Keats Poetry And The Imitation Of Spenser

The Eve of St Agnes is a poem, along with other great odes of Keats, demonstrates his highest poetry achievements. Written in February 1819, the Eve of St Agnes shows a completely original poetry plot and the poem remains unforgettable and unique one.

The timeless essence and the ambivalence in Yeats’ poems urge the reader’s response to relevant themes in society today. This enduring power of Yeats’ poetry, influenced by the Mystic and pagan influences is embedded within the textual integrity drawn from poetic techniques and structure when discussing relevant contextual concerns.

William Butler Yeats is one of the most esteemed poets in 20th century literature and is well known for his Irish poetry. While Yeats was born in Ireland, he spent most of his adolescent years in London with his family. It wasn’t until he was a teenager that he later moved back to Ireland. He attended the Metropolitan School of Art in Dublin and joined the Theosophical Society soon after moving back. He was surrounded by Irish influences most of his life, but it was his commitment to those influences and his heritage that truly affected his poetry. William Butler Yeats’s poetry exemplifies how an author’s Irish identity can help create and influence his work.

After a four week survey of a multitude of children’s book authors and illustrators, and learning to analyze their works and the methods used to make them effective literary pieces for children, it is certainly appropriate to apply these new skills to evaluate a single author’s works. Specifically, this paper focuses on the life and works of Ezra Jack Keats, a writer and illustrator of books for children who single handedly expanded the point of view of the genre to include the experiences of multicultural children with his Caldecott Award winning book “Snowy Day.” The creation of Peter as a character is ground breaking in and of itself, but after reading the text the reader is driven to wonder why “Peter” was created. Was he a vehicle for

The Romantic Period of prose of poetry created a form that promoted the focus on the supernatural, the natural world, and newfound interest in what was once overlooked. Born in different times and with distinct circumstances, both John Keats and Christina Rossetti took to poetry to convey their own ideas, shaped by this revolutionary time. Keats faced the brevity of life much more severely and took on a more grandiose, dramatic form of romantic poetry when compared to Christina Rossetti. However, both had a similar tone in observing the natural world and conveying the emotion that compelled from within. The impact of the Romantic Movement can be felt as one reads through both John Keats and Christina Rossetti. While differences may exist, and their portrayal is a unique experience of one’s own, elements of the great Romantic time permeates through both of these marvelous poets.

In the first stanza Yeats expresses his conflicting loathing and admiration for modernity through the juxtaposition of “vivid faces” and “grey houses”. This represents the possibilities that modernity can bring; the revitalising of the community or the destruction of tradition and age old energy already lost by the modifications in the city. The repetition of the phrase “A terrible beauty is born” in the first and fourth stanzas articulate this inner turmoil revolving around modernity. This oxymoronic declaration is emphasised throughout the text by Yeats’ confusion towards the rebellion and its necessity. The fourth stanza embodies this conflict, removing the previously represented idea that life in pre-rebellion Ireland was a “casual comedy”, alluding to an Elizabethan play where the characters were content. By asking the rhetoric questions “was it needless death” and “O when may [British rule] suffice?” Yeats parallels the unresolved contradiction of “terrible beauty”. However, this sensitive treatment of conflict allows the retainment of ambiguity and can be related to any change within life, hence allowing audiences to superimpose their own beliefs and ideas into the poem. Yeats continues to explore his aversion towards modernism in The Second Coming with the appointment of a new “gyre” standing as the symbol for a new age. The fear of

However, the impending death that creates the incapacity to write down thoughts does not detract from the complexity of the thoughts. On the contrary, Keats’ comparison of his imagination to harvestable grain shows confident self-recognition of his own ability, highlighting the awareness of “the poet’s own ripeness in his art” (Grosholz 604). This art “teems” in his brain and is “rich,” and these qualities compel him to pour out his feelings into this one sonnet, despite his belief that this will be the last sonnet he writes. However, his fervent but vain desire to express the entirety of his poetic notions “imparts to [him] the hunger, or poverty, necessary for production, but…also dwarfs whatever [he] has already written” (Hecht 116). Accordingly, by longing to write his unspoken wisdom, Keats rejects any greatness associated with his previous works. This untapped potential consequently creates a paradox for Keats as he is both the field of grain and its harvester (Saksono 97). Thus, he alone is capable of cultivating and sharing his work despite his waning health. The prospect of this work is still tantalizing to him, though, as Hecht states that “‘The high piled books, in charactry’ promise that if they could only be written, meaning would outlive the

Agnes” from the Medieval time period setting to the love struck characters. Pagan views are also evident in his work, since he considered himself a Pagan. Since he was raised a Catholic by his mom, there are many Christian analogies in his works “Train up a child in a way he should go: and when he is old, he will not depart from it,” Proverbs 22:6. Living only until 25 years of age, Keats’ work still had an impact on other poets of this time period, such as Alfred, Lord Tennyson. In everyday life this style of poetry seems outdated and irrelevant, however Keats’ impact is still referenced today and can be seen in Dan Simmons’ Hyperion saga¬¬. With the use of extreme emotions and vivid imagery

John Keats was a well established English poet in the early 19th century. His work is greatly influenced by his family, studies, political views, and life experiences. Keats was born October 31st, 1795 in a stable to his devoted parents, Thomas and Frances Keats (15). Before Keats’s twentieth birthday he would experience many hardships from the passing of both of his parents as well as his grandmother. Thomas Keats died in 1804 after an accident occurred while riding his horse, leaving John Keats as the ‘man’ of the house at the young age of nine. Less than five years passed before Frances Keats fell ill and passed after contracting tuberculosis. At a young age Keats experienced great loss and suffering that would linger with him for the entirety

intellectual and imaginative climate,” perhaps a “spirit of an age”,” (Greenblatt, 8th ed. 6). As this quote displays, the Romantic period of literature held a closely associated atmosphere with the time. Four ideas, impulse of feeling, glorification of the ordinary, the supernatural, and individualism or alienation all serve as readily available examples of themes which display the atmosphere discussed by this quote. Out of all of these themes, glorification of the ordinary serves as the main focus of Keats’s poem “Why Did I Laugh Tonight? No Voice Will Tell”.

The twenty-four old romantic poet John Keats, “Ode on a Grecian Urn” written in the spring of 1819 was one of his last of six odes. That he ever wrote for he died of tuberculosis a year later. Although, his time as a poet was short he was an essential part of The Romantic period (1789-1832). His groundbreaking poetry created a paradigm shift in the way poetry was composed and comprehended. Indeed, the Romantic period provided a shift from reason to belief in the senses and intuition. “Keats’s poem is able to address some of the most common assumptions and valorizations in the study of Romantic poetry, such as the opposition between “organic culture” and the alienation of modernity”. (O’Rourke, 53) The irony of Keats’s Urn is he likens

The contemporary Roman Catholic middle classes had defeated the cause for which Yeats fought for at that time; hence Yeats felt oppressed by his own people. (Abram 2303)

John Keats’s “Ode on a Grecian Urn” is written through the power of eternity, beauty and truth regardless of existence, as Wordsworth showed likewise. Keats illustrated his poem through love in its sublime. For example, in the first stanza he says, “What wild ecstasy?” (Keats 930). If ecstasy is a huge feeling of

In the context of John Keats’ “Ode to a Nightingale,” “The Wild Swans at Coole” by William Butler Yeats raises compelling dialogue with Keats’ piece, which suggests that Yeats, to some degree, draws inspiration from John Keats, in that his pose concerning the nightingale becomes a basis and “touchstone” for “The Wild Swans at Coole.” Aside from commonalities concerning avians, both poems share elements of Romanticism, melancholy, feelings of weariness, and other key ideas, images, and plots as “Ode to a Nightingale” and thus, “The Wild Swans at Coole” strengthens Keats’ initial ideas in a harmonic and resonant fashion using its own unique methods. As a response to Keatsian Romanticism, Yeats revises the ideas surrounding transcendence of

Keats, on the other hand, uses the “Ode on a Grecian Urn” to express his perspective on art by examining the characters on the urn from either an ideal or realistic perspective. In the beginning, Keats asks questions regarding the “mad pursuit” (9, p.1847) of the people on the Grecian urn. As the Grecian urn exists outside of time, Keats creates a paradox for the human figures on the urn because they do not confront aging but neither experience time; Keats then further discusses the paradox in the preceding stanzas of the poem. In the second and third stanza, Keats examines the picture of the piper playing to his lover “beneath the trees” (15, p.1847) and expresses that their love is “far above” (28, p.1848) all human passion. Even though