This paper carefully studies the use of images, allusions and philosophical basis for the poem. This way the author gets the final result that this question which prufrock never speaks out is his conflict with knowledge, reality and existence. He is thinking carefully about whether he should reveal his true self before public, or keep the mask he knows he cannot live within. In modern literature, T.S. Eloit is a marvellous poet.
Byron created works of art which respected and opposed accustomed conventions at the same time. Among the many issues that Don Juan addresses genre subversion seems to be the most obvious one raised by the poem. He parodies or attacks the conventions of epic poetry. Byron began Don Juan as “a literary manifesto to his age,” and he “vigorously attacks the literary pretensions” of his fellow Romantic poets, or as Jerome J. McGann terms them, the poets of “the Lakist School” (57). Byron identified Pope as one of his chief influences hence, he felt that his Romantic contemporaries who attacked Pope “showed their neglect of the rules of propriety in verse, a neglect which carried over to the debasement of political and ethical ideas.
ELIOT 'S MODERNISM ' ' A VOYAGE FROM PAST TO PRESENT ' ': T. S. Eliot 's poetry sheds light on the modernist literature and determines the framework of the modern poetry through a plenty of innovative techniques. Principally, impersonality roots in Eliot 's poetry; which means an escape from personality and emotions (Underhill 170). His theory of impersonality in poetry is a strategy of avoiding confession (191). Ackerly draws attention to Eliot 's poetry 's paradoxical condition by claiming that his verse encapsulates the most harrowing personal feelings and presents the most agonizing image of the individual mind in spite of his insistence on impersonality (Ackerly 8). It can be said that his theory of the impersonal nature of art is
Background To analyze the poem critically, it is very important to understand the milieu in which the poem was written, because this poem is highly autobiographical expressing the mental state of poet at that time. Earlier, he was a close associate of Wordsworth and was highly influenced by his views of nature but later at the time when this poem was composed his unhappy fate led him to contradict wordsworthian stance of nature. When Coleridge composed this poem, he was suffering from deep emotional dejection because of domestic discord and crises in creative imagination. His unfulfilled love for Sara Hutchinson and opium addiction worked havoc for his poetic powers. These events brought him to such a despondency that he felt himself separated from nature and drowned in an endless dismal pain.
Structuralism also references the idea that language is arbitrary and can be interpreted in different ways by individual people, meaning certain words can take on different meanings. The idea of the signified and the signifier is important when discussing the textual changes between the original and revised versions of “I Wandered Lonely as a Cloud” (it is unexpected Wordsworth would revise his texts as he was at the forefront of the idea that “poetry is the spontaneous overflow of powerful feelings” and that “it takes its origin from emotion recollected in tranquillity” William Wordsworth, Preface to Lyrical Ballads, 1800. However, from a structuralist perspective, we should forget about the poet when analysing his work and focus mainly on
The dramatic monologue is a poetic tool invented and practiced most famously by Robert Browning, Alfred Tennyson, Dante Rossetti and other poets of the Victorian age. Browning chose to experiment with this new poetic form, moving away from the ‘expressive’ moment contained in lyric poem to the ‘eloquence’ that lay at the heart of drama. In an essay entitled On Poetry, John Stuart Mill distinguishes between the two terms, poetry and eloquence- ‘Eloquence is heard, poetry is overheard. Eloquence supposes an audience: the peculiarity of poetry appears to us to lie in the poet’s utter unconsciousness of a listener.’ He states that eloquence pours itself into other minds seeking ‘to move them to passion or to action.’ Poetry is therefore the result of solitude, while eloquence is the effect of interaction with the world; this brings in the frequent Victorian dilemma of whether poetry should exclude or include the outside world. By choosing to adopt this dramatic style, Browning began experimenting with the middle class, democratic style of
It needs elements of poetry to analyze the meaning of the poetry. By reading poetry, the reader can feel what the author feels or the reader has the own feeling about the poetry itself. The author conveys their feeling through the words and the diction which is arranged in poetry. Because poetry is part of literature which is the oldest genre in literature history. Poetry usually uses words which don’t explain the meaning directly.
The Trauma Theory is one of the most important psychoanalytic theories which attempts to focus on the relation between traumatic experience and the author's psychological development as well as on how this is reflected on the creative process itself (writing poetry). As far as the Traumatic Theory is concerned, writing poetry is seen as an attempt on the part of the poet to reveal the inner traumatic experience behind his/ her meanings and writings. Thus, it attempts reveal his/her inner traumatic experience. Trauma is original a medical term used to refer to “a wound or an external bodily injury” or “psychic injury that caused by emotional shock (The Oxford English Dictionary). From the psycho-analytical perspective, trauma is defined as physical or psychological threat to an individual’s physical integrity, sense of self, safety or survival.
John Keats is a poet who, in literary criticism, has been interpreted in a way that his name has become synonymous with Romantic formalism or aesthetic formalism. Helen Vendler’s The Odes of John Keats (1983), for example, is a case in point. The book carries out a “thorough, rigorous attention to Keats’ odes and finds it a complex work of art unified as: a single long and heroic imaginative effort, in which Keats examined, in a sustained and deliberate and steadily more ambitious way, his own acute questions about the conditions for creativity, the forms art can take, the hierarchy of the fine arts (including the art of poetry), the hierarchy of genres within poetry, the relation of art to the order of nature, and the relation of art to human life and death (Vendler, 1983, p. 6). She grasps the odes as units in a series, each poem summoning up and critically reflecting upon the other and looking ahead towards the crystallization of Keatsean aesthetics. However, in what he calls Vendler’s insistent emphasis on “monumental Keatsian form and antipathy to politically inflected literary analysis,” Robert Kaufman finds “Frankfurt Marxism” lurking in the