...How does Keats present love in his poems? John Keats was born 1795, in London and was often claimed as one of the most important Romantic figures of the nineteenth century. He had many struggles in his life from his mother and brother dying from tuberculosis, to his poetry being constantly rejected and him running out of money. A lot of Keats’s themes were Romantic, such as the beauty of nature, the contrast of fantasy and reality and the relation of beauty to suffering. Though initially all Keats’s poems that present love seems to be portrayed contrastingly, really they’re actually revealed to be quite similar. Through numerous techniques, from the exploration of senses, to form to the different symbols and styles that Keats’s used to intertwining themes used to express the theme of love. However through all of Keats’s poems, he shares a sense of sacrifice and pain that deal with his idea of the eternal and fantasy world and how in exchange for immortality the lovers have to give up their human experiences and intimacy. In the ninth line of ‘Bright Star’ Keats reveals his desire to remain in the moment “Pillow’d upon [his] fair love’s ripening breast”. However in order to remain in this moment Keats has to sacrifice all his humans’ experiences to be immortal. In the final line of ‘Bright Star’ Keats writes “And so live ever—or else swoon to death”. Many have considered ‘Swoon’ to be an little death or an orgasm as towards the end of the poem the pace and rhythm increases...
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...ultimately destructive. Keats presents her sympathetically; she is not an evil creature. Lycius too is presented sympathetically but in living with Lamia he is indulging in "sweet sin." Since he is a high-minded Platonist when first introduced into the story, his love for Lamia is indulging a weakness. When Lycius and Lamia meet Apollonius, Lycius' mentor, while walking through Corinth, Lycius is at pains to avoid being recognized by him. Context: The subject of Lamia is consuming love such as Keats himself was experiencing when he wrote the poem. His letters to Fanny Brawne indicate that he was obsessed by her beauty — and, at the same time, fearful for his freedom. He realized, however, that desire must be curbed by restraint, that love must harmonize with, and be a part of life, rather than dominate and control it. Lamia, therefore, can be regarded as a warning against the all-absorbing nature of illusory, passionate love and a recognition of the claims of reason. Lamia does not have much in the way of crisis and climax his narrative technique is superior, Lamia-as-snake is as beautiful as Lamia-as-woman: She was a gordian shape of dazzling hue, Vermilion-spotted, golden, green, and blue; Striped like a zebra, freckled like a pard, Eyed like a peacock, and all crimson barr'd; And full of silver moons, that, as she breathed, Dissolv'd or brighter shone, or interwreathed Their lustres with the gloomier tapestries. (I, 47-53) Keats devotes many lines of description...
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...Love and Death in Keats’ “La Belle Dame Sans Merci ------------------------------------------------- Hereby I certify that the essay conforms to the international copyright and plagiarism rules and regulations. ------------------------------------------------- Student’s signature: Ditti Kovács Boglárka Kiss British Literary Seminar 05 May 2013 Ditti Kovács Boglárka Kiss British Literary Seminar 2013.05.05. Love and Death in Keats’ “La Belle Dame Sans Merci” In poetry the most important things are to express feelings and to tell a story. Obviously most of the time these poems are about life, death, the meaning of life, love, but it can also tell a complete story. Throughout the history, basically every poet has written about love and death. Because of the fact that these themes surround our whole life, it is not surprising that these topics have an impact on people’s mind, and they have to deal with these in a way, and poetry is perfect for this. People have always been interested in the question of death, the unfulfilled love and suffering, and because of the fact that these feelings are related to every people in the world somehow, these poems, which deal with these themes, are considered to be the most beautiful ones. These works can be understood easily, and readers can feel close to the poet’s feelings. In the early 19th century, in Europe, people became interested in the folk roots of literature. Poets want to show the natural, ancient state...
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...In all of Keats' poems the characters emotions are key in understanding the poem. He uses feelings of love and passion throughout his poems and uses them to add depth. His use of feelings also help the reader relate to the themes. In The Eve of St. Agnes Keats highlights the love between characters. The main portrayal of this feeling is through "Madeline" and "Porphyro". However there is more than one relationship of love key in this poem. One example of this is the Beadsman and his love for "God". The other key relationship is between Angela, Porphyro and Madeline as they all care for each other and wish none of them harm. Porphyro's and Madeline's' families are enemies, much like in Romeo and Juliet, and Angela allows him into the castle without telling the Master of the castle. At the time that the poem was set this would have been severely punished and she would most certainly lose her job. However she only agrees to Porphyro after a long time which shows that she was hesitant to do wrong and must have felt that letting him into Madelines bed chamber was the right thing to do. Not only is she hesitant to do wrong but she is very religious. Angela prays for Porphyro "each morn and evening" which again highlights her good intentions in helping the couple. However along with the feelings comes arguably the most important theme and message in the poem, age and wisdom. Angela is the character, along with the beadsman, who are "meagre" and old characters. Keats uses these...
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...Descending into Despair with “La Belle Dame sans Merci” In his poem, “La Belle Dame Sans Merci,” John Keats has emphasized the literary elements of structure, speaker, and imagery to create a story reminiscent of courtly love from the medieval era where the knight errant suffers for the love of the beautiful, mysterious and unattainable mistress. In the early nineteenth century, an interest in the ballad of earlier centuries was sparked by the romantic poets of the time, of which John Keats was one, and his poem, “La Belle Dame sans Merci,” became a true example of what became known as a literary ballad. Similar to the popular folk ballad that was sung, a literary ballad sticks to the basics of repeated lines and stanzas “in a refrain, swift action with occasional surprise endings, extraordinary events evoked in direct, simple language, and scant characterization.” (pg. 508) Literary ballads also tend to be more polished in regards to their style and their use of poetic techniques. In addition, they will exhibit a set rhyme scheme and a simple structure of stanzas that allows the poem to flow as if it were that song of years past. Keats’s poem consists of twelve stanzas of four lines, known as quatrains, each with a rhyme scheme of abcb. The poet has also taken care to write each line to a specific length. The first three lines of each stanza consist of eight syllables each, but the final line of the stanza is either four or five syllables long. Since a literary ballad’s...
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...Dana O'Brady Professor Jennings Emergence of the Modern 11/8/12 John Keats, Charles Baudelaire and Beauty John Keats and Charles Baudelaire are two great poets who gives some sort of description of what beauty is and what it can do. In Keats' La belle dame sans merci, the reader is told a story of a knight who is attracted to a woman's beauty, but later he ends up alone and "palely loitering". In Baudelaire's Hymn to Beauty, the reader gets a sense of how beauty can be overwhelming, enticing, yet at times dangerous. In both poems beauty is in the form of a woman and the woman's appearance is very captivating. Baudelaire's poem is questioning the origin of Beauty while describing her. He says, "Your gaze bestows both kindnesses and crimes/ So it is said you act on us like wine/ Your eye contains the evening and the dawn..." Baudelaire is attracted to her eyes, and the way she looks at him. Her eyes look kind yet villainous, like the contrast between night and day, good and bad. For all he knows she could be a "maneater", a woman who destroys men by any means necessary. The woman's beauty acts on him "like wine", it could either be bitter sweet or strong and uncontrollable. It seems as though hes heard of her kind, but he still wonders if shes "from the sky or the abyss." He goes on to say, "You pour out odours like an evening storm; / Your kiss is potion from an ancient jar,/ That can make heroes cold and children warm...
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...ADVANCED PLACEMENTENGLISH Poems for Response: 2012-2013 1st Semester (1) Choose one of the following poems for each of the poetry responses. All are found in Roberts and Jacobs, Literature: An introduction to Reading and Writing, 8th ed. on the indicated pages. Use a poem once only during the quarter. Write on one poem only for a poetry response. Remember, read all poems once a week. Margaret Atwood, “Variation on the Word Sleep,” p.1166 Elizabeth Bishop, “The Fish,” 763 E. E. Cummings, “In Just—,” p.1039 John Donne, “Death, be not proud,” p. 1185 Robert Hayden, “Those Winter Sundays,” p. 1198 Seamus Heaney, “Midterm Break,” p.846 Robert Herrick, “To the Virgins, to Make Much of Time,” p.1060 John Keats, “La Belle Dame sans Merci,” p.990 Millay, “What Lips My Lips Have Kissed, & Where, & Why,” p. 1213 Sharon Olds, “The Planned Child,” p. 850 Marge Piercy, “The Secretary Chant,” p. 1219 Shakespeare, “When, in disgrace with Fortune and men’s eyes,” p. 1234 Shelley, “Ozymandias,” p. 955 William Wordsworth, “The Solitary Reaper,” p. 1103 William Butler Yeats, “The Wild Swans at Coole,” p. 1254 2012 Due Dates 1. Monday 24 September 2. Monday 1 October 3. Monday 8 October 4. Monday 15 October 5. Monday 22 October 6. Monday 29 October 7. Monday 5 November 8. Tuesday 13 November 9. Monday 26 November 10. Monday 3 December 11. Monday 10 December Possible Types of Responses- (combinations are OK) Personal, Political, Structural, Analysis...
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...John Keats John Keats (/ˈkiːts/ 31 October 1795 – 23 February 1821) was an English Romantic poet. He was one of the main figures of the second generation of Romantic poets, along with Lord Byron and Percy Bysshe Shelley, despite his work having been in publication for only four years before his death.[1] Although his poems were not generally well received by critics during his lifetime, his reputation grew after his death, and by the end of the 19th century, he had become one of the most beloved of all English poets. He had a significant influence on a diverse range of poets and writers. Jorge Luis Borges stated that his first encounter with Keats was the most significant literary experience of his life.[2] The poetry of Keats is characterised by sensual imagery, most notably in the series of odes. This is typical of romantic poets, as they aimed to accentuate extreme emotion through the emphasis of natural imagery. Today his poems and letters are some of the most popular and most analysed in English literature. 1 1.1 Biography Life mask of Keats by Benjamin Haydon, 1816 Early life John Clarke’s school in Enfield, close to his grandparents’ house. The small school had a liberal outlook and a progressive curriculum more modern than the larger, more prestigious schools.[11] In the family atmosphere at Clarke’s, Keats developed an interest in classics and history, which would stay with him throughout his short life. The headmaster’s son, Charles Cowden Clarke, also became an important...
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...‘’Where is the Pastoral Tradition in Keats’ Ode to a Nightingale?’’ Two hundred years after the Renaissance period in England, critics became concerned in the reasoning behind John Keats’s poetry. They searched many of the origins of the poet’s references to his works and this gave assistance into asserting that he was a poet in search of the ideal to escape from the real world of ‘’fever and fret’’. (Keats’ Ode to a Nightingale: stanza 3) This is due to the experience of cruel disappointments in his personal life. Ode to a Nightingale is a fine example of the cruel disappointments that Keats faced in life for he wrote the Ode soon after the death of his brother Tom who was suffering from tuberculosis. In one of Keats’s personal letters (Gittings 1970: letter 263) Keats claimed that he and his brothers could never count on any happiness lasting – that they were continually confronting death in the family. Keats shows this pain in stanza 3 of the poem: ‘’Here, where men sit and hear each other groan; Where palsy shakes a few, sad, last grey hairs, Where youth grows pale and spectre-thin, and dies;’’ (Keats’ Ode to a Nightingale: stanza 3) However, Ode to a Nightingale also portrays Keats’s escape from the cold realities of life. It is through this ‘escape’ that I am going to shape this essay into the pastoral tradition. My main focus shall be how the Ode offers a resemblance to a poem of pastoral retirement but has a pastoral elegy concealed within it. The...
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...B.A. (HONOURS) ENGLISH (Three Year Full Time Programme) COURSE CONTENTS (Effective from the Academic Year 2011-2012 onwards) DEPARTMENT OF ENGLISH UNIVERSITY OF DELHI DELHI - 110007 0 Course: B.A. (Hons.) English Semester I Paper 1: English Literature 4(i) Paper 2: Twentieth Century Indian Writing(i) Paper 3: Concurrent – Qualifying Language Paper 4: English Literature 4(ii) Semester II Paper 5: Twentieth Century Indian Writing(ii) Paper 6: English Literature 1(i) Paper 7: Concurrent – Credit Language Paper 8: English Literature 1(ii) Semester III Paper 9: English Literature 2(i) Paper 10: Option A: Nineteenth Century European Realism(i) Option B: Classical Literature (i) Option C: Forms of Popular Fiction (i) Paper 11: Concurrent – Interdisciplinary Semester IV Semester V Paper 12: English Literature 2(ii) Paper 13: English Literature 3(i) Paper 14: Option A: Nineteenth Century European Realism(ii) Option B: Classical Literature (ii) Option C: Forms of Popular Fiction (ii) Paper 15: Concurrent – Discipline Centered I Paper 16: English Literature 3(ii) Paper 17: English Literature 5(i) Paper 18: Contemporary Literature(i) Paper 19: Option A: Anglo-American Writing from 1930(i) Option B: Literary Theory (i) Option C: Women’s Writing of the Nineteenth and Twentieth Centuries (i) Option D: Modern European Drama (i) Paper 20: English Literature 5(ii) Semester VI Paper 21: Contemporary Literature(ii) Paper 22: Option A: Anglo-American Writing from 1930(ii) Option B:...
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...BS (4 Years) for Affiliated Colleges Course Contents for Subjects with Code: ENG This document only contains details of courses having code ENG. Center for Undergraduate Studies, University of the Punjab 1 BS (4 Years) for Affiliated Colleges Code ENG‐101 Year 1 Subject Title Introduction to Literature‐I (History of English Literature‐I) Discipline English Cr. Hrs 3 Semester I Aims: One of the objectives of this course is to inform the readers about the influence of historical and socio-cultural events upon the production of literature. Although the scope of the course is quite expansive, the readers shall focus on early 14th to 19th century Romantic Movement. Histories of literature written by some British literary historians will be consulted to form some socio-cultural and political cross connections. In its broader spectrum, the course covers a reference to the multiple factors from economic theories to religious, philosophical and metaphysical debates that overlap in these literary works of diverse nature and time periods under multiple contexts. The reading of literature in this way i.e. within the sociocultural context will help the readers become aware of the fact that literary works are basically a referential product of the practice that goes back to continuous interdisciplinary interaction. Contents: • Medieval Period • Renaissance and Reformation • Elizabethan Period • Milton, the Metaphysical...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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