Browing presents her poem in first person, making it clearly connected to her directly. She uses I and my, making it personal giving the sonnet a sense of identification. When looking at the sonnet strictly on a feature basis, it is seen that there is rhythm, a stanzaic pattern, imagery, connotation, style etc… these are presented in different ways throughout the sonnet, for example when speaking of the rhythm it follows a pattern of stressed and unstressed syllables. The stressed syllables being the important, and most effective ones. Instead of using synonyms for the amount of times she put love into the sonnet, with the repetitiveness it is clear the kind of message she was trying to put across.
In the early seventeenth-century, English poets used metaphysical poetry to enlighten highly intellectual and often abstruse imagery in their works, which further advanced the poetic style of John Donne. Donne’s poetry makes use of complex images, which are remarkably convincing to the reader. Despite the use of extensive techniques and varying images, the greatness of Donne’s poetry is the simplicity in the ideas expressed. John Donne’s poem, “The Triple Fool,” suggests unrequited love and folly through his use of creative imagery, sorrowful diction, and assertive tone. Firstly, Donne's poetry is highly distinctive and individual, adopting a multitude of images.
They both explore the theme of love or rather painful love. the poet revels the link between the two poems’s through a verity of techniques which is done very effectively but also shows the difference between the obsessive love in “Havisham” and the possessive love of “Valentine”. The pain of love is evident from the beginning in both poems. “Carol Ann Duffy” uses the tone in the first couple of stanzas to show the unorthodox nature of the love. “Not a day since then I haven’t whished him dead”-Havisham This is very effective as the aggressive tone shows “Havisham” has been rejected and her love is causing her pain.
In Wild Oats It explains that a person, over the course of time, comes to realise that his greatest desires of love, are unattainable, and second best things will have to suffice. The central purpose of this poem is to show that love is one of these great desires and despite flashes of promise it contains scarcely anything that is more than fragmentary. Larkin reveals this through tone and diction. Both poets seem to focus a lot on the physical side of love where lust and desire are involved however Abse makes it sound more sensual and even spiritual when he speaks of Eros in his poem. Larkin portrays this sense of objectification in his poem with regards to woman as he describes a woman as a ‘bosomy English rose’ and then follows on to call her ‘beautiful’ throughout the poem portraying the sexual lust involved with love.
Poets through the ages have been esteemed as possessing the ability to perceive the ordinary in extraordinary and innovative ways. Poetry captures the essences of human emotion and experience and imbues them with further significance by the literary techniques that typify poetry as the language of art. In her poetry, Gwen Harwood explores many thematic concerns that resonate with her readers regardless of their contexts. The universality of concepts such as memory, inspiration, childhood education and the cyclical, yet final nature of death are transformed by Harwood’s poetry to create fresh perceptions of the continuity of experience and provide permanence to these transient elements of humanity through language. The poetic techniques employed by Harwood effectively communicate distinctive aspects of her themes while allowing them to remain universal.
TO LOVE OR NOT TO LOVE? “The most interesting aspects of texts written in different times is seeing the difference in what people value.” Possibly one of the best known piece of American prose fiction of its time, The Great Gatsby, by F. Scott Fitzgerald, develops an ironic but ultimately pessimistic point of view on the materialistic and superficial society presented in the 1920s which prevented the ideas of pure love. The form of a prose fiction does not have a structure which makes the novel unique. Sonnets from the Portuguese, by Elizabeth Barrett Browning, presents a more idealistic and optimistic view about love and hope. She portrays her personal voice through the use of sonnets, specifically Petrarchan.
This dichotomous experience is evidently illustrated in the work of John Keats, particularly in his poems Ode to a Nightingale, in which Keats grapples with the transcendent beauty of the nightingale’s song versus the bleak reality, and La Belle Dame sans Merci where the allure of imagination is set against its depleting quality. Although not of Romantic context, the novel Possession by A.S. Byatt explores the quest for artistic liberty whilst dealing with the qualms of contemporary life. Eugene Delacroix’s painting Liberty Leading the People depicts the upsurge of idealistic passion in the French Revolution, while expressing also the reality of revolution. In his poem Ode to a Nightingale, Keats is both enchanted inspired by the ethereal beauty of the nightingale song. For the Romantics nature was ‘a stimulus for the poet engage in the most characteristic of human activity, that of thinking’.
Both texts revel the tension between idealism and reality. Analyse and compare how this shared idea is represented in the texts and evaluate the extent to which it is impacted by the composers’ context. When does our attainable dream of love, become an idealised fantasy? The universal conceptualization of love is a subject explored throughout history and literature. Elizabeth Barrett-Browning’s sonnet sequence Sonnets from the Portugeuse, explores the experence of idealised love in the patriarchal confines of the Victorian era, juxtaposed against F. Scott Fitzgerald’s novel The Great Gatsby, which comments on the unatanability of idealised love due to the corruption of the American dream.
i William O’Neil Dr. James Nutter ENGL 102—Honors 24 February 2015 Romanticism Unshackled: a Study of the Modern Prometheus Thesis: Frankenstein should bear the title of Romantic literature because the novel embodies trademark Romantic ideas, situations, and characteristics throughout the text. I. In an attempt to categorize any novel as Romantic, however, one must first attempt to identify what, exactly, makes a work Romantic. a. A group of poets, including the likes of William Blake, Samuel Coleridge, William Wordsworth, John Keats, Lord Byron and—Mary’s husband—Percy Shelley, who are commonly credited as being the ground-breaking authors of the Romantic movement b. Lyrical Ballads moved poetry away from the times of the mythical and fantastical,
The irony of the title is mirrored by the irony that the form that this epic work takes is the sonnet; traditionally (in accord with Dante and Petrarch) a love poem and often presented as a gift. Each sixteen-line sonnet can be read individually as well as seen as part of a whole. Like any upstanding Victorian marriage, the meter is controlled and well mannered. Meredith opts for an ABBA rhyme scheme, with a different set of rhymes for each quatrain. The usual octet-sestet form would be too limiting for the narrative to move freely.