St Agnes Beauty

Kyla Fry Ms. Noel English 112 8 March 2024 Love in “Facts About the Moon” A multitude of poems tend to portray different themes based on the author’s beliefs or life experiences. In “Facts About the Moon,” Dorianne Laux poses an important question she faces, which is whether or not someone or something receiving love deserves it. The significance of the poem begins with its title. It implies that the poem is a list of facts about the moon. However, after reading this, one can conclude that there is a whole world of possibilities under the facts, similar to an iceberg.

The similarities between the poems lie in their abilities to utilize imagery as a means to enhance the concept of the fleeting nature that life ultimately has and to also help further elaborate the speaker’s opinion towards their own situation. In Keats’ poem, dark and imaginative images are used to help match with the speaker’s belief that both love and death arise from fate itself. Here, Keats describes the beauty and mystery of love with images of “shadows” and “huge cloudy symbols of a high romance” to illustrate his belief that love comes from fate, and that he is sad to miss out on such an opportunity when it comes time for his own death.

It comes as no surprise that love poems are not a rare commodity. Whether they’re about a lovesick man pining for his soul mate or a general reflection about how one perceives love, these poems offer an analysis of one of the most innate desires of our human nature. Despite inevitable differences in writing style and point of view, there can be times where love poems employ similar strategies to tackle such an analysis. John Keats’ “La Belle Dame Sans Merci” and T. S. Eliot’s “The Lovesong of J. Alfred Prufrock” are no exception to this occurrence. Both poems use two different and

The use of symbolism and imagery is beautifully orchestrated in a magnificent dance of emotion that is resonated throughout the poem. The two main ideas that are keen to resurface are that of personal growth and freedom. Furthermore, at first glimpse this can be seen as a simple poem about a women’s struggle with her counterpart. However, this meaning can be interpreted more profoundly than just the causality of a bad relationship.

Within Keats’ works of Literature, Sarah Schulman’s “Empathy,” and Jeffers’ works of literature, all of them together portray a sense of beauty in some way, symbolizing its true meaning. Beauty is along the lines of each of these authors and poets, but represented in various ways, showing that beauty has multiple meanings. Alongside the unique views shown through these authors’ lenses, they all come together to show what beauty can stand for. Also, what emerges the most within these written works is the notion of beauty and how it comes to realization in contrasting circumstances.

Now that the setting, imagery, and descriptive detail have been taken into account, the decisions and actions of the characters can be examined. Although she is a minor character, Angela: one of Madeline maids catches Porphyro sneaking around the castle in the middle of the night and starts the beginning of the consequences of the night. By exclaiming as soon as she catches him, “I will not harm her, from all saints I swear” and saying that he will throw himself to death at the hands of the guardsmen if he does not see her, Porphyro manages to convince Angela that he truly does love Madeline (Keats 1834). Against her judgment and fueled by her knowledge that Madeline secret love Porphyro back she reluctantly lead him to Madeline rooms and hides him in the closet knowing that Porphyro only wants to see Madeline and not sleep with her (Keats 1834 – 1835). It is not her fault entirely of the consequences of that night cause she was told by Porphyro that he only would watch

A general sense of the overall situation’s mood is established by the narrator’s explaining that although, “Carol would have imagined” her engagement to have been a romantic “scene that involved all at once the Seine, moonlight, barrows violets, acacias in flower”, such dreams were merely high-falutin expectations that Carol “had nearly come to believe herself.” Essentially, narrative voice has prepared the reader for a failed expectation; Carol’s love story, as one now expects after this bitter-sweet exposition, may not be the most romantic of sorts.

This part of the book shows how her mom wanted to protect Madeline her entire life from the outside

The play takes place in the late Medieval, probably in Italy. St. Agnes is a patron saint of virgins. When analyzing a poem one has to focus on the contrasts there. Modern linguistics is focused on different language substances with a help of expressive emotional categories. Those categories could transmit the speech, in which author realizes the facts of reality. In Keats case, the poem, which is overwhelmed with Enlightening era, the love is reality. The elements of Shakespeare's

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

The first part of the poem is light and happy, filled with bright images of “holy light” and “sunny beams” (8, 9). However, the maiden and her mate agree to meet the following night, a foredooming of their fateful friendship, as when the girl approaches her father his “loving look, / Like the holy book, / All her tender limbs with terror shook” (27-29). Suddenly the poem shifts to dark imagery, “when the silent sleep / Waves o’er heavens deep” (22-23). The innocent maiden who was earlier “bright” and happy is described as “pale and weak” after her father’s reprimand (7, 30). The earlier word “bright” described her blissful innocence, while “pale” denotes the fear imbued in her and the wickedness associated with her earlier innocent play. Blake accuses Christian society as the “assassin of innocence” in the young couple (Trowbridge, 140). The church, in the form of a father figure, is being critically attacked by Blake via the children’s harmless affair.

The writer prematurely buries Madeline and resurrects her in a twist of events that nearly scares the audience. Her ghost-like appearance from the dead actually turns out to be fictitious as she was not really dead but in a way trying to get out of the tomb her brother buried her. This and other strange stories of Usher’s siblings and their sudden disappearances are a true reflection of a gothic literature setting, skillfully employed by Poe. The use of dark and spooky words in the story give the true evidence of the use of gothic feeling that is common to Poe’s literary writings.

Keats ' ‘The Eve of St Agnes ' explores forbidden love, and the belief that has become encompassed in this. With Porphyro being prevented from seeing Madeline due to a previous feud, she must believe that their love will become somehow fulfilled – and this is why she appears to participate in this romantic superstition of St. Agnes. Stanza XXXIV, describing Porphyro as "the vision of her sleep", appears to confirm Keats ' belief in the romantic ideal of St. Agnes, yet this is quickly dashed – "There was a painful change, that nigh expell 'd/The blisses of her dream so pure and deep". Porphyro can never live up to the heightened expectations developed in the dreams of Madeline, since as the critical extract details, Madeline prefers "her

The imagery in the poem, specifically natural imagery, helps use the reader’s senses to develop a vivid depiction of the speaker’s connection to nature and dissatisfaction with the surrounding reality. The speaker’s continued use of the “moon” reflects her attribution of feminine identity and idolistic character to the moon. As opposed to referencing herself and her personal insomnia, she uses the imagery of the moon “beyond sleep” to convey her internal struggles with insomnia and her reality. Throughout the poem, the speaker also refers to shining, reflective surfaces, such as “a body of water or a mirror”, to describe the inverted reality in which the speaker experiences reciprocated love. Reflective surfaces often invert the image that is projected into them, seemingly distorting the true nature and reality of the projected image. The speaker’s reference to this reflective imagery highlights her desire to escape the burden of a patriarchal society and assume an independent and free feminine identity. Specifically, the use of natural imagery from the references to the “moon” and “a body of water” convey the speaker’s desire to take refuge within the Earth or in the feminine identity of the Earth, Mother Earth. Feminine identities are often related and associated with aspects of nature due to the natural cycle of the menstrual period and the natural process of procreation. The speaker takes advantage of these connotations to suggest Earth and natural imagery as an escape from the man-made terrors of male dominated society. In the second stanza, the speaker uses extensive imagery to develop metaphors conveying the speaker’s experience of jealousy of the moon

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