More handpicked essays just for you.
17th century love poems
Poetry in the seventeenth century
The early and mid nineteenth century romantic essay
Don’t take our word for it - see why 10 million students trust us with their essay needs.
“The Eve of St. Agnes”: A Reworking of the Spenserian Sonnet As the values of the 18th century shifted from formal perfection to experimentation, so did the poetry. The writings of the 19th century romantic poets explored new forms and variations of the sonnet; they moved away from the heroic couplet, which was dominant during the preceding century by writers like Pope. John Keats utilized this romantic method habitually throughout his works. In his 1819 poem “The Eve of St. Agnes”, Keats refashioned the traditional Spenserian allegory to explore sinful qualities, and personal virtues such as lust, whereas Edmund Spencer’s customary sonnet form usually expressed chivalric and Christian values. This recasting is significant because Spenser would have seen Keats’ virtues as immoral and corrupt, and Keats resents this through the poem, contrasting sins and reality with a religious dream state. The portrayal of these acts is best represented in stanzas 28 to 30 through the character of Porphyro, who commits several of the Cardinal Sins. Stanza 28 uses mostly punctuation, (caesuras and end stops) to reflect the relationship between form and content. In the first two lines, Porphyro lusts while he watches Madeline undress: “ Stól’n tó this páradíse, and só entránced, /Pórphyró gázed upón her émpty dréss,” The first line containing 11 syllables, and Keats’ use of the comma after the word “entranced”, forces the reader to remain on the line absorbing the situation laid out. The end stop enclosing the second line serves a similar purpose, pausing for the reader to actually gaze. This occurs again in the sixth line of stanza 28, when Keats uses a caesura after the word “himself: ” and, the reader breathes with Porphyro, because one na... ... middle of paper ... ..., emotion and even taste, his references to lust, gluttony, and sin in general, are highlighted throughout the poem. Keats goes against conventional values, by displaying “sinful” acts, and testing the morals of his readers. In the final stanza, the young lovers disappear, with no explanation of their fate. Keats’ beliefs are clear, but he also leaves his readers to question Christianity, and decide for themselves, if being “emprison’d” by the chains of religion outweighs the freedoms of lust, sin, and romance. Works Cited Keats, John. "39. The Eve of St. Agnes ." John Keats (1795–1821). The Poetical Works of John Keats. 1884.. N.p., n.d. Web. 13 Oct 2010. . Patch, James. "COLOR; COLORS." The International Standard Bible Encyclopedia. N.p., n.d. Web. 13 Oct 2010. .
Womanhood in The Eve of St. Agnes and La Belle Dame Sans Merci and Mariana by Keats
Keats, John. “The Eve of St. Agnes”. The Norton Anthology of English Literature: The Romantic
Readers of Keats’ poetry have long spoken of the enchanting power of his language, and in one of his most famous works, “The Eve of St. Agnes”; the reader is positively enchanted by the protagonist, Madeline. She’s pure, virginal, positively otherworldly, and “seem’d a splendid angel, newly drest” (Keats 77). Madeline also displays trappings of religious symbols throughout the work. She is called a “Mission’d spirit and a “seraph fair” (Keats 72-3). The reader could scarcely read the poem without immediately associating Madeline with the most divine cherubs in Heaven. Her virginity is repeatedly mentioned and referenced; even her room, or the maiden’s chamber, is “silken, hush’d, and chaste” (Keats 76). Young Porphyro with “heart on fire” for Madeline simply couldn’t resist this angel (Keats 71). One might connect that, similarly, young John Keats could not resist his own angel, Fanny Brawne. At the time of the composition of “The Eve of St. Agnes” Keats was heavy in the thralls of his engagement to Fanny. In her book, John Keats: The Making of a Poet, Aileen Ward proclaims “The Eve of St. Agnes” to be "the first confident flush of [Keats's] love for Fanny Brawne" (Ward 310). However, if Madeline is meant to be a manifestation of Fanny Brawne, Keats must not think of his fiancé as merely an angel, but something more.
"John Keats." British Literature 1780-1830. Comp. Anne K. Mellor and Richard E. Matlak. Boston: Heinle & Heinle, 1996. 1254-56. Print.
...agery artistically to creatively examine, whether death really is the end of all humanity or whether life was merely purgatorial, a period of time allocated on earth for the purpose of atoning for our sins just like the ‘purgatorial rails’ in this poem. Alternatively it can be argued that religion is not life affirming and only death reveals, the indoctrinatory nature of religious teachings. For example the ‘sculptured dead’ were ‘imprisoned in black’ connoting everlasting torment. It almost contradictorily argues that faith on one hand is a sufferance gladly taken by citizens so they may reap their rewards in the afterlife but on the other hand Keats is demonstrating how religion is restricted and there is really no life after death. This is interesting because it controversially subverts conventions of the time that he was writing in.
...tion between loneliness and death. The first three lines of each stanza in this poem generally have four feet, while the last line have only two or three. This change calls attention to the last line, in which Keats makes references to images.
In Bright Star, Keats utilises a mixture of the Shakespearean and Petrarchan sonnet forms to vividly portray his thoughts on the conflict between his longing to be immortal like the steadfast star, and his longing to be together with his love. The contrast between the loneliness of forever and the intenseness of the temporary is presented in the rich natural imagery and sensuous descriptions of his true wishes with Fanny Brawne. The structure of Bright Star is unique in that it breaks free of the limitations of the sonnet form, a form that is notorious for its strict and constrained nature. The rhyme scheme falls very close to the Shakespearean rhyme scheme of ABABCDCDEFEFGG, in which the last two lines represent the final heroic couplet. However, the rhyme of the ninth line (‘unchangeable’) is never continued, as the eleventh line (‘swell’), which the Shakespearean form dictates should rhyme with the ninth line, doesn’t rhyme fully.
Many key words jut out, giving us clues to which Yeats is describing. The most significant is “Love” on the tenth line. “Love” is capitalized representing William Yeats himself. Yeats or “Love” fled because he knew it was the best for her. When one loves another unconditionally sacrifices must be made; in this case ending the relationship was the solution. Two other key words are located in the sixth line, “false” and “true”. These words are used to exemplify the love she received from her past relationships. Some men truly loved her while others were artificial with their...
In these lines from "All Things can Tempt Me" (40, 1-5), Yeats defines the limitations of the poet concerning his role in present time. These "temptations" (his love for the woman, Maude Gonne, and his desire to advance the Irish Cultural Nationalist movement) provide Yeats with the foundation upon which he identifies his own limitations. In his love poetry, he not only expresses his love for Gonne, he uses his verse to influence her feelings, attempting to gain her love and understanding. In regard to the Nationalists, he incorporates traditional Irish characters, such as Fergus and the Druids, to create an Irish mythology and thereby foster a national Irish identity. After the division of the Cultural Nationalists, Yeats feels left behind by the movement and disillusioned with their violent, "foolish" methods. He is also repeatedly rejected by Gonne. These efforts to instigate change through poetry both fail, bringing the function of the poet and his poetry into question. If these unfruitful poems tempt him from his ?craft of verse,? then what is the true nature verse and why is it a ?toil? for the poet? Also, if Yeats cannot use poetry to influence the world around him, then what is his role as a poet?
”To Autumn” is an ode written by John Keats on the 19th of September 1819. While walking near Winchester along a river, Keats became inspired to write the poem. The Rest of his other odes were completed in the spring of 1819. John died on the 23rd of February 1921 at the age of 25, just a year after the release of “To Autumn”. However, throughout his life he inspired many poets, but most notably Percy Shelly. In mourning, he wrote the elegy “Adonais” for Keats.”To Autumn “is his final poem and many have said it is his best. Keats use of imagery takes the reader on an adventure through the scenes and sounds of autumn. He achieves this by his use language, imagery, tone and structure. This is also what creates the mood and consequently allows him to challenge the notion that music is usually associated with spring. Thus, in this essay I will show how he challenges this belief, by looking at his use of imagery, tone and form. In addition I will look at what his influences were and the context in which he wrote the poem.
“Keats, John - La belle dame sans merci - a ballad” 2001, April 1st 2011
John Keats explores his fear of death in “When I have fears that I may cease to be” in the form of a Shakespearean Sonnet. The poem contains three quatrains that interlock his primary fears together, leading to a couplet that expresses his remedy and final thoughts. His primary fears are expressed with respect to the abab cdcd efef gg rhyme scheme of the Shakespearean Sonnet, with each fear contained in each rhyming quatrain. His first fear, in the first quatrain is dying without living up to his full potential as a writer, when he states, “Before my pen has glean’d my teeming brain…” (2). This line indicates that he has not expressed through his pen, all that is on his mind, and leads into the second quatrain with the use of a semicolon which suggests that the next part of the poem is connecte...
-Wasserman, Earl. "Chapter Two: Discussions of Particular Poems "The Ode to a Grecian Urn"." Twentieth Century Views Keats A Collection of Critical Essays. Ed. Walter Jackson Bate. New Jersey:
Examining the definition of “ode,” there is a strong connection between song and poetry—an ode being “a poem intended to be sung or one written in a form originally used for sung performance”--, and within both poems the inspiration of each narrator is described in terms of creating poems meant to be sung. Essentially, Keats’s poem plays with the concept of the poetic form of an ode on a couple of different levels. Firstly, the nightingale, in stark contrast to the narrator’s feelings of despair, is presented as a “light-winged Dyrad of the trees, / In some melodious plot / … Singest of summer in full-throated ease” (“Ode to a Nightingale 7-8, 10). By introducing the nightingale in this manner, and by referring to it twice with musical adjectives—referencing its “melodious plot” and how the bird “singest of summer”—establishes this element of song as the focal point of the nightingale. Similarly, the goddess Psyche is first introduced by means of song, as the narrator begins “Ode to Psyche” by singing, and asking her to hear “these tuneless number” (Ode to Psyche 1) and to “pardon thy secrets should be sung” (3). The musical references to Psych continue in the third stanza, as the narrator laments the inclusion of Psyche into the Greek pantheon, he reveals
John Keats employs word choices and word order to illustrate his contemplative and sympathetic tone. The tone could be interpreted as pessimistic and depressing because the majority of the poem focuses on Keats’ fear of death. However, if the reader views the last two lines of the poem in light which brings redemption, one might see that Keats merely wants to express the importance of this dominant fear in his life. He does not desire for his audience to focus on death, but to realize that man does not have control of when it comes. The poet uses poetic diction, a popular technique of the early nineteenth century. The poem also demonstrates formal diction that Keats is often known for. Although Keats meant for most of his words to interpret with denotative meanings, he does present a few examples of allusion and connotation. His connotations include “teeming,” defined as plen...