron very
deftly establishes the loneliness and quietness of the sea-shore and surrounding woods with the use of
the words Pathless woods, lonely shore, where none intrudes. In this lonely, uninhabited and natural
surrounding, the speaker is filled with great pleasure and rapture. The lonely shore, the pathless woods
and the deep sea excite him and his personal loneliness is completely forgotten for the deep sea is his
society, he can hear music in its roar. The Ocean is a friend, a companion to him. The lines remind us of
Wordsworth’s Tintern Abbey and Arnold’s Dover Beach. Wordsworth hears the still music of humanity in
nature, Arnold finds a melancholic note in the music of the waves flinging pebbles at the rocky beach
and makes him think of the sad plight of human beings. Byron does not associate man’s unhappy lot
with the rhythmic music of the sea. He makes it clear that he does not emphasise the solitude of the
natural surrounding because he dislikes the company of man. He loves Man but he loves Nature more.
“This is a very unusual sentiment for Byron” who was fond of human company. He often retires to this
secluded place to get away from the ‘interviews’ of human beings and to have communion with nature,
particular!}’ with the sea, and to listen to its music. He loves ‘lonelines’ in Nature for it makes him forget
himself and his bitter experiences and provides him an opportunity ‘to mingle with the universe’. The
lines remind us of his Epistle to Augusta where he expresses his desire to mingle with the quiet of the
sky. He. wants to have a rapport with nature and the pleasure which he will have with this mingling with
nature cannot be concealed and yet it can not be described. The immense pleasure can be felt and
experienced but can not be expressed in words. The speaker addresses the ocean and exhorts it to roll
on. It is a deep and dark blue ocean. The rolling of the ocean makes the speaker reflect on the cruelty of
man. He contrasts nature with man. Although ten thousand fleets (war ships) move over the ocean-float
on the ocean-sweep over it but the waves continue to move-roll on-without any hesitation or
obstruction. Man is not able to control or rule the movement of the ocean water

Colour symbolism
Critics commenting on the colour symbolism Marvell uses have discussed endlessly the meaning of ‘green Thought'
and ‘green Shade', and the force of ‘annihilating', which literally means ‘to reduce to nothing'. Here as throughout
the poem, green is the literal colour of the garden, but Marvell also plays with the other meanings of the word:
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmm
) the material world.
‘The Bodies vest' is a Platonic image: the body is just a garment, which the soul can slip out of ‘like a Bird' since,
birds have freedom of movement, as the imagination does, and can soar up toheaven, as the soul.
Absurdity

As in many absurdist works, The Birthday Party is full of disjointed information that defies efforts
to distinguish between reality and illusion. For example, despite the presentation of personal
information on Stanley and his two persecutors, who or what they really are remains a mystery.
Goldberg, in particular, provides all sorts of information about his background, but he offers only
oblique clues as to why he has intruded upon Stanley's life.

What has Stanley done to deserve persecution? The facts of his past are so unclear that his claim to be a
pianist may even be false. The Birthday Party influences the audience to doubt anything with certainty,
which as it does in Kafka's work, intensifies the dreadful angst experienced by the protagonist. This
effect is achieved through truncaure to provide conclusive or consistent information, and by his use of
ambiguity and nonsense.

The speaker derives immenge pleasure in meandering through the pathless woods (not inhabited or
trampled by man) and is filled with ecstatic joy ‘in the lonely shore’. In the first four lines Byron very
deftly establishes the loneliness and quietness of the sea-shore and surrounding woods with the use of
the words Pathless woods, lonely shore, where none intrudes. In this lonely, uninhabited and natural
surrounding, the speaker is filled with great pleasure and rapture. The lonely shore, the pathless woods
and the deep sea excite him and his personal loneliness is completely forgotten for the deep sea is his
society, he can hear music in its roar. The Ocean is a friend, a companion to him. The lines remind us of
Wordsworth’s Tintern Abbey and Arnold’s Dover Beach. Wordsworth hears the still music of humanity in
nature, Arnold finds a melancholic note in the music of the waves flinging pebbles at the rocky beach
and makes him think of the sad plight of human beings. Byron does not associate man’s unhappy lot
with the rhythmic music of the sea. He makes it clear that he does not emphasise the solitude of the
natural surrounding because he dislikes the company of man. He loves Man but he loves Nature more.
“This is a very unusual sentiment for Byron” who was fond of human company. He often retires to this
secluded place to get away from the ‘interviews’ of human beings and to have communion with nature,
particular!}’ with the sea, and to listen to its music. He loves ‘lonelines’ in Nature for it makes him forget
himself and his bitter experiences and provides him an opportunity ‘to mingle with the universe’. The
lines remind us of his Epistle to Augusta where he expresses his desire to mingle with the quiet of the
sky. He. wants to have a rapport with nature and the pleasure which he will have with this mingling with
nature cannot be concealed and yet it can not be described. The immense pleasure can be felt and
experienced but can not be expressed in words. The speaker addresses the ocean and exhorts it to roll
on. It is a deep and dark blue ocean. The rolling of the ocean makes the speaker reflect on the cruelty of
man. He contrasts nature with man. Although ten thousand fleets (war ships) move over the ocean-float
on the ocean-sweep over it but the waves continue to move-roll on-without any hesitation or
obstruction. Man is not able to control or rule the movement of the ocean water

Colour symbolism
Critics commenting on the colour symbolism Marvell uses have discussed endlessly the meaning of ‘green Thought'
and ‘green Shade', and the force of ‘annihilating', which literally means ‘to reduce to nothing'. Here as throughout
the poem, green is the literal colour of the garden, but Marvell also plays with the other meanings of the word:
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmm
) the material world.
‘The Bodies vest' is a Platonic image: the body is just a garment, which the soul can slip out of ‘like a Bird' since,
birds have freedom of movement, as the imagination does, and can soar up toheaven, as the soul.
Absurdity

As in many absurdist works, The Birthday Party is full of disjointed information that defies efforts
to distinguish between reality and illusion. For example, despite the presentation of personal
information on Stanley and his two persecutors, who or what they really are remains a mystery.
Goldberg, in particular, provides all sorts of information about his background, but he offers only
oblique clues as to why he has intruded upon Stanley's life.

What has Stanley done to deserve persecution? The facts of his past are so unclear that his claim to be a
pianist may even be false. The Birthday Party influences the audience to doubt anything with certainty,
which as it does in Kafka's work, intensifies the dreadful angst experienced by the protagonist. This
effect is achieved through truncaure to provide conclusive or consistent information, and by his use of
ambiguity and nonsense.

The speaker derives immenge pleasure in meandering through the pathless woods (not inhabited or
trampled by man) and is filled with ecstatic joy ‘in the lonely shore’. In the first four lines Byron very
deftly establishes the loneliness and quietness of the sea-shore and surrounding woods with the use of
the words Pathless woods, lonely shore, where none intrudes. In this lonely, uninhabited and natural
surrounding, the speaker is filled with great pleasure and rapture. The lonely shore, the pathless woods
and the deep sea excite him and his personal loneliness is completely forgotten for the deep sea is his
society, he can hear music in its roar. The Ocean is a friend, a companion to him. The lines remind us of
Wordsworth’s Tintern Abbey and Arnold’s Dover Beach. Wordsworth hears the still music of humanity in
nature, Arnold finds a melancholic note in the music of the waves flinging pebbles at the rocky beach
and makes him think of the sad plight of human beings. Byron does not associate man’s unhappy lot
with the rhythmic music of the sea. He makes it clear that he does not emphasise the solitude of the
natural surrounding because he dislikes the company of man. He loves Man but he loves Nature more.
“This is a very unusual sentiment for Byron” who was fond of human company. He often retires to this
secluded place to get away from the ‘interviews’ of human beings and to have communion with nature,
particular!}’ with the sea, and to listen to its music. He loves ‘lonelines’ in Nature for it makes him forget
himself and his bitter experiences and provides him an opportunity ‘to mingle with the universe’. The
lines remind us of his Epistle to Augusta where he expresses his desire to mingle with the quiet of the
sky. He. wants to have a rapport with nature and the pleasure which he will have with this mingling with
nature cannot be concealed and yet it can not be described. The immense pleasure can be felt and
experienced but can not be expressed in words. The speaker addresses the ocean and exhorts it to roll
on. It is a deep and dark blue ocean. The rolling of the ocean makes the speaker reflect on the cruelty of
man. He contrasts nature with man. Although ten thousand fleets (war ships) move over the ocean-float
on the ocean-sweep over it but the waves continue to move-roll on-without any hesitation or
obstruction. Man is not able to control or rule the movement of the ocean water

Colour symbolism
Critics commenting on the colour symbolism Marvell uses have discussed endlessly the meaning of ‘green Thought'
and ‘green Shade', and the force of ‘annihilating', which literally means ‘to reduce to nothing'. Here as throughout
the poem, green is the literal colour of the garden, but Marvell also plays with the other meanings of the word:
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmm
) the material world.
‘The Bodies vest' is a Platonic image: the body is just a garment, which the soul can slip out of ‘like a Bird' since,
birds have freedom of movement, as the imagination does, and can soar up toheaven, as the soul.
Absurdity

As in many absurdist works, The Birthday Party is full of disjointed information that defies efforts
to distinguish between reality and illusion. For example, despite the presentation of personal
information on Stanley and his two persecutors, who or what they really are remains a mystery.
Goldberg, in particular, provides all sorts of information about his background, but he offers only
oblique clues as to why he has intruded upon Stanley's life.

What has Stanley done to deserve persecution? The facts of his past are so unclear that his claim to be a
pianist may even be false. The Birthday Party influences the audience to doubt anything with certainty,
which as it does in Kafka's work, intensifies the dreadful angst experienced by the protagonist. This
effect is achieved through truncaure to provide conclusive or consistent information, and by his use of
ambiguity and nonsense.

Colour symbolism
Critics commenting on the colour symbolism Marvell uses have discussed endlessly the meaning of ‘green Thought'
and ‘green Shade', and the force of ‘annihilating', which literally means ‘to reduce to nothing'. Here as throughout
the poem, green is the literal colour of the garden, but Marvell also plays with the other meanings of the word:
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmm
) the material world.
‘The Bodies vest' is a Platonic image: the body is just a garment, which the soul can slip out of ‘like a Bird' since,
birds have freedom of movement, as the imagination does, and can soar up toheaven, as the soul.
Absurdity

As in many absurdist works, The Birthday Party is full of disjointed information that defies efforts
to distinguish between reality and illusion. For example, despite the presentation of personal
information on Stanley and his two persecutors, who or what they really are remains a mystery.
Goldberg, in particular, provides all sorts of information about his background, but he offers only
oblique clues as to why he has intruded upon Stanley's life.

What has Stanley done to deserve persecution? The facts of his past are so unclear that his claim to be a
pianist may even be false. The Birthday Party influences the audience to doubt anything with certainty,
which as it does in Kafka's work, intensifies the dreadful angst experienced by the protagonist. This
effect is achieved through truncaure to provide conclusive or consistent information, and by his use of
ambiguity and nonsense.
The speaker derives immenge pleasure in meandering through the pathless woods (not inhabited or
trampled by man) and is filled with ecstatic joy ‘in the lonely shore’. In the first four lines Byron very
deftly establishes the loneliness and quietness of the sea-shore and surrounding woods with the use of
the words Pathless woods, lonely shore, where none intrudes. In this lonely, uninhabited and natural
surrounding, the speaker is filled with great pleasure and rapture. The lonely shore, the pathless woods
and the deep sea excite him and his personal loneliness is completely forgotten for the deep sea is his
society, he can hear music in its roar. The Ocean is a friend, a companion to him. The lines remind us of
Wordsworth’s Tintern Abbey and Arnold’s Dover Beach. Wordsworth hears the still music of humanity in
nature, Arnold finds a melancholic note in the music of the waves flinging pebbles at the rocky beach
and makes him think of the sad plight of human beings. Byron does not associate man’s unhappy lot
with the rhythmic music of the sea. He makes it clear that he does not emphasise the solitude of the
natural surrounding because he dislikes the company of man. He loves Man but he loves Nature more.
“This is a very unusual sentiment for Byron” who was fond of human company. He often retires to this
secluded place to get away from the ‘interviews’ of human beings and to have communion with nature,
particular!}’ with the sea, and to listen to its music. He loves ‘lonelines’ in Nature for it makes him forget
himself and his bitter experiences and provides him an opportunity ‘to mingle with the universe’. The
lines remind us of his Epistle to Augusta where he expresses his desire to mingle with the quiet of the
sky. He. wants to have a rapport with nature and the pleasure which he will have with this mingling with
nature cannot be concealed and yet it can not be described. The immense pleasure can be felt and
experienced but can not be expressed in words. The speaker addresses the ocean and exhorts it to roll
on. It is a deep and dark blue ocean. The rolling of the ocean makes the speaker reflect on the cruelty of
man. He contrasts nature with man. Although ten thousand fleets (war ships) move over the ocean-float
on the ocean-sweep over it but the waves continue to move-roll on-without any hesitation or
obstruction. Man is not able to control or rule the movement of the ocean water

Colour symbolism
Critics commenting on the colour symbolism Marvell uses have discussed endlessly the meaning of ‘green Thought'
and ‘green Shade', and the force of ‘annihilating', which literally means ‘to reduce to nothing'. Here as throughout
the poem, green is the literal colour of the garden, but Marvell also plays with the other meanings of the word:
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmm
) the material world.
‘The Bodies vest' is a Platonic image: the body is just a garment, which the soul can slip out of ‘like a Bird' since,
birds have freedom of movement, as the imagination does, and can soar up toheaven, as the soul.
Absurdity

As in many absurdist works, The Birthday Party is full of disjointed information that defies efforts
to distinguish between reality and illusion. For example, despite the presentation of personal
information on Stanley and his two persecutors, who or what they really are remains a mystery.
Goldberg, in particular, provides all sorts of information about his background, but he offers only
oblique clues as to why he has intruded upon Stanley's life.

What has Stanley done to deserve persecution? The facts of his past are so unclear that his claim to be a
pianist may even be false. The Birthday Party influences the audience to doubt anything with certainty,
which as it does in Kafka's work, intensifies the dreadful angst experienced by the protagonist. This
effect is achieved through truncaure to provide conclusive or consistent information, and by his use of
ambiguity and nonsense.

The speaker derives immenge pleasure in meandering through the pathless woods (not inhabited or
trampled by man) and is filled with ecstatic joy ‘in the lonely shore’. In the first four lines Byron very
deftly establishes the loneliness and quietness of the sea-shore and surrounding woods with the use of
the words Pathless woods, lonely shore, where none intrudes. In this lonely, uninhabited and natural
surrounding, the speaker is filled with great pleasure and rapture. The lonely shore, the pathless woods
and the deep sea excite him and his personal loneliness is completely forgotten for the deep sea is his
society, he can hear music in its roar. The Ocean is a friend, a companion to him. The lines remind us of
Wordsworth’s Tintern Abbey and Arnold’s Dover Beach. Wordsworth hears the still music of humanity in
nature, Arnold finds a melancholic note in the music of the waves flinging pebbles at the rocky beach
and makes him think of the sad plight of human beings. Byron does not associate man’s unhappy lot
with the rhythmic music of the sea. He makes it clear that he does not emphasise the solitude of the
natural surrounding because he dislikes the company of man. He loves Man but he loves Nature more.
“This is a very unusual sentiment for Byron” who was fond of human company. He often retires to this
secluded place to get away from the ‘interviews’ of human beings and to have communion with nature,
particular!}’ with the sea, and to listen to its music. He loves ‘lonelines’ in Nature for it makes him forget
himself and his bitter experiences and provides him an opportunity ‘to mingle with the universe’. The
lines remind us of his Epistle to Augusta where he expresses his desire to mingle with the quiet of the
sky. He. wants to have a rapport with nature and the pleasure which he will have with this mingling with
nature cannot be concealed and yet it can not be described. The immense pleasure can be felt and
experienced but can not be expressed in words. The speaker addresses the ocean and exhorts it to roll
on. It is a deep and dark blue ocean. The rolling of the ocean makes the speaker reflect on the cruelty of
man. He contrasts nature with man. Although ten thousand fleets (war ships) move over the ocean-float
on the ocean-sweep over it but the waves continue to move-roll on-without any hesitation or
obstruction. Man is not able to control or rule the movement of the ocean water

Colour symbolism
Critics commenting on the colour symbolism Marvell uses have discussed endlessly the meaning of ‘green Thought'
and ‘green Shade', and the force of ‘annihilating', which literally means ‘to reduce to nothing'. Here as throughout
the poem, green is the literal colour of the garden, but Marvell also plays with the other meanings of the word:
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmm
) the material world.
‘The Bodies vest' is a Platonic image: the body is just a garment, which the soul can slip out of ‘like a Bird' since,
birds have freedom of movement, as the imagination does, and can soar up toheaven, as the soul.
Absurdity

As in many absurdist works, The Birthday Party is full of disjointed information that defies efforts
to distinguish between reality and illusion. For example, despite the presentation of personal
information on Stanley and his two persecutors, who or what they really are remains a mystery.
Goldberg, in particular, provides all sorts of information about his background, but he offers only
oblique clues as to why he has intruded upon Stanley's life.

What has Stanley done to deserve persecution? The facts of his past are so unclear that his claim to be a
pianist may even be false. The Birthday Party influences the audience to doubt anything with certainty,
which as it does in Kafka's work, intensifies the dreadful angst experienced by the protagonist. This
effect is achieved through truncaure to provide conclusive or consistent information, and by his use of
ambiguity and nonsense.

The speaker derives immenge pleasure in meandering through the pathless woods (not inhabited or
trampled by man) and is filled with ecstatic joy ‘in the lonely shore’. In the first four lines Byron very
deftly establishes the loneliness and quietness of the sea-shore and surrounding woods with the use of
the words Pathless woods, lonely shore, where none intrudes. In this lonely, uninhabited and natural
surrounding, the speaker is filled with great pleasure and rapture. The lonely shore, the pathless woods
and the deep sea excite him and his personal loneliness is completely forgotten for the deep sea is his
society, he can hear music in its roar. The Ocean is a friend, a companion to him. The lines remind us of
Wordsworth’s Tintern Abbey and Arnold’s Dover Beach. Wordsworth hears the still music of humanity in
nature, Arnold finds a melancholic note in the music of the waves flinging pebbles at the rocky beach
and makes him think of the sad plight of human beings. Byron does not associate man’s unhappy lot
with the rhythmic music of the sea. He makes it clear that he does not emphasise the solitude of the
natural surrounding because he dislikes the company of man. He loves Man but he loves Nature more.
“This is a very unusual sentiment for Byron” who was fond of human company. He often retires to this
secluded place to get away from the ‘interviews’ of human beings and to have communion with nature,
particular!}’ with the sea, and to listen to its music. He loves ‘lonelines’ in Nature for it makes him forget
himself and his bitter experiences and provides him an opportunity ‘to mingle with the universe’. The
lines remind us of his Epistle to Augusta where he expresses his desire to mingle with the quiet of the
sky. He. wants to have a rapport with nature and the pleasure which he will have with this mingling with
nature cannot be concealed and yet it can not be described. The immense pleasure can be felt and
experienced but can not be expressed in words. The speaker addresses the ocean and exhorts it to roll
on. It is a deep and dark blue ocean. The rolling of the ocean makes the speaker reflect on the cruelty of
man. He contrasts nature with man. Although ten thousand fleets (war ships) move over the ocean-float
on the ocean-sweep over it but the waves continue to move-roll on-without any hesitation or
obstruction. Man is not able to control or rule the movement of the ocean water

Colour symbolism
Critics commenting on the colour symbolism Marvell uses have discussed endlessly the meaning of ‘green Thought'
and ‘green Shade', and the force of ‘annihilating', which literally means ‘to reduce to nothing'. Here as throughout
the poem, green is the literal colour of the garden, but Marvell also plays with the other meanings of the word:
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
mmmmmmmmmmmmmmmmmmmmmmmmmmmm
) the material world.
‘The Bodies vest' is a Platonic image: the body is just a garment, which the soul can slip out of ‘like a Bird' since,
birds have freedom of movement, as the imagination does, and can soar up toheaven, as the soul.
Absurdity

As in many absurdist works, The Birthday Party is full of disjointed information that defies efforts
to distinguish between reality and illusion. For example, despite the presentation of personal
information on Stanley and his two persecutors, who or what they really are remains a mystery.
Goldberg, in particular, provides all sorts of information about his background, but he offers only
oblique clues as to why he has intruded upon Stanley's life.

What has Stanley done to deserve persecution? The facts of his past are so unclear that his claim to be a
pianist may even be false. The Birthday Party influences the audience to doubt anything with certainty,
which as it does in Kafka's work, intensifies the dreadful angst experienced by the protagonist. This
effect is achieved through truncaure to provide conclusive or consistent information, and by his use of
ambiguity and nonsense.