Inside their poems they tell love like it is: imperfect and full of flaws. Needless to say, Shakespeare and Neruda had no apparent trouble conveying the true meaning behind beauty and love through their usage of reflection against positive and negative imagery, the usage of an orderly structure, and usage of sensory devices. If there is one thing that someone could learn through the work of these poets, it’s that beauty lies further than just the appearance on the outside; once someone else can realize this, only then will they discover the true significance that beauty brings to love.
The function and form of poetry according to the theories of Platonism is defended and reconciled by Sidney. Further words and sanctions from Aristotle provide ammunition in support of the defense. Plato’s considerable concern had been with the education of men a... ... middle of paper ... ...eral concepts from other authors. He maintains the concept to all knowledge is religious: “to restore the soul as much of its lost perfection as is possible”, a condition of enlightenment that aspires the soul into a state of felicity. The soul is lifted up from the boundaries of moral consciousness: Learning, under what name soever it come forth, or to what immediate end soever it be directed, the final end is to lead and draw us to as high a perfection as our degenerate souls, made worse by their clay lodgings, can be capable of.
Sonnet 130 is Shakespeare’s harsh yet realistic tribute to his quite ordinary mistress. Conventional love poetry of his time would employ Petrarchan imagery and entertain notions of courtly love. Francis Petrarch, often noted for his perfection of the sonnet form, developed a number of techniques for describing love’s pleasures and torments as well as the beauty of the beloved. While Shakespeare adheres to this form, he undermines it as well. Through the use of deliberately subversive wordplay and exaggerated similes, ambiguous concepts, and adherence to the sonnet form, Shakespeare creates a parody of the traditional love sonnet.
Cummings’s "Since Feeling is First" compares the inadequacy of mental analysis with the beauty of emotional spontaneity by "argu[ing] feeling and the abandonment of inhibition to larger forces" (Heyen 133). For the poet, acute perception comes from feeling, not thinking, which only allows us to "see" indirectly. In other words, the beauty of the experience is, in and of itself, proof of the power of beauty. Thus, Cummings desires the reader "to render the image of what we see, forgetting everything that existed before us" (Cohen 42). Such a statement is not a condemnation of rationality, but instead an affirmation of the mystery of things, which is more compatible with feeling than with knowing, supposing the latter to be a form of measuring that lacks love.
Such include Wordsworth and Coleridge's Lyrical Ballads and Shelley's A Defence of Poetry. In his and Coleridge's Lyrical Ballads Preface, Wordsworth himself defined good poetry to be "the spontaneous overflow of powerful feelings" (Wordsworth and Coleridge IV). He goes on to make a clarification of this statement in the same... ... middle of paper ... ...inary and the music of his poems, which put in vigorous action their own requiring urgent attention change. However, Keats embraces his poem, Ode on a Grecian Urn with the Romantic emotion over reason, with stating; "Beauty is truth, truth beauty," ( Lawell et al. pg.
What does it mean to you, and is your understanding of its "ordinary" essence, its literal meaning, identical to mine? Davidson assumes we both clearly know and agree upon its literal meaning, that it is literally "a cylindrical mass of tallow or wax with a wick through its center, which gives light when burned." Contrarily, however, I believe our understandings of a simple word like candle often file for divorce because they cannot resist the semantic temptation of what I metaphorically call literal-meaning infidelity. Metaphorical meaning is a sex object for literal meaning, and the mind of a creative artist, a lover of humanities and poetry, is incapable of not pursing this with passion unleashed via creative language-libido. This kind of person has a mind fundamentally opposed to the Davidsonesque mind, a mind that is constantly discovering (if he reads a book of prose or poetry) and inventing (if he writes with a pen in his hand) the metaphorical connection with lust filled eyes.
She states that her love can be see... ... middle of paper ... ...product of love and the lastly displaying the persona’s realisation of the cold-shoulder love is giving him. This can also be symbolic of the persona’s heartbeat, in which it fluctuates from stable to volatile to finding stability in volatility. Clare has used structure effectively, to divide the poem into distinct segments, making the experience of the persona clear. As observed, the two poems share similar themes and the two distinct experiences have been defined through similar methods to outline how their personas feel. Personally, I believe that Clare’s interpretation of love is more realistic than Browning’s.
Keats and the Senses of Being: "Ode on a Grecian Urn" (Stanza V) ABSTRACT: With its focus on the pathos of permanence versus temporality as human aporia and on the function — the Werksein — of the work of art genuinely encountered, John Keats’s Ode on a Grecian Urn is a particularly compelling subject for philosophical analysis. The major explications of this most contentiously debated ode in the language have largely focused, however, on various combinations of the poem’s stylistic, structural, linguistic, psychological, aesthetic, historical, symbolic, and intellectual-biographical elements. My paper articulates a bona fide philosophical approach to the ode’s famously controversial fifth stanza (the one containing the Urn’s declaration: "Beauty is truth, truth beauty"). I demonstrate how William Desmond’s metaphysics of Being-specifically his analysis of the univocal, equivocal, dialectical, and metaxological senses of being-affords the groundwork for a "hermeneutics of the between" that elucidates the ode’s culminating stanza with all of the cogency and nuance that one would expect to derive from a systematic ontology. In what ways are philosophy and literature mutually elucidating?
In the same way Spenser tries to forge a tangible bond between himself and the beloved by rendering them both physically present in the words of Amoretti, Sidney tries to promote his signifiers to signifieds in an effort to exchange “semiological [intimacy] for sexual desire” (Stephens 93). The difference is that Spenser offers the beloved a shared space while Sidney seeks exclusive control of the courtship. Much like Wyatt tries to have the last word in Whoso List to Hunt, Sidney and Spenser write their sonnets in anticipation of the beloved’s response. As their efforts to adapt her subjectivity show, all three poets recognize the beloved as powerful, but is this the power of a reader or a social and sexual equal?
Keats's "Ode on a Grecian Urn" offers a paradoxical concept of Beauty. It describes the frozen beauty portrayed on the Urn as sweeter than reality, for its expiration is a locked impossibility. The lover's kiss is sweeter when in waiting, and her timeless beauty and devotion are worth the kiss's impossibility. Thus, the observation of beauty is more sweet than its reception, and objects in their prime are best just before their expiration. This poem is reminiscent of Shakespeare's sonnets in its zeal for permanent youth and disdain for time's drain on youth's beauty.