Shelley saw this as a form of “selling out” that would ultimately diminish Wordsworth poetic powers, and hence diminish poetry. He refers to the poet, Wordsworth, as a “poet of nature”. He feels that he is too foolish to understand what he is giving up. To Shelley, a poet of nature is a poet who derives more inspiration from the world of nature than from the world of men. Wordsworth is crying over his happy memories that may never return.
The poet is suggesting that the natural world has so much more to offer than the one he is currently enduring. The drive into the country has made him realize he is more comfortable surrounded by nature. Although through stanza three he is becoming emerged in the scene in which he goes from the naturalism to different thoughts. “The miles yet to go” reveals a tone of melancholic regret. The poem is written as a turning point for the poet, his introspection gives him strength to make the decision that will change his life.
Not that life is bad, but that the physical pleasures and physical reality are less than divine. The best conditions include those that are free from distraction. While the ascetic priest is essentially denying life, he is actually preserving the life that he cherishes so much. The ascetic priest desires power and believes that “this life is an illusion”. Nietzsche says, in his second essay, the primary objection to ascetic ideals is that ascetic priests must deny the value of this life; he portrays it as a link to the next life, rather than appreciating life as an end in itself.
Perhaps what distinguishes Shelley’s “Mont Blanc” is not so much how amazingly his imagination recreates the magnificent and picturesque landscape of Mont Blanc and translates it into poetic language, but the fact that the “awful scene” doesn’t arouse the poet’s masculine instinct of worshiping magnitude, but touches his sensitive nerve and stimulates his speculation on the subtle relationship between the “universe of things” and “human mind.” The speculation, though, does not go as far as to settle on a clarification of his belief. Rather, I skeptically take the poet’s speculation to be his hesitation to assert his preoccupation with the Doctrine of Necessity, and meanwhile, to embrace the power of imagination. The hesitation is manifested near the end of the poem. It might be unjustifiable, though, to treat the last two lines as the finale, since they appear to be a paradoxical continuation of the poet’s speculation, with the potential of acceptance, rejection, or fusion. “The secret strength of things” “inhabits” the external world, and determines the complicated and “ceaseless motion” according to “a law,” or its principle, and ultimately “governs thought,” in other words, determines human’s perception of the external world that they occupy.
Character Essay The Love Song of J. Alfred Prufrock An insecure yet very opinionated character was Prufrock. A “seen it all” kind of attitude was through the whole poem, but there was still a simple love character beneath him that he was too shy to show. He expresses a lot of himself, though he lacks a sense of confidence. (40) “And indeed there will be time, to wonder, ‘Do I dare? And ‘Do I dare?’, Time to turn back and descend the stair, with a bald spot in the middle of my hair”.The poem starts out with verses of “what not to do with your love”, yet he fails to express the person he has feelings for but also fails to recognize himself in all this.
Although belonging is about the desire of acceptance, a study of Peter Skrzynecki’s poetry and Von Trapped, depicts a compromise between one’s personal vision and the demands enacted by society. Whilst protagonists may be instinctively drawn to belonging, without a strong emotional, cultural and philosophical connection, they may suffer feelings of alienation and detachment. Evoking a sense of discomfort and disassociation, Skrzynecki’s poem ‘In the folk Museum’, explores the struggle of an individuals search for cultural certainty and emotional connection in order to belong. This positions Skrzynecki in a world where he can find no personal satisfaction. Skrzynecki’s feelings of estrangement are registered through the establishment of
Thompson, and other "critics whose beliefs are centered in an optimistic monism," failed to "comprehend Frost's dualism," and often interpreted the bard's life and art through the lens of "abnormal psychology," resulting in "character assassination" and "severe misinterpretation of his work" (11). Stanlis wants to correct these alleged distortions. It is unlikely that his study will have a significant influence on biographical studies of Frost, which will continue to focus on actions and human relationships, but it will have a noteworthy impact on examinations of his poetry, which is the fundamental reason readers are interested in Frost. Over a long and accomplished career, Peter J. Stanlis has often worked at the intersection of literature, philosophy, and political philosophy, and this emphasis is evident in Robert Frost: The Poet as Philosopher, a study that explores Frost's relationship to developments in the sciences, the humanities, and politics from the age of Charles Darwin to the time of John F. Kennedy's presidency. Stanlis met Frost at the Bread Loaf Summer
(D.H. Lawrence, "Morality and the Novel") Aesthetically, the fiction which reveals a truth by explicit sermonising rather than as a natural conclusion drawn from the relationships and events it presents, is displeasing, even "immoral." Indeed, Martel's statement is likely to have the opposite effect on his reader, provoking a determined counter-reaction not to succumb to a didactic religious agenda. Surely enough, Life of Pi fails to meet its ambition. As he travels through its pages, apparently on the Damascun road to enlightenment, the reader will not, atheist or already committed follower, experience some major revelation to the spirit, coming to, or restoring, a belief in God. Nor, despite Martel's explicit but deceptive statement, is he intended to.
Consequently, the blunt truth is not always the best thing and may devastate the listener. If you tell someone the blunt truth right away, they may not have time or the experience to understand it completely and may just block it out altogether. Truth is a powerful source that can negatively impact someone when perceived directly. Through Dickinson’s use of a literal writing style, she manages to attract the reader into the poem while emphasizing her theme. Her use of capitalization, punctuation, alliteration, and oxymoron all serve a purpose to support the meaning of the poem.
This poem by Thomas Hardy gives of an air of pessimism and apparent helpless but not because of physical incapacity but instead of a personal conflict involving another. The speaker is almost haunted by the thought of his lover looking for him or her but no longer being the same person that she was before. The speaker is not completely confident of his or her own abilities because his or her own thoughts are too fixated on the effects of the person, classified as “you” in the poem, and how they continue to afflict or confuse the speaker. The repetition of the person calling to the speaker emphasizes significance of this action to the poem and also how incessant it is to the speaker. In the first stanza “you” is almost stressed every time that it appears yet “me” is not stressed, when reading this out loud it is evident that the speaker is more aware of the action of “you” than his or her own.