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Nature in poetry
Similarity between romanticism and modernism in literature
Modernism and romanticism
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Recommended: Nature in poetry
The essay “Tradition and the Individual Talent” written by T.S. Elliot, illustrates for us the many reasons poets should detach themselves from their writings and extract any personal elements they may want to be added. When writing, it is difficult to create a piece of work that does contain elements from previous ancestors and poets. Elliot speaks on the subject of “tradition” (2544), and how “it cannot be inherited” (2544) and that one must harp on historical events as well as events happening in the present in order to create a piece of writing that is not a replica of one’s own personality. Too often poets are applauded for their work, solely based on the individual and original aspects they included, however credit in due lies in past writers. Elliot says, “Whereas if we approach a poet without this prejudice we shall often find that not only the best, but the most individual parts of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously” (2544). He is correct in that removing ourselves from the writing we can experience the power and emotion that lies within the writing, rather than feeling like this came directly from the poets, and outlines his life and feelings. Poets should use the emotions that they already have, rather than trying to find new emotions in order to “express feelings which are not actual emotions at all” (2458). Elliot believes that a “bad poet” is “personal” when he is awake but should be unaware, and unaware when he should be awake. The emotions one should use when writing are those that are those recollected while being in a tranquil state of mind. When the mind is experiencing tranquility and the body is in a relaxing environment is when the po...
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...he reader for interpretation. Modernists wrote to leave their reader “to create values and meanings on his own”(2113).
Although many characteristics in the Romantics period, Victorian age, and the Modernist period were very different the three pieces of poetry I have pointed out all have phenomenal authors who follow the essay T.S Elliot wrote without ever reading it. This proves that Elliot is correct in that a great writer must detach his personality and use his preceding poets as a guide to writing poetry. All three poems I have highlighted use the struggles of nature versus society, even though each poem comes from a different period of time. Thus highlighting the fact that each period of time changed so significantly writers began detaching their personality and simply writing emotions of the time, while highlighting the only beauty they could find, nature.
“Victorian poets illustrated the changeable nature of attitudes and values within their world and explored the experiences of humanity through these shifts.”
In today’s modern view, poetry has become more than just paragraphs that rhyme at the end of each sentence. If the reader has an open mind and the ability to read in between the lines, they discover more than they have bargained for. Some poems might have stories of suffering or abuse, while others contain happy times and great joy. Regardless of what the poems contains, all poems display an expression. That very moment when the writer begins his mental journey with that pen and paper is where all feelings are let out. As poetry is continues to be written, the reader begins to see patterns within each poem. On the other hand, poems have nothing at all in common with one another. A good example of this is in two poems by a famous writer by the name of Langston Hughes. A well-known writer that still gets credit today for pomes like “ Theme for English B” and “Let American be American Again.”
In her poem entitled “The Poet with His Face in His Hands,” Mary Oliver utilizes the voice of her work’s speaker to dismiss and belittle those poets who focus on their own misery in their writings. Although the poem models itself a scolding, Oliver wrote the work as a poem with the purpose of delivering an argument against the usage of depressing, personal subject matters for poetry. Oliver’s intention is to dissuade her fellow poets from promoting misery and personal mistakes in their works, and she accomplishes this task through her speaker’s diction and tone, the imagery, setting, and mood created within the content of the poem itself, and the incorporation of such persuasive structures as enjambment and juxtaposition to bolster the poem’s
In the early 20th century, many writers such as T.S. Eliot (Thomas Stearns Eliot) and Langston Hughes wrote what scholars of today consider, modern poetry. Writers in that time period had their own ideas of what modern poetry should be and many of them claimed that they wrote modern work. According to T.S. Eliot’s essay, “From Tradition”, modern poetry must consist of a “tradition[al] matter of much wider significance . . . if [one] want[s] it [he] must obtain it by great labour . . . no poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists’ (550). In another term, tradition only comes within the artist or the art itself; therefore, it should be universally monumental to the past. And, Langston Hughes argues that African-Americans should embrace and appreciate their own artistic virtues; he wishes to break away from the Euro-centric tradition and in hopes of creating a new blueprint for the African-American-Negro.
Blake, Wordsworth, and Keats all represent the Romantic style of literature with their unorthodox themes of nature, art, and life; and how those three points can be tied together and used for creative purposes among humankind. Art and life are counterparts; one is lacking without the other. The Romantic period was about passion; finding inspiration and beauty in things people see every day. Wordsworth found childhood memories in a familiar landscape, Blake found himself captivated by the mysteries of how the majestic tiger was created, and Keats’ urn triggered him to put his inquiries of it into poetry. Each man expressed his individual view within their works; and like many of their Romantic contemporaries, their ideas ran against the flow of their time’s societal beliefs.
The world is changing and evolving at an astounding rate. Within the last one hundred years, the Western community has seen advances in technology and medicine that has improved the lifestyles and longevity of almost every individual. Within the last two hundred years, we have seen two World Wars, and countless disputes over false borders created by colonialists, slavery, and every horrid form of human suffering imaginable! Human lifestyles and cultures are changing every minute. While our grandparents and ancestors were growing-up, do you think that they ever imagined the world we live in today? What is to come is almost inconceivable to us now. In this world, the only thing we can be sure of is that everything will change. With all of these transformations happening, it is a wonder that a great poet may write words over one hundred years ago, that are still relevant in today’s modern world. It is also remarkable that their written words can tell us more about our present, than they did about our past. Is it just an illusion that our world is evolving, or do these great poets have the power to see into the future? In this brief essay, I will investigate the immortal characteristics of poetry written between 1794 and 1919. And, I will show that these classical poems can actually hold more relevance today, than they did in the year they were written. Along the way, we will pay close attention to the style of the poetry, and the strength of words and symbols used to intensify the poets’ revelations.
The Romantic form of poetry gained its popularity in the late 18’th century. "Romanticism can be seen as a rejection of the precepts of order, calm, harmony, balance, idealization and rationality that typified Classicism in general and late 18’th...
In conclusion, biographical information of two poets, the symbols in three poems, the settings in three poems, and the shared theme have been discussed. “How Do I Love Thee?” by Elizabeth Barrett Browning, “Meeting at Night” by Robert Browning, and “Parting at Morning” by Robert Browning have been thoroughly researched.
Although difficult and challenging, I have compared and contrasted the works of two American Poets, Edgar Allen Poe and Emily Dickinson, based on literary elements used in their writings. Their differences both in style and subject are contradictory to the fact that both Poe and Dickinson are writers/poets of the same personal nature. The use of literary elements showcase the iconic statuses of the writings created by such reserved yet fame dependent poets such as Poe and Dickinson. To an extent, their chosen elements are what create their uniqueness. Further, it establishes a uniform perception that they are similar yet different poets of the personal essence. Through their writings, readers are able to grasp the concept that they are rarely drawn to the fact their lives were perfect. Dickinson seemed to be a writer of distinct but subtle characteristics. Poe, on the other hand, was considered to be a writer filled with a dependancy on fame and fortune.
Many times poetry is reflective of the author’s past as well as their personal struggles. One struggle that poets write about is of identity and the creation, as well as loss, of individual identities. Using a passage from the essay Lava Cameo by Eavan Boland, I will show how two poets use their craft to describe their struggle with identity. Eavan Boland and Seamus Heaney both write poems which express an internal struggle with roles of identity and how they recreate their roles to fit their needs. Through retrospection and reflection, both poets come to realize that the roles they led as well as those they reinvented have created their own personal identities. Boland, in her essay Lava Cameo, touches on several emotions (loss, despair, etc) and episodes in her life which capture the essence of her identity. It is this notion of individual identity that is a central theme throughout Boland’s essay and some of her poems. Boland, through retrospection and hindsight, has been able to recognize the roles that society has dictated that she follow. These roles were not necessarily created for any rational reason (ex: female role as subordinate and even as marital property). One passage in particular captures the internal struggles Boland has endured. This passage runs from pages 27 to 29 in Boland’s Object Lessons. It begins by saying, "It may not be that women poets of another generation…" and ends with "…but because of poetry."
Robert Frost is considered by the casual reader to be a poet of nature like that of a Wordsworth. In a sense, his poetry is about nature, yet with strong underlying tones of the drama of man in nature. Frost himself stated, “I guess I’m not a nature poet,” “ I have only written two without a human being in them (138).” Marion Montgomery’s critical essay plays with the epitaph that Frost proposes for himself in The Lesson for Today: “I have a lovers quarrel with the world.” Montgomery says, that the lovers quarrel is Frost’s poetic subject, and states, “throughout his poetry there is evidence of this view of mans’ existence in the natural world (138). The essay examines how Frost’s attitude toward nature is one with armed and amicable truce and mutual respect interwoven with boundaries of the two principles, individual man and the forces of the world. But the boundaries are insisted upon. The critical essay examines how Frost’s direct addresses of nature are often how man is essentially different from objects and features of nature. Montgomery insists, “…his trees and animals, though he speaks to them, do no take on grave countenances (140).” The jest of Montgomery’s ideal is when Frost speaks directly to or directly of natural objects or creatures, “that ...
Restlessness is the main focus of Phillips’ article, it is the title of his article and in his opinion it is the reason why poems exist at all. “Poetry is the results of a generative restlessness of imagination… uncertainties become obsessions to be wrestled with, and with luck, the result is poetry…” (Phillips 132) Phillips, in summary of his article, claims uncertainties in life trouble our minds until the uncertainties become obsessions. We become restless in our quest to understand the uncertainties we face and by writing poems we can organize our thoughts and try to understand the things we do not. Phillips furthers his explains his claim by admitting “ I write poetry for the same reason that I read it, both as a way of being alive and as a way of trying to understand what it means—how it feels—to be alive.” (Phillips 133).
“In Tradition and the Individual Talent”, T.S. Eliot affirms that the greatest writers are those who are conscious of the writers who came before, as if they write with a sense of continuity. T.S Eliot addresses literary tradition as well as poetic tradition, and states that it is important to focus on “significant emotion, emotion which has its life in the poem and not in the history of the poet” (18). In this sense, the importance of tradition in poetry relies on the fact that a poet must be aware of the achievements of his predecessors, for, as we shall see in the case of Stevens and Ashbery, “the emotion of art is impersonal. And the poet cannot reach this impersonality without surrendering himself wholly to the work to be done. And he is not likely to know what is to be done unless he lives in what is not merely the present, but the present moment of the past, unless...
Robert Frost’s nature poetry occupies a significant place in the poetic arts; however, it is likely Frost’s use of nature is the most misunderstood aspect of his poetry. While nature is always present in Frost’s writing, it is primarily used in a “pastoral sense” (Lynen 1). This makes sense as Frost did consider himself to be a shepherd.
During the time-period when they authored this essay, the commonly held notion amongst people was that “In order to judge the poet’s performance, we must know what he intended.”, and this notion led to what is termed the ‘Intentional fallacy’. However, Wimsatt and Beardsley argue that the intention, i.e., the design or plan in the author’s mind, of the author is neither available nor desirable for judging the success of a work of literary art. It is not available because the author will most certainly not be beside the reader when he/she reads the text, and not desirable because intention as mentioned already is nothing but the author’s attitude towards his work, the way he felt while writing the text and what made him write that particular piece of writing and these factors might distract the reader from deciphering the meaning from the text. This method of reading a text without any biographical or historical background of either the poem or the poet practiced by the New Critics was known as ‘Closed Reading’. This stemmed from their belief in the autonomy of the text.