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Keats and the romantic legend
Keats and the romantic legend
The eve of st agnes mascline
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Throughout the history of literature imagery and symbolism has played an important part of how literary works are interpreted, and the way those interpretations have changed over time. Not only is imagery and symbolism important in novels and short stories, but they are the basis of poetry and how poetry relates to the reader. Symbolism and imagery are most important in poetry because poems are generally longer than novels and short stories; therefore it is more challenging to create a poem that can have various meanings while still being fairly short. What is especially important is the time period in which poems were written and the way diction was used and what certain words meant in that time as opposed to today’s meanings.
One such instance is from the Romantic era and is the poem “The Eve of St. Agnes,” by John Keats. In “The Eve of St. Agnes,” the imagery, diction, and symbolism all combine to externally represent the climax of the poem—that is when Porphyro and Madeline come together and copulate. This also extends to the authors vision of reality and imagination, the climax is also a point of imagination versus reality in the context of Porphyro and Madeline. Building up to the climax of the poem are key words, phrases and of course images that symbolize what is to come, the uniting of the two adolescents—coldness and warmth which reflect the way youth and adulthood is viewed. The use of imagination versus reality is most acutely made aware in the stanzas before and after the climax of the poem in the way that it causes the reader to question whether or not the story is not the dream of Madeline or if it is indeed real.
The opening stanzas of “The Eve of St. Agnes,” have a bitter cold imagery which causes the reader t...
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... reality. The Beadsman and Angela succumb to death and reality because they lost sight of what it meant to dream and imagine, as is found in the second stanza; “He passeth by; and his weak spirit fails To think how they may ache in icy hoods and mails.”
Works Cited
Fogle, Richard Harter. The Imagery of Keats and Shelley; A Comparative Study.. Chapel Hill: Univ. of North Carolina Press, 1949. Print.
Gradman, Barry. "The Eve of St. Agnes: The Honey'd Middle of the Night." Metamorphosis in Keats . New York: New York University Press, 1980. 64-79. Print.
Wasserman, Earl R., and John Keats. "The Eve of St. Agnes." The Finer Tone: Keats' Major Poems . Baltimore: Johns Hopkins Press, 1953. 84-137. Print.
Wigod, Jacob. The Darkening Chamber: The Growth of Tragic Consciousness in Keats.. Salzburg: Inst. f. Engl. Sprache u. Literatur, Univ. Salzburg, 1972. Print.
...ictures for the reader. The similar use of personification in “Snapping Beans” by Lisa Parker and the use of diction and imagery in “Nighttime Fires” by Regina Barreca support how the use of different poetic devices aid in imagery. The contrasting tones of “Song” by John Donne and “Love Poem” by John Frederick Nims show how even though the poems have opposite tones of each other, that doesn’t mean the amount of imagery changes.
Imagery is words that appeal to our senses, it then allows us to create a vivid image or sense of idea. A good example of imagery in the poem ‘Then And Now’ can be found in line 8 ‘factory belches smoke’. These words create a clear picture of a factory violently emitting smoke and describes what a modern city would have . Hyperbole was also used in the poem. It can be found in the 3rd line. ‘But dreams are shattered by rushing car’. This line is exaggerating that her dreams are destroyed by the European colonisation. Another strong poetic device repeatedly used in the poem is personification. An example of personification is the phrase ‘...hissing train..’. This is a figure of speech in which the train was given human characteristics as hissing. Theses examples/words help us to create images in our heads, which then helps to interpret the poem they way Oodgeroo sees
Keats, John. “The Eve of St. Agnes”. The Norton Anthology of English Literature: The Romantic
Ezra Jack Keats: A Virtual Exhibit. The University of Southern Mississippi De Grummond Children's Literature Collection. Web. 19 July 2010. .
Imagery is a key part of any poem or literary piece and creates an illustration in the mind of the reader by using descriptive and vivid language. Olds creates a vibrant mental picture of the couple’s surroundings, “the red tiles glinting like bent plates of blood/ the
"John Keats." British Literature 1780-1830. Comp. Anne K. Mellor and Richard E. Matlak. Boston: Heinle & Heinle, 1996. 1254-56. Print.
Keats’ poetry explores many issues and themes, accompanied by language and technique that clearly demonstrates the romantic era. His poems ‘Ode to a Nightingale’ and ‘Bright Star’ examine themes such as mortality and idealism of love. Mortality were common themes that were presented in these poems as Keats’ has used his imagination in order to touch each of the five senses. He also explores the idea that the nightingale’s song allows Keats to travel in a world of beauty. Keats draws from mythology and christianity to further develop these ideas. Keats’ wrote ‘Ode To A Nightingale’ as an immortal bird’s song that enabled him to escape reality and live only to admire the beauty of nature around him. ‘Bright Star’ also discusses the immortal as Keats shows a sense of yearning to be like a star in it’s steadfast abilities. The visual representation reveal these ideas as each image reflects Keats’ obsession with nature and how through this mindset he was able
“William Butler Yeats.” Encyclopaedia Britannica Online Academic Edition. Encyclopaedia Britannica Inc., 2014. Web. 09 May 2014.
Keats, John. "On Seeing the Elgin Marbles." Ed. Abrams H. M. The Norton Anthology of English Literature, Volume 2 The Romantic Period through the Twentieth Century. New York: W. W. Norton, 1986. Print.
Throughout Keats’s work, there are clear connections between the effect of the senses on emotion. Keats tends to apply synesthetic to his analogies with the interactions with man and the world to create different views and understandings. By doing this, Keats can arouse different emotions to the work by which he intends for the reader to determine on their own, based on how they perceive it. This is most notable in Keats’s Ode to a Nightingale, for example, “Tasting of Flora, and Country Green” (827). Keats accentuates emotion also through his relationship with poetry, and death.
Imagery is a primary literary technique a poet uses to capture the readers or listeners senses. We gain comprehension of the world through the use of our sense. Therefore, how the reader perceives a poem is always the most important aspect every poet considers whilst writhing. The images of a poem have the ability to appeal of each of our senses, taste, smell, touch, hearing and sight can all be heightened by certain aspects of poetry. The imagery of a poem has the ability to transport us into a different place or time, allowing the reader to experience new observations. When used correctly, imagery has the ability to form an understanding of different emotions the poet tries to address through their poetry. The sounds and diction incorporated into a piece also plays a role of major importance. The use of similes, metaphors, alliteration, personification and countless other forms of literary techniques, all add a sensual feeling and experience to poetry in an assortment of ways. In the Odes of John Keats we are witness to an extensive use of literary techniques. Keats uses a variety of approaches in order to evoke the world of senses throughout his poetry. His Odes ‘on Indolence’ and ‘to Psyche’, ’a Nightingale’, ‘To Autumn’ and ‘Ode on Melancholy’ all demonstrate Keats amazing ability to arouse the senses of his readers with his diverse and vast use of literary and poetic techniques.
In order to experience true sorrow one must feel true joy to see the beauty of melancholy. However, Keats’s poem is not all dark imagery, for interwoven into this poem is an emerging possibility of resurrection and the chance at a new life. The speaker in this poem starts by strongly advising against the actions and as the poem continues urges a person to take different actions. In this poem, the speaker tells of how to embrace life by needing the experience of melancholy to appreciate the true joy and beauty of
John Keats’s poem, “To Autumn” is an ode poem, exemplifying his feelings, experiences and thoughts towards the season of autumn. When a reader first reads the poem, it is clear to them that the speaker is somewhere midday admiring a beautiful fall day. It is not until analyzing the poem, does the reader understand the depth the speaker has gone to describe the day he is experiencing. However, beneath simple ideas the speaker presents, lays a complex structure that is uneasy to unpack but has a timeless component from the 1800’s. Many poems from the 1800’s like Keats use strict stanza structure, rhyme scheme and rhythm. But by using sense imagery Keats displays the quiet daily observations and appreciation of a fall day without disturbing the structure. In this particular poem lies an ability to suggest, explore and develop an abundance of themes without unsettling its calm description of autumn. Keats creates an overwhelming awareness of the discontentment autumn has become accustomed to.
Arguably one of John Keats’ most famous poems, “Ode to a nightingale” in and of itself is an allegory on the frail, conflicting aspects of life while also standing as a commentary on the want to escape life’s problems and the unavoidability of death. Keats’ poem utilizes a heavy amount of symbolism, simile and allusion to idealize nature as a perfect, almost mystical, world that holds no problems while using imagery taken from nature, combined with alliteration and assonance, to idealize the dream of escape from the problems life often presents; more specifically, aging and our inevitable deaths by allowing the reader to feel as if they are experiencing the speaker’s experience listening to the nightingale.
Keats, John. “Letters: To George and Thomas Keats.” The Norton Anthology: English Literature. Ninth Edition. Stephen Greenblatt, eds. New York: W.W. Norton & Company, 2012. 967-968. Print.