"One thousand one hundred and eleven" by Anna Barbauld Cosmopolitan theory emerged as a result of the growing power of Napoleon, English imperialism, and the development of a global economy. This theory, however, is marked by the limitations and stereotypes of the time, as it often advocates European and Anglo-Saxon superiority. Anna Barbauld's poetry is no exception. Eight hundred and eleven criticizes Britain's imperialist foreign policy, but in doing so it is divided, illustrating the limits of Romantic cosmopolitanism. This poem, however, should not be devalued for its displays of insularity examine divisions and stereotypes, as well as recognize the progressive promotion of transnational sympathy to gain a greater understanding of the cosmopolitan thought of Barbauld's time. This article will examine the divisions and successions of the poem through a close reading of lines 31-38 and 73-82. I will examine the poetic details of the poem, indicating that they work to create a serious political poem. I will then address the thematic concerns of cosmopolitanism within these passages and the entire poem. Finally, I will relate Eight Hundred and Eleven to Kant's cosmopolitan vision in “Perpetual Peace” to develop a greater understanding of the nature of Romantic-era cosmopolitanism. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Exploring Divisions and Stereotypes in “Eight Hundred and Eleven” In completing a close reading of these specific passages, it is important to first identify the metrical forms, rhyme structures, and their implications. Ottocentoundici is written in heroic couplets, constructed with iambic pentameter verses with masculine rhyme. At the time this poem was written, serious political poetry written in heroic couplet form was often associated with conventional, conservative politics. Barbauld obviously wrote this poem to have a serious impact on English politics and change the country's foreign policy. The heroic couplet form is then used to give the poem a more serious and believable tone. The fact that the metrical form used is associated with Conservative politics seems to make his radical criticism of British foreign policy even more shocking. Interestingly, Barbauld uses several trochees and spondees within the metrical form, disrupting the conventional stress pattern of iambic pentameter. This adds energy and strength to the language and, consequently, to its political message. An example of trochee is line 31, "Frequent, some dark course, some rude name." This verse begins with an accent and a trocheus that renew the fervor of the language and enliven the next passage. An example of a spondee is line 35, “Or the diffuse map explores with eager eye.” The words “spread” and “map” are both accented, creating a spondee, giving greater prominence to this important image. Ottocentoundici's combination of the traditional metrical form of heroic couplets with the use of frequent trochees and spondees creates a vibrant and energetic political poem to forcefully convey its political message. The first passage, lines 31-38, describes the suffering of a female individual. The woman is not British, as described in line 31, “…some dark course, some rude name.” Her “husbands, brothers, friends” are killed in some global dispute and her suffering is illustrated. This is perhaps an allusion to the War of 1812 and the woman mightbeing a citizen of Napoleon's empire directly affected by British violence. The scene, however, is not explicit; this event could occur in any area, resulting from any global conflict. Woman is a universal individual. The reader easily relates to and empathizes with his loss of family and subsequent suffering. Barbauld creates empathy for the "other" by particularizing the individual and describing their emotions in a universal way. This is done in Ottocentoundici through the representation of individuals within families, often women. The technique of singling out a stranger is used in the works of several poets of this time to address cosmopolitan concerns of abolitionism and women's rights, for example Yearsley's A Poem on the Inhumanity of the Slave Trade. Barbauld alludes to British imperialism in lines 35 -36, with the imagery describing a map and the division of the world into different nations through imperialism. Obviously, the description of “dotted lines and penciled edges” is a description of the negative effects of imperialism. Barbauld indicates that the fall of the British Empire will result from resistance and revolt against Britain, as a result of their imperialistic lack of transnational sympathy. The passage demonstrates that those who suffer from British aggression understandably hate Britain. The woman we empathize with, “She asks where the place is that destroyed her happiness, / And learns its name but hates the sound” (lines 37-38). Eighteen Hundred and Eleven warns Britain of this future and also warns it of the guilt and guilt arising from the repression of others; “You who shared the blame must share the trouble” (line 46). In this way, Barbauld draws attention to the negative political consequences of British foreign policy, as well as the emotional repercussions. The sympathy evoked in this passage is indeed the foundation of Barbauld's progressive cosmopolitanism, as is his call to end the British imperialism that causes this suffering around the world. Poetry calls for the spread of this global consciousness and presents the benefits of this ideal. For example, lines 165-168 describe a diverse, cosmopolitan London where his vision of cosmopolitanism is practiced: “Streets, where the turbaned Muslim, the bearded Jew,/ and the downy African, met the brown Hindu ;/ where through every spontaneous vein abundance flowed,/ where Wealth enjoyed, and Charity bestowed.” This empathy is sometimes limited by Barbauld's preference for the local name is “uncouth.” This description emphasizes the otherness of this woman and can also be considered demeaning by suggesting that she is less cultured. Barbauld's cosmopolitan outlook is shown to be limited by her Anglocentrism. The second passage, lines 73-82, demonstrates these divisions between cosmopolitanism and insularism. Barbauld qualifies his notions of cosmopolitanism, as this passage celebrates the artistic and social achievements of Britain. The images and language insinuate the superiority of British culture. A specific example of this Eurocentric perspective is found in line 82, where Barbauld promotes the English language and accent as superior and expresses joy at its spread throughout the world. The passage also includes the literary pattern of associating British culture with light, for example line 80, "Ever from the lamp pours a radiance." This image associates Britain with the divine and, therefore, with the enlightened and superior. Barbauld demonstrates his Anglo-Saxon bias by elevating British achievements and using a.

Topic > "One thousand one hundred and eleven" by Anna Barbauld Cosmopolitan theory emerged as a result of the growing power of Napoleon, English imperialism, and the development of a global economy. This theory, however, is marked by the limitations and stereotypes of the time, as it often advocates European and Anglo-Saxon superiority. Anna Barbauld's poetry is no exception. Eight hundred and eleven criticizes Britain's imperialist foreign policy, but in doing so it is divided, illustrating the limits of Romantic cosmopolitanism. This poem, however, should not be devalued for its displays of insularity examine divisions and stereotypes, as well as recognize the progressive promotion of transnational sympathy to gain a greater understanding of the cosmopolitan thought of Barbauld's time. This article will examine the divisions and successions of the poem through a close reading of lines 31-38 and 73-82. I will examine the poetic details of the poem, indicating that they work to create a serious political poem. I will then address the thematic concerns of cosmopolitanism within these passages and the entire poem. Finally, I will relate Eight Hundred and Eleven to Kant's cosmopolitan vision in “Perpetual Peace” to develop a greater understanding of the nature of Romantic-era cosmopolitanism. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Exploring Divisions and Stereotypes in “Eight Hundred and Eleven” In completing a close reading of these specific passages, it is important to first identify the metrical forms, rhyme structures, and their implications. Ottocentoundici is written in heroic couplets, constructed with iambic pentameter verses with masculine rhyme. At the time this poem was written, serious political poetry written in heroic couplet form was often associated with conventional, conservative politics. Barbauld obviously wrote this poem to have a serious impact on English politics and change the country's foreign policy. The heroic couplet form is then used to give the poem a more serious and believable tone. The fact that the metrical form used is associated with Conservative politics seems to make his radical criticism of British foreign policy even more shocking. Interestingly, Barbauld uses several trochees and spondees within the metrical form, disrupting the conventional stress pattern of iambic pentameter. This adds energy and strength to the language and, consequently, to its political message. An example of trochee is line 31, "Frequent, some dark course, some rude name." This verse begins with an accent and a trocheus that renew the fervor of the language and enliven the next passage. An example of a spondee is line 35, “Or the diffuse map explores with eager eye.” The words “spread” and “map” are both accented, creating a spondee, giving greater prominence to this important image. Ottocentoundici's combination of the traditional metrical form of heroic couplets with the use of frequent trochees and spondees creates a vibrant and energetic political poem to forcefully convey its political message. The first passage, lines 31-38, describes the suffering of a female individual. The woman is not British, as described in line 31, “…some dark course, some rude name.” Her “husbands, brothers, friends” are killed in some global dispute and her suffering is illustrated. This is perhaps an allusion to the War of 1812 and the woman mightbeing a citizen of Napoleon's empire directly affected by British violence. The scene, however, is not explicit; this event could occur in any area, resulting from any global conflict. Woman is a universal individual. The reader easily relates to and empathizes with his loss of family and subsequent suffering. Barbauld creates empathy for the "other" by particularizing the individual and describing their emotions in a universal way. This is done in Ottocentoundici through the representation of individuals within families, often women. The technique of singling out a stranger is used in the works of several poets of this time to address cosmopolitan concerns of abolitionism and women's rights, for example Yearsley's A Poem on the Inhumanity of the Slave Trade. Barbauld alludes to British imperialism in lines 35 -36, with the imagery describing a map and the division of the world into different nations through imperialism. Obviously, the description of “dotted lines and penciled edges” is a description of the negative effects of imperialism. Barbauld indicates that the fall of the British Empire will result from resistance and revolt against Britain, as a result of their imperialistic lack of transnational sympathy. The passage demonstrates that those who suffer from British aggression understandably hate Britain. The woman we empathize with, “She asks where the place is that destroyed her happiness, / And learns its name but hates the sound” (lines 37-38). Eighteen Hundred and Eleven warns Britain of this future and also warns it of the guilt and guilt arising from the repression of others; “You who shared the blame must share the trouble” (line 46). In this way, Barbauld draws attention to the negative political consequences of British foreign policy, as well as the emotional repercussions. The sympathy evoked in this passage is indeed the foundation of Barbauld's progressive cosmopolitanism, as is his call to end the British imperialism that causes this suffering around the world. Poetry calls for the spread of this global consciousness and presents the benefits of this ideal. For example, lines 165-168 describe a diverse, cosmopolitan London where his vision of cosmopolitanism is practiced: “Streets, where the turbaned Muslim, the bearded Jew,/ and the downy African, met the brown Hindu ;/ where through every spontaneous vein abundance flowed,/ where Wealth enjoyed, and Charity bestowed.” This empathy is sometimes limited by Barbauld's preference for the local name is “uncouth.” This description emphasizes the otherness of this woman and can also be considered demeaning by suggesting that she is less cultured. Barbauld's cosmopolitan outlook is shown to be limited by her Anglocentrism. The second passage, lines 73-82, demonstrates these divisions between cosmopolitanism and insularism. Barbauld qualifies his notions of cosmopolitanism, as this passage celebrates the artistic and social achievements of Britain. The images and language insinuate the superiority of British culture. A specific example of this Eurocentric perspective is found in line 82, where Barbauld promotes the English language and accent as superior and expresses joy at its spread throughout the world. The passage also includes the literary pattern of associating British culture with light, for example line 80, "Ever from the lamp pours a radiance." This image associates Britain with the divine and, therefore, with the enlightened and superior. Barbauld demonstrates his Anglo-Saxon bias by elevating British achievements and using a.