in the end it is the Confessional’s attitude towards madness that most clearly distinguishes him from the poets in whose tradition he writes” (Karl 97). Similarly, Phillips Rober writes: “So predominant is this theme of mental illness in their wok that at least one critic has called the confessional poets, collectively “The Madhouse Muses” (Robert
The mood and manner of these writings explain why in certain minds Sri Aurobindo is equated with “The Philosopher as Poet”. An unequal volume, there are however, exceptions to the philosophizing mood. For instance, in a poem like Who, the poet speaks about the
The speaker of the Amoretti is a fictionalized “poet-lover-worshipper” (Kellogg). The emphases on the power of poetry combined with the conventional theme of love show the role of art as a means of articulating the abstract. Spenser’s sonnets highlight the Status of Art. Unlike the deliberate deconstructive attempt of postmodern writers, who use self-referentiality to draw attention to the artificiality of art and fictionality of fiction, Spenser privileges the position of art and poet. In Sonnet 75, he affirms that a poet’s creation has the ability to immortalize mortal human beings.
Seen in the case of Prince Prospero, even the most valiant of Poe’s characters could not escape the fate of death, emphasizing the inescapability of death. In an essay titled “Edgar Allan Poe: Friend of Fear and Master of Madness,” one author wrote about how Poe’s admiration “of nineteenth-century scientific concepts and psychological theories concerning the emotion of fear and the state of madness” (Virginia Lucas Poetry Scrapbook) laid a pathway to much of his work, in which he dealt with death incited by endless modes CONSISTENTLY ADDRESSES DEATH, BY MANY CAUSES. In “The Masque of the Red Death,” Poe singles out Prince Prospero in his attempt
Marlowe is well-known for his blank verse as he used in The Tragical History of Doctor Faustus and made it different. The poetic quality of drama is so powerful that the piece is considered more a poem and less a tragedy. The playwright has revolutionized the whole concept of the language of the drama and made poetry as an impressive medium of expression. After giving the life and force to the poetic drama, Marlowe became a glorious
William Wordsworth once declared “poetry is the spontaneous overflow of powerful feelings” (151) in his “Preface to Lyrical Ballads.” When reading this assertion, one might think Wordsworth believes that poetry is made simply by writing down one’s feelings, void of any processing or reflection. However, Wordsworth recognizes that writing poetry requires a combination of intellectual processes, namely recollection and contemplation, by adding that “[poetry] takes its origin from emotion recollected in tranquility: the emotion is contemplated till […] successful composition […] begins” (151). In this paper, I borrow and expand on Wordsworth’s ideas about poetry to examine how William Maxwell’s short story “Love” results from Maxwell’s secondary
If the hospital is a compulsory world of escape or exile, the world of art is another means of escape. In “Works of Art” the poet describes how what “often appears like escape is made up of sweat and blood.” (163) More than the world of art, “For a visionary poet” is written completely in terms of images of light and knowledge; they fuse to make the vision of the poet. The details are all concrete: trees, fruit, smoke and “fractured glass” Jennings believes that the lofty expressions of the visionary poet are the results of a mind that constructs meaning out of unconnected objects and ideas. “You are the history behind your vision. The shadow that you will not intrude/Except that it makes all light impossible.” (164) It is an elevated definition
The themes taken up in Emily Dickinson’s poem, “Much Madness is Divinest Sense,” are those of sanity, insanity, and rebellion. For instance, many of Dickinson’s poems reflect her own feelings and moods towards the society she lives in. According to critic Joyce Hart, “Dickinson writes that the majority defines the term ‘madness’ and judges it to be wrong. The majority dictates the rules, and those rules demand conformity. To go against the majority means the perpetrator with be punished.” By using a paradox, and the inversion of this paradox, connotation, and denotation, Dickinson is able to show the fact that people who are mad may actually be the people who have any sort of sense and challenges the constructs of the society she lives in.
Meena Alexander believes in poetry as political activism: her poetry often deals with conflicts and unrest, cities at the edge of war, episodes of discrimination, and so on. In an interview with Ruth Maxey, the poet admits that history conspires against the writing of poetry (Alexander 2009, 190). Many American poets have tried to do away with history, and to break the chains that still linked them to tradition, and to the old canon of British poetry. Alexander mentions Ralph Waldo Emerson, whose notion of self-reliance, which she interprets as reinvention of the self, “exhilarated” her (2009, 3). Chapter first of this study is entitled Identity which offers the theoretical framework of the term identity and the elements of identity in her works and try to find out her own identity.
Astrophil and Stella is a complex piece that reflects the inner psyche of the poets mind in face of these deadlocks. Sidney artfully provides readers an oneiric depth to consider the forces behind his piece. Emotionally charged, readers are implored to gain insight to the possible feelings that inspired the poet and the psychology behind his art. We are able to do this by considering the nuances. Through analyzing the nature of beauty, the recurring theme of absence and the dichotomy of love and sorrow, despair, rather than love, reveals itself to be the main driving force behind the poet’s imagination and what fuels his poetic memory, showing readers Sidney’s valiance in his