Heine's personality was composed of sharply conflicting elements: a pagan joy of life and a feeling for Hebraic ethical values; a love of Romanticism and a hatred for the German Romantic writers of his time because of their subservience to reactionary political and religious forces; German patriotism and a humanitarianism that embraced the entire world; nominal Christianity and lifelong attachment to Judaism. These conflicts created in Heine the spirit of disillusionment, of mockery, and of biting satire that characterizes so much of his writing.
In Hopkins’ sonnet No Worst, There Is None, Hopkins discusses of the deep grief that is semi-related to hell and death. “No worst, there is none. Pitched pas... ... middle of paper ... ...ave suggest that Hopkins uses his poems and sonnets to awakening the corruption and realization of technology and science, Victorian poets are making a point to reestablish the faith of humanity and that is the independency of mind and nature. A debate is also questioned whether Hopkins’ poems are conveying a satirical piece of work in the changes in the era. Hopkins’ poems can be ambiguous but it is apparent that his works shine the light to those in despair about Religion versus epistemic.
Although he was known as both a madman and a mystic, (Elliott) his poetry is both relevant and radical. He employed a brilliant approach as he took in the uncomfortable political and moral topics of his day and from them he created unique artistic representations. His poetry recounts in symbolic allegory the negative effects of the French and American revolutions and his visual art portrays the violence and sadistic nature of slavery. Blake was arguably one of the most stubbornly anti-oppression and anti-establishment writers in the English canon. Blake had an uncanny ability to use his work to illustrate the unpleasant and often painful realities around him.
Although Shelley does not explicitly voice a cry for socialism, his poems do call for a proletarian response to the tyrannical leaders of England, yet he ultimately fails in sparking a revolution due to several contradictions as well as the fact that they remained unpublished; based on these issues, Shelley became merely a precursor to the socialist ideas of the late Nineteenth century. One of Percy Shelley's boldest poems concerning a proletarian uprising is "A Song: 'Men of England,'" in which the diction and style of the piece evoked a sense of urgency and magnitude. Just as Ifor Evans claimed that Shelley had a "personality in revolt," it should also be noted that his poetry urged others to "revolt"(140). When read aloud, the poem sounds more like a fiery speech than a Romantic piece of literature. Shelley used vivid images to catch the reader's attention, such as "Drain your sweat?
Edgar Allan Poe is perhaps the best-known American Romantic who worked in the Gothic mode. His stories explore the darker side of the Romantic imagination, dealing with the grotesque, the supernatural, and the horrifying. He defined the form of the American short story. As one might expect, Poe himself eschewed conventional morality, which he believed stems from man's attempts to dictate the purposes of God. Poe saw God more as process than purpose.
Matthew Arnold’s Poetry: The Voice of Victorian “Longing like Despair” John Stuart Mill defined the Victorian Era as “an age of transition”, where “Mankind will not be led by their old maxims, nor by their old guides.” Other contemporary minds saw in this transition the main source of profound intellectual and moral confusion, “that may validly be described as a crisis of personal identity.” (R. A. Forsyth) The poet and Victorian literary and social critic Matthew Arnold distinctly expresses his age’s deepest anxieties, rising from a world being utterly redefined by industrialisation. Much of his poetry is infused with intense personal and emotional discussions of love and loneliness, which spring the rising feeling of isolation and alienation. His writings respond to the disintegration of the traditional Christian social order and to the Victorian human condition. Arnold’s voice is one of despair, although it is also one of longing; one that seeks comfort in intimate companionship. “To Marguerite: Continued” (1852) and “Isolation: To Marguerite” (1857) are primarily love poems where Arnold expresses his struggle with personal isolation and his hope in the potential remedying power of love.
It is evident by reading John Donne's poetry that he was a man of intense passion; even in his most light-hearted poems are the suggestions of resentment. In Donne's religious poems from "Holy Sonnets" there is still a sense of ambiguity and hesitance. In the poem which begins "Thou hast made me" the speaker is aware of his sins and that he is a sinful man. He is also conscious of the necessity for God's mercy during his final judgment. "Despair behind, and Death before doth cast / Such terror, and my feeble flesh doth waste" (44).
William Blake hated tyranny and celebrated liberty. Focusing on several poems from Songs of Innocence and Experience discuss to what extent this is evident. William Blake, author and illustrator of the 18th and 19th century had non-conformist emotions, which are represented in his poems from Songs of Innocence and Experience. Throughout his life he was a visionary and a radical, these two aspects of his magnificent genius can be seen as an independent idealism, as is believed today, or, as his contemporaries thought, a crazy man, born into the real world. These characteristics of this man may have been shaped by his upbringing, religion or due to the social and political changes that England was undergoing at the time.
His poetry is characterized by the themes of love, mortality, and spirituality. It is bathed in sophistication and complexity of thought. He used active verbs in a jarring manner to capture his conflicting thoughts and emotions. In his use of metaphysical conceit, Donne compared himself to a besieged town, captured by and engaged to Satan. He had attempted to admit God into the town but found he was too weak to do so, even though he loved God dearly.
Sentimental scholars, who were mainstream in France between the late eighteenth and mid-nineteenth hundreds of years, composed enthusiastic, subjective books that focused on feeling to the detriment of certainties and reason. At the point when Flaubert started composing, another school called authenticity had begun testing sentimental optimism with books that concentrated on the cruel substances of life. This school included other French essayists, for example, Stendhal and Honorè Balzac, and in addition English authors like George Eliot and Thomas Hardy. Not at all like his counterparts, be that as it may, Flaubert perceived a solid dash of sentimentalism in himself. In Madame Bovary, sentimentalism is available, yet Flaubert dependably treats it with incongruity.