In the last line, it indicated the hyperbole by mentioning, “ Below us, as far as my eyes could see”Tennyson 12. This shows us that he could only see so much that his eyes are weakened and old. However, in the poem, Cyrano De Bergerac the author uses loaded diction alongside vivid imagery to portray the main idea. The author emphasizes inner beauty by using terms like “ Live for I love you”. Despite this quote not having a relevant meaning towards the approach of saying that love is eternal.
Sonnet as a satire "The sonnet plays with poetic conventions in which, for example, the eyes of the lover with the sun, her lips coral, and her cheeks are compared with roses. His lover, the poet says, is nothing like this conventional, but as beautiful as any woman " Here Barbara Mowat has their opinion of the meaning behind Sonnet 130th this work breaks the mold, the sonnets had come to suit. Shakespeare composed a sonnet that seems to parody many sonnets of the time. Poets such as Thomas Watson , Michael Drayton , and Barnabe Barnes were all part of this sonnet enthusiasm and each wrote sonnets proclamation of love for an almost unimaginable number ,
He almost religiously preaches the religion of unadulterated epicureanism and, if read exclusively, his poems of sensual nature give us an impression of unbridled hedonism. He candidly confesses his faith in the ‘comeliness of God’ and in the ‘shapeliness of man’. In the poem ‘Conclusion’ cited above the poet says, ‘That women, trees, tables, waves and birds, Buildings, stones, steamrollers, Cats and clocks Are to be enjoyed.’ Faith in Joie de vivre or the simple primeval things of existence and ability to accept them without any friction or
a self-regarding, self-destructive priesthood? It has so many different tensions mixed in with its pleasures. (www.goodreads.com) According to Paranjpe, Makarand in her work, A Suitable Author, Review of An Equal Music by Vikram Seth (1999): AEM is a work of art which has depth and will continue to live down the ages transcending the boundaries of time. It is clear that Seth had enough of the subject and moreover, he is ‘primarily a poet to whom the whole of language is music’. (Paranjpe 33) Though it talks of Chamber music and it struggles to survive in a professional and material world, it also deals with the perennial problem in human nature.
Keats uses the nightingale as a symbol throughout the poem to create imagination between mortality and immortality. Keats’ thoughts about human existence being so terrible represents the mortality aspect, while immortality is represented by the nightingale’s song. I agree with the bird and its song representing immortality, but I think there is a deeper meaning in the reasoning for Keats’ ending question. The imagination is very powerful, and could potentially leave Keats wondering if he was really hearing the nightingale and its song. Keats could have been listening to the nightingale for a long time, all while sitting there and analyzing its song.
For Browning, her work adheres to Victorian religiosity with constant references to spirituality, yet her forceful pronunciation of affection as a woman subverts patriarchal traditions whilst confirming ideal love’s position above social constraints. The persona’s submission to ideal love is explicitly expressed from the very beginning of the anthology, as the Volta in Sonnet I introduces a personified “mystic Shape” who envelops her with a “silver answer” — “Not Death, but Love”. This supernatural dialogue with a presumably divine agent thrusts her onto a journey seeking ideal love, confirming the existence of
Substitution of one synonyms for another destroys the intended effect. Unrivalled beauty dawns on repetitious singing of his sayings and the memory becomes impregnated with intrinsic impressions. “In the flight of imagination, in the depth of meaning in the sublimity of expression and in the supernatural regard, Dante comes nearer to Prabhu than Homer or Milton. Dante’s characters are not mere metaphysical abstractions, they are wonderful creations. However, grotesque and strange the images may be, he never shrinks from carcituring them”3.
This collection continues the reflective notes of her Collected Poems, sustaining a meditation on the nature of poetry and the other arts, especially music, and love, faith, joy, sorrow, friendship childhood and the passage of time. The preoccupation with music is dominant so to speak and there is a strong religious element in her affirmation of the artist as an instrument of God’s glory. The poems are entirely accessible, often intensely human in their vulnerality, and set firmly within the context of gratitude explicit in the book’s title. This underlying sense of joy, despite a real darkness that cannot be ignored, beautifully ignores the sequence “A Happy Death” , about the death of 57 of one of the poet’s friends , a Dominican priest. These four poems cover the same ground and ought to be repetitious merely, but mysteriously they are not - indeed they are very moving.
For Tagore anything that is beautiful in nature, the poet feels shuddering of his own self in it and the we see him trying to write down his feeling with the help of the nature. His happiness in the midst of the nature’s beauty is obvious when he writes: Pluck this little flower and take it, delay not! I fear lest it droop and drop into the dust. I may not find a place in thy garland, but honour it with a touch of pain from thy hand and pluck it. I fear lest the day end before I am aware, and the time of offering go by.
Instead of following the traditional pattern of octave and sextet, his lyrics consisted of 13 lines suited to Hindi language. Beginning with a cry of loneliness and ending with an assurance, the basic imagery of these lyrics were linked with the darkness and the light symbolizing his grief and hope. Nisha Nimatran is a highly moving poetic document of tragedy and suffering. In the entire modern Hindi poetry there has been no work like Nisha Nimatran, which has portrayed grief or the sense of a tragic void in life so profoundly. Ekant Sangeet, following Nisha Nimatran, was written during the period of 1938-39 when he was passing through a mental crisis.