Keats to Autumn Essay

The topic I am choosing for the project is sonnets, with a focus on John Keats. I think that sonnets fit into the focus of this seminar because they are a form of a lyric. Like we learned in Jackson’s “Lyric” article, “"the early modern sonnet becomes the semi-official vehicle of contemporaneous lyric, and both theory and commentary respond to it as a given.” It also talks about the Romantic period was when “the lyric became a transcendent genre by remaining an idea that could blur the differences

the same craft as shown in the poems primarily through tone and imagery. In “When I have Fears That I May Cease to Be” by John Keats, he paints an image of the beautiful nature. Throughout the poem, especially in lines 5-11 he describes the magnificence of the view. The tone of the poem starts off as having

In “The Human Seasons” by John Keats, the author utilizes a lively tone and an accepting tone to reveal that one is less likely to strive to accomplish their goals in life if they do not believe that they will achieve them. Many people accept the way their life is and are unhappy, but they do not attempt to change their lives because they lack the hope needed to be open to all possibilities in life. Instead of accepting one’s situation when it may not be what they wanted, one must remain hopeful

civilization. In punishment, according to Hesiod 's account, Zeus chained Prometheus on a mountain and gave him unending torment, as an eagle fed from his constantly restored liver. Shelley completed both his dramatic poem and "Ode to the West Wind" in autumn 1819 in Florence,

How is love presented/explored in the poems Sonnet 116, La Belle Dame Sans Merci, My Last Duchess and three others? (Intro) Love is a constant theme explored in English Literature and can be presented through a variety of connotations, such as romantic, sexual and possessive. The poems Sonnet 116, La Belle Dame Sans Merci and My Last Duchess all portray these notions. Sonnet 116 presents a real, romantic and everlasting love, as the poem explores the meaning of love in its most ideal form. This is

Commanding to be proclaimed upon a mountain-top, “Ode to the West Wind” is crafted with such a structure and style that even the seasoned literary connoisseur is overwhelmed. Boasting a lofty seventy lines, this masterpiece is no piece of cake to digest. Digging deeper into Percy Bysshe Shelley’s 1819 composition, one can see the old cliché “when one door closes, another opens.” This theme is abundant throughout the work and also reaches its prime in the last line of the poem, “If Winter comes,

INTRODUCTION Romanticism has its start in the late eighteenth century’s Germany, quickly spreading throughout Europe and the United States of America, as a cultural, literary, musical and artistic movement, pulling groups of people together, forming a powerful, shared attitude of care towards the concept of existence itself. Being a direct reaction to the rationalistic point of view of the Enlightenment and the strict forms of classical beauty, Romanticism is characterised by irrationalism, sentimentalism

‘The Streets-Morning’ by Charles Dickens is an extract taken from ‘Sketches by Boz.’ It is a descriptive piece and follows prominent features of the literary sketch technique, as it contains no prominent plot. The speaker narrates the “appearance presented by the streets of London an hour before sunrise on a summer’s morning.” The extract is in the first person narrative. This feature adds intensity and supports the use of details. First person narrative is generally considered unreliable due

“Chapter Five: Figurative Language 1” Notes Concepts Figurative language is not literal. Two examples of figurative language are simile and metaphor. When a simile is used, “the comparison is expressed by the use of some word or phrase, such as like, as, than, similar to, resembles, or seems; in metaphor, the comparison is not expressed but is created when a figurative term is substituted for or identified with the literal term” (748). Example: In “Harlem” by Langston Hughes, the speaker also asks

What are “Castratos of moon-mash?” Who are these seemingly real but only partially embodied figures, which Wallace Stevens mentions almost in passing at line three in his poem, “Men Made Out of Words.” As readers, how are we to understand this short ambivalent phrase, which while confounding us appears to answer the question raised in the previous two lines: “What should we be without the sexual myth, / The human revery or the poem of death” (1-2). Stevens does not elaborate on the image of the moon-mashed