A Lecture On Chatterton, Oscar Wilde 's Career

Literature of the English Restoration offers the example of a number of writers who wrote for a courtly audience: literary production, particularly in learned imitation of classical models, was part of the court culture of King Charles II. The fact of a shared model explains the remarkable similarities between “The Imperfect Enjoyment” by the Earl of Rochester and “The Disappointment” by Aphra Behn—remarkable only because readers are surprised to read one poem about male sexual impotence from the late seventeenth century, let alone two examples of this genre by well-known courtly writers. In fact, Richard Quaintance presents ten more examples by lesser-known poets as he defines the literary sub-genre of the neo-Classical “imperfect

During the 17th and early 18th centuries there was a roar of wittiness and logic that came to the forefront of literature in the form of multiple well known Horatian, Juvenalian and Menippean satires (wiseGEEK). The essayist often brought a profound examination and keen persuasive rhetoric that exposed insincere idiocies and outlined the moral and economic decay (wiseGEEK). Satirical works often highlight ideals of reason, order, and social awareness, and thus these works contain a persistent undertone of civility (Holmes). The author superficially uses a façade of conventional traditions, edicts, egotism, and moral codes to incite a new sense of moral and political superiority (Holmes). The satirical literary device was at its peak during the Neoclassical Period in which the enlightenment writer, Jonathan Swift, was exceptional at this writing style (Jokinen). He excelled at rebuking Britain’s flaws and pointed out the hypocrisy at the time by extensive ridicule of the conventual school of thought. Jonathan Swift’s, A Modest Proposal is an inspiration to many aspiring satirical authors, as he is admired as a rhetorical virtuoso that shed light on the profuse moral and political decay. He also exposed the corruption in society by using a sly, yet polished voice. An example of a modern work inspired by A Modest Proposal, is Dan Geddes, A Modest Proposal to Convert Shopping Malls into Prisons. Though this is seen obviously in the Dan Geddes’s title of his essay, he also uses

An object at rest will remain at rest and an object in motion will remain in motion unless acted upon by an unbalanced force. Newton’s first law of motion identifies what is needed to produce change. Oscar Wilde shared similar observations when he said, “Disobedience, in the eyes of anyone who has read history, is man’s original virtue. It is through disobedience that progress has been made, through disobedience and through rebellion.” Both Newton and Wilde recognized how force was essential in order to successfully achieve change. Although Wilde was an influential leader in the late 1800s, his ideas are still applicable to today’s world just like Newton’s laws of motion. The force of disobedience and rebellion has followed Wilde’s claim by historically altering the world and continuing to serve as a powerful platform for change.

Although Woodsworth is the most prolific poet of the two, Coleridge stands out with his unique style in “The Rime of the Ancient Mariner” and “Kuba Khan.” McCombe chose “The Rime of the Ancient Mariner” and older works by Coleridge and Woodsworth to show how Hitchcock’s film is similar to British Romanticism. Hitchcock films are rarely read in the context of a literary framework. For the most part, scholars read Hitchcock’s film through Jacques Lucan’s psychoanalysis methods. McCombe does not disagree that the film can be read through psychoanalysis and go on to cite texts that have successfully done so. However, he focuses on the romantic style of Hitchcock’s film which validate Hitchcock as a hyper romantic.

Written by Jeffrey Eaton, an Open Letters editor, this source is reliable because the magazine speciality is to critique many works of art and literature. Rather than merely summarizing the main events of the memoir, Eaton actually expresses his dislike about it by providing

As Anna Johnson explains, “Old English literature formed part of what Jones called his ‘materia poetica’ even in his early work, at a time when his knowledge of it was certainly limited” (89). Indeed, though she admits that Jones “would never learn to read [Old English poetry] in its original form,” Johnson finds repeated evidence of three Old English poems throughout In Parenthesis: The Dream of the Rood, The Battle of Maldon, and The Battle of Brunanburh (94). Johnson’s critique is thus a useful point of entry to Jones’ often difficult poetry: she notes, for example, how “Jones’s engagement with Old English sources becomes both a part of this modern reality, and a heroic act of remembrance in the face of an increasingly mechanized world, forgetful of its history”

This is hardly coherent praise for an eminent playwright and poet.”(10-15) It is very odd that on

Oscar Wilde, the author of The Picture of Dorian Gray, was one of few men to question the logic of regarding aesthetic appearance with great emphasis during the Victorian Era. Today, we look back on Wilde’s book as a classic example of thought-provoking literature that challenges social ideas and questions what characteristics should truly define a man. Oscar Wilde was one man fighting against the ideals of the Victorian Era through the use of his epigrams. Eventually, these epigrams would help alter society to a place where relationships are not formed out of beauty, but are instead built on character and trust. Oscar Wilde uses epigrams in The Picture of Dorian Gray to criticize the immorality of placing great emphasis on superficial characteristics,

W. K. Wimsatt, Jr. and M. C. Beardsley co-authored “The Intentional Fallacy” in response to the debate among literary scholars in the 1940s concerning the issue of authorial intent as a measure of judgment upon a literary work of art. Wimsatt and Beardsley (468-469) champion the idea of anti-intentionalism in opposition to noted scholars and critics of the day, arguing that the success and meaning of a literary work must not be judged by the author’s intent, if it is even available, but rather solely by the work itself. Because the reader cannot possibly know an author’s intent at the moment the work was conceived, the authors suggest that if a poem is successful, its success is measured within its own structure, content, and language. It succeeds

Ezra Pound’s (1885-1972) Homage to Sextus Propertius has stirred controversies after its first publication in Harriet Monroe’s Poetry magazine in March 1919. The poem is consisted of twelve sections and it was based on Propertius, a great Latin elegiac poet who lived during the first century. Pound’s poem provides a new interpretation of Propertius that differs from his predecessors. Pound finds a voice to critique the corrupted politics of his time. The poem, However, has enraged the Classicists for they viewed it as an utter mistranslation of Propertius. Such differing views over the poem have been, for quite long, the source of contention in the academic circles. This paper, therefore, discusses the views of the Classicists and

Hugh Selwyn Mauberley – I chose to analyse this poem as it “provides a finely chiseled “portrait” of one aspect of British literary

Letitia Elizabeth Landon is recognized as the most read British poet of the early nineteenth century. Landon is regarded as a renaissance woman—among the first wave of women to gain individual recognition, financial independence, prestigious literary acclaim, and supporters of her unique style of poetry. Landon published an enormous amount of literature from 1820-1838; generating seven book of poetry, creating literary annuals, authoring three novels, several children’s stories, publishing translations, a number of short stories, and providing literary reviews/criticism. The quality of Landon’s work speaks for itself and is consistently reviewed in the literary society. For this paper I intended to compare and contrast the textual similarities and differences of Letitia Elizabeth Landon and George Gordon, Lord Byron—using literary devices and subject matter.

The role of the poet is constructed through various means within the poetry of the eighteenth-century. This essay shall James Thomson and Thomas Gray in their construction of the role of the poet. Thomson’s Spring conveys the role of the poet as being multifaceted. Contrary to this, Gray establishes the role of the poet as one of isolation and being an outsider whilst expressing anxiety over the declining role of the poet, as seen in ‘The Bard’. To begin, this essay shall examine the forms used by the poets. Thomson makes of the Miltonic blank verse. By doing this, the role of the poet is conveyed as multifaceted as a range of subjects are discussed. Gray uses the form of the Pindaric ode in order to establish the idea of the poet being

   By imitating writing styles of ancient poets, Ezra Pound exhibited his attitude toward modern civilization, and his famous poem, Hugh Selwyn Mauberley, is the stereotype. In this poem, Pound revealed his disagreement with industrial society. The poem is an imitation of other old poetic styles, or epic style; however, it presents ironic meaning. To fully understand Pound's divergence from modern culture, the ways of presenting his position will be firstly explained. Next, the focus is on the contrast between the elitist and popular culture. Finally, to highlight Pound's attitude, I prefer to make comparison with other literary masterpieces, Odyssey, which have similar poetic style,

This regrettably proceeds into the first chapter, an introduction to three prominent works of Wilde’s. The first, Oscar