burn Norton . How is beat invoked or described at respective(a) points in the song ? Is in that respect an interesting progression or alternate in these references ? What lines strike you as especially particular(a) or hush-hush ? What is their effect ? Singly or togetherIndeed , the record condemnation appears everywhere and over again in Burnt Norton But the utterer has diverging s of time in the poem . At the beginning of the root stanza , for example , he or she invoked time as an adversaryAll time is unredeemableWhat magnate prolong been is an abstractionRemaining a double-dyed(a) possibilityOnly in a world of speculationWhat might have been and what has beenPoint to peerless end , which is always present (n . pagBut towards the run stanza of section V , the speaker finally realized the futility of laborious to make time stop in to maintain a cherished spot quoDesire itself is movementNot in itself desirableLove is itself unmovingOnly the cause and end of movementRidiculous the hazardous sad timeStretching earlier and after (n .
pagThe above-mentioned insight stem from the fact that ideals such as love and proneness were reach mainly because there were individuals who willingly abandoned convention in to pursue them . I myself initially found these lines to be shady - the speaker curtly changed his or her views on love and desire after agonising about their inevitable loss for the well-nigh part of the poem . But these lines also had a whiz effect on me - they e! nlightened me on the real record of love and gratification , as well as how they are truly attainedRead the first ten lines of section V , and meet them as practicable commentary on poetry - and on this poem in particular . What is suggested here about the wideness of Words , after...If you need to get a full essay, golf club it on our website:
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