Ambiguity In To Autumn And La Belle Dame Sanns Merci

When he wrote “On Edmund Kean as a Shakespearian Actor” in 1817, Keats imagined a posture of an ideal poet who loftily stands alone absorbed in the exercise of negatively capable sympathetic imagination .In the last days of his writerly life he once again stands, throwing his hand as dramatically and fascinatingly as any stage actor or dramatic poet reciting his own lines. Keats’s negative capability is an act of self-assertion all the way through, covered in the clothing of self-negation. In “This living hand” he throws away the garb and demands his due, frankly revealing how negatively capable negative capability

Edmond Rostand’s comedic play Cyrano de Bergerac recounts the tragic heartbreak of an unsightly French poet as he aids his handsome but dull cohort Christian in capturing the heart of the beautiful Roxane. Cyrano de Bergerac, a colossal-nosed man with a masterful talent for wielding both words and sword, battles self-doubt and insecurity as he contends with his own feelings of love for Roxane. Throughout the play, Rostand reveals a stark polarity between Cyrano and Christian, illuminating the gaping disparity between the characters’ appearance and intellect while portraying the men as foils for each other. From the play’s beginning, Rostand’s audience becomes keenly aware of the divergence between Cyrano’s intellectual substance and Christian’s physical attributes. While Cuigy pronounces Christian “a charming head,” the character describes himself as “...far from bright” (Rostand 1.4-5).

Neil King’s definition of a comedy, “a work which is primarily designed to amuse and entertain, and where, despite alarms along the way, all’s well that ends well for the characters” (King 55) is undoubtedly affirmed by Shakespeare’s use of comedic features such as dramatic irony. Despite the creation of exuberant comedy within the play, principal sub-plots in ‘Twelfth Night’ such as the gulling and confinement of Malvolio, prove that when looked at in more depth, to some extent, the play’s comedy cloaks themes of cruelty and suffering. The very title of the play, ‘Twelfth Night’, directly links to the twelve days of festivity that traditionally took place during the Elizabethan period. During this time, not only were ordinary rules subverted, but the Lord of Misrule reigned supreme and events such as plays and processions took place.

When Aristotle compares poetry with history, he does not exclude the possibility that poetry and history could take the same characters and situations as their objects,? (Pavel, 529). Pavel implies that poetry has the ability to ? elevate? and that the historical figures in a poem can ?

One of my favorite quotes from the novel so far is as follows. “Whitney whispered to Autumn, “Have you ever heard of coup de coeur?” Autumn shrugged. “Is that French?” “Yeah... it means ‘falling in love.’

But, how can attainment be so easy to achieve, every action has a reaction and the result is not always the one we had hope for. Each playwright has his or her own thoughts and social perspective which emerges through the plot or characters (Brockett 50). In his exposition, each hero seeks for his or her particular happiness, be it a prince searching for a princess, a couple wishing for a child, or a witch pursuing her youth; we noted the price of fulfillment at the denouement.

I have interpreted these lines in one way, yet there are a million different possibilities. The author puts the words onto the paper, but the reader’s job is to interpret their own emotion, memory or belief and actually apply it to the poet’s words in order to create an

The Urn is a “…foster-child of silence and slow time”, Keats using personification to fully describe the beauty of the urn. Shelley’s negative, blunt tone juxtaposing the might of Ozymandias’ past works against the current absence of his rule contrasts against Keats’ positive view of history, a moment in time, being encapsulated on the Urn for all time. However, Keats’ view of the more unpleasant events on the Urn, “Who are these coming to the sacrifice? / To what green altar, O mysterious priest”, the archaic notion of sacrifice contrasting against the beauty of past love and song within Keats’ own

Name: Class: Tutor: Date of submission: Bibliography about John Keats John Keats was born on the last day of October in the year 1795 in north London. He was the firstborn among his five siblings. He was born of Thomas Keats who was the managing director of Swan and Hoop and Frances Jennings who was a daughter of one of the people who initiated the stables. In the year 1803, Keats joined John Clarke’s school in Enfield which is roughly sixteen kilometers from London (Cantel & John, 220).

The creative life of Keats began with his birth in England on “October 31st, 1795” (Biography) to Thomas and Frances Keats’. Keats’ had the life of an average English boys until death played a hand in his life. When Keats was eight years old, his father was trampled by a horse in a nearby stable and was killed instantly. This had a

James Shokoff wrote a literary criticism over my poem Ode on a Grecian Urn. Shokoff is a journalist, and strongly discusses his opinion on the poem in Soul-Making in ‘Ode on a Grecian Urn. Shokoff believes that the question he does not have answered in the poem remains an unsolved mystery. Shokoff agrees with my thesis that symbolism and identification is not a weakness of the poem, but shows great significance. In this criticism the main question is, is the “beauty-truth identification a consistent, meaningful conclusion to the poem” (Shokoff)?

John Keats was one of the most insightful poets of his time (O’Connor). This led to many people during and after his time of writing have compared his writings as being equivalent to the writings of Shakespeare (“Early Poetry, Prose”). John Keats had a hunger for, “a life of sensations rather than thoughts.”, and this aided him in creating his poetry (Ward 141).

Modernist poetry refers to poetry written, mainly in Europe and North America, between 1890 and 1950 in the tradition of modernist literature. It is characterized by a self-conscious break with traditional styles of poetry and verse. Modernists experimented with literary expression and form, stick to Ezra Pound 's maxim to “Make it new”. This paper examines different methods that Ezra Pound used to break the boundaries of traditional poetry and the techniques he used to pave the way for later poets. To

Even though most text differ greatly from one another, even more share similarities. At first glance, Cassius’ speech seems incomparable to the short story ‘La Belle Zoraïde’. This is mainly due to the vast gap in language that the two texts present. Perhaps, however, it is exactly in this difference of language that the greatest comparisons can be drawn only to reveal broader resemblances as well. Which begs the question: How do the dissimilarities in language affect the texts and their points?

Beginning in the late and early 1800’s, Romantic poetry was characterized by its artistic and emotional ideals, which contrasted the logical and reasoning of the Enlightenment era. John Keats was a famous Romantic poet of his time period, devoting his life to bending the power of words to his creative will. His work span from fantasy stories to sorrowful odes, all inspired by events in his life, which is common for most Romantic poets. The death of his family members combined with his philosophy of the human experience curated the work still valued today. Therefore, showcased in his works Endymion and the Odes, John Keat’s work is a reflection of both the bliss and sorrow he felt throughout his short life, connecting his works to his life.