Nostalgic:)

Anyhow, this is the mapping of a design I had in mind:

On a blend of black, white, sky blue, and red background, a man's face with 👓, each of which would have Willy's traits that juxtapose one another along with drawings of crucial scenes if space allows. Inverted words would also add much liveliness to it.

Jan 28th (Calvin and Hobbes cartoon time)

Visible prevalent GIs only

1. Blindfolded bandwagon in child psychology (2nd panel).

2. & 3. Questionable, rough, and unhealthy parenting methods (4th panels for both) with a misleading impact on child psychology.

The 3 cartoons so far demonstrate a thematic commonality but the last 2 were much in sync.

4. Workaholic's uncaring/unfocused/unattentive behavioral response (3rd and 4th panels).

5. & 15. Escapism's purpose and connotation for child psychology (4th panel each, respectively).

6. Workaholics' relationship with children's best interests leads to possible disconnection (3rd panel).

7. The degree to which children want the best of their likes (1st/2nd and 4th panels).

8. Constrained educational notions of the capacities of men and women (4th panel).

9., 11. , 4. & 18. Abuse and hideous usage of parental control over answering children's complex questions (2nd and 3rd panels, 3rd panel, 4th panel, and 4th panel, respectively).

10. Every child is beloved by their parent beyond genetic relationship regardless of the magnitude of annoyance they cause that considerably ruptures relationships (3rd panel).

12. Difficult parenting and busy parent in the midst of ridiculous child escapist's reasons (2nd and 4th panels).

14. Complex parenting with childlike mischievousness (4th panel).

16. Mischievous and smart kids as a causative factor of difficult parenting (The panel in itself).

17. Headstrong kids and baffled parents in managing them and expecting peace (4th panel).

19. Equity or equality in voting? (4th panel).

20. Long-term success and happiness through the establishment of character affects child psychology OR Is success or happiness a direct corollary of the establishment of character (3rd panel)

American dream, consumerism and the great depression (Death of a salesman PPT as a reference frame)

Miller considered death and tragedy to be optimistic. Death is universal. Remaining slightly asymptotic to expectations of society (Willy's scenario) and parents (Biff's scenario). Leaving imprints somewhere in the 🌏 as a matter of an obligatory mission to be the epitome of success. Materialistic values of society and yearning for the American dream overpower psychological stability like Willy's. The equation between failure and success. Pure expressions of intentions between father and son were significantly vaporized. Beyond what is deserved when expected means doomed fate already by the time the journey started. Biff showed Willy's tragic angle. Linda smoothened Willy's emotional strength until tragedy intensified. Happy finds himself very important and ambitious although bad business ethics and unethical actions like relentless professional and sex drive. Dependent on Willy all the time. The reference frame to be jealous of was Willy's neighbor and his son although both are much more successful. Ben, Willy's independently rich and old deceased brother, was symbolic of the success he wanted for his sons and has been in Willy's daydreams. Willy's mistress was a source of an ego boost for him (no inferiority complex when with her) and this infidelity ruptured the relationship between Biff and Willy.

This is definitely a shallow tunnel of hopes. Consumerism spiked in the 1920s to an extent that a balanced market consistently crashed. The credit expansion permitted the sale of many consumer goods and average Americans were able to purchase vehicles. Overspending unpredictably twisted the spending and consumption patterns to an economically unstable extent in the absence of money savings. To be well-liked, well-known, respected, to gain monetary success, and to have some money to start off a business seemed much more important to Willy such that passing it on to his children wasn't hard. American dream carries a positive connotation such that it feels like Willy's American dream and the actual one seem to differ but except that Willy goes the foolish ways and fails to achieve it with psychological sensitivity and utmost aptness in his possible ineptness to live a life, more than monetizing his littlest to significant efforts. His desperate yearning to manage his family. Purchasing expensive items for his wife through credit was just a way to tend to appear successful. Materialism meant to quantify how worthwhile he was as a person. Is this a capitalist or Marxist book remains a secondary matter of thought. Realistically, a magnitude-wise high unity amongst people does much better for the changes needed for Good. Marxists may shed light on how redundant his life objectives were but what Willy experienced and did remains heavily relatable and in the form of a resonance structure. For example, money and influence carry negative connotations but these apply to the institutions so diverse, pluralistic, insanely competitive, and popular in elevating facilities for the so-called enhancement of humanity for better opportunities. Ironically, without noticeable marginalization, no process, especially now, ever moves forward. With influence(physical or even, the aura of the candied exerting it), an invasion of one's asset can be taken aback. Henceforth, connotations are much more important as they contextualize many underrated notions in many processes.

An individual's life like this aptly transitions between fictional and non-fictional styles of writing. Willy's life may feel solvable at every moment of the 'wrong' he had done but the psychological sensitivity when overpowering psychological strength and also, societal respect expected to stay unhurt and flawless, the 'right' and 'wrong' pictures are undeniably existent, so the invariance feels more safe and perfect.

It is said that the diminutive heroism amongst us or the modern man’s blood extracted out of his organs of belief by the disbelief of science and heroic attack on life can’t feed on a mindset of caution and reserve, triggered few tragedies. Heroes and tragedies are juxtaposing beliefs, we see!

We are frequently placed unequal to tragedy. It’s only above or below unlike the kingly and ancient lifestyles as a matter of obvious and indirect intention. It's not just the fallout of bigger dooms and oldness of the persons that exemplify tragedy. The common man is equally at this receiving end, supported by modern psychiatry that considers classic formulations like Oedipus and Orestes complexes, etc, which were of the royalties although appliable to those in the equivalent emotional situations. Not just men. Not just women. Not just common men. All in all, these are resonance structures. Structures that resonate and relate to those aligning here. This discrepancy in whose at the receiving end isn’t an issue In the case of tragedy in art. Anyhow, if this discrepancy does exist, the masses can’t cherish the tragicness, and forget about the ineptness in understanding.

Generally, for one to be ready to lay down his life for safeguarding personal dignity when the tragic emotion blooms. Examples: Macbeth, Medea, Hamlet, and Orestes who tried to achieve the most correct place in society. Not just attaining but having to be thrown out of it is held accountable for this. All in all, the wound of indignity is the core aspect in question. The causative factor.

The emphasized and grand characters don’t find this tragic flaw in the tale quixotic. It isn’t bound to be a weakness. The broken and flawed aspect(s) in characters is/are nothing but the rightful place and dignity he thinks he lost in the absence of rebelling against the causative factor is tragic. Most of the time, nothing in itself is right, wrong, ethical, or unethical. It’s the latter that follows, which dramatizes and intensifies the simplicity in the nothing. Getting corrupted by the fear, ignorance, and insensitivity that initiate these crackles in the midst of the invariant surroundings remains a situation rebelled against by a few today like back then. With this introspective and overall questioning procedure now, learning begins for all in equivalent situations irrespective of the discrepancies, who’s who? Ranking the tragic heroes, the nobility of their characters is mostly congruent to the corollaries of the discrepancies and the fact that these exist. The fear that what are those we are corrupted by might not be in line with the right placement and the image in the society initiates the resonance structures, especially the common man who understands it the best. The unjust environment that the man therefore triggers is the morality of the tragedy, essentializing what we got to learn from here. What constrains man’s freedom is where he points out the heroic finger when the tragedy is enlightened, which is thereby significant. The terror in revolutionarily questioning the stable environment is understandable. Such notions and actions are applicable to common men too. if one’s mind is the storage of this fear, right picture, right place, indignity, and dilemma, actions of any sort are obviously impossible.

If society is the sole causative factor, perfect convincing done by the hero to invalidate his character is required. None are balanced concepts of life. Above all, the writer of cause and effect needs to finely commend tragedy. For the writer to go about siding that whatever it is, it is what it is, he is sure not the writer of cause and effect. This isn't a tragedy either. The whole self-realization of man is the best ever fixed state. The tragedy isn't to preach Revolution. In the sheer stress and strain of the cosmos, the character achieves size, typically bound to the high-born and rich. The most common men may end up giving it all they have to secure a rightful place in the world. Forget about the discussions with the writers and readers alike, the dictionary doesn't do the intrinsic poetic justice to the word 'tragedy', which either inclines towards pessimism or optimism, which marginalizes many notions.

The further notes on Aristotle's viewpoints are already essentialized. It's just that one reads it well once and his viewpoints come in the deep light.

What is the relationship between friendships, popularity, and success in Death of a Salesman?

This philosophy is ever increasingly true. The TikTok or social media stars who are liked so lovingly or at least, so well gained monetary, self-satisfactory and popular success. To me, Kalyanam Venkata Subbaiah (Eelapata Raghuramaiah) Garu was well-liked, well-loved, and much more successful than the Telugu film icons as such we know. On Carnatic vocal, cinematic vocal, actor, drama artist, helping-natured, pure and true, comparatively unrecognized, unremembered (mainly now), philosophical, spiritual, and human levels, he stupendously exhibited perfectionism, hard-earned work, and effortlessness. But, who cares? Everyone knows everything and it's just that they're all old, so boring and so not much better than present powerful films!

The delusional illusion that he's liked and known to a good extent was just because he knew numerous people when his friendliness and entertaining mindset flourished throughout due to which it's not a straightforward business relationship during his salesman job. His sympathetic and financially helpful neighbor is the only friend he has. Losing the salesman job implied the loss of his friends (he thought he had) who'd bother about their own lives if he lost or retired from his job. All in all, Willy's aforementioned assertion, therefore, remained sensible in his own way and loved through all his heart. He said that he'd become more successful compared to Charley whose just liked. Happy, more than Biff, absorbed his father's philosophy, which was progressively connotated as mostly delusional and unreal, especially when the scholarly unpopular Bernard ended up achieving greater success as a lawyer unlike Biff who ended up being a 'bum', i.e. term his father used. Biff later realizes the realism but it was too late though. To Willy, the uselessness of life arose from his unpopularity and firstly, his not well-liked aura as he thought (true and untrue because a pillar his wife was, who liked him so well but did he end up being successful? Moreover, the overall societal well liking towards him was what he essentially yearned for.).

The Repercussions Of War Propaganda Upon The Youngers & Nature. The IO had to be directed towards psychological and environmental destructions, both of which were elevated by the sarcastic tone. A keen and emotive descriptivist he was, about the situation in the war trenches. The falling moment of a soldier has been the focal point. The dreamy element adds much intensity to the psychological disturbance just like haunting flares do. The overrated thought that we don't have a physical war anymore to examine the relevance of the global issue is diminishing the truest meanings of war that are an integral part of the present era to a larger degree. Children need to be disciplined and need to learn ethics from films, say, at their age as they end up growing and taking ahead what they felt in childhood. So saying that "Oh, these are movies of ethics, justice, and much-matured learning and we can see them when we're old" is such a wrong step. To me, think we need to see 'Conan the barbarian' and understand what exactly a barbaric nature is! That's why youngers are too carried away in the flow of the propaganda more than anyone in this context at least. The painting schemes, colors, and strokes along with the objects, and their placements limn the destruction. Imagery (mainly, sensory imagery) and symbolism were significant tools to express the global issue. How exaggerated and real are the tools? Both extracts intend to express the repercussions and causative factors in their own ways, which are clearly explained above. A simple yet effective approach is seen in both without much literary intensity.

Pablo Picasso once said that ‘Art is a lie that makes us realise the truth’. Compare how the authors of two literary works that you have read help their readers ‘realise the truth’.

This has been the first time that I've written my paper 2. I knew that truth's tolerance had to be the starting point of the essay already. Artistic fiction and fictitious art are clearly their own fields and to realize it, again added much relatability amongst me and the essay. Art is vividly connotated amongst both the works chosen. Juxtaposition is too real for the child's perceptive system of beyond-age things. Monochromaticity and heavy graphic weight express the emotions of children. African jargon, tone, and life's identity throughout the book for its global exchange, through the customized introduction of organic contents, untranslatable in a sophisticatedly describable way, was frictionless incorporation for the universality of the characters to reach out in this global exchange. The modification of non-modernized Igbo creates varied connotations exemplified. Symbolism. The unadaptable Okonkwo characterized by his childhood and earlier experiences felt destined for self-destruction before even colonialism entered. He was symbolic of the emotions he wished to possess. He’s physically and emotionally destructive, until self-destruction cruises. In a rough n tough environment, he was, the journey to success had much friction. Satrapi's understanding progressively shows across her growing times. Veil's symbolism. Okonkwo's unwillingness to be fragile just like Satrapi didn't want to be, was a rebel against legal bans on westernization, particularly. Juxtaposing times she faced. Women being treated as property with subtle abuse in Things Fall Apart showed that the Igbo society doesn’t foster a commanding and powerful central leadership by opposing intruders. Cosmopolitan males in Persepolis portrayed effeminacy, unlike the Iranian religious fundamentalists. Satrapi wasn’t like the western-educated Africans. Misunderstandings by the Iranian fundamentalists upon the western people and misunderstandings by the west upon Africans like Iran were too, existent. The juxtaposing and contradictory notions she was able to identify over time as she grew, enhanced her keen dislike towards the 4 aspects and the emotional dilemmas she would've and did go through were expressed and exaggerated by artistic effects. Her imagination when her ears would be as badly pierced as she wanted to do to Ramin as a matter of punishment he got due to his father, was definitely a fictitious imagination in mind, which wouldn't have happened anyway. What I'd like to share now:

Relative to the question, the fiction that the art intrinsically is, let's realize the truth embedded in this fictitious art. But, is it without realism? Both works allow us to think of why without realism, one just can't realize the truth. Let's start to think this way: Is truth unreal then? As truths are blended, it can be an unreal piece of fusion but the truth in itself is something that happened, not just fiction.

1914

On the outbreak of WW1 in August 1914.

Starting with 'War broke', The semi-colon resembles the breakout, menacing prelude to the following content, similar to how 1914 was to WW1. Pragmatic imagery delivered the trepidation and horror in warfare: darkness and winter. The metaphoric perishing cold in winter of pure deadly essence. Imagery through nature -- this time of a rugged and tough tornado focused on Berlin, Kaiser's home, Wilhelm II, Britain’s enemy in the war. If it is so, then the destruction of presently tranquil or going-to-be-tranquil nations (‘Rending’ is possibly recommended by ‘torn’ in ‘tornado’) had to happen with progress going down the lane in both the mental and physical(destructive)senses just like the civilization had to. Owen started off this sonnet quite before and is experiencing the dynamics of the poetic structures so isn't yet flourished in it yet. Repetition of ‘Rending’ in ‘Rent’ further in the same line minimizes the impact, although the short and crisp sentences and recurring recourse to caesura (a pause mid-line, mainly a hefty one marked by '.') are in line with the start. Thin love's win as hate overpowers love now, is how the octave ends with these many typical scenes. Metaphorically, grain grown before the war got rotten as there was none to harvest and take home, i.e. The popular notions people used to have about the war outbreak had to remain to face death. Sestet dates back to human civilization, i.e. Roman reign was the 'Summer' of old-aged Greece, renowned for democracy and philosophy, etc, and was the scintillating starting of mankind's victories, the 'spring' of civilization. Autumn came on in his ⌚ that's 'rich' with 'increase' because of how the knowledge from these reigns along with the very contemporary enhancements profited in this time frame Owen was in.

But, as the winter comes over, all so far are just gone. Seeds to be planted and grown for the creation of a possible new civilization get replaced by the blood of the men who lost their lives. To re-civilize Europe is to sacrifice young men's lives. This poem is segregated into an octave (abbaabba) and a sestet (cddcee). Beginning with homophones 'world' and 'whirled', the Berlin warfare whirled off and spanned up throughout the world and became a world war. Technically, the beginning of the sestet is the location of the volta, the turn in a Petrarchan sonnet. This slight volta indicates a variation in how the poet approaches the actions or argument. English sonnets end with a rhyming couplet, so this poem blends the Italian and English cultures. Warfare's impact on Europe has been metaphorically described by the "Winter of the world” because a not-so-bright sun, warmth, and liveliness in the terrifically eternal winter are not so different from being at war. Comparing the tornado and war clearly indicates the destructive effects of war like that of a tornado spread across entire Europe. Rending is synonymous with breaking or tearing, which is what the tornado is doing to the " sails of progress", slowing or stagnating it down with huge volumes of hard work A ship without sails is one that isn’t moving, or through oars. “Famine of thought and feeling,” evokes a purely unhappy way to describe that many minds felt like art, progress, and love were not as fruitful as the war. 1st verse--ABBA. The diction, the imagery, and the metaphors subsidize the unusual structure of the poem. Euphony in 1st 2 lines' descriptive terms, I.e. the notion of blooming spring and blazing summer helps to make an optimistic visual of these seasons (spring, summer, and autumn) in a growing order so as to describe the times before the war. Autumn softly falls, marked by an increasing period. Being ready for the forthcoming Spring is the only way in which the inevitable winter at the present can go away is how the poem ends with a much disheartening aura. Seeds to be sown for experiencing Spring are created from the blood, i.e. bloodshed begets tranquility in war, realism in WWI.

A Terre Being about warfare aftermath, a soldier here recollects his days before the war, I.e. time when his limbs were functioning and he could do all that he willingly wanted to – an anonymous listener, majorly a young and influential boy. This soldier is pitied by the poet with comparative analogy amongst his those and this times. Near WW1 end, approximately 50 hospitals in operation for both physical and mental sicknesses were present and once the patients are seemingly fit to leave outside, they'd eject just to go back to their paltry pension and not so good homes just to worsen off in lamentation and indecency. So fewer soldiers back from France maintained some kind of an optimistic time ahead. On the contrary, mentally and physically ill ended up as street beggars and if there's that small amount of scope in being fit, they're put back to backbreaking labor which they were a part of to get off of it already. Isn't this a pure pity upon the glory and patriotism-fulfilling souls? What is more problematic may not be the thorough suffering throughout the warfare unlike zeroed gratitude in attitude shown to the soldiers. This is the most pitiable, at least for a reader like me. The war declaration in 1914 didn't feel like a significant war then. It was like going there, battling swiftly by the margin at least, and returning by Christmas time. This misleading content at the start truly flourished the blood and watery bodies of about 10 million soldiers in southern France fields. Once a year passed, the hope to go back home was questionable enough. Obligation to increase soldiers in the then so-called Volunteer army was drafted in Europe by 1916. There goes an urgent training for them. Now Dulce et Decorum Est Pro Patria Mori seemed to essentialize nothing of this eternally painful and horrifying war. Amongst going mad to the core, turning ill, bathing in a full-fledged rain flow, and more soldiers pumping up unwillingly by hurt, so few joined up. A dehumanized machine not useful anymore is pictured by 'blind and three parts shell'. The soldier to changed to a creature so different and deadly, I.e. blind, filled with shrapnel, and nervous system a mess due to shellshock (‘my fingers fidget like ten idle brats’). The glorified image the men were exposed to all the time went down the hill with such a description and a crystal clear picturization. More on the glory that purchased all these men for the warfare, medals ‘discs to make eyes close’; the ‘glorious ribbons? Ripped from my own back/ In scarlet shreds’. pain the soldier feels – How unglorifying and worthless was this kind of a patriotism? The sour viewpoint of ‘A Terre’ is therefore emphasized by the young times the soldier goes back to – ‘we used to say we’d hate to live dead old' – and again, initiates the notion that the soldiers who entered the war, mainly ‘pals regiments’, I.e. from the same football team, bank, or workplace, were young boys gravitated to the glory. The dying, mostly high-ranked officer soldier regrets his spoilt life here and that it's time to leave the world already. This soldier has a servant and formal stiff diction makes us consider the fact that he led a group of men. According to ‘little I’d ever teach a son, but hitting’, all this was Owen's own thinking. This soldier remains jealous of his healthy and lame servant, not dying slowly in a bed of wounds earned in war. He just wants to live a better life again now by mentioning ‘I’ve thought / how well I might have swept his floors for ever.’ Any job better than this bed situation is better. Honorable dying but dying in the same way. The way in which the officer yearns to ‘have swept his floors for ever’ re-stress on his fate being essential. He also feels jealous of the simply able to live flowers, species, and smallest microorganisms altogether. He recollects Shelley – a Romantic-era poet, whose notion was that death and birth both being natural: ‘I shall be one with nature, herb, and stone’, / Shelley would tell me. Shelley would be stunned: / The dullest Tommy hugs that fancy now.’ The slang for a British soldier is 'Tommy'. By stating that only ‘the dullest Tommy hugs that fancy now', it's perceivable that the death for glory remained for so long than wanted. Coming back to earth isn't any glorifying deal. As the soldier was nearing death, Owen seems to nearly self-refer in this stanza and recurring the notions he used to have. The propaganda-based poems back then cannot cover up the realism of war irrespective of how likable it may feel. A very frequent notion of WW1 was gossip that Germans utilized their corpses to make soap and others just like this made their way to "A Terre". This was firstly rumored amongst the Berlin and Britain soldiers and then back to the U.K. and from there, to The Times, in 1917. The German Corpse Factory was eventually called out as a fabricated story by John Charteris, the ex-head of army intelligence. A small hope leading to the officer to choose that he'll be ‘better off with plants that share / more peaceably the meadow and the shower’, instead of living in a world where this cruelty enters. He again informs the listener, again, ‘your guns may crash around me. I’ll not hear;’ so depicting that once dead, nothingness about the realism of war is the only good just like the truth that he can't worsen anymore once more. The poem ends with regret, which is a blend of hopefulness and hopelessness as a result of his life till then. My soul’s a little grief, grappling your chest, / To climb your throat on sobs; easily chased / On other sighs and wiped by fresher winds’, depicting that he knows he wouldn't be remembered due to 'by fresher winds' by this young soldier he’s speaking to. What he fought for yielded death. ‘Carry my crying spirit till it’s weaned / To do without what blood remained these wounds tells that the sign of blood is mainly used for images of salvation, although provided the anger of ‘A Terre,’ salvation is overpowered by guilt unlike before when he was majorly sure of what the war meant and what after death?

What the soldier thinks of when in bed? The past, the present, and the future? It's enigmatic after the shell-shocked being was one of the true outcomes yielded by this warfare. Its, however, is significant to note that after the break-even point, it shouldn't be peace in its most commonly known sense, it should instead be a fight for what's right. Although if anything unjust is yielding and the opponent whose just not right turns out to realize his mistakes, it's time to shut it down and go back to normal life, progressively and gradually. Meanwhile, lives disappear but it's just what it is. Opportunity costs exist.

Owen concentrates on the affliction experienced by the WW1 soldiers overnight in the war trenches without fighting and with hazardousness spread out as they're exposed to the intense cold and they're to wait the terrifying night. An ultimate example of such trauma and hopelessness creates a gravitating force amongst most of his poems. For example, a sense of unity expressed by pronouns like we and our, depict that Owen intended to depict a circumstance he directly faced amongst the collective others. Unjust and deadly treatment of soldiers in warfare was highlighted to be the exposure to horrific environmental conditions if not gunfire. All in all, his motive was to limn the pity of war through his poems.

Dulce et decorum est pro patria mori(Dulce et Decorum Est) -- It is sweet and fitting to die for one’s country (patria -patriotic).

This patriotism was purely sour for him, however. With a notable focus on the incident when he and his platoon were attacked with poisonous gas, this poem studies the suffering and remains as the most highly popular anti-war poem ever expressed. Owen wrote to his mom from Craiglockhart Hospital in October 2017 that ‘Here is a gas poem, done yesterday……..the famous Latin tag (from Horace, Odes) means, of course, it is sweet and meets to die for one’s country. Sweet! and decorous!’. This work of his has been revised numerous times before he died in November as the existing drafts of this poem showed. He wrote poems while he was young and he died at 25.

1st 2 stanzas of 8 lines (octet) and 6 lines(sestet), respectively, formulate a typical 14-line sonnet. ababcdcd of these 8 lines invite the Shakespearean sonnet but these 6 lines halt the demands of an English sonnet, i.e. instead of efefgg, it's efefgh along with an additional rhyme. Reading more than the 14 lines of the sonnet is the reader's takeaway, i.e. terrifying warfare experience that can't be delineated and expressed in a typical small sonnet way. The broken line after 14th solely brings this home: pause and further, 'drowning' gravitates and forbids us from anything. This word delineates the impotent situation of the poor soldier in the midst of the poisonous gas and of Owen who just stagnated by seeing his comrade breathing for life.

The crystal clear imagery in the 1st stanza collides us with a sequence of similes for the vexed up men feebly going through the mud [like 'old beggars' and 'coughing like hags'] and metaphors (‘blood-shod’ indicating feet caked in blood, meaning trench-foot and cut legs; with ‘shod’ pointing to the horses having to plough a never-before muddy field; and ‘drunk with fatigue’ implying this isn't any beer-fueled jolly, friendly night in the town). 2 cries of ‘Gas! GAS!’ at the start of 2nd stanza surprises us with the 2 consecutive hefty emphases on gravitating the readers here just like a comrade's cry to another. All of them fumble for their masks to put them back against all the terrible odds to safeguard themselves from the deadly gas attack. ‘ecstasy’ is ironic and bitter to ready the layering of the surface for the final stanza: Terror and fear all around in the name of ecstasy. Repetitive 'drowning' is a definitively smart segment to create the intended effect on the readers to stagnate us here as it's more significant than the others, a source of blunt halt. Recurring haunting events his comrades' journey towards his death became to Owen, which is where the significant repetition above does much good to deliver this haunting.

Finally, an apt transition to an anti-war ideology with a sarcastic and ironic touch towards patriotic poets like Jessie Pope who wrote jingoistic doggerel that motivated the young men to go ahead in doing their part for their king and their nation. If and if only what Owen directly experienced unlike Jessie, would this kind of patriotism, where children lie about their age to just do their part and feed the Old lie as Jessie does, diminish to the everlasting end (‘If in some smothering dreams you too could pace…’, ‘ardent for some desperate glory, 'Old lie'). Pitying the purpose and the journey in war has been done with much dignity and the short and crisp usage of repetition, sarcasm, irony, and imagery do much favor to what he wanted the readers to know, the old lie.

Looking back, finalizing these regardless makes me more than bountiful. I didn't have to but let me be a reference frame ;)

Close Reading Organizer - Act 1

Have a house to live in? It talks a lot about one of the major aspects of achieving the American dream. Willy's house was unfortunately outshone by the city, similar to him getting intimidated by the best he's yearning to do.

The author never really focused on what is being sold. There's nothing emotionally or physically fruitful in his job, so selling one's own self is a salesman's major role.

As his job requires him to be in the city and travel, significantly, for him to make sure the windshield wouldn't disconnect with the environment is therefore considered to be much more inspiring than the dreams he's hunting for.

For him to be betrayed by Howard amid the success he aimed for was painful enough when he has done much good for the company where he's willing to work.

The fact that Biff hasn't been exemplary of Willy's thirst for the American dream yields contradictory thoughts about the kind of a person in work Biff is.

As Willy started to grow old, the sensitivity made much more major sense.

Happy further followed his father's doctrine and behaved like the Young Biff as earlier, he wasn't favored by Willy over Biff.

It's again to reiterate that Happy goes by his father's assertion (well-liked and success equation) whereas Biff finds that balance between different aspects of the American dream (monetary and psychological happiness) by aiming to gain his father's favorability towards him.

Memories were tranquilizers at the beginning and gradually, they reminded Willy of the individualistic and collective obstacles being faced. Happy was so unfavored by his father relative to Biff and Willy doesn't signify the underlying power in a person, relative to the outer view. As if he was a salesman on road so significant and recognized due to his potential and achievement, he used to talk this way to his sons.

Willy ignores that Bernard was a hard worker and by the fact that he wasn't into Biff's problems with math class and charismatic talk, he used to tell both that they're intrinsically rewarded for success without friction. All in all, that inner beauty and essentially, the underlying structure of who one is, doesn't carry any much significance to Willy.

That constant thirst to portray success meant to lie again. His wife puts much belief in him and her exuberant reply means that regardless of his delusion about his assertion. The eternal payments on their items indicate the dream of materialism flourishing through his family.

Very few times, his fragility comes out but the rest of the time, it's about selling himself and staying around for very few times due to his job. Linda's immaterial and unselfish love is left unseen by her husband.

He was a lonely self-doubting who fell in love with a woman as a matter of monetary exchange of materials and physical bond, by getting flattered and having her physical self in his mind. This woman's ghostly laugh reminds him of this extramarital affair, this cheating as if his wife is haunting him.

This haunting was a reminder of an emotional and monetary betrayal as soon as Linda mends stockings.

According to Willy's memories, his upbringing with Biff spoiled Biff by making him feel unique to an extent that he felt he could do anything he willed to, despite the amount of efforts he'd put in and the harmful effects as part of the outcomes. In the uninteresting attempt to stay away from the troubling nature of Biff, he ends up considering that his parenting style yielded nothing that Biff ended up to be.

A low dream Willy had, i.e. as a salesman, relative to Ben, who became gorgeously wealthy out of adventures, Willy thought. Ben so was a strong reference frame for Willy to imagine the corollary of the American Dream.

This reference frame went to a degree that he declined a favorable offer from Charley as men are meant to independently get a hold of things just like the unleavable American dream needs to be, for him.

The way in which he considered Charley arises from the job he does where creation isn't a factor like his father's, which was in Willy's interests.

Ben is that wholesome person that Willy wanted to be but may not be a preferred reference frame in light of the way in which Willy behaves with Charley and Ben in Willy's dreams.

Willy's abandonment by his beloved is how this act in his own way. The foolishly funny luck that Ben had overshadowed Willy's priorities such that the charm and luck are more significant to him than Charley's hard-earned fruitfulness.

Insulting teasing is one of the commonalities between Ben and Willy. Willy's father seemed to overshadow Willy in Willy's eyes.

The intrinsically demotivating nature of Ben, Willy's reference frame and permission giver, is now revealed. Brooklyn (not Alaska) hunting was wild to Willy.

Willy ends up applauding Biff's unethical traits. In the midst of what the readers now realize of Ben's lack of knowledge about what luck was in his life, it's still that Willy ends up taking ahead his delusions and applauding Biff's unethical traits.

The environment stimulates him except that his sort of life isn't for this and death is the ultimate solution to let go of all that he set for himself.

The relationship with the environment and brother was nullified to him to provide all of his to his sons, except that this everything isn't as helpful and motivating as Charley's.

Willy's kindness and significance were constantly cared for by Linda. Biff sympathizes with Willy's imagination going down the lane and doesn't like the fact that he was encumbered by higher expectations.

Linda expressed one of the most major notions of the play, i.e. worldly unheroic, and big dreamer, Willy needs attention, meaning that dramatic tragedy can ruin any sort of a man.

His wife considers affection and relationships to be more important than what Willy craves and ends up not truly seeing, let alone understanding his own ones. Biff couldn't really hear "The Woman", which takes us back to how his adultery behaviors towards his father changed over time since he started showing admiration from his early childhood days.

To do what his father couldn't felt like the ultimate solution for not letting his father truly go ahead in the route of thinking of death deeply.

Willy doesn't find humor as well as it is meant to be and so, repulses to imply how huge and influential he is. He's too sensitive and inferior to an unsuggested extent such that the family's affectionate aura vaporizes so well.

Both are ignored children yearning to please their fathers. Regardless of how Happy thinks, he ends up reigniting Willy's dream.

Willy truly passes off his self-selling and inferior attitude to Biff instead of constructive and managerial abilities in running a sporting goods company. Willy's attitude flourishes through when not permitting her woman to speak, which is when he pisses off Biff so badly that it's time for rupturing clash between father and son.

Realism isn't in Willy's 'willingness to understand' list to such a degree that what his family and dream did to him was nothing. For Biff to find the rubber hose indicates that he showcases himself as the only one to protect his father from his own dilemmas.

Close Reading Organizer -- Act 2

Willy wishes to do something to nature, which is an action symbolic of his love for nature, creating and his dream of growing prospering sons. For Linda to laugh infers that her husband can't fulfill these wishes although Willy is so into expressing even more impressive hopes.

Willy's monetary capacity and dreams travel in the opposite direction, which is reiterated every time the readers realize he's living a life like what he is although they do own a house for themselves, which is not just 'it' for Willy yet.

A dinner so fantasizing, with his sons, is what Willy wished for so that one of his symbols of success comes alive. Contrarily, for Willy to not find it betraying Linda for what he'd done, as understandable from their discussion about stocks, says much about how he's hopelessly unethical.

Based on how good Willy felt to be, Linda's dream of him letting off suicide seemingly came true.

Willy was Linda in the presence of Howard, who couldn't care more about how the money given to buy the toy he likes could help ease Willy's monetary troubles. On the other hand, Willy, as usual, as a matter of demonstrating success, is busy selling himself.

Willy's share of efforts in Howard's father's company growth is visible. The significance of loyalty and close relationships with those who've been completely believing in some kindness and help. Willy does what he preferred Biff not to do with Oliver.

The reference frame Willy chose to have misled him to the delusional core. Singleman who died at work and whose funeral was attended by the business relationships he had. He is another reference frame of 'well-liked' for Willy when this Singleman was neither liked nor did something he liked.

Howard was of no help in Willy's hour of need. Willy wasn't going with the technological aspects of the world, which is understood as he couldn't handle the recorded well and ended up, suddenly turning it ON when he's talking about Frank and surrounded by almost 3 eras of Wagners, all of who are meant to be successful than Willy and his children.

Howard didn't want Willy anymore, highly insisting to take a long gap of rest and subtly insulting him by calling him a 'kid' although Willy is elder than Howard. To Howard, Willy's sons felt much better sources of success Willy can gain, based on what Willy mentioned about his sons. Out of his pride, Willy wasn't into leaving but neither Howard was okay with having him here anymore. Calling him as 'kid' is relatable to how childlike and childish he has been when dealing with living life but the intention behind saying so is insulting enough.

Willy is regretting the lost opportunity. Money is tangible and constructible for Ben but Willy put his efforts into himself, his songs, and the business he was a part of. Finally, as always, Willy always stuck up to being well-liked.

When Willy gets an impression from Charley that the football game Biff is going to play means much more with popularity, charisma, likability, and luck than his academic side, Willy immediately shuts off Charley by saying Charley thinks he's better than anyone else. In a way, this is a pinch of realization he was about to get but immediately decided to follow what he thinks is more right and what he likes, naturally.

The outer-lying beliefs and values that Willy inserted in Biff's mind didn't lead him to the success that Bernard did, let alone go beyond. Willy went through his past and memories but couldn't understand why Bernard succeeded instead.

The nature of football that Willy informed Biff of, affected his success in math, after which Biff started to work towards this subject for succeeding in it, which may still not be an actual success but anyway, he changed quite a bit. Willy wasn't into discussing anything with Bernard about what happened between him and Biff who returned to Boston and then to his study region just to leave everything about his studies.

A part of Bernard's efforts that found him a case to fight in the court, made Willy insecure, jealous, and surprised that he didn't know, even after what happened before.

It's about the benefits from the business world for Charley more than the dreamy likability that'd find success as believed by Willy, who was offered help from Charley again although it's the Willy we know that's still invariant.

The material and monetary form of success that definitely exists ended up overruling everything about Willy. Charley, who personally disliked Willy was still the one he wanted to help, which is the only consideration Willy agreed to.

Happy truly followed his father's footsteps through his dreams and womanizing intention, compared to Biff, who was the primordial focus for Willy, which might be why Happy is like what he is to show himself as important enough and much better w.r.t his father's self.

For Oliver to not even identify himself and his father to emphasize how he's a salesman such that the whole family believed, led to humiliation and theft. Is it that Biff who bounced back to a respectable state in math class has gone back to square 1 due to what's instilled in him?

Biff and Willy are willing to live in opposite directions. In particular, The concept of self-selling isn't in Biff's likes anymore, like Happy's.

Biff now realizes the nature of his dreams that worsened the better and so, wanted his father to know, too although his father, as usual, has to subsidize the effect of getting fired just to get a hold of news to share it with Linda. Although Biff's relentless willingness to fix their broken lives is commendable for us to read!

Willy didn't take the blame for Biff's math failure by shifting his concentration on Biff's failure as a reason for his obstacles and Willy didn't realize what Biff wanted him to know still.

Biff applies the lying trait of Happy and further, regrets his thefts. Willy says he didn't want anything and Biff expresses that he already kept his pride aside by going back to Oliver instead of Willy.

For Biff to put out the rubber Hose on the table takes us to the truth that Biff is finally done with Happy's unhelpfulness towards his own father. Happy's behavior towards disclosing who his father is is too hesitant as if business contacts are the only ones and what Willy did to his sons (abandoned) is what his sons are doing to him.

On one hand, Willy himself spoiled his honesty to his wife such that this woman hid when both heard a knock on the door, and on the other hand, Biff shared his failure in math and came up here in pleading for Willy's persuasion to help him pass. This is what happened in the Boston friction. Biff's unconfident view of his capacity fueled this pleading.

Willy so agrees to help Biff pass it off to hide his infidelity as otherwise, it isn't heroic! Biff so freely mocks the teacher due to which the Woman's identity is revealed. The falsity of Willy's American dream is symbolized by stockings for Biff whereas stockings resemble failure to Willy.

Willy's tip to Stanley as if he were a son, reminds us of his giver quality towards his sons, who've recently abandoned him.

To preserve the traces when going to reach the end of life was his wish as understandable in the form of planting. His sons have been nothing like I wished them to be due to which planting now connects himself with nature here after so long.

Linda discloses the trust forms she knows of her sons just like her husband but the affection towards Willy is seemingly more significant than anything else, unlike Willy who just doesn't get this. Biff started to feel the regret of abandonment he eventually felt guilty of whereas Happy just makes life easy with lies.

The fact that amid everything that capitalism in America did to him, Willy just goes by being liked and respecting what he does as the best parts unlike Ben whose much better at realizing the truth, is tragic.

Biff is clearly intending to get out of Willy's life regardless of how he'd be seen in his father's eyes, such that the quixotic wish Willy has gone down the lane. This is however abandonment for Willy

Willy's quixotic dreams were the sources to be blamed for why Biff isn't really sufficiently existent in the world based on Biff, let alone living. Biff turned out to think of himself and go for such dreams. But, he ended up as a thief as he felt exasperated by the world. Suicide is not a heroic escape is what he said to Willy just like Ben.

Biff's gradually growing mindset towards what he's been told and the American dream, lets him realize what we, the readers, knew Willy had to realize.

Willy still didn't realize what Biff did and essentially, the truth that there's this affectionate aura in this family wasn't realized by Will, yet.

Lone soul of Willy's brother, who hunted for wealth and abandoned Willy, on the stage. Willy too willed to go ahead hunting for wealth and leaving the family. What American Dream meant to Willy has been inevitably evident throughout.

However, looking out from his aspect :

Those that come out on the frontal stage when one succeeds are wealth, like and dislike buttons (this era), popularity (number of followers and views, in this era), like love, envy, luxury, excessive fame, excessive hopes, excessive pressures, egoism, dehumanization, opposites of the traits until one reaches dehumanization and finally, downfall. On what levels? The individual whose truly successful on those levels aforementioned is the best approach to figuring out what the fruitfulness of success essentially means. Willy had the bold black highlighted ones without even having to experience any form of recognition and success, both. Imagine a person with not much substantial literacy in the midst of drastic worldly changes in terms of socioeconomic, business, political, ideological, and systematic changes, where he's so a peanut amongst millions of people already, monetary capacity is the most strikingly significant factor but recognition and being well-liked coordinated with this capacity 'seemingly' came very easily (hope you are aware of the limelight). This seemingly existent truth is the fantasy that buys many cravers and the fantasy that is significant about the limelight success. This seemingly existent truth is foresight in itself. This well-liked nature and recognition strengthen business relationships! The managerial and stimulating aura is very important to bond well for business success. Whom to blame then? Without Willy being the person that he was, could he be able to survive, let alone live a life? Due to Bernard and Charley, very possible, but egoism and inferiority without both limelight and business successes vaporize the possibility. What Willy earned gradually was psychological sensitivity. Further, do you think not failing math class means success? Would he get admission into somewhere 'good enough or a job better than a salesman and a clerk? Perhaps, the most direct corollary is GPA, the academic success achieved when going the reverse direction in failure towards math class. Now, it's just that everybody can't be a king. The raw truth is that difference in skillfulness amongst beings is the most significant reason why we have a planet, earth, a nation, an economy, a community, a society, and essentially, a collection of beings. Having said so, go for whatever syncs and do it well with inevitably, much friction and fruitfulness waiting for you on your way.

Symbols

Seeds resemble the failure he is and the scope to show how deserving his efforts in father and salesman roles are. During darkness, he willed to sow his seeds, which expresses how he may not be able to give anything to his children once he does and so, how he doesn't deserve to keep the food on the table. He didn't raise the unambitious and reckless Biff any good in accordance with his American dream. He thinks he can't even do what his father could help him with although he worked very hard.

Diamond is a materialistic luxury which if he could give it to his children would assess his efforts and life in itself, based on Willy. Ben had these, so it's enough to make Willy feel failed. Willy's future monetary capacity felt like coming from the American dream. In the end, Ben motivates Willy to get a hold of the diamond by hunting for it in the jungle, i.e. to lose his life for insurance just to bring meaning to his life.

Biff finds out about his father's affair in a hotel room, which reminded Willy due to his deep focus on the situation of stockings, that he gave off to the Woman, as alleged by Biff. These stockings mostly symbolized his betrayal and presently, his weakened monetary capacity, both of which can be subsidized by buying more new stockings he thought.

The rubber hose is a stage prop that indicates Willy's constant willingness to try out suicide through inhalation of unaffordable (hardship in getting it made him feel like dying), daily comforting, and healthy gas, i.e. heat.

The film opens with a George Orwell quote, 'He wears a mask and his face grows to fit it…' What do you think the quote means? Why do you think the filmmaker chose this quote? Provide an example from your life of this quote in action.

The American boys wear a mask and aim to have themselves be able to fit it on them as they grow, gradually. Isn't this what the filmmaker wanted us to know? See, there's always that prior identity we come with, of more or less magnitude. I consider that prior and progressed identities exist in one's life, except they're not really sticking by the individual out of the individual's willingness or unwillingness. So, I have a protective and shielding mask that is going to behave as a powerful reference frame but if that's all a burden to me, I'm not fit to have that hierarchy and prior identity in order to bring learning and direction into my life(only If I'm willing to, will I ever care to see it as a form of direction and source of learning!). To me, both these identities to do hierarchical justice, are important.

What does 'be a man' mean in today's society? What effect does this phrase have on boys? What are some character traits and actions that are associated with masculinity? Compare the expectations of girls and boys. How do you think the differences affect all children?

In the present society, losing up the existent chains that people used to have back then is the most encouraging act but the understanding of masculinity, manliness, and firstly, being a man just has to be like what the olden filmmakers already meant, i.e. being a man is not about just having the physique of Rambo, Dutch (from 'Predator') or Conan ( The Barbarian), but it's also about having such mindsets. When psychological breakdowns are pumping up, nobody cares to know what it means to be a man, except that losing chains that we used to have back then, gets blamed. The thing is that there haven't many people back then. For sure, not as many people as there used to be back then, and the inexperienced parents and sectors of the society instilled narrowminded definition(s) of being a man. When I do see my father, relative to his friends and family, they just didn't care about as many things that are the causes of this film being made but father remained destined to sustain the responsibilities and burdens although, with much poise, his psychological strength and intrinsic abilities made him go through much bigger obstacles than what these youngsters can't even imagine to face. Maybe, this is an American film and not about Indians but either way, this American film has its quintessence applicable to the present era of children in India too. Provided, the circumstances in this film flourish, the boys are prone to face the crisis of psychological strength and wisdom. There's not much difference between masculinity and femininity except that physiques do vary and intrinsic thinking styles that incline females towards non-mathematical, non-engineering, and non-pure physics fields. Now, you always have the freedom to do whatever you want to do and whatever you want to be like, but if others aren't willing to care about their own business and maintain ethics, it's your responsibility to rebel as much as such others who need to set themselves straight although 'be the change you want to be in the world is the main motive that matters, especially because the magnitude of population, in particular, is pumping up just like instantaneously varying mindsets. Why "Now...."? Dad wanted a girl for sure as girls are inherently apt to work towards the progression of the smallest to biggest spaces, their poised attitude, and additionally, girls in our clan were clearly and intrinsically much into what humans are meant to be. I'm expected to achieve academically competitive outcomes by everybody except my parents & mother's 1st sister, her son, and her husband. In a way, I'm meant to do what boys do. The notion of both identities and hierarchical justice already meant that I was always into and I'm already considered inclined towards Rambo, Conan The Barbarian, Predator, and Bloodsport. What I loved is what I am expected to do and I can naturally (hopefully) do it! So, is it a point of intersection is the only way? Just a big fat NO. What if you haven't realized yet or your presence means much good to the humane people, who have truly serviced, your hierarchy? The key to everything good or valued is experiential learning, ethics, knowledge, wisdom, passion, persistence, perseverance, and psychological strength, and having these at optimal levels is important to make sure the differences and similarities don't lead to the causes of this filmmaker, to simplify.

Compare scientific gender differences to culturally based gender differences. Where do boys get messages about masculinity? What are some ways you've been conditioned to behave based on gender norms?

'Gender' dominantly originated from culture compared to 'Sex'. Boys get it from their surroundings and the people around them (overall, society). Moreover, as a child, I have had conditioned constraints but not as a female as such.

How has fatherhood changed over the last couple of generations? How are fathers relearning their role? What challenges do they face? These days fathers (especially those more than 20 and less than 40 years) are more psychologically weakened and unable to sustain their relationships with love than earlier, so such examples for children mean much to what the causes behind this film are. Also, those above 40 are ending up with the provision of immense freedom, leading to many inexperienced mistakes, which is what the fathers are, unfortunately, relearning about. Does it mean they need to restrain their children? This is such a hurdle they can't dare to say yes to, anymore. Until and unless, children transition to the traits shared in the 2nd question (key to...), fatherhood is an obstacle-based load.

Compare the relationships between men to relationships between women. For example, men seemingly share inhibitions amongst themselves more than what is shared between women.

How do social messages inhibit men's relationships? What men seemingly share as aforementioned involves much inferiority, egoism, and hesitance unrelative to the situation between women. Why do boys bully each other? To exemplify "Showing off is fool's idea of glory", "Suffice ego" and "Seek revenge for the unjustness faced". The opening title sequence shows real boys and men who have been told to “be a man.” What are your thoughts on Joe Ehrmann’s point that the phrase is destructive? This horse is inevitably destructive because of the narrowminded definition of being a man. Maybe you are soft and smooth so it's. to that you will break his bones or save your girl in a destructive way. It's alright. That's why monotone mostly turns out to be a strong source of boredom. The protagonists in the film speak candidly about their experiences with abuse, bullying, drug and alcohol use, and violence. Which individuals or stories most resonated with you and why? These destructive substances and actions resonated with what I was always sure of, i.e. those that youngsters need to understand as not 'cool, 'modern' and 'advanced'. Why? The ones who're headstrong in ethics know this better. Michael Kimmel affirms, “That idea of being seen as weak as a sissy, in the eyes of other guys, starts in our earliest moments of boyhood and it follows us all the way through our lives.” Are boys socialized to fear weakness?

Boys are meant to not fear but fear is an intrinsic property of us, that is, say, heavily instilled in me as a matter of respect to everything and everybody I experience. And having to be the manly kind, I felt this better and I'd go through this optimum and righteous fear better ahead.

Further discussions (exclude elaborations and/or explanations from those there above)

1. This film is really known to the core except that the American factor was a notable aspect

3. I'm more masculine

4. Not really but when it was Volleyball and cricket, I was always motivated to be rough n tough (an integral aspect and constraint of masculinity)

5. Only when love exists, would one truly understand the concept of sexuality or whatever intimacy is in question. To be informed by any is to face it first but that's not applicable here. As many womanizing scenes, we get to see now, it's just the lust many of the times that invalidates the essence of being feminine and masculine.

7. Deeply strong individual. When I'm done with things, I feel much more masculine depending on how I connotated it with subtlety and age factors as counterfactors.

9. To express what I have expressed above itself constitutes the mask here.