Animated Romantic Images Biography
Source(google.com.pk)Film actor Jack Black appeared in the popular comedy films Shallow Hal, High Fidelity and Tropic Thunder, and is the voice of Kung Fu Panda.
Jack Black was born on August 28, 1969, in Santa Monica, California. His breakthrough role was in High Fidelity (2000), and he soon after co-starred opposite Gwyneth Paltrow in Shallow Hal in 2001. His animated film project Kung Fu Panda scored big at the box office in 2008—the same year that Black appeared in the comedy Tropic Thunder. In 2009, he starred in Year One, and more recently, he appeared in Kung Fu Panda 2 and The Big Year.
Actor, musician and comedian Jack Black was born Thomas Jacob Black on August 28, 1969, in Santa Monica, California. One of the more popular character actors of recent years, Black's acerbic wit and high-energy antics have made him a standard bearer for the Generation X demographic.
Black attended UCLA, where he became a member of Tim Robbins' Actors Gang, a Los Angeles-based performance troupe that also spawned John Cusack. Black would make his film debut with Robbins and later play opposite Cusack in one of his most memorable roles.
In Robbins' political spoof Bob Roberts (1992), Black had a small but critically noted role as a fanatical supporter of presidential hopeful Bob Roberts (played by Robbins himself). In 1994, Black teamed up with friend and fellow actor Kyle Gass to form Tenacious D, a tongue-in-cheek musical ensemble lovingly, if sarcastically, dubbed the "Greatest Band on Earth." Throughout the 1990s, Black managed to land a steady stream of bit parts in feature attractions such as Waterworld (1995), Dead Man Walking (1995), The Cable Guy (1996), Mars Attacks! (1996), The Jackal (1997), Enemy of the State (1998) and Cradle Will Rock (1
But it was in more independently oriented projects that Black's talents were given free rein. His brief turn in HBO's Mr. Show and his critically acclaimed performance as a pill-popping hospital attendant in Jesus' Son increasingly cemented his reputation as a comic force.
Black's breakthrough came with the 2000 adaptation of the popular Nick Hornby novel High Fidelity. As Barry, a hyper-pretentious record store clerk, Black showcased his knack for brutally acerbic wit. Although only a member of the supporting cast, Black's performance was one of the most memorable attributes of a film that was both commercially and critically successful.
Capitalizing on his new-found notoriety, Black starred opposite Gwyneth Paltrow in the romantic comedy Shallow Hal (2001). The film, directed by the Farrelly brothers of There's Something About Mary fame, received mixed reviews. Black followed with Orange County (2002), another big-budget comedy in which he played a prototypical slacker figure, and School of Rock, in which he played a rebellious music teacher. The films provided Black with added exposure, while allowing him to stretch his artists legs a littl
On May 14, 2008, Black let the news slip that co-star Angelina Jolie was pregnant with twins during a joint interview at the Cannes Film Festival in France to promote their animated movie Kung Fu Panda. Since that accidental revelation, Black has expanded his own family. He and his wife Tanya Haden welcomed a son named Thomas Jack. The couple has another child, Samuel, who was born in 2006.
Kung Fu Panda went on to score big at the box office, earning more than $200 million and producing two sequels. Later that summer, Black appeared in Tropic Thunder with Ben Stiller and Robert Downey Jr. In 2009, he starred in the comedy Year One with Michael Cera. He also provided the voice of Eddie Rigs in the video game, Brütal Legend.
Thomas Gray is generally considered the second most important poet of the eighteenth century (following the dominant figure of Alexander Pope) and the most disappointing. It was generally assumed by friends and readers that he was the most talented poet of his generation, but the relatively small and even reluctantly published body of his works has left generations of scholars puzzling over the reasons for his limited production and meditating on the general reclusiveness and timidity that characterized his life. Samuel Johnson was the first of many critics to put forward the view that Gray spoke in two languages, one public and the other private, and that the private language—that of his best-known and most-loved poem, "Elegy Written in a Country Churchyard" (published in 1751 as An Elegy Wrote in a Country Church Yard)—was too seldom heard. William Wordsworth decided in his preface to Lyrical Ballads (1798), using Gray's "Sonnet on the Death of Richard West" (1775) as his example, that Gray, governed by a false idea of poetic diction, spoke in the wrong language; and Matthew Arnold, in an equally well-known judgment, remarked that the age was wrong for a poetry of high seriousness, that Gray was blighted by his age and never spoke out at all. Such judgments sum up the major critical history of Gray's reception and reputation as a poet. He has always attracted attentive critics precisely because of the extraordinary continuing importance of the "Elegy," which, measured against his other performances, has seemed indisputably superior.
Born in Cornhill on 26 December 1716, Gray was the fifth of twelve children of Philip and Dorothy Antrobus Gray and the only one to survive infancy. His father, a scrivener given to fits of insanity, abused his wife. She left him at one point; but Philip Gray threatened to pursue her and wreak vengeance on her, and she returned to him. From 1725 to 1734 Thomas Gray attended Eton, where he met Richard West and Horace Walpole, son of the powerful Whig minister, Sir Robert Walpole.
In 1734 Gray entered Peterhouse College, Cambridge University. Four years later he left Cambridge without a degree, intending to read law at the Inner Temple in London. Instead, he and Horace Walpole sailed from Dover on 29 March 1739 for a Continental tour. The two quarreled at Reggio, Italy, in May 1741; Gray continued the tour alone, returning to London in September. In November 1741 Gray's father died; Gray's extant letters contain no mention of this event.
Except for his mother, West was the person most dear to Gray; and his death from consumption on 1 June 1742 was a grievous loss to the poet. West died in the year of Gray's greatest productivity, though not all of the work of that year was inspired either by West's death or by Gray's anticipation of it.
West's death did inspire the well-known (largely because of Wordsworth's use of it) "Sonnet on the Death of Richard West," yet it is the shortest and least significant work of the year. The "Ode on the Spring" (1748) owes something to an ode West sent Gray on 5 May, and An Ode on a Distant Prospect of Eton College (1747) may owe something to West's "Ode to Mary Magdelene." The "Hymn to Adversity" (1753) and the unfinished "Hymn to Ignorance" (1768) complete the work of the year, which, together with 1741, may comprise Gray's most critical emotional period.
Gray's poetry is concerned with the rejection of sexual desire. The figure of the poet in his poems is often a lonely, alienated, and marginal one, and various muses or surrogate-mother figures are invoked—in a manner somewhat anticipatory of John Keats's employment of similar figures—for aid or guidance. The typical "plot" of the four longer poems of 1742 has to do with engaging some figure of desire to repudiate it, as in the "Ode on the Spring," or, as in the Eton College ode, to lament lost innocence. Sometimes, as in the "Hymn to Adversity," a harsh and repressive figure is conjured to rebuke excessive desire and to aid in the formation of a modest and humane fellowship, the transposed and social form of sexual desire. In the "Hymn to Ignorance" a goddess clearly modeled on Pope's Dulness in The Dunciad (1728) is used to rebuke the "I" who longs for the maternal and demonic presence. In different but related ways these four poems enact the poet's quest for his tutelary spirit, for the muse who will preside over the making of poetic and personal identity.
The "Ode on the Spring" was written while West was still alive and is to some extent a response to the ode he sent Gray on 5 May. In West's poem "the tardy May" is asked, as "fairest nymph," to resume her reign, to "Bring all the Graces in [her] train" and preside over a seasonally reviving world. Gray's "Ode on the Spring" was sent to West at just about the time of his death and was returned unopened ("Sent to Fav: not knowing he was then Dead," Gray noted on the manuscript in his commonplace book; Favonius was Gray's affectionate name for West). The ode takes the implicit form of elegy, displacing spring from the context of renewal to that of death, and is consistent with a 27 May 1742 letter to West in which Gray explains that he is the frequent victim of "a white Melancholy, or rather Leucocholy" but is also occasionally host to "another sort, black indeed, which I have now and then felt, that has somewhat in it like Tertullian's rule of faith, Credo quia impossible est [I believe because it is impossible]; for it believes, nay, is sure of every thing that is unlikely, so it be but frightful; and, on the other hand, excludes and shuts its eyes to the most possible hopes." Already characteristic of Gray is the view advocated in the "Ode on the Spring" by a tutelary figure:
The lines preview Gray's appreciation in the "Elegy" of rustic simplicity against the claims of the proud and the great and reveal the inception of a poetic persona that will be adapted and modified during the coming years. The poem therefore offers a model for reading Gray's early poetry, in which the various rejections of desire are the major adventure of the speaker of the poems.
In An Ode on a Distant Prospect of Eton College, which is "about" the return of a disillusioned adult to the site of his schoolboy years, desire is represented by "grateful Science [who] still adores / Her HENRY'S holy Shade" (Henry VI was the founder of the college). The ode's opening implies the persistence of desire within the trope of loss and mourning. Science and Henry are icons of desire and loss that signify the import of the speaker's return to Eton: the apprehension of yearning and loss. What arises from the Etonian landscape are more shades, prefiguring future loss: "Ministers of human fate," Anger, Fear, Shame, images of desire defeated: "Or pineing Love shall waste their youth, / Or Jealousy with rankling tooth...." Father Thames authorizes the speaker's vision; he is a silent confirmatory figure, another version of the tutelary muse.
Muse, Contemplation (in the "Ode on the Spring"), and Father Thames are evoked for the prophetic wisdom they possess. One function of prophecy is to transform desire into "pineing Love" or the "fury Passions." The imagination's habit of personification exposes the debased forms assumed by desire ("Envy wan, and faded Care"), just as the "race of man" in the "Ode on the Spring" is revealed as insect life to "Contemplation's sober eye." Vision always serves to reveal form, and in Gray what is revealed is diminished, repudiated, or forbidden. The strategy of reductive acknowledgment in the "Ode on the Spring" dismisses the dream of desire; the strategy of creating giant spectral forms in the Eton College ode encourages bad dreams, translating desire into the demonic. Northrop Frye describes something similar to this action in his discussion of quest-romance: "Translated into dream terms, the quest-romance is the search of the libido or desiring self for a fulfillment that will deliver it from the anxieties of reality but still contain that reality." Fulfillment may require, as with Gray, that a protective maternal figure displace a threatening female judicial figure; guilt is thereby dissipated in the approval received by the obedient actor who has rejected desire. This summary also describes the "Hymn to Adversity."
Adversity and Virtue are both daughters of Jove; the former is older than and tutor to the latter. Adversity is equipped with "iron scourge and torturing hour" but also has an alternative "form benign," a "milder influence." Virtue needs Adversity "to form her [Virtue's] infant mind"; the function of the tutelary spirit here is to engender pity ("she learn'd to melt at others' woe"). The instruction is absorbed by Virtue (the "rigid lore / With patience many a year she bore"). Virtue, subdued by Adversity, is enabled to recognize grief ("What sorrow was, thou bad'st her know") and is preserved from desire ("Scared at thy frown terrific, fly / Self-pleasing Folly's idle brood, / Wild Laughter, Noise, and thoughtless Joy, / And leave us leisure to be good"). Adversity, implored to "lay thy chast'ning hand" on her "Suppliant's head" and to appear "Not in thy Gorgon terrors clad, / Nor circled with the vengeful band / (As by the Impious thou art seen)," suggests the threatening form of Adversity seen by those who are not "good." Desire is converted into the antithetical form of horror. The speaker who experiences Adversity's "milder influence," her "philosophic Train," undergoes a transformation in which guilt is changed into the generous emotions of love and forgiveness. Adversity here joins Muse, Contemplation, and Thames as figures authorizing the rejection of desire. At the end of the Eton College ode the reader is reminded that the suffering "all are men." At the end of the "Hymn to Adversity" the speaker asks to be taught "to love and to forgive," to be led to "know myself a Man."
Gray's poems indicate a radical sexual distress. In the "Hymn to Adversity" Gray has arrived at the first clear castrative symbolism in the progress of his imagination (though one might argue that the reduction of humanity to insect life in the "Ode on the Spring" is a significant form of sexual loss), the replacement of Virtue by the poet. The threat of castration is transposed into an acceptance of it. The threatening figure of Adversity is pacified but requires a surrender of sexual identity.
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