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3 functions of children literature
Literature of the victorian age essay
3 functions of children literature
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Analysis of W.B.Yeats' The Stolen Child
The Stolen Child was written by W.B.Yeats in 1886. The Victorian Era of literature was in full swing, while upstart new poets, dissatisfied with the 'airy' nature of earlier poetic works, began demanding more concrete, realistic, and hard-hitting literature that avoided the metaphorical distancing that the Romantics were prone to. They scoffed at Yeats, at his romantic views, at his out-dated style of writing. Frustrated, perhaps even angered, by the scorn of his upcoming peers, Yeats would soon find himself wavering between the more fantastical style of his youth, and the harder-edged stuff that would come to be found in Easter 1916.
This, of course, is of little interest to the Formalistic Critic; the new critic cares not for such trivial details. Biography is not important. History is not important. The poem - that is important, for locked away within its verse lies the true meaning of The Stolen Child. By carefully studying the individual words, by understanding the tension that lies between them and the various denotations that they may hold, the critic can discover how the poem works as a whole, and how it succeeds in generating emotional impact within the reader.
The basic story of the poem is fairly simple, and obvious. The speaker, presumably a faery spirit of one sort or another, is tempting a human 'child'. The faery reveals the joys and wonders of its mystical world, while denouncing the human world as being '... more full of weeping than you can understand.' For three stanzas this magical creature tempts the 'child', who, in the fourth and last stanza, departs the human world, all 'solemn-eyed' and full of wonder.
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...ase the emotional power of the poem.
All these elements - the ambiguity of the words, the lies and truths of the speaker, the association between the child and the reader, the contrast between the world of faery and human - work together to influence the reader, to awaken an emotional reaction unique to each individual. Taken separately, these poetic techniques are interesting, perhaps, but when combined in an organic whole, they become greater then the sum of their parts. And it is this special organic whole that succeeds in creating the magic that lies within great poetry and prose, and it this special organic whole that the New Literary Critic seeks to understand.
Works Cited
Yeats, W.B. "The Stolen Child." The Norton Anthology of English Literature, Volume Two. Ed. M.H.Abrams, 6th Edition. New York: Norton, 1993. 1865-1866.
The speakers and audience in poem are crucial elements of the poem and is also the case in these poems. In the poem Untitled, it can be argued that the poem is being written by Peter based on what his father might say to him...
The paper discusses the sound of the poem and how those certain words, said aloud, help to emphasize the meaning. Looking at the form of a poem in this way gave me a new way of looking at the text and finding the meaning. Personally, I have not had much familiarity looking at the sound of a text, but now see how the sound can be valuable when looking for the meaning of a text. I like to look at the imagery that is utilized in a text because I believe it works well in giving the reader a look into the text and bringing the text to life. What I have discovered reading about the formalist approach is to look at the overall form and how the text itself affects the meaning. Looking at the imagery and symbols helps me personally find the meaning in a text, so learning that the form of the text also can contribute to the meaning was
Many people assume that being a conformist is fine because you fit in into groups. Even though being a conformist might be okay have you ever thought about being an individual ? Quit being a follower and start being a leader. Think about it if you were in a classroom and all of a sudden there is an earthquake but you see no-one moving, what do you do ? do you move for your safety or do you stay so that you won't look like a fool.
When You are Old, by William Butler Yeats, represents and elderly woman reminiscing of her younger days. A past lover whispers to her as she looks through a photo album. Basically, Yeats is showing that as the woman gets older, she is alone, but she does not have to be lonely. She will always have her memories for companionship.
Therefore, Oliver’s incorporation of imagery, setting, and mood to control the perspective of her own poem, as well as to further build the contrast she establishes through the speaker, serves a critical role in creating the lesson of the work. Oliver’s poem essentially gives the poet an ultimatum; either he can go to the “cave behind all that / jubilation” (10-11) produced by a waterfall to “drip with despair” (14) without disturbing the world with his misery, or, instead, he can mimic the thrush who sings its poetry from a “green branch” (15) on which the “passing foil of the water” (16) gently brushes its feathers. The contrast between these two images is quite pronounced, and the intention of such description is to persuade the audience by setting their mood towards the two poets to match that of the speaker. The most apparent difference between these two depictions is the gracelessness of the first versus the gracefulness of the second. Within the poem’s content, the setting has been skillfully intertwined with both imagery and mood to create an understanding of the two poets, whose surroundings characterize them. The poet stands alone in a cave “to cry aloud for [his] / mistakes” while the thrush shares its beautiful and lovely music with the world (1-2). As such, the overall function of these three elements within the poem is to portray the
I do not know how without being culpably particular I can give my Reader a more exact notion of the style in which I wished these poems to be written, than by informing him that I have at all times endeavored to look steadily at my subject; consequently, I hope that there is in these Poems little falsehood of description, and my ideas are expressed in language fitted to their respective importance. Something I must have gained by this practice, as it is friendly to one property of all good poetry, namely, good sense; but it has necessarily cut me off from a large portion of phrases and figures of speech which from father to son have long been regarded as the common inheritance of Poets.
In my view, art is the representation and transmission of thought. It is the representation of the thoughts or experiences of an artist, created to transmit and subsequently evoke the same thoughts or experiences vicariously in an audience, via the artist’s creation. I believe art is based on the fact that people, through their own perceptions, can experience the same thoughts or feelings as the artist. I...
Unfortunately The word conformity has a lot of negative connotations for people in our society, To conform is on the one hand seen as being able to distinguish and act in accordance with the pro-social norms of a group and can be seen as tolerance and flexibility, but when these norms are seen by another group to be reprehensible or unacceptable the conformity will be seen as weak and feeble. (McDermott 1993, Psychology, A European Text, Zimbardo, McDermott, Jansz and Metall, 1993)
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The definition of children shifts depending on the person. To some the definition is a time without any worry, to others it is a more logical definition such as the period of time between infancy and adolescence. There are many different versions of this definition, and this is seen in the poetry of William Blake and William Wordsworth. These two authors have very different views on what it means to be a child and how they are portrayed in this era. Compared to now, Children in Blake’s eyes are seen as people that need guidance and need to be taught certain lessons by their parents such as religious, moral, and ethical values. In contrast to Blake’s view, Wordsworth viewed that adults should be more like children. That sometimes
Elegy in a Country Courtyard, by Thomas Gray, can be looked at through two different methods. First the Dialogical Approach, which covers the ability of the language of the text to address someone without the consciousness that the exchange of language between the speaker and addressee occurs. (HCAL, 349) The second method is the Formalistic Approach, which allows the reader to look at a literary piece, and critique it according to its form, point of view, style, imagery, atmosphere, theme, and word choice. The formalistic views on form, allow us to look at the essential structure of the poem.
Although one probably cannot give a real definition of Art, here are some thoughts (and a whole lot of quotations) on the subject. Let's start with a quote from "What is Art? What is an Artist?" by Chris Witcombe, Department of Art History, Sweet Briar College, Virginia.
The New Critics, just like Wimsatt and Beardsley put forward in their essay, also believed in the ‘organicity’ of the text. In the essay, they write, “A poem should not mean but be.” And, since the meaning of the poem or the text is the medium through which it can exist, and words, in turn, is the medium through which the meaning is expressed, the poem or the text b...
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