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"Mitford compares West's Monody on Queen Caroline, Dodsley's Collection of Poems, vol. ii:

''Ah me! what boots us all our boasted power,
Our golden treasure, and our purple state?
They cannot ward th' inevitable hour,
Nor stay the fearful violence of fate.''
This Monody directly followed Gray's three odes, , , in Dodsley."

Comparing Two Or More Poems for a Literature Essay hubpages

"Mitford compares West's Monody on Queen Caroline, Dodsley's Collection of Poems, vol. ii:

''Ah me! what boots us all our boasted power,
Our golden treasure, and our purple state?
They cannot ward th' inevitable hour,
Nor stay the fearful violence of fate.''
This Monody directly followed Gray's three odes, , , in Dodsley."

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"Here again want of lucidity is the one defect in a beautiful stanza. Gray seems to mean 'who ever was so much a prey to dumb Forgetfulness as to resign life and its possibilities of joy and sorrow without some regret?' But not only is it patent that millions have been so much a prey to the 'second childishness and mere oblivion' of age that they have passed away without the power to feel regret, but the whole sequence of thought shows that this cannot be Gray's meaning. He uses 'prey' in a prospective sense, the destined prey; accordingly Munro translates

Quis subiturus enim Lethaea silentia &c.
It is perhaps Gray's classicism which betrays him here, for Horace, who has sometimes the same sort of obscurity due to condensation, has just this anticipatory use when he says (Odes, II. 3. 21 sq.) that it makes no difference whether as rich and high-born or poor and low-born you linger out life's little day, the victim of merciless Orcus; i.e. certain in either case to become so at last.
Again, Gray seems to be shaping anew the question in Paradise Lost (II. 146 sq.):
''For who would lose,
Though full of pain, this intellectual being,
These thoughts that wander through eternity,
To perish rather, swallowed up and lost
In the wide womb of uncreated Night,
Devoid of sense and motion?''
and when he speaks of 'this pleasing anxious being' and 'the warm precincts of the cheerful day,' he may be supposed to express the same horror of the annihilation of thought, the same dread of eternal darkness. Yet, in the main, the terror of which Gray speaks is the forgetfulness of the dead by the living. In this and the following stanza the true significance of the 'frail memorials' is explained. Though men are destined to oblivion they crave to be remembered, as they have craved for human support and affection in their last hours; it is thus that 'even from the tomb the voice of nature cries.' In fact whilst we find the form and some of the accessories of Gray's thought in Milton, we find the substance of it rather in Homer, Virgil and Dante, who give us the same voice of nature as heard from the further shore; as when the spirits say to Dante, Inferno, xvi. 85 sq.:
''if thou escape this darksome clime
Returning to behold the radiant stars,
See that of us thou speak amongst mankind'' "

"This stanza is capable of two constructions, according as we take prey in agreement with who or with being. I prefer the former: - For what person, a prey to forgetfulness, ever resigned his life, and left the world, without casting a regretful look behind? If prey be taken with being, then ''to dumb Forgetfulness a prey'' is the completion of the predicate resigned, and we have two questions asked: - For who ever resigned this life to be a prey to forgetfulness, and left the world without, etc.?"

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A comparison essay (or a essay) is a commonly used type of writing assignment in various classes of high school and college, from art to science. In a comparison essay you should critically analyze any two subjects, finding and pointing out their similarities and/or differences.

Depending on your assignment, such essays can be comparative only (looking only at similarities), contrasting only (pointing out the differences) or both comparative and contrasting.

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"had damp'd Eton, with depress'd repress'd written above."

"In August 1746 Gray writes to Wharton from Stoke, ''The Muse, I doubt, is gone, and has left me in far worse company; if she returns, you will hear of her.'' And from the same place to the same correspondent, on the following Sept. 11 (after the account of Aristotle quoted by Matthew Arnold in his Essay on Gray): ''This and a few autumnal Verses are my Entertainments dureing the Fall of the Leaf.'' I know of no poem but the Elegy to which these fitful efforts of the 'Muse' are likely to belong.
Once more from Stoke, on June 12, 1750, Gray writes to Walpole, ''I have been here a few days (where I shall continue a good part of the summer) and having put an end to a thing, whose beginning you have seen long ago, I immediately send it to you. You will I hope look upon it in the light of a thing with an end to it; a merit which most of my writings have wanted, and are likely to want.''
That this 'thing' was the Elegy there can be no doubt. Walpole could not have seen the 'beginning' of it at an earlier date than Nov. 1745, - the date, as I have shown (, p. 7), of his reconciliation with Gray, - except we adopt the extremely bold hypothesis that the Elegy was begun before the quarrel, that is to say before, as far as can be ascertained, Gray had written a line of original English verse."

"silent with noiseless written above, E[ton College MS.]."

After the tape session, Guskiewicz and one of his colleagues, Jason Mihalik, went outside to watch the U.N.C. football team practice, a short walk down the hill from their office. Only when you see football at close range is it possible to understand the dimensions of the brain-injury problem. The players were huge—much larger than you imagine them being. They moved at astonishing speeds for people of that size, and, long before you saw them, you heard them: the sound of one two-hundred-and-fifty-pound man colliding with another echoed around the practice facility. Mihalik and Guskiewicz walked over to a small building, just off to the side of the field. On the floor was a laptop inside a black storage crate. Next to the computer was an antenna that received the signals from the sensors inside the players’ helmets. Mihalik crouched down and began paging through the data. In one column, the HITS software listed the top hits of the practice up to that point, and every few moments the screen would refresh, reflecting the plays that had just been run on the field. Forty-five minutes into practice, the top eight head blows on the field measured 82 gs, 79 gs, 75 gs, 79 gs, 67 gs, 60 gs, 57 gs, and 53 gs. One player, a running back, had received both the 79 gs and the 60 gs, as well as another hit, measuring 27.9 gs. This wasn’t a full-contact practice. It was “shells.” The players wore only helmets and shoulder pads, and still there were mini car crashes happening all over the field.

"silent Eton, with noiseless written above."

The force of the first hit was infinitely greater than the second. But the difference is that the first player saw that he was about to be hit and tensed his neck, which limited the sharp back-and-forth jolt of the head that sends the brain crashing against the sides of the skull. In essence, he was being hit not in the head but in the head, neck, and torso—an area with an effective mass three times greater. In the second case, the player didn’t see the hit coming. His head took the full force of the blow all by itself. That’s why he suffered a concussion. But how do you insure, in a game like football, that a player is never taken by surprise?

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