Katrina discusses the lack of control that we have in life and that death is simply another part of life that we must accept. Enter Without So Much As Knocking talks about how we take life for granted and we waste the time we have. All of the poems hold aspects of Futility, Life, Pain, Purpose, Anger and Disapproval these are the most likely things to make people rethink their position and how they behave towards others. The use of imagery both visual and aural is a powerful tool used masterfully by Dawe to get his messages across. Normally someone’s homecoming is cause for a celebration, but in Dawe’s poem, Homecoming Dawe uses this in an ironic sense.
Aestheticism deals with the idea of art as a thing to be treasured and appreciated, not for an underlying purpose. Although it can be argued that Wilde's novel and other works, as well as many details of the way he lived his life follow those ideals, it cannot be ignored that the theme of this novel is corruption by beauty and aestheticism. When the novel opens, Basil Hallward,
Cézanne did not agree with the Impressionistic trait of portraying the world through light, instead, he built up images by a generous use of color. Cézanne would distort objects and his works would often consist of numerous viewpoints on the one canvas. Cézanne worked with and was greatly influenced by other Impressionists he associated with, including Degas, Monet, Pissarro and Renoir. From the very beginning Cezanne showed aspects of Abstract and Cubism in his works. Cezanne also admired Romantic painter, Eugene Delacroix, who used color instead of lines to define objects; this inspired him to begin his quest for composition using color alone.
Keats’ Odes raised much contemporary criticism as well as commendation, which it continues to receive and therefore the placement of ‘Ode on a Grecian Urn’ is a controversial choice which deserves careful deliberation. Rob Pope defines aesthetics as “things perceptible to the senses” . In every day usage, aesthetics becomes synonymous with art and beauty, “aesthetics = refined pleasure = art = beauty”1 and therefore literature which embodies this is greatly credited. It is undeniable that Keats provides aesthetic imagery as ‘Ode on a Grecian Urn’ has a continuous underlying theme of the senses. This is purposely exercised by Keats, an advocate of dialectics, because in extensively describing sensual imagery, “for ever warm and still to be enjoyed”, Keats creates the paradox of attributing sentient qualities to an object of immutability – he provides life for the inanimate Urn.
Oscar Wilde began to write Salome still enjoying, but being frustrated by, the critical attention given to his novel The Picture of Dorian Gray. The summer of 1890 had been exhausting for Wilde: Dorian Gray had been published in shorter form, and Wilde had written many letters to disgruntled reviewers defending the work, reluctantly pointing out the moral qualities in an art form he had previously claimed was incompatible with moralistic purposes. The newspapers' focus on whether Wilde lauded or deplored Dorian's actions directed public attention away from the novel's critique of image and desire. Dorian Gray actually is highly skeptical about the aestheticism Wilde represented in the eighties, treating it, as Richard Ellmann put it, as "not a creed but a problem" (310). Specifically, Wilde's problem with aestheticism is that, following Pater, the self cultivates and expresses itself through both physical and intellectual experiences, and that gives rise to the danger that either the physical or intellectual experience will be valued at the expense of the other.
This paper delves into Nietzsche’s disappointment with Wagner, and how his religious views diverged from his. Nietzsche’s first disappointment with Wagner stems from Wagner’s unhealthy music and base audience (Darby 60). He states that Wagner’s music makes him sick as it is unhealthy. It causes him to stop breathing with ease, with his feet seeking to go against the dance and music’s spirit with delight. He goes on to contend that there is a disturbed quality about every other of his body parts.
The persona is visible to be psychologically imbalanced and sexually confused. He describes someone who has succumbed to temptation as ‘mad’, thereby implying that he himself has lost all sanity. This is also clarified in sonnet 147 as he declares ‘my thoughts and my discourse are as a madman’s are’. The general tone of the sonnet being so personal also shows that someone with first hand experience ‘of lust in action’ has written this poem Further on down sonnet 129 the persona uses personification as he describes lust as ‘full of blame’. This is ludicrous, as an abstract feeling cannot be blamed for the offender’s actions.
Through the actions of his characters, Steinbeck aims to show the self-destruction of humanity by its greed for power. Nearly all of the characters admit to having a profound sense of loneliness and isolation. Each desires the comfort of a friend, but is unwilling to accept others. In the novella, Curley’s wife admits that she is unhappily married, yet she makes herself into a threatening figure. Crooks tells Lennie that life is no good without a companion to turn to in times of confusion and need, but he displays himself as rude and unwelcoming.
What attitude does Boey Kim Cheng have towards the planners in ‘The Planners’ and how does he express it? Boey Kim Cheng conveys his distaste and disapproval attitude towards the poem ‘The Planners’ by building the details on the ugliness of their perfections. He uses the accusatorial and negative tone of voice and through the development of language to express the endless perfections. He often conveys his negative and repulsed attitude towards the planners and how the planners crave for power and control. He applies the use of vivid imagery to help build on the flawless creation and how it disgusts him.
He believes in the same idea that Schopenhauer had, in that life is awful and tragic with no meaning or purpose; by this I mean that life in itself is considered suffering and without purpose by both Nietzsche and Schopenhauer. This view on life was very nihilistic and led Nietzsche to affirm his believe that the redemption of the tragic life was achieved through art. For Nietzsche, art makes life bearable and worth living at all. This is the basic redemptive quality that encompasses both Apollonian and Dionysian art. We must ask however, what makes these two forms so different, and how does each redeem us independently.