Writing in the early years of the twentieth century the Georgian shared this attitude and there poetry is traditional in formal and largely rural in setting .in this context the urban setting of eliots poems was quite revolutionary and he has been righly described as “ the great master of city theme among the modern poets “. The poetry of eliot is regarded modern also because it rejects the belief in human progress characteristic of the ninenteenth century . the common theme of many poems of ts eliot is the boredom and futility of modern life . the most of his poems like THE LOVE SONG OF J ALFRED PRUFROCK
In a letter to his brother, the great painter, Vincent Van Gogh, once wrote,“Poetry surrounds us everywhere, but putting it on paper is, alas, not so easy as looking at it”. In this quote, Van Gogh summarizes a subject great writers like Ralph Waldo Emerson has devoted entire essays to defining and explaining, and that is the subject of poetry. As it can be seen, a poet undertakes that almost impossible job of transposing what he or she sees in Nature on to paper for others to read. Only a true poet can be successful in an attempt. It is not just Nature a poet tries to capture into words, but also social experiences and human truths.
Over the course of the past year, I have been attempting to move my poetry away from a state of abstract otherworldliness, wanting to finetune the surreality into something more sensical, whilst maintaining an air of esotericism. My issue with poetry is and has always been my approach to it. I grew up with reading amateur internet poetry; unpublished and unpolished. I’ve always believed poetry to be little more than a collage of beautiful words that decorate the darkness of the subconscious. So, I know the source of my issue with creating poetry at a publishable standard is the sheer fact that I am unable to decipher the difference between amateur and professional.
Blake’s work was mentioned as ‘diseased and wild’ by John Ruskin, even though Ruskin noted that Blake’s mind as ‘great and wise’. However, it was only in the Twentieth century that Blake was acknowledged as a notable poet and artist. Blake’s poems are simple and lyrical in form, but there are complex works too, which needs the reader to work hard to understand what Blake means. This complexity is due to the presence of mythological in addition to the philosophical sources present in his work. Blake himself has stated that he had to "create a System, or be enslaved by another Man 's.” this reasons the presence of vague thoughts and allusions in his work.
Galland’s translation of the Nights include additional inside information that do not exist in the original text and are considered to be Galland’s whims (Irwin 16). A Galland’ aim of translating the Nights was not to translate it accurately as it was, but to salvage from it elements which could delighted the French world of his time, thus the exotic form of the Nights was sound of (Irwin 19). In antithesis with Lane, Galland was not utmost. He did not translate most of the poetry in Nights and did not import glosses explanations (Irwin 19). Schacker-Mill says in “Otherness and Otherworldliness” (167), “Galland’s version is anything but a literal translation of a single text”.
He discusses the revolutionary change of seasons and how life is beautiful, but death is inevitable. His abstract style of writing and usage of the words “anyone” and “no one” conveys the major motifs of love, death, and loss of identity. Edward Estlin Cummings was born in Cambridge, Massachusetts on October of 1894. He began writing poems as early as 1904, but did not begin studying them until he attended High School in Cambridge. He furthered
Fire and ice is one of Robert Frost 's most popular poems, published in December 1920 in Harper 's Magazine and in 1923 in his Pulitzer-prize winning book New Hampshire. The years when the poetry made is the same years when a big event in this world happened, World War. We’ll try to put the “fire and ice” within the frame of a non literary text, in here is data about World war I, world war II and Cold War. We’ll try to correlate what the thing inside this poetry with the thing outside this poetry when its made. First, we’ll find out what “thing” that represented by the word “some” then we go to interpret the words “fire” and “ice” which can leads to the “end of the world”.
“I do not believe that any writer has ever exposed this bovarysme, the human will to see things as they are not, more clearly than Shakespeare.” (T.S. Eliot, 1927) First things first, “bovarysme” is the literary movement for those who are fed up with the borders of the life and for those who wants to get beyond this borders. As T.S. Eliot states in his quote above, Shakespeare fits into this explanation very well because in his famous pieces, there are many samples which can support his arguments. In this essay, this argument will be discussed within the scope of Shakespeare’s “A Midsummer Night’s Dream”.
With Auden the language and impedimenta of his own time were absorbed into his poetry at a deeper level, as it were, than was the case with any other poet of the thirties. The modern symbols and analogies do not shine out of his poems like great, glowing jewels; on the contrary, they seem an integral part of his poems. There appears to be no discrepancy and no barrier between his poems and the world in which he lives. Thus he can write a sonnet, like the one from which the opening lines are quoted: A shilling life will give you all the facts: How father beat him, how he ran away, What were the struggles with his youth, what acts Made him the greatest figure of his day: Of how he fought , fished, hunted, worked all night, Though giddy, climbed new mountains; named a sea: Some of the last researchers even write Love made him weep his pints like you and me. (Auden 44 )
Shakespeare appeared to be mocking the worshipful attitude of the Petrarchan sonnet, as he used a different type of idealism and chose to write homoerotic poetry. He continues this “mocking attitude” as his poetry of praise also appears to be written in quite a different, more complex style than that of a traditional sonnet. Shakespeare used what some critics call “the paradox of praise” throughout his sonnet sequence, rarely focusing on the monarchy. Shakespeare’s self-conscious deployment of homoeroticism, theatre, and printed poetry is quite unique, and does not feature in the traditional Elizabethan sonnet. These points will now be discussed in detail and argued throughout this essay, with reference to secondary sources and several of Shakespeare’s sonnets.