If one's love is strong enough, it can drive one to accomplish feats that are literally impossible otherwise. In general, anything with "-punk" in its name has a strong tendency towards Romanticism, due to the genre's cynicism about human advancement, preference for older and more visible machines, and strongly antiauthoritarian tendencies. However, this isn't a hard-and-fast rule, and many "-punk" works actually lean towards Enlightenment in their embrace of the possibilities of their setting's unique technology.
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. We just sprawled about exhaustedly, with home-made cigarettes sticking out of our scrubby faces. Overhead the chestnut branches were covered with blossom, and beyond that great woolly clouds floated almost motionless in a clear sky.
Littered on the grass, we seemed dingy, urban riff-raff. We defiled the scene, like sardine-tins and paper bags on the seashore. What talk there was ran on the Tramp Major of this spike. He was a devil, everyone agreed, a tartar, a tyrant, a bawling, blasphemous, uncharitable dog.
You couldn't call your soul your own when he was about, and many a tramp had he kicked out in the middle of the night for giving a back answer.
When You, came to be searched, he fair held you upside down and shook you. If you were caught with tobacco there was bell to.
Pay, and if you went in with money which is against the law God help you. I had eightpence on me. You'd get seven days for going into the spike with eightpence!
Then we set about smuggling our matches and tobacco, for it is forbidden to take these into nearly all spikes, and one is supposed to surrender them at the gate.
We hid them in our socks, except for the twenty or so per cent who had no socks, and had to carry the tobacco in their boots, even under their very toes.
We stuffed our ankles with contraband until anyone seeing us might have imagined an outbreak of elephantiasis. But is an unwritten law that even the sternest Tramp Majors do not search below the knee, and in the end only one man was caught. This was Scotty, a little hairy tramp with a bastard accent sired by cockney out of Glasgow.
His tin of cigarette ends fell out of his sock at the wrong moment, and was impounded.
At six, the gates swung open and we shuffled in. An official at the gate entered our names and other particulars in the register and took our bundles away from us.
The woman was sent off to the workhouse, and we others into the spike. It was a gloomy, chilly, limewashed place, consisting only of a bathroom and dining-room and about a hundred narrow stone cells.
The terrible Tramp Major met us at the door and herded us into the bathroom to be stripped and searched. He was a gruff, soldierly man of forty, who gave the tramps no more ceremony than sheep at the dipping-pond, shoving them this way and that and shouting oaths in their faces.
But when he came to myself, he looked hard at me, and said: He gave me another long look. It was a disgusting sight, that bathroom. All the indecent secrets of our underwear were exposed; the grime, the rents and patches, the bits of string doing duty for buttons, the layers upon layers of fragmentary garments, some of them mere collections of holes, held together by dirt.
The room became a press of steaming nudity, the sweaty odours of the tramps competing with the sickly, sub-faecal stench native to the spike. Some of the men refused the bath, and washed only their 'toe-rags', the horrid, greasy little clouts which tramps bind round their feet. Each of us had three minutes in which to bathe himself.
Six greasy, slippery roller towels had to serve for the lot of us. When we had bathed our own clothes were taken away from us, and we were dressed in the workhouse shirts, grey cotton things like nightshirts, reaching to the middle of the thigh. Then we were sent into the dining-room, where supper was set out on the deal tables.
It was the invariable spike meal, always the same, whether breakfast, dinner or supper—half a pound of bread, a bit of margarine, and a pint of so-called tea.See also the pages.
The poetry of Seamus Heaney: flawed success Seamus Heaney: ethical depth? His responses to the British army during the Troubles in Northern Ireland, bullfighting, the Colosseum, 'pests,' 9/11, IRA punishment, the starving or hungry, the hunger strikers in Northern Ireland.
As the s drew to a close, British artists continued to explore the styles of the century while adapting them to ancient and mythical themes.
Sculptures in particular began to . The Romanticism Versus Enlightenment trope as used in popular culture. Some Eighteenth century people believed that reason and science are good and therefore . Victorian poetry is characterized by both religious skepticism, inherited from the Romantic Period, but contrarily also devotional poetry that proclaims a more mystical faith.
Religion becomes more of a personal experience expressed through poetry. Victorian poetry also employs more humor and whimsy than the prior Romantic Period. The poetry of the Victorian era includes the themes of social injustice, of romantic love, and of the loss of innocence.
This shift from the beauty of innocence to the suffering of experience returns to the Romantic theme of innocence and experience in the context of Victorian poetry. THEMES IN ROMANTIC AND VICTORIAN POETRY 5 References. Day 1(*) Unit: Anglo-Saxon/Old English. 1. (*)Print out your grading sheet for the first quarter or use the Excel version.
1. Keep a vocabulary notebook and/or notecards for terms you will be .