Hiya

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Nineteenth century English poet Matthew Arnold created a basis for analyzing literature and life from what he believed to be the two foundations of all modern culture Hellenism and Hebraism. Arnold characterized Hellenism, typified best by the ancient Greeks who supplied the name, as sweetness and light. Hellenistic influence on culture is manifest in appreciation for the apparent gentleness in the beauty of nature, coupled with acknowledgment of its power and wildness. Hebraism, the tradition of the Hebrews and subsequent Jews and Christians, is built on fire and strength. Its focus is primarily conduct and morality, and tradition rather than custom. These two foundations, Arnold says, ought to be balanced in ones adherence to them. Evil follows as a result of an imbalance of the two, and conflict results from the tension they can generate together. Just such a tension or imbalance often propels the plot of The Scarlet Letter. Let it be known that we speak of the terms Hellenism and Hebraism as characteristics in people in things, manners of action and thought, or ways of life; the terms as such, while maintaining religious connotation, are divorced from the religious denotations they carry with them. Hellenism must not be equated with Paganism, and Hebraism with Judaism and Christianity. Through the characters of Hester, Pearl, Dimmesdale and Chillingworth, Hawthorne effects the message that a balance of Hellenism and Hebraism, however he may have described them, is the condition in which one is enabled to pursue moral perfection.

Hawthorne develops the contrast of Hellenism and Hebraism in the first chapter of the novel. He writes that the founders of a new colony. . .have invariably recognized it among their earliest practical necessities to allot a portion of the virgin soil as a cemetery, and another portion as the site of a prison (5). The reference to virgin soil, so close syntactically to cemetery and prison generates a sense of violation of something pure and beautiful. His assertion that these allotments are the earliest necessities creates an immediate and damning characterization of the colony; they are practiced violators of the innocent virginity of nature, which presents the irony of their punishing Hester for a crime of sexuality. The message of the imagery is clear life in the Puritan community yields imprisonment and death. But Hawthorne plants a seed of hope in the midst of such harshness. The rose-bush beside the prison door provides a sense of hope to the criminal that the deep heart of Nature could pity and be kind to him (6). This hope is embodied in Hester Prynne, and it is her deep heart that will be kind and merciful, even to those who oppress her. Hawthorne does not trust his reader to discover this, and invites us to hope that this bush will symbolize some sweet moral blossom (6). Hence the sweetness of Hellenistic, nature-loving life, when added to the strictness of the Puritan community is a means to moral blossoming.

But Hesters redemption is through Pearl. The relentless attack from the God-fearing Puritans would be unbearable for her without Pearl. Pearl links herself with the symbol of moral blossoming by saying later in the book that she has no father, but was picked from the rose-bush outside the prison door. She is thereby simultaneously the symbol for Hesters moral transgression, and the catalyst for her moral reparation and blossom. Hester and Dimmesdales union was so foreign and unknown to the Puritan society that its product, Pearl, was equally foreign. As the union is sinful and cannot last, Pearl benefits Hester by maintaining the wild characteristics that one needs in order to neutralize the acidity of unmixed Hebraism that punishes Hester, and imprisons and paralyzes all the community. The paralysis with which the dark, fire-and-brimstone attitude infects the Puritans is countered for Hester in Pearls sweet, mythological communion with nature and her endless supply of energy. Having already within her a sense of the gravity of her actions and the responsibility for their consequences, Hester can balance her outlook on life to an almost perfect degree by allowing Pearls Hellenistic sweetness to course through her veins. She sees herself neither as a carriage of sin, nor as a beast of nature. Hester has the power of communion with both society and nature, but though the sun shrinks from her; she is neither utterly rebellious, nor utterly submissive in her conduct. This balance allows Hester to realize some form of peace with the past, and to begin perfecting her morality.

While Pearl is the instrument of her mothers balance, she herself is as yet incomplete. She is untamed to such an extent that her natural home seems to be in the state of nature, away from the presence of any civilized society. When she enters the woods with her mother, the flowers on the forest floor appeared to whisper, adorn thyself with me, thou beautiful child, adorn thyself with me! and she was gentler there than in the grassy-margined streets of the settlement, or in her mothers cottage (1). Her inability to commune with other people results from her utter lack of moral responsibility. She is a daughter of Hester, and of Nature, and nothing else. She is not student, or a friend, or a parishioner, or anything else. She therefore does not have a role in which she can form her moral character. Likewise, she does not have a role that confines or limits her. When asked by Hester, child, what art thou? Pearl replies O, I am your little Pearl! (68). The answer is half correct. She is Hesters little Pearl, and Natures little Pearl, and as yet nothing else. But this imperfection in Pearl is temporary, and the final stages of the book reveal her incipient introduction to human society, the balancing of her Hellenism with a touch of Hebraism. She achieves this introduction by discovering and being able to recognize Dimmesdale as a father figure. Pearl is tamed on the scaffold by her genuine emotion for her father, an emotion which makes her not just a daughter, but part of a family--something she demonstrated a desire for throughout the novel by asking Dimmesdale to meet them in public. Her tears on the scaffold are that of a daughter for her father, for the tradition of Family and union with other people, and they are her admission into the world of society, into the perfect balance in which one can achieve moral greatness.

Though Dimmesdale is Pearls entrance into a balanced life, he himself cannot benefit as Hester does from Pearls untamed energy. Unable to maintain the precious spark of rebellion that he began in his union with Hester, he sees, rightfully, its sinfulness. But he sees only its sinfulness, and cannot but make himself a slave to the Hebraistic tradition that surrounds him. This tradition that punished Hester rightfully, continues to punish Dimmesdale entirely within his own mind. The strength and fire of the strict Puritan tradition neither strengthen nor purge him, as they did for Hester, because he cannot see the sweetness and light to which they intend to guide him. He becomes crippled and weakened by his indefatigable guilt, and Chillingworths calculated perpetuation of it. Dimmesdale becomes so weak that he cannot even bring himself to see that he needs to escape Chillingworth, despite his intuition over the years. Hester needs to tell him, thou must dwell no longer with this man (14), and she later recognizes that has been crushed under this seven years weight of misery (15). If Dimmesdale is to be redeemed, it will not be by the escape for which Hesters seven years balance of punishment and forgiveness has prepared her. Dimmesdale also lacks the ability to see anything other than his one fault. He falsely believes that by keeping this fault hidden, he can do good for others which would otherwise be impossible. What he does not recognize is that despite keeping it hidden, his sin is the very reason he is able to do good for others, and that by hiding this fact, he is negating his own good effects, and maintaining the imbalance in the Puritan community which paralyzes him. The role Dimmesdale performs as empathetic preacher makes impossible the method of escape that Hester suggests, and that he at first accepts.

Dimmesdale does escape, however, in a different sense, and Hester unknowingly provides him with both the energy and the vision--the two things he lacks--to do so. Hester, underestimating Chillingworths effect, is amazed at Dimmesdales inability to see anything but the dark side of his nature. She exclaims in the woods, is the world then so narrow? (14), and though she points him in the wrong direction, she succeeds in shaking Dimmesdale from his course to self-destruction. Refreshed by the renewed love for Hester in the woods, and made to consider the possibility of reconciliation, Dimmesdale returns to his house with the ability to share in the peace that Hester has earned. It is unclear from his words whether at his death he has truly realized the sweetness of forgiveness, but the action he took was the means to achieve this. We have two hints from the text that may resolve this uncertainty. The first is that for the first time in the book, despite the Christian setting, we hear the words God is merciful (171), and it is Dimmesdale himself who speaks them. The significance would not be much, but for the fact that the words are nowhere else in the text, suggesting that perhaps this is more of a profound insight than it might at first appear. The second and more obvious hint is that Chillingworth acknowledges that there was no place so secret,--no high place nor lowly place, where thou couldst have escaped me, --save on this very scaffold! (171), and later reverts into repeating thou hast escaped me! (17).

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Master Harold…and the Boys

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"Master Harold......and the Boys", is a play based on a boy coming of age. Harold begins the play acting like a boy and through out the play matures, until he is considered a man. In the beginning, Harold acts still as a child until the middle of the play. In the middle of the play, Harold has matured but not fully as of yet. Not until the end of the play has Harold finally matured to the man he truly is to be.

In the beginning of the play Harold acts as if he is still a child. When Harold walks in to the restaurant, he sits down and begins to talk with Sam. Sam tells Harold that his father is coming, but Harold shows no concern of this. Harold says that his father is not well, and there is no way he can be coming home. By complaining, Harold shows that he is still a child and has no remorse for his father. By do this Harold is not come to age as of yet in the play.

In the middle of the play Harold still acts as if he is a child, but has matured slightly. Harold had been talking with Sam and Willie about the past, and what they have done together. On the phone Harold shows respect towards his father, even though he truly does not mean it, by doing this Harold shows maturity. In the beginning of the play Harold showed no maturity while talking to his mother on the phone, now he has shown some respect even though he does not mean it. It is not until the end of the play that Harold shows he is truly an adult.

Finally, in the end of the play Harold has matured from a child to an adult. In the end of the play Harold has lost his temper, and Sam and Harold begin to fight. Harold has now taken all his anger built up, from his father and mother, out on Sam. Sam is ready to hurt Harold, but Willie stops him. After dealing with this, Harold has learned what it is truly like to be considered a man. Harold leaves the restaurant now, totally different. He is not the same Harold who walked in the restaurant at the beginning of the play. Harold is now matured and is a totally different person.

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So, in "Master Harold......and the Boys", Harold walks in as a boy and walks out as a man. The play begins with Harold acting like a boy, and through out the play matures. In the beginning, Harold acts still as a child until the middle of the play. In the middle of the play, Harold has matured but not fully as of yet. Finally in the end of the play Harold has matured to the man. Not walking out of the restaurant as the boy he walked in as, but as a man.

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Literary Analysis of "The Chocolate War" and "One Flew Over the Cuckoo's Nest"

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Literary Analysis

The two literary works, One Flew Over the Cuckoo's Nest and The Chocolate War, both contain examples of the impact of society on a person's life. If you try to go and do you own thing in life that is different from society, society will always try to pull you back. And no matter how much you fight, you are always against the odds of over powering society.

In One Flew Over the Cuckoo's Nest, Nurse Ratched personifies society. With her control over the "fog" she can basically control the actions of all the patients at the psychiatric ward. "…she is powerful like the establishment, and like the government, she makes and enforces the rules" (One). She is referring to Nurse Ratched. At one point, R. P. McMurphy, the newest patient at the psychiatric ward, started to get the upper hand on Nurse Ratched. But soon she reasserted her power by taking away the tub room privilege where the men had been holding their card games. This leads to the illustration of the odds of over coming the power of society.

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She is too big to be beaten… She's lost a little battle here today, but it's a minor battle in a big war that she's been winning and that she'll go on winning. We mustn't let McMurphy get our hopes up any different, lure us into some kind of dumb play… She don't lose on her loses, but she wins on ours (Kesey 101).

This passage illustrates how society always tries to keep people down. No matter what you do you will never be able to over power the brick wall that tries to keep everybody in check. When you beat society in one little battle, it's not enough to even cause a ripple in the war that everybody fights with society for our entire lifetime. When society loses a small battle, it loses nothing. But when you loses any battle, you can lose a lot. You could lose your social status, get hurt, or even die in this life-long war. Minorities have an even harder in this war.

Chief Bromden is half Indian and has been at the psychiatric ward the longest. His father was a full blooded Indian. The other patients at the ward tended to avoid him because of his ethnic background. "If my being half Indian ever helped me in any way in this dirty life, it helped me being cagey, helped me all these years" (Bromden 10). Minorities can never turn their back on society because it seems as though society puts more attention to minorities. The Black Boys and Chief Bromden exemplify the control that society has some minorities. Nurse Ratched was always ordering them to do certain jobs that she didn't want to bother with doing, and they always complied to her orders

In The Chocolate War Archie Costello, the antagonist character in the novel, and the Vigils represent society and its power. Archie said that no one defies the vigils and gets away with. Then a freshman, Jerry Renault, refuses to comply with the Vigils orders. Then Archie and the Vigils start to make Renault's life a living hell. Soon after Jerry's war starts, people started giving him the silent treatment and not talk to him just like Chief Bromden in One Flew Over the Cuckoo's Nest. Finally in the end he gets severely beaten half-to-death in one last fight. All this for just trying to do what he wanted to do.

Jerry's last fight was not actually with the Emile, the person that Archie ordered to teach Jerry a lesson, but with society as a whole. When he lost that fight he lost all of what little respect he had. In the end nothing happens. Jerry was forgotten of.

Society has an impact on everybody's lives no matter who you are as pointed out in the two novels One Flew Over the Cuckoo's Nest, by Ken Kesey, and The Chocolate War, by Robert Comier. The war is never going to be over until you leave to a better palce.

Please note that this sample paper on Literary Analysis of "The Chocolate War" and "One Flew Over the Cuckoo's Nest" is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Literary Analysis of "The Chocolate War" and "One Flew Over the Cuckoo's Nest", we are here to assist you. Your persuasive essay on Literary Analysis of "The Chocolate War" and "One Flew Over the Cuckoo's Nest" will be written from scratch, so you do not have to worry about its originality. Order your authentic assignment and you will be amazed at how easy it is to complete a quality custom paper within the shortest time possible!

War poetry by wilfred owen and rupert brooke

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Q. Examine two of the poems studied in detail, comparing the poets' attitudes to the theme of war. In your discussion be sure to refer to the structure and use of imagery, diction and other stylistic devices used to present the poets' ideas and emotions.

Through poetry writers are able to effectively express their attitudes towards a variety of topics. Rupert Brooke's "The Soldier" and Wilfred Owen's "Anthem For The Doomed Youth" present two opposing attitudes towards the Great War. "The Soldier," written in 114 reflects the patriotism that was the ethos of the British society early in the war. In contrast "Anthem For The Doomed Youth" spares no one's feelings in its lament for the many unnecessary young deaths. Each of the writers utilise the sonnet form to bring out different meanings, and through careful selection of language evoke contrasting emotional responses.

In his poem "The Soldier", Rupert Brooke chooses the petrachan sonnet to present to the British public a strongly patriotic attitude towards the war. Compressing a lot of meaning and emotion into fourteen lines, Brooke clearly divides his poem into two significant sections. In the first, an octave, he employs the voice of a patriotic soldier who asks the British public to respond to his death in a patriotic manner. He says, "If I should die, think only this of me." That he will be "forever England" as his body is "a body of England's." In the second important section, the sestet, the soldier responds by telling the people what he will do in return if they think of him in this way. He will "Give somewhere back the thoughts by England given." He will be "a pulse in the eternal mind," always remembering England's "sights and sounds, dreams happy as her day." There is no reference to the pain and horrors that go into preserving this vision, so as to give hope and strength to those whose loved ones have gone to fight and may never come back. The link of the title to the poem underpins Brooke's nationalistic view. Without the title being there, we would not know that the poem is from the point of view of a soldier. There is no reference to a war or battle in the poem. Once the link of the title "The Soldier" to the content of the poem is evident, the spirit with which the poem is read is completely different to if it had just been an ordinary man. This is no ordinary man for he is a soldier, a soldier who represents the partisanship with which all have gone to fight for their country. The title gives meaning and purpose to the poem and induces a strong sense of patriotism. Rupert Brooke has successful persuaded his reader's to share in his loyal and devotional attitude towards his country and the war in which they fought.

The patriotic attitude that Rupert Brooke is conveying in his poem "The Soldier" is enhanced by his particular choice of language and imagery. The patriotic notion of dying for your country is greatly intensified by the concentration on the personification of England. It is clear that the anonymous soldier worships England as his motherland when he refers to himself as having been "bore, shaped, made aware" by her. She gave him "her flowers to love, her ways to roam." She offered him all that is positive and pleasant to help him grow. Additionally, Brooke demonstrates values held by the romantic poets in his elevation of nature. Through this he presents the concept of a love between a soldier and the land of his birth. He draws on the romantic vision of pastoral England to convey the great fervour felt by the soldier for his homeland. The narrator talks of being "washed by the rivers" and "blest by suns of home." The unknown soldier puts nature on a pedestal once again when he says that if he dies his life has not ended for eternity, rather it has gone back to where it came from, into "that rich earth" which shall remain "forever England." This stirs a deep feeling of patriotism and reassures loved ones that "their" soldier was a sacrifice in a noble cause. The linking of the patriotic view of home to a soldier in a war far away heightens the emotion of the poem. Through his lyrical, melodious choice of language, Brooke has created a youthful hero when his country needed him the most. Using the idealistic vision of an "English heaven," the hero embodies the idea of a just war against an enemy. Through his patriotic attitude being expressed in a highly influential poem, Rupert Brooke enhanced the war propaganda in Britain at the time.

In stark contrast to Rupert Brooke's "The Soldier," "Anthem For The Doomed Youth" written by Wilfred Owen utilises the Shakespearian sonnet to present a gloomy, bitter attitude towards the First World War. In the traditional question and answer form, Owen devotes two lines of each quattrain to comparing and linking the unknown, surreal death rituals of the war to the familiarity of a traditional funeral at home in an English village. In the first quattrain Owen refers to the first step of the funeral procession, which was the ringing of the bells to let the village know that there had been a death. He poses the question "what passing bells for those who die as cattle?" The answer is the statement "only the monstrous anger of the guns." He is suggesting the worthlessness of these young lives, that no one acknowledges each and every death for it is pure carnage. Next he asks who will say the prayers for these "doomed youth." No one but "the stuttering rifles." In the next quattrain he inquires who will be the "voice of mourning" for these young lives, and his response is the "choirs of wailing shells." Following on, only the tears of the boys, "the holy glimmers" will be the candles traditionally held "to speed them all." And at the end of each day the "slow dusk" is the only sign of mourning dedicated to the many lives lost that day. It represents the customary "drawing down of blinds" that indicated a house was in mourning. Wilfred Owen skilfully used fourteen lines to put across the sad reality of the senselessness and waste of young men going to battle. Furthermore, the sad irony of the title, "Anthem For The Doomed Youth" reinforces the resentful viewpoint that Owen holds towards the war. An anthem is customarily a song of praise. The strong irony of this is that the song of praise is for youth who are "doomed". The standard expectation is that older people are far more doomed than the young, but in this case it is the youth who confronting their fate. This casts a pall over the so-called song of praise. Wilfred Owen has successfully expressed the bitter stance he holds in relation to the war. He has no sympathy for people who read his poem, even those with loved ones at war, and instead of evoking a feeling of courage and patriotism promotes a mood of depression, despair and hopelessness for those lost forever.

In a similar fashion to Rupert Brook, Wilfred Owen has been very meticulous in his selection of language in his wartime poem "Anthem For The Doomed Youth." However, unlike the lyrical, mellifluous diction of "The Soldier," "Anthem For The Doomed Youth" is a callous, harsh outlook on the realities of the war. Leaving nothing to the imagination, Owen explicitly describes the slaughter of young men in a metaphor, referring to those "who die as cattle." This notion is graphic and harsh, and is not at all an incentive for others to enlist. Using the technique of personification, he refers to the "monstrous anger of the guns" and the "shrill, demented choirs of wailing shells" to give the full impact of the terrifying veracity of the war. BY personifying the shires, the "sad shires" the writer lends a melancholy mood to his poem, reflecting his attitude and evoking a poignant response. Owen uses the techniques of onomatopoeia and alliteration when he alludes to the "stuttering rifles' rapid rattle." The reader can almost hear the echoing sound of gunfire. The "rapid rattle" connotes the continuous sound of the rifles, which signified death. The poet brings sickeningly strong, graphic images of scenes of war and death to mind. Owen uses the statement "no mockeries for them from prayers or bells" to suggest that religion and a loving God have nothing to do with the deaths of so many. By the use of the word "mockeries" the writer has hinted at his cynical feelings towards the war that claimed so many lives. Through his poem "Anthem For The Doomed Youth," Wilfred Owen has effectively conveyed a despondent, despairing approach towards the Great War.

In conclusion, in their poems "The Soldier" and "Anthem For The Doomed Youth," poetry has proved to be an effectual way for both Rupert Brooke and Wilfred Owen to express the values they hold in the respect of war .In the strongly patriotic "The Soldier" the use of the sonnet form to narrate a soldier's plea for the British public to stand by him is reinforced by the highly effusive, romantic language that Brooke chooses. This successfully portrays the devoted and loyal attitude that Brooke held towards England in the time of war. In contrast, in "Anthem For The Doomed Youth" the startlingly bitter and resentful attitude that Wilfred Owen had towards the same war is reflected in the way he uses the sonnet form to compare a funeral at home to the futility of deaths in war time. This view is further demonstrated in the explicit language he selects. In the form of poetry, both poets' ardent feelings towards the First World War are efficiently conveyed, producing the desired emotional responses.

Please note that this sample paper on war poetry by wilfred owen and rupert brooke is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on war poetry by wilfred owen and rupert brooke, we are here to assist you. Your cheap custom college paper on war poetry by wilfred owen and rupert brooke will be written from scratch, so you do not have to worry about its originality. Order your authentic assignment and you will be amazed at how easy it is to complete a quality custom paper within the shortest time possible!

A Handsome Adaptation

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To call "The Hours" a highly pedigreed movie would be an understatement. Boasting not one but three of Hollywood's most respected actresses, as well as director Stephen Daldry, fresh from the triumph of his critically acclaimed "Billy Elliot," the film also features a screenplay by playwright David Hare, and music by none other than Philip Glass. It's based on Michael Cunningham's 18 PEN/Faulkner award-winning novel of the same name, and its subject matter ranging from literary leviathan Virginia Woolf, to postwar suburban angst, to a modern-day poet dying of AIDS could not possibly be weightier. The question is does "The Hours" live up to its blue-blooded promise?

The answer, happily, is yes. Daldry and producer Scott Rudin have crafted a fine, luminous film about the search by three women, in varying circumstances and times, for meaning in a life lived on its own terms, whatever those terms may be. Though not without its flaws, "The Hours" is a pleasure to watch as it unfolds its gorgeous triptych of settings across the screen. Generally I found it inferior to Cunningham's novel, which is no surprise since I doubt his intense scrutiny of his characters' inner lives could ever be adequately conveyed through dialogue alone. Still, it is an impressive achievement, and solidly deserves its Best Drama Golden Globe.

"The Hours" is adapted from a book that was in turn inspired by another book Woolf's seminal "Mrs. Dalloway," whose original working title was also "The Hours." "'Mrs. Dalloway,'" writes Cunningham on the film's web site, "is the story of one day in the life of Clarissa Dalloway, a 5-year-old upper-class Englishwoman married to a man named Richard, who is a pleasant and unremarkable fellow with a middling job in Parliament. On the day the story takes place, Clarissa is giving a party, the kind of party aristocratic London hostesses gave frequently during the social season elaborate, expensive, and stuffy."

However, her routine preoccupations become shrouded by vague disquiet after a visit from Peter Walsh, an admirer from her youth. Peter has failed to achieve success by conventional standards, but expresses that Clarissa's life is even more trivial, leading her to wonder if her existence is meaningless. Though Clarissa's uncertainty is never fully resolved, and she goes on living more or less as before, Woolf provides her with a negative double in the figure of insane war veteran Septimus Warren Smith, whose day deteriorates as Clarissa's progresses towards the triumph of her party. His reality, populated by imaginary voices and birds singing in ancient Greek, is shadowed by an awareness of his every action's futility. At last, threatened by institutionalization, he throws himself out a window.

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Given that Woolf, too, took her own life, and that "Mrs. Dalloway" marked the start of the most productive period in her writing a period facilitated by a move to London from the nearby suburb of Richmond, despite the city's threat to her already precarious mental health it is hard not to see the opposition of Clarissa, the survivor, and Septimus, the victim of chaos, as a question Woolf posed to herself at a critical time in her life. Cunningham sees it, and, after opening "The Hours" with the scene of Woolf's 141 suicide, travels back to the fictional day in 1 in which she both begins to write "Mrs. Dalloway" and convinces her protective husband Leonard to move back to London. The second portion of "The Hours," which moves between its stories in alternating chapters, is set in 14 to tell the story of pregnant Los Angeles housewife Laura Brown, preparing with her son to celebrate her husband's birthday but beset by a growing uneasiness as she reads "Mrs. Dalloway." Its third, contemporary part updates the novel's story itself, as New Yorker Clarissa Vaughan attempts to honor her old lover Richard, a poet stricken with AIDS, by throwing him what else? a party.

Though structurally complicated, "The Hours" contains enough parallels between its characters' lives to afford what screenwriter Hare calls the "deep pleasures of recognition" in picking them out of Cunningham's radiant, swiftly flowing prose. Its fluid style is a more enjoyable read than "Mrs. Dalloway" itself, which by contrast feels sluggish and drained of vitality. Perhaps it's the emotional immediacy conferred by an American writer on his characters that makes Woolf's

seem so proper, so

depressed, so ... English. But Cunningham's brief yet focused chapters also escape the rambling to which "Mrs. Dalloway" is prone, and provides a satisfying closure that the original, caught in the tangles of its stream-of-consciousness narrative, never achieves. More skillful with his fragments than Woolf is with her whole, he both daringly updates her tale (his Clarissa is a book editor, living in a contented lesbian union) and recombines the traits of her characters in ways that surpass her design for example, by making the "mad poet" Septimus and Clarissa's ex-lover one and the same, thereby bringing his heroine into a direct conflict with meaning that is ultimately more shattering.

"The Hours" on film is inevitably less compelling than "The Hours" in print, though it does have advantages over the book in its artful appeal to the senses, most notably through Glass' score. Floating through the lush, expressive soundscapes anchored by his arrangements of crystalline piano, deep warm cello and unearthly violin is bliss on its own, and worth the price of admission. The viewer's eyes also sink gratefully into cinematographer Seamus McGarvey's luxuriously soft focus, which lends a glowing tone to the shades of blue, rust and beige that dominate in the separate stories but also fade together, emphasizing their unity.

Where the film falters somewhat is in its dialogue, specifically during the New York scenes, where the efforts at exposition are all too transparent. Hare's commitment to minimizing voice-overs is admirable, but also shortchanges some of Cunningham's best passages by turning private thoughts into public exchanges that come off sounding flat and melodramatic. One of the difficulties in translating from page to screen is that it removes our access to the characters' inner lives, necessarily consigning us to a more superficial view. Since the film has three heroines and only two hours to explore them, it treats much of their background topically, at the risk of encouraging shallow acting.

Sadly, this is the case with film veteran Meryl Streep, who gives a weak showing, often seeming not quite present in her role as Clarissa Vaughan. She responds subtly and believably in her mother-daughter interactions with Claire Danes, but something in particular is missing in her scene with Jeff Daniels, who plays Richard's ex-lover. The actors, instead of connecting, often seem to be speaking past each other, and when Streep bursts into tears, she seems less like a woman whose life is being rocked to its foundations than one having a menopausal breakdown. At best, Clarissa's existential worries come off as a kind of irritable insincerity opposite Richard (Ed Harris, looking appropriately ravaged and vacant-eyed, who does what he can to forge a truer pathos out of his stagey dialogue, without entirely succeeding).

For her part, Oscar nominee Julianne Moore offers a middling performance as homemaker Laura Brown. In a role originally earmarked for the more gamine Gwyneth Paltrow, Moore's motherly allure highlights the irony of her character a lost soul of a woman who loves her young son but has little "maternal instinct" for him or her unborn child. It is safe to say Moore does better than Paltrow would have here, but she still starts off shakily opposite John C. Reilly as Laura's husband, Dan. She does, however, improve as the film goes on, and is at her best beneath the wrinkled patina of old-age makeup that camouflages her at the movie's end.

Cosmetics create another remarkable metamorphosis in the person of Nicole Kidman. Outsizing her nose may not make Kidman look more like Virginia Woolf, but it does help her disappear into the role, for which Kidman's preparations (which included reading all of Woolf's letters and living alone in a remote cottage) pay off handsomely. Hitherto the least seriously regarded of the three actresses, the siren of "Moulin Rouge," unrecognizable in a baggy drop-waisted dress, puts Streep and Moore to shame with her incandescent portrayal of Woolf. Throughout the film, whose final moments are all hers, her eyes radiate the fierce will and intelligence of a woman determined to both live her life and pursue her art, knowing that to try to do both may cost her sanity.

Kidman's performance is a fitting tribute both to the author of "Mrs. Dalloway" and to the writer who has fictionalized her. She conveys the ultimate purpose of the book, which is to explore those rare moments of painful beauty and haunting joy that define us the rapturous energy that comes surging up through heartache, disappointment and the sordid distractions of everyday life. "We live our lives, do whatever we do, and then we sleep it's as simple and ordinary as that," reflects Cunningham's Clarissa at her tale's end. "There's just this for consolation an hour here or there when our lives seem, against all odds and expectations, to burst open and give us everything we've ever imagined, though everyone ... knows these hours will inevitably be followed by others, far darker and more difficult. Still, we cherish the city, the morning; we hope, more than anything, for more."

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