Showing posts with label Poetry. Show all posts
Showing posts with label Poetry. Show all posts

00717--Nothing Gold Can Stay [ by Robert Frost]





Nothing Gold Can Stay        [ by Robert Frost]


Nature's first green is gold,
Her hardest hue to hold.
Her early leaf's a flower;
But only so an hour.
Then leaf subsides to leaf,
So Eden sank to grief,
So dawn goes down to day,
Nothing gold can stay.

00705--What is Poetry?






Poetry is language arranged in lines. Like otherforms of literature, poetry attempts to re-create emotions and experiences. Poetry, however, is usually more condensed
and suggestive than prose.

Poems often are divided into stanzas, or paragraph-like groups of lines. The stanzas in a poem may contain the same number of lines or may vary in length. Some poems
have definite patterns of meter and rhyme. Others rely more on the sounds of words and less on fixed rhythms and rhyme schemes. The use of figurative language is also common in poetry.


The form and content of a poem combine to convey meaning. The way that a poem is arranged on the page, the impact of the images, the sounds of the words and phrases, and all the other details that make up a poem work together to help the reader grasp its central idea.

00601--What are the chief qualities or essentials of a good lyric?




In the most common use of the term, a lyric is any fairly short poem, consisting of the utterance by a single speaker, who expresses a state of mind or a process of perception, thought, and feeling.

The chief qualities or essentials of a good lyric are:

1.       It’s a short poem, characterised by simplicity in language and treatment.

2.       It deals with a single emotion which is generally stated in the first few lines.  Then the poet gives us the thoughts suggested by that particular emotion.  The last and concluding part is in the nature of a summary.  In other words it is the conclusions reached by the poet.  Such is the development of a lyric in general, but often these parts are not distinctly marked.  In moments of intense emotional excitement the poet may be carried away by his emotions and the lyric may develop along entirely different lines.  A lyric is more often than not, mood-dictated.

3.       It is musical.  Verbal music is an important element in its appeal and charm.  Various devices are used by poets to enhance the music of their lyrics.

4.       It is an expression of the moods and emotions of a poet.  However, a poet may not express merely his emotions, he may also analyse them intellectually.  Such intellectual analysis of emotion is an important characteristics of the metaphysical lyrics of the early 17th century.  Such lyrics are also more elaborate than the ordinary lyric.

5.       It is characterised by intensity and poignancy.  The best lyrics are the expressions of intensely felt emotions.  Like fire, the intensity of the poet’s emotion burns out the non-essentials, all attention is concentrated on the basic emotion, and the gain in poignancy is enormous.  It comes directly out of the heart of the poet, and therefore goes directly to the heart of the readers.  The lyric at best is poignant, pathetic and intense.


6.       Spontaneity is another important quality of a lyric.  The lyric poet sings in strains of unpremeditated art.  He sings effortlessly due to the inner urge for self-expression.  Any conscious effort on his part, makes the lyric look unnatural and artificial. 


00600--Write a short note on Prothalamion by Edmund Spenser.





Write a short note on Prothalamion by Edmund Spenser.

Prothalamion is a spousal verse, composed on the occasion of the wedding of Lady Elizabeth and Lady Katherine Somerset to Henry Gilford and William Peter.  Though it does not reach the poetic excellence and richness of Epithalamion it is undeniably a fine lyric exhibiting the same mastery of rhythmical and musical effect and marked by a more evocative refrain. 
David Daiches claims for the poem a tapestry quality, an almost heraldic tone.  It falls short of Epithalamion in personal intensity in concentration of effect and in unity of design.  The glaring weaknesses of the poem that mar its unity, are the intrusion of the personal reminiscences, expression of his frustration, his tribute to Leicester and Essex, and his nostalgic love of London, his most kindly nurse. 

At the linguistic level the defects are the use of vague clichés like fair, gentle and fine, and the tedious wordplay in the description of the whiteness of the swans in the lines 40-45.  However, it is an exquisite lyric presenting a stylised picture with sensuous and mythological imagery.


00599--Write a short note on Tennyson’s “In Memorium”




Write a short note on Tennyson’s “In Memorium”

Tennyson’s famous Elegy ‘In Memorium’ has one hundred and thirty six sections, and they form a complete poem.  Different sections were written at different times; and also these sections were written at different places.  Such fashion was popular in his times; but he did not like them to be published in a single poem.  He said, “I did not write them with any view weaving them into a whole, or for publication until I found I had written so many.”


‘In Memorium’ was written as an Elegy in memory of Arthur Henry Hallam, who died in 1833, the lyrics that became sections was written over sixteen years.  The prologue to the poem was was added in 1849.  The elegy commenced as an expression of private and personal grief, but then broadened into an attempt to probe and answer the spiritual problem of the age.  Tennyson’s great loss led him to reflect on the great problems of religion; immortality, reality of evil and the free will.  These questions were agitating every sincere thinker of the age.  The poem as a whole is the record of his passage from a numbness of absolute despair to the larger hope.  Thus ‘In Memorium’ becomes a lyrical and philosophical poem.    

00573--A note [Summary] on Epithalamion by Edmund Spenser.






A short note [Summary] on Epithalamion by Edmund Spenser.

According to Mutter Epithalamion is one of the greatest formal lyrics in English.  Legouis praises it as a great ode without a rival.  It exceeds in richness and splendour all compositions of the same kind.  It is the most gorgeous jewel in the treasure-house of the Renaissance.  J.W. Mackail assigns to it the first place not only among spenser’s lyrics but also among all English odes.  It celebrates the marriage of Spenser with Elizabeth Boyle. 
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The ode adopts the Italian Canzone.  It has twenty three stanzas of usually seventeen lines which are of unequal length and intricate rhyme pattern, each stanza ending in a fourteen syllable line which forms a varied refrain.  The last seven lines are tornata, an envoi, that expresses the poet’s desire to offer the poem as a gift in lieu of the ornaments that have not reached her because of some accident.  It bears the influence of Sappho, Theocritus’s Epithalamium of Helen, Catallus’s The Wedding of Manlius and Vinia and the epithalamia of the French Pleiade, Ronsard and Du Bellay.  Its novelty lies in the narrator being the poet who is also the bridegroom. 

The poem unfolds a canvas where mythological and Christian elements, literary reminiscence and natural description  blend harmoniously to intensify the expression of the poet’s personal emotions.  It radiates an aura of a pageant about it.  Its chief features are the invocation of the Muse, the procession, feasting, the decoration of the bride, the praise of her beauty, the bride’s arrival at the church, the marriage ceremony, the preparation of the bridal chamber and prayer for their fruitful union. 




Spenser’s Platonic conception that the outward beauty is a reflection of the inner virtue and purity, manifests itself in the description of the bride who is adorn’d with beauty’s grace and virtue’s store.  The beauty of her body like a palace fair leads the mind with many a stately stair to honour’s seat, to the seat of perfect virtue.  Spenser’s celebration of ideal beauty, and the Petrarchan deification of the  lady are conventional.  Though the poem is personal, it universalies the experience of love.  The narration of events covering one day, from morning to midnight imposes on the poem a unity in respect of the subject-matter and of its emotional content.  As Mutter observes, the wealth of imagery is allied to the often remarked musical quality of the poem to produce a total effect of strength and controlled luxuriance which earns for it Coleridge’s praise of truly sublime. 





00525--Paraphrase/summary of the Poem “Stopping by Woods on a Snowy Evening” by Robert Frost




Paraphrase/summary of the Poem “Stopping by Woods on a Snowy Evening” by Robert Frost

Stanza 1.
The poet thinks that he knows whose woods these are.  He also knows that the owner of these woods is a man who lives in the village.  The forester, therefore, will not be able to see him stopping beside the woods to watch them being covered up in snow.   

Stanza 2.
The poet/speaker believes that his little horse must think it odd to stop in these woods without a farm house nearby between the woods and frozen lake on the darkest evening of the year. 

Stanza 3.
The horse gives a shake to the bells of his rein to know if the poet has stood there by some mistake.  The only other sound that is heard in the woods is that of the wind and snowfall.

Stanza 4.

The woods are beautiful, dark and deep to look at.  But the poet speaker has to keep his word given to others and therefore he has to go many miles to reach the destination before he retires to bed for sleep.  

00523--The Theme of the Poem “Stopping by Woods on a Snowy Evening” by Robert Frost







The Theme of the Poem “Stopping by Woods on a Snowy Evening” by Robert Frost.

This short lyric of sixteen lines begins with a description of the deep woods through which, the speaker is passing on a dark, snowy evening.  The owner of the woods live away in the village, hence the owner won’t be able to see the speaker at his property.  A reference to the snow occurs.  The 2nd and 3rd stanzas are found speculative about the little horse who is not willing to stop beside the woods because no farm house is visible.  He shakes, therefore, his harness bell to know if the master has stopped because something has gone wrong.  The 4th stanza is a beautiful sketch about the woods but the speaker is reminded of his promise to return home.  Thus he must continue his journey to cover up the miles.  Here the journey is life.  Woods are deviations from the goals of life.  

00522--The Summary of “The Rime of the Ancient Mariner” by S T Coleridge






The Summary of “The Rime of the Ancient Mariner” by S T Coleridge

One evening three guests were going to a marriage party, one of them was stopped by an Ancient Mariner who insisted on telling a story which is full of supernatural interest. 

Once the ancient mariner and his companions were sailing in a ship, they were overtaken by a storm and driven to the South Pole.  The ship was surrounded by icebergs.  After some time, an Albatross came up and became friendly with the sailors.  It was a bird of good omen; the ice broke and good wind arose from the south.  The ship moved and the great bird followed in fog and snow; but then the old mariner shot the bird with the cross bow.  The sailors became angry because they believed that it would bring the curse, but then they praised the old man and became partners in the sin. 

The ship moved and they crossed the pacific and came to equator; the days became calm and the chip could not move and stood as a painted ship on a painted ocean.  The supply of fresh water ran out and they were all dying of thirst.  They were cursed, and the carcass of the albatross was hung around the neck of the ancient mariner.   

The same went on for days, the sailors were dying of thirst; there was salt water all around but not a single drop to drink.  The sun was merciless.  It became blistering hot.  The slimy creatures of the sea rose to the rotting waters.  The sailors suffered, and they accused the old mariner for their plight. 

After several days of torment they saw a sail.  The ancient mariner bit his arm and drank his own blood and shouted with joy “A sail”.  It was a ghostly ship that moved on the still sea without wind or tide.  The sailors on the ship were spell-bound, and when the ghost ship came nearer, they saw a female monster named ‘Life-in-death’ who had red lips, yellow hair and leprous skin.  She was playing a game of dice with her companion named Death-in-life.  She won the life of all sailors except the life of the ancient mariner.  The old sailor was won by Death-in-life.  Therefore he could not die but was left to suffer the life of torture. 

Death soon claimed his victims and the sailors were dying one by one, and the ancient mariner was left alone to suffer the horrors and torments of life-in-death.  He was denied the luxury of death.  The slimy creatures were alive; his companions were lying dead on the deck; he tried to pray but the fountain of prayer was dried up and the curse of the dead sailors increased his agony.  Cold sweat dropped from the dead bodies of the sailors, their eyes were open, and the ancient mariner had to pay for his sin. 

For seven days he remained in this wretched condition; he had no company except that of the moon and the stars; the water snakes played around in the water, and the moon beams shined on their bodies.  Love began to gush from his heart and he blessed those creatures.  He then realised he could pray.  The load of sin was lifted and the spell was broken.  The dead albatross dropped from his neck, and he fell into a deep sleep.  When he woke up his thirst was quenched and the wind was blowing.  The dead sailors came back to life because the troop of the angels animated the dead bodies.  The spirit of the South Pole obeyed the angels and carried the ship, and it was filled with their music and then they disappeared. 

The old sailor again fell into sleep and heard two voices in his dream; one was the voice of justice that demanded the punishment for killing the albatross; the other was the voice of mercy that pleaded for the ancient mariner and pointed out that he had suffered and done enough penance.  When the old man woke up, he found his companions alive, the ship moving, and they came to their native shore.  It was the night-time, the harbour was bathed in moonlight; and the light-house, as well as the church on the hill-top were shining, he fell on his knees and prayed.  The angelic spirits (Seraphs) waved their hands and disappeared. 

Then a boat from the harbour came; it contained a pilot, the pilot’s boy and a hermit.  When they neared there was a big noise and the ancient mariner’s ship went down.  But the old sailor was rescued; but his strange appearance threw the pilot into a fit, and the hermit was shaken.  They all began to pray for protection against evil. 

The ancient mariner took charge of the boat and brought it to the shore.  He begged of the hermit to listen to his strange story and grant him absolution.  The ancient mariner’s sin was not expiated and he felt the agony that tormented his soul.  He travelled from place to place, and became a wanderer.  He could find solace and relief when he told his story to someone. 

The ancient mariner finished his tale and pointed out to the wedding-guest the lesson from his strange story; the best prayer is that which embodies the love of all creatures, great and small, made by God, who loves us all.

“He prayeth best
All things, both great and small
For the dear God, who loveth us,
He made them and loveth all.”

END

00510--Song to Celia/lyric/Ben Jonson




S           Song to Celia/lyric/Ben Jonson
  Song to Celia is from Ben Jonson’s The Forest.  John F.M.Dovaston was the first to point out in 1815 that song to Celia was constructed from passages in the prose epistles of Philostratus.  Ben Jonson is indebted to him for the bantering tone and the ingenious conceit.  But he has so skilfully transformed the borrowing that the poem appear original and, to use the words of George Parfit, thoroughly English in Diction, syntax and rhythm.  W.M.Evans observes that the happy marriage of words and music is responsible for its excellence.

The first eight lines express how the poet esteems the kiss of Celia superior to wine and Jove’s nectar.  The next eight lines suggest that she can influence and improve upon Nature; for she makes the garland fresh and lends her fragrance to it, which is more pleasant and lasting than its own sweet smell.  This conceit smacks of the metaphysical concept of unified sensibility.  The poem, thus extols the unique and and almost divine trait of Celia.


The poem may be divided into two eight-lined stanzas with the rhyme scheme abcb abcb, each line consisting of eight syllables.  It is marked by classical poise, elegance, subdued emotion and an urban tone.


00259--Daffodils/wordsworth

Daffodils


I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.

Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.

The waves beside them danced; but they
Out-did the sparkling waves in glee:
A poet could not but be gay,
In such a jocund company:
I gazed--and gazed--but little thought
What wealth the show to me had brought:

For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.



00257--Stopping By Woods on a Snowy Evening

Stopping By Woods on a Snowy Evening

 Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.

My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.

He gives his harness bells a shake
To ask if there is some mistake.
The only other sound's the sweep
Of easy wind and downy flake.

The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.


00001--On What Ground Plato Condemns Poetry?/ Plato's Attack on Poetry.




Plato condemns poetry on the basis of following reasons:

a)Art (poetry) is twice removed from reality.

Things are conceived as ideas before they take practical shape as things.  Thus the objects of the world are once removed from reality.  Art (literature, painting, sculpture) being the reproduction of these things, is twice removed from reality.Therefore poetry takes men away from reality rather than towards it.  So poetry helps neither to mould character nor to promote the well-being of the state-- the two things by which Plato judged all human endeavour.

b) Poetic inspiration

The poet writes because he is 'inspired' not because he has thought long over a subject.  According to Plato this sudden outpouring of the soul cannot be a reliable substitute for truths based on reason. Even if there is profound truth in poetry it needs to be subjected to a further test-- the test of reason.  Poetry therefore cannot take the place of philosophy.

c)The emotional appeal to poetry

Poetry is a product of inspiration rather than of reason and therefore it appeals to the heart rather than to the intellect. Poetry is concerned about the beauty of form. An individual who is in search of truth, can never be guided by poetry.  Plato illustrates this by referring to the tragic poetry of his age, in which weeping and wailing were indulged to the full to move the hearts of the spectators.  So poetry ‘fed and watered’ the passions instead of drying them up and let them rule instead of ruling them as they ought to be ruled with a view to the happiness and  virtue of mankind. 

d) It’s Non-moral character


Finally,  Plato indicts poetry for its lack of concern with morality.  In its treatment of life it treats both virtue and vice alike, sometimes making the one and sometimes making the other triumph indifferently, without regard for moral considerations.  It pained Plato to see virtue often coming to grief in the literature of his time.  The epics of Homer, the narrative works of Hesiod, the odes of Pindar and the tragedies of Aeschylus, Sophocles and Euripides.  Such literature, according to Plato, corrupted both the citizen and the state.



a.       Art (poetry) is twice removed from reality.
b.      Poetic inspiration
c.       The emotional appeal to poetry
d.      It’s Non-moral character







                                                                                                                             
PLATO
      E x t r a   r e  a d i n g





An extract from plato’s Ion
PERSONS OF THE DIALOGUE:
Socrates, Ion
Socrates: Would you or a good prophet be a better interpreter of what these two poets say about divination, not only when they agree, but when they disagree?
Ion: A prophet.
Socrates: And if you were a prophet, would you be able to interpret them when they disagree as well as when they agree?
Ion: Clearly.
Socrates: But how did you come to have this skill about Homer only and not about Hesiod or the other poets? Does not Homer speak the same themes which all other p0ets handle? Is not war his great argument? And does he not speak of human society and of intercourse of men, good and bad, skilled and unskilled, and of the good conversing with one another and with mankind, and about what happens in heaven and in the world below, and the generations of gods
and heroes? Are not these the themes of which Homer sings?
Ion: Very true, Socrates.
Socrates: And do not the other poets sing of the same?
Ion: Yes, Socrates; but not in the same way as Homer.
Socrates: What, in a worse way?
Ion: Yes, in a far worse.
Socrates: And Homer in a better way?
Ion: He is incomparably better.
Socrates: And yet surely, my dear friend Ion, in a discussion about arithmetic, where many people are speaking, and one speaks better than the rest, there is somebody who can judge which of them is the good speaker?
Socrates: And he who judges of the good will be the same as he who judges of the bad speakers?
Ion: The same.
Socrates: And he will be the arithmetician?
Ion: Yes.
Socrates: Well, and in discussions about the wholesomeness of food, when many persons are speaking, and one speaks better than the rest, will he who recognizes the better speaker be a different person from him who recognizes the worse, or the same?
Ion: Clearly the same.
Socrates: And who is he, and what is his name?
Ion: The physician.
Socrates: And speaking generally, in all discussions in which the subject is the same and many men are speaking, will not he who knows the good know the bad speaker also? For if he does not know the bad, neither will he know the good when the same topic is being discussed.
Ion: True.
Socrates: Is not the same person skillful in both?
Ion: Yes.
Socrates: And you say that Homer and the other poets, such as Hesiod and Archilochus, speak of the same things; although not in the same way; but the one speaks well and the other not so well?
Ion:
Socrates: And if you knew the good speaker, you would also know the inferior speakers to be inferior?
Ion: That is true.
Socrates: Then, my dear friend, can I be mistaken in saying that Ion is equally skilled in Homer and in other poets, since he himself acknowledges that the same person will be a good judge of all those who speak of the same things; and that almost all poets do speak of the same things?
Ion: Why then, Socrates, do I lose attention and go to sleep and have absolutely no ideas of the least value, when any one speaks of any other poet; but when Homer is mentioned, I wake up at once and am all attention and have plenty to say?
Socrates: The reason, my friend, is obvious. No one can fail to see that you speak of Homer without any art or knowledge. If you were able to speak of him by rules of art, you would have been able to speak of all other poets; for poetry is a whole.
Ion: Yes.
Socrates: And when any one acquires any other art as a whole, the same may be said of them. Would you like me to explain my meaning, Ion?
Ion: Yes, indeed, Socrates; I very much wish that you would for I love to hear you wise men talk.
Socrates: 0 that we were wise, Ion, and that you could truly call us so; but you rhapsodes and actors, and the poets whose verses you sing, are wise; whereas I am a common man, who only speaks the truth. For consider what a very commonplace and trivial thing is this which I have said-a thing which any man might say: that when a man has acquired a knowledge of a whole art, the enquiry into good and bad is one and the same. Let us consider this matter; is not the art of painting a whole?
Ion: Yes.
Socrates: And there are and have been many painters good and bad.
Ion: Yes.

(The dialogue continues.  Plato was highly poetic in his prose though he stood against poetry.  Aristotle stood for poetry but his prose was rather dry.)
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