1997. John Hopkins University Press. 10/05/04. http://www.press.jhu.edu.ezproxy.library.dal.ca/books/hopkins_guide_to_literary_theory/entries/edmund_burke.html _______. Sublime.
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307. Huxley, Aldous. “Do What You Will.” London: Chatto & Windus, 1956. Johnson, Maurice. “The Sin of Wit: Jonathan Swift as a Poet.” Literature Criticism from 1400 to 1800.
It is quite pessimistic about the afterlife and again has a religious undertone. Blake appears to have little faith in God, ‘heaven of our misery’ (Songs of Innocence and Experience, object 37). It is interesting to note that ‘The chimney sweeper’ mentioned previously is not the only poem of that title written by Blake. He wrote another by the same name in ‘Songs of Innocence’. Compared to the poem in ‘songs of experience’, this one is much more innocent but also far more upsetting.
Yale University Press 43 (1969): 128-44. JSTOR. Web. 13 Nov. 2013. . Oates, Joyce C. "First Loves: From "Jabberwocky" to "After Apple-Picking"" American Poetry Review 28.6 (1999): 9.
“A poet ought not to pick nature's pocket. Let him borrow, and so borrow as to repay by the very act of borrowing. Examine nature accurately, but write from recollection, and trust more to the imagination than the memory.” Coleridge followed his own advice in the crafting of Kubla Khan; which presents his interpretation of the Kubla Khan court when under the influence of opiates. Due to the complexity of the poem, many have found that the poem lacks a true theme but instead focuses on “the nature and dialectical process of poetic creation.” Coleridge created a masterpiece by providing the readers room for personal interpretation but also a poem so well crafted that it illustrates the Romantic period as a whole. Samuel Taylor Coleridge was the youngest of his family and was sent to Christ's Hospital School in London.
Studies in English Literature, 1500-1900 17.3 (1977): 419-28. JSTOR. Web. 15 May 2011. Sullivan, E. E. "Houyhnhnms and Yahoos: From Technique to Meaning."
That Hardy found more solace while expressing himself in poetry needs no proof due to his disowning the tag of a novelist and his desire to be remembered as a poet. Thus, while approaching Hardy’s poetry one needs to purposefully digress from the traditional path of viewing him as a popular novelist who also wrote poems or a poet at heart who considered his novel writing as ‘pot-boiler’. This neat dissection of Hardy’s literary genius, into two separate parts, may hinder a comprehensive analysis. On the other hand, a see-saw approach that alternatively draws inspiration and instances from both the novels and the poems, at will, can also persuade scholars to seek identical perceptions in the two distinct genres. Critics are discovering daily just what an inestimably subtle man of letters Thomas Hardy really was.
Truth and Method (Tubingen), 299-300 11) Livingston, Paisley. 2005. Art and Intention (Oxford: Oxford University Press), 93 12) Hirsch, Edward D Jr. 1967. Validity in Interpretation (New Haven: Yale University Press) 13) Iseminger, Gary (editor). 1992.