William Blake Poetry Photo

This is my photo of William Blake’s poem “Night”

The reason why I chose this photo was because in the first line in the poem it says  “The sun descending in the west” and as you can see this photo is of the sun slowly descending.  In the second line, he also says  “The birds are silent in their nest” obviously you cannot hear the photo but during the photo, it was very quiet and peaceful.

Lego stop-motion: The Taming of the Shrew by William Shakespeare

Act I, Induction Scenes I and II

Christopher Sly, a local drunk, is mislead by a lord to believe that Sly is actually nobility. While passed out, Sly is carried to the castle where he is cleaned, dressed in fine clothing and placed in bed. When he wakes up, the fun begins!

Taming Of The Shrew

Act I, Induction Scenes I and II

Christopher Sly, a local drunk, is mislead by a lord to believe that Sly is actually nobility. While unconscious due to his intoxication, the Lord’s servants carry sly to the Lord’s castle.  He is cleaned, dressed in fine clothing and placed in bed. When he wakes up, the fun begins!

A War Of Sounds

An enticing battle fought between the softness and vulnerability of strings compared to the impactful aggression of brass. “Viennese Blood”, composed by  Johann Strauss, demonstrates a complex, yet playful battle between string and brass instruments. Both types of instruments, with their own unique qualities, guide the listener along a conflicted journey, that is resolved beautifully by the tethering of percussion.

The composition begins with a near melancholy introduction of string instruments. The string instruments continue to take the listener down a fearful, and depressing sequence. This is then overcome by a blast of brass instruments. The brass instruments appear to have an aggressive, almost dictatorial-like feeling, as they silence the soft string instruments. To counter, the string instruments return, matching the energy of brass in a joyful rebuttal. This battle between hardness and softness continues as though both styles were on separate ends of a teeter-totter….back and forth.

The composition takes on an image of endless rolling hills with no end in sight. Hill after hill, roll after roll, an infinite spiral of elegance and finesse. As your ears begin to slowly grow tired of warring instruments, a sudden burst of energy is introduced by percussion. The percussion, in an overwhelming fashion, matches the beautiful softness of strings to the popping blast of brass instruments. Where one would believe no uniformity possible, both opposite spectrums tether and warp into one beautiful body as the piece approaches its close.

In conclusion, “Viennese Blood” is a dramatic and artistic piece deserving nothing less than perfection. It was able to guide and hold a listener along an unforgettable journey, sealed ever so carefully by a beautiful uniformity of percussion, strings and brass!

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Your head spins slower on your neck, it knows the answers now
Bugs grow thicker through clenched teeth

Faint humming follows you everywhere you go, though you don’t go far
Cold breezes eat away at thoughts

You get up to leave, to escape the heavy void in your living room
The ash grows thicker on your pillow

A young boy turns slowly into a heron, “they can’t touch you if they’re not there”, he whispers before flying off
The shadows are getting tired

You get into your car and drive, there are no roads but somehow you find yourself at a diner
You sit at your table and stare at the walls, a pale waitress brings you tea in heavy silence, but it sizzles and evaporates as it reaches your lips
A sign behind the door reads “please, don’t touch me” before melting into a worm and fading through the walls

You need to leave

You walk past blue lemon trees growing thin clusters of grapes around the branches
You often eat them off the ground to confuse the taste of blood in your mouth

You look to the moon but it won’t look back, it knows what you’ve done
The bruises grow darker on your walls

You turn away

Hollow eyes wander as rusty hatchets drag against the ground
Do you ever stop to look at all the skin you gather?

Cross-stitched mouths shut tight, they look to you and whisper “careful, under her shoes are her feet” before slinking slowly back into their creaky holes

The humming grows louder these days, broken glances flicker between strangers
You can’t throw stones forever.

Shakespeare’s “The Taming of the Shrew”

Induction Scenes I and II

In the induction, we meet a drunk beggar named Christopher Sly, who is arguing with the Hostess of an Alehouse over glassware he has broken in his drunken state. Sly leaves but soon passes out, where he is discovered by a lord returning from the hunt. This lord decides to have a bout of fun and orders his servants to take Sly back to his house and treat him as if he were the lord: put him to bed, place rings on his fingers and prepare a banquet for him. The confusion that follows not only provides excellent comedy, but also introduces important topics in the play: the roles of class, gender, and marital status (normally set in stone) in the play become matters of appearance and perception.

Shakespeare’s “The Taming of the Shrew”

Induction Scenes I and II

In the induction, we meet a drunk beggar named Christopher Sly, who is arguing with the Hostess of an Alehouse over glassware he has broken in his drunken state. Sly leaves but soon passes out, where he is discovered by a lord returning from the hunt. This lord decides to have a bout of fun and orders his servants to take Sly back to his house and treat him as if he were the lord: put him to bed, place rings on his fingers and prepare a banquet for him. The confusion that follows not only provides excellent comedy, but also introduces important topics in the play: the roles of class, gender, and marital status (normally set in stone) in the play become matters of appearance and perception.

William Shakespeare’s “The Taming of the Shrew”

Induction Scenes I and II

In the induction, we meet a drunk beggar named Christopher Sly, who is arguing with the Hostess of an Alehouse over glassware he has broken in his drunken state. Sly leaves but soon passes out, where he is discovered by a lord returning from the hunt. This lord decides to have a bout of fun and orders his servants to take Sly back to his house and treat him as if he were the lord: put him to bed, place rings on his fingers and prepare a banquet for him. The confusion that follows not only provides excellent comedy, but also introduces important topics in the play: the roles of class, gender, and marital status (normally set in stone) in the play become matters of appearance and perception.

“The Taming of the Shrew” by William Shakespeare

Induction Scenes I and II

In the induction, we meet a drunk beggar named Christopher Sly, who is arguing with the Hostess of an Alehouse over glassware he has broken in his drunken state. Sly leaves but soon passes out, where he is discovered by a lord returning from the hunt. This lord decides to have a bout of fun and orders his servants to take Sly back to his house and treat him as if he were the lord: put him to bed, place rings on his fingers and prepare a banquet for him. The confusion that follows not only provides excellent comedy, but also introduces important topics in the play: the roles of class, gender, and marital status (normally set in stone) in the play become matters of appearance and perception.

William Shakespeare’s “The Taming of the Shrew”

Induction Scenes I and II

In the induction, we meet a drunk beggar named Christopher Sly, who is arguing with the Hostess of an Alehouse over glassware he has broken in his drunken state. Sly leaves but soon passes out, where he is discovered by a lord returning from the hunt. This lord decides to have a bout of fun and orders his servants to take Sly back to his house and treat him as if he were the lord: put him to bed, place rings on his fingers and prepare a banquet for him. The confusion that follows not only provides excellent comedy, but also introduces important topics in the play: the roles of class, gender, and marital status (normally set in stone) in the play become matters of appearance and perception.