English Literature

Keats is a mystic of the senses and not of thoughts as he sought to apprehend the ultimate truth of the universe through aesthetic sensations and not through philosophical thoughts.  Sensuousness is a quality in poetry which affects the senses i.e. hearing, seeing, touching, smelling and tasting. Sensuous poetry does not present ideas and philosophical thoughts. It gives delight to senses, appeals to our eyes by presenting beautiful and coulourful word pictures to our ears by its metrical music and musical sounds, to our nose by arousing the sense of smell and so on. Keats is the worshiper of beauty and peruses beauty everywhere; and it is his senses that first reveal to him the beauty of things. He writes poetry only out of what he feels upon his pulses. Thus, it is his sense impressions that kindled his imagination which makes him realize the great principle that: �Beauty is truth, truth beauty� Keats loves nature for its own sake. He has a straightforward passion fro nature by givin

Keats was considerably influenced by Spenser and was, like Spenser, a passionate lover of beauty in all its forms and manifestations. The passion of beauty constitutes his aestheticism. Beauty was his pole star, beauty in nature, in woman and in art. �A thing of beauty is a joy forever.� He writes and identifies beauty with truth. Of all the contemporary poets Keats is one of the most inevitably associated with the love of beauty. He was the most passionate lover of the world as the career of beautiful images and of many imaginative associations of an object or word with a heightened emotional appeal. Poetry, according to Keats, should be the incarnation of beauty, not a medium for the expression of religious or social philosophy. He hated didacticism in poetry. �We hate poetry that has a palpable design upon us.�   He believed that poetry should be unobtrusive. The poet, according to him, is a creator and an artist, not a teacher or a prophet. In a letter to his brother he wrote:   �W

The Composition of "To Autumn" Keats wrote "To Autumn" after enjoying a lovely autumn day; he described his experience in a letter to his friend Reynolds:   "How beautiful the season is now--How fine the air. A temperate sharpness about it. Really, without joking, chaste weather--Dian skies--I never lik'd stubble fields so much as now--Aye better than the chilly green of the spring. Somehow a stubble plain looks warm--in the same way that some pictures look warm--this struck me so much in my Sunday's walk that I composed upon it."   General Comments This ode is a favorite with critics and poetry lovers alike. Harold Bloom calls it "one of the subtlest and most beautiful of all Keats's odes, and as close to perfect as any shorter poem in the English Language." Allen Tate agrees that it "is a very nearly perfect piece of style"; however, he goes on to comment, "it has little to say."   This ode deals with the some of

Form Like most of the other odes, "Ode to a Nightingale" is written in ten-line stanzas. However, unlike most of the other poems, it is metrically variable--though not so much as "Ode to Psyche." The first seven and last two lines of each stanza are written in iambic pentameter; the eighth line of each stanza is written in trimeter, with only three accented syllables instead of five. "Nightingale" also differs from the other odes in that its rhyme scheme is the same in every stanza (every other ode varies the order of rhyme in the final three or four lines except "To Psyche," which has the loosest structure of all the odes). Each stanza in "Nightingale" is rhymed ABABCDECDE, Keats's most basic scheme throughout the odes. Themes With "Ode to a Nightingale," Keats's speaker begins his fullest and deepest exploration of the themes of creative expression and the mortality of human life. In this ode, the transience of life

Analysis Stanza I. Stanza I begins slowly, asks questions arising from thought and raises abstract concepts such as time and art. The comparison of the urn to an "unravish'd bride" functions at a number of levels. It prepares for the impossisbility of fulfillment of stanza II and for the violence of lines 8-10 of this stanza. "Still" embodies two concepts--time and motion--which appear in a number of ways in the rest of the poem. They appear immediately in line 2 with the urn as a "foster" child. The urn exists in the real world, which is mutable or subject to time and change, yet it and the life it presents are unchanging; hence, the bride is "unravish'd" and as a "foster" child, the urn is touched by "slow time," not the time of the real world. The figures carved on the urn are not subject to time, though the urn may be changed or affected over slow time.   The urn as "sylvan historian" speaks to the viewer

"Ariel," the title poem of Sylvia Plath�s posthumous volume of the same name is one of her most highly regarded, most often criticised, and most complicated poems. The ambiguities in the poem begin with its title, which has a three fold meaning. To a reader uninformed by Plath�s biography "Ariel" would probably most immediately call to mind the "airy spirit" who in Shakespeare�s The Tempest is a servant to Prospero and symbolizes Prospero�s control of the upper elements of the universe, fire and air. On another biographical or autobiographical level, "Ariel," as we know from reports about the poet�s life, was the name of her favorite horse, on whom she weekly went riding. Robert Lowell, in his forward to Ariel, says, "The title Ariel summons up Shakespeare�s lovely, though slightly chilling and androgynous spirit, but the truth is that this Ariel is the author�s horse." Ted Hughes, Plath�s husband, adds these comments, ARIEL was the nam