romantic idea of poetry and its role second generation of romantic poets

45
Romantic idea of Romantic idea of poetry and its role poetry and its role Second generation of romantic Second generation of romantic poets poets

Upload: shavonne-george

Post on 25-Dec-2015

229 views

Category:

Documents


0 download

TRANSCRIPT

Page 1: Romantic idea of poetry and its role Second generation of romantic poets

Romantic idea of poetry Romantic idea of poetry and its roleand its role

Second generation of Second generation of romantic poetsromantic poets

Page 2: Romantic idea of poetry and its role Second generation of romantic poets

The second generation of The second generation of poets (since 1812):poets (since 1812):

• George Gordon Noel Byron 1788-George Gordon Noel Byron 1788-18241824

Page 3: Romantic idea of poetry and its role Second generation of romantic poets

BIOGRAPHYBIOGRAPHY

• Lord Byron was born as George Gordon on January Lord Byron was born as George Gordon on January 22, 1788 in London, England. As the son of Captain 22, 1788 in London, England. As the son of Captain John "Mad Jack" Byron and his second wife, Lady John "Mad Jack" Byron and his second wife, Lady Catherine Gordon.Catherine Gordon.

• Lord Byron received his education at the Grammar Lord Byron received his education at the Grammar School in Aberdeen until 1801, when he was sent to School in Aberdeen until 1801, when he was sent to Harrow and remained there until 1805. After, he Harrow and remained there until 1805. After, he proceeded to Trinity College, Cambridge and proceeded to Trinity College, Cambridge and became fascinated with history, fiction and became fascinated with history, fiction and extravagant life.extravagant life.

• On February 27, 1812 Lord Byron took his seat at On February 27, 1812 Lord Byron took his seat at the House of Lords and made his first speech there.the House of Lords and made his first speech there.

Page 4: Romantic idea of poetry and its role Second generation of romantic poets

Scandalist? Love Affairs?Scandalist? Love Affairs?

Byron then became the most popular Byron then became the most popular person in Regency London, writing person in Regency London, writing poetry and carrying on illicit affairs, poetry and carrying on illicit affairs, most notably with Lady Caroline, wife most notably with Lady Caroline, wife of future Prime Minister, William of future Prime Minister, William Lamb.Lamb.

Page 5: Romantic idea of poetry and its role Second generation of romantic poets

William Lamb, 2nd Viscount William Lamb, 2nd Viscount MelbourneMelbourne

PrimePrime Minister Minister (1834 and 1835– (1834 and 1835–1841).1841).

Page 6: Romantic idea of poetry and its role Second generation of romantic poets

Incestuous relationship…Incestuous relationship…

There are also rumors of Byron's There are also rumors of Byron's involvement with a choir boy and an involvement with a choir boy and an incestuous relationship with his half-incestuous relationship with his half-sister, Augusta Leigh, however many sister, Augusta Leigh, however many scholars dispute this.scholars dispute this.

Page 7: Romantic idea of poetry and its role Second generation of romantic poets

Travelling…Travelling…

• Lord Byron began spending much of Lord Byron began spending much of his money on the Greek rebellion. He his money on the Greek rebellion. He later met a Greek boy, Loukas later met a Greek boy, Loukas Khalandritsanos, and employed him Khalandritsanos, and employed him as a page and possibly had a sexual as a page and possibly had a sexual relationship with. relationship with.

Page 8: Romantic idea of poetry and its role Second generation of romantic poets

Good husband?Good husband?

• To help avoid scandal, Byron chose to marry To help avoid scandal, Byron chose to marry Anne Isabella Milbanke (Annabella), cousin Anne Isabella Milbanke (Annabella), cousin of Lady Caroline who refused him a year of Lady Caroline who refused him a year earlier. The two married at Seaham Hall, earlier. The two married at Seaham Hall, County Durham on January 2, 1815. As a County Durham on January 2, 1815. As a stipulation in her mother's will, Annabella's stipulation in her mother's will, Annabella's beneficiaries must take her family name. beneficiaries must take her family name. Lord Byron then became known as George Lord Byron then became known as George Gordon Noel Byron in 1822. Gordon Noel Byron in 1822.

Page 9: Romantic idea of poetry and its role Second generation of romantic poets

Anne Isabella Milbanke Anne Isabella Milbanke (Annabella)(Annabella)

Her portraitHer portrait

Page 10: Romantic idea of poetry and its role Second generation of romantic poets

Bad father…Bad father…

• The marriage was an unhappy one, The marriage was an unhappy one, mainly due to the birth of a daughter, mainly due to the birth of a daughter, Augusta Ada, instead of a son. On Augusta Ada, instead of a son. On January 16, 1816 Lady Byron left George January 16, 1816 Lady Byron left George and took Ada with her. On April 21, the and took Ada with her. On April 21, the two were legally separated. George then two were legally separated. George then left England, due to pressure by his left England, due to pressure by his creditors leading him to sell his library, creditors leading him to sell his library, forever. forever.

Page 11: Romantic idea of poetry and its role Second generation of romantic poets

Unwanted daughter, but Unwanted daughter, but later… famouslater… famous

Her portraitHer portrait

Page 12: Romantic idea of poetry and its role Second generation of romantic poets

In literature sphereIn literature sphere

• the great English romantic poet, epicthe great English romantic poet, epic,,drdramatistamatist, , radicalist, affairs, radicalist, affairs,

scandalistscandalist. liberal. liberal- iinfluence for Polish Romanticismnfluence for Polish Romanticism - poet with ‘foreign’ facepoet with ‘foreign’ face and called and called

Napoleon of poetsNapoleon of poets- lyrical poetry and satirelyrical poetry and satire- ‘‘lyric mask’ technique in literaturelyric mask’ technique in literature

Page 13: Romantic idea of poetry and its role Second generation of romantic poets

WORKS:WORKS:

• ‘‘Childe Harold’s Pilgrimage’Childe Harold’s Pilgrimage’Childe Harold, a young English nobleman, became Childe Harold, a young English nobleman, became

despondent, because the only young woman he despondent, because the only young woman he loved would not return that love. He had long been loved would not return that love. He had long been engaged in drinking and general idleness, and was engaged in drinking and general idleness, and was generally seen as a very unpleasant character by generally seen as a very unpleasant character by almost everyone, including his parents. Desperate, almost everyone, including his parents. Desperate, he decided to embark on a journey in an attempt to he decided to embark on a journey in an attempt to find happiness, or at least to give some meaning to find happiness, or at least to give some meaning to his life.his life.

He left England by ship, with no clear destination. As He left England by ship, with no clear destination. As he left, he sang a mournful song, bidding farewell he left, he sang a mournful song, bidding farewell to his homeland, to his parents, and especially to to his homeland, to his parents, and especially to his...his...

Page 14: Romantic idea of poetry and its role Second generation of romantic poets

‘‘The Giaour’The Giaour’

• The tale which these disjointed fragments present is The tale which these disjointed fragments present is founded upon circumstances now less common in the East founded upon circumstances now less common in the East than formerly; either because the ladies are more than formerly; either because the ladies are more circumspect than in the "olden time," or because the circumspect than in the "olden time," or because the Christians have better fortune, or less enterprise.Christians have better fortune, or less enterprise.

• The story, when entire, contained the adventures of a The story, when entire, contained the adventures of a female slave, who was thrown, in the Mussulman manner, female slave, who was thrown, in the Mussulman manner, into the sea for infidelity, and avenged by a young into the sea for infidelity, and avenged by a young Venetian, her lover, at the time the Seven Islands were Venetian, her lover, at the time the Seven Islands were possessed by the Republic of Venice, and soon after the possessed by the Republic of Venice, and soon after the Arnauts were beaten back from the Morea, which they had Arnauts were beaten back from the Morea, which they had ravaged for some time subsequent to the Russian invasion. ravaged for some time subsequent to the Russian invasion. The desertion of the Mainotes, on being refused the The desertion of the Mainotes, on being refused the plunder of Misitra, led to the abandonment of that plunder of Misitra, led to the abandonment of that enterprise, and to the desolation of the Morea; during enterprise, and to the desolation of the Morea; during which the cruelty exercised on all sides was unparalleled which the cruelty exercised on all sides was unparalleled even in the annals of the faithful.even in the annals of the faithful.

Page 15: Romantic idea of poetry and its role Second generation of romantic poets

‘‘The CorsairThe Corsair’’

• was a semi-autobiographical tale in verse by Lord was a semi-autobiographical tale in verse by Lord Byron in 1814, which was extremely popular and Byron in 1814, which was extremely popular and influential in its day, selling ten thousand copies on influential in its day, selling ten thousand copies on its first day of sale. Its poetry, divided in caits first day of sale. Its poetry, divided in cantosntos (as (as Dante's Dante's ‘Divine ‘Divine ComedComedy’y’), narrates the story of the ), narrates the story of the corsair Conrad, how he was in his youth rejected by corsair Conrad, how he was in his youth rejected by society because of his actions and his later fight society because of his actions and his later fight against humanity (excepting women). The opera against humanity (excepting women). The opera ‘Il ‘Il corsarocorsaro’’ by Giusepp by Giuseppee Verdi, the overture Verdi, the overture ‘‘Le Le CorsaireCorsaire’’ by Hector Berlioz and the ballet by Hector Berlioz and the ballet ‘‘Le Le CorsaireCorsaire’’ by Marius Petipa were based on this work. by Marius Petipa were based on this work.

Page 16: Romantic idea of poetry and its role Second generation of romantic poets

‘‘The CorsairThe Corsair’’

The cover of bookThe cover of book

Page 17: Romantic idea of poetry and its role Second generation of romantic poets

‘‘Don Juan’Don Juan’

• Don JuanDon Juan is a satiric poem by Lord Byron, based on the legend of Don is a satiric poem by Lord Byron, based on the legend of Don Juan, which Byron reverses, portraying Juan not as a womanizer but as Juan, which Byron reverses, portraying Juan not as a womanizer but as someone easily seduced by women. It is a variation on the epic form. someone easily seduced by women. It is a variation on the epic form. Byron himself called it an "Epic Satire" (Don Juan, c. xiv, st. 99). Modern Byron himself called it an "Epic Satire" (Don Juan, c. xiv, st. 99). Modern critics generally consider it Byron's masterpiece, with a total of over critics generally consider it Byron's masterpiece, with a total of over sixteen thousand individual lines of verse. Byron completed 16 cantos, sixteen thousand individual lines of verse. Byron completed 16 cantos, leaving an unfinished 17th criticized for its 'immoral content', though it was leaving an unfinished 17th criticized for its 'immoral content', though it was also immensely popular.also immensely popular.

• canto before his death in 1824. Byron claimed he had no ideas in his mind canto before his death in 1824. Byron claimed he had no ideas in his mind as to what would happen in subsequent cantos as he wrote his work.as to what would happen in subsequent cantos as he wrote his work.

• When the first two cantos were published anonymously in 1819, the poem When the first two cantos were published anonymously in 1819, the poem was criticized for its 'immoral content', though it was also immensely was criticized for its 'immoral content', though it was also immensely popular.popular.

Page 18: Romantic idea of poetry and its role Second generation of romantic poets

‘‘Song For The Luddites’Song For The Luddites’

The term "Luddites" dates from 1811, and was The term "Luddites" dates from 1811, and was applied first to frame-breakers, and then to the applied first to frame-breakers, and then to the disaffected in general. It was derived from a half-disaffected in general. It was derived from a half-witted lad named Ned Lud, who entered a house witted lad named Ned Lud, who entered a house in a fit of passion, and destroyed a couple of in a fit of passion, and destroyed a couple of stocking-frames. The song was an impromptu, stocking-frames. The song was an impromptu, enclosed in a letter to Moore of December 24, enclosed in a letter to Moore of December 24, 1816. "I have written it principally," he says, "to 1816. "I have written it principally," he says, "to shock your neighbour who is all clergy and shock your neighbour who is all clergy and loyalty- mirth and innocence- milk and water." loyalty- mirth and innocence- milk and water."

Page 19: Romantic idea of poetry and its role Second generation of romantic poets

‘ ‘ Hours of Idleness’Hours of Idleness’

• first collection of poems by Lord Byron, first collection of poems by Lord Byron, published in 1807 when he was 19 years published in 1807 when he was 19 years old. The poems are generally regarded as old. The poems are generally regarded as commonplace at best. The date of each commonplace at best. The date of each poem’s composition was noted in the book. poem’s composition was noted in the book. A sneering review published in ‘A sneering review published in ‘The The Edinburgh Review’Edinburgh Review’ in 1808 dismissed his in 1808 dismissed his efforts as the self-indulgent work of a titled efforts as the self-indulgent work of a titled youth. In response Byron published, youth. In response Byron published, anonymously, his satiric poem ‘anonymously, his satiric poem ‘English English Bards and Scotch Reviewers’ Bards and Scotch Reviewers’ (1809). (1809).

Page 20: Romantic idea of poetry and its role Second generation of romantic poets

ByronByron’s hero’s hero

• The The Byronic heroByronic hero is an idealized but is an idealized but flawed character exemplified in the life flawed character exemplified in the life and writings of English Romantic poet Lord and writings of English Romantic poet Lord Byron. It was characterised by Lady Byron. It was characterised by Lady Caroline Lamb, later a lover of Byron's, as Caroline Lamb, later a lover of Byron's, as being "mad, bad, and dangerous to know". being "mad, bad, and dangerous to know". The Byronic hero first appears in Byron's The Byronic hero first appears in Byron's semi-autobiographical epic narrative poem semi-autobiographical epic narrative poem ‘‘Childe Harold's Pilgrimage’ Childe Harold's Pilgrimage’ (1812–1818).(1812–1818).

Page 21: Romantic idea of poetry and its role Second generation of romantic poets

His motto:His motto:

‘‘Laugh when I laugh,Laugh when I laugh,

I seek no other fame’I seek no other fame’

//fromfrom

‘‘English Bards and ScotchReviewers’, English Bards and ScotchReviewers’, 1809/1809/

Page 22: Romantic idea of poetry and its role Second generation of romantic poets

Percy Bysshe Shelley (1792-Percy Bysshe Shelley (1792-1822)1822)

Poetry:Poetry:- abstract ideasabstract ideas- ‘‘poet of idea’poet of idea’- with ‘tone of revolutional etiude’with ‘tone of revolutional etiude’- hellenismhellenism- neoplatton estheticneoplatton esthetic- methaporic poetrymethaporic poetry- revolutional and indenpendence ideasrevolutional and indenpendence ideas- admiration to spaceadmiration to space

Page 23: Romantic idea of poetry and its role Second generation of romantic poets

As a person and artist…As a person and artist…

• radicalistradicalist

• poet, dramatist, essayist, novelist poet, dramatist, essayist, novelist

• sad private lifesad private life

• his poetry connected old generation his poetry connected old generation with youngerwith younger

• poet for poets, poet of the moon and poet for poets, poet of the moon and starsstars

Page 24: Romantic idea of poetry and its role Second generation of romantic poets

‘‘Ode to the West Wind’ Ode to the West Wind’ 18201820- Five sonnets- Five sonnetsIVIVIf I were a dead leaf you mightest bear;If I were a dead leaf you mightest bear;If I were a swift cloud to fly with thee;If I were a swift cloud to fly with thee;A wave to pant beneath thy power, and shareA wave to pant beneath thy power, and share/Gdybym był martwym liściem, który mógłbyś unieść;/Gdybym był martwym liściem, który mógłbyś unieść;Gdybym był chmurą i mógł z tobą iść w zawody;Gdybym był chmurą i mógł z tobą iść w zawody;Falą, której odbierasz dech, a która sunie/Falą, której odbierasz dech, a która sunie/VVScatter, as from an unextinguished hearthScatter, as from an unextinguished hearthAshes and sparks, my words among mankind!Ashes and sparks, my words among mankind!Be through my lips to unawakened earthBe through my lips to unawakened earth/Rozrzuć po świecie moje słowa pośród ludzi/Rozrzuć po świecie moje słowa pośród ludziJak z niewygaszonego pieca iskry chyże!Jak z niewygaszonego pieca iskry chyże!Przez me usta bądź ziemi, którą trzeba zbudzić,/Przez me usta bądź ziemi, którą trzeba zbudzić,/

Page 25: Romantic idea of poetry and its role Second generation of romantic poets

‘‘Ode to the West Wind’ 1820 Ode to the West Wind’ 1820 part 2part 2• This poem is a highly controlled text about the role of This poem is a highly controlled text about the role of

the poet as the agent of political and moral change. the poet as the agent of political and moral change. This was a subject Shelley wrote a great deal about, This was a subject Shelley wrote a great deal about, especially around 1819, with this strongest version of especially around 1819, with this strongest version of it articulated the last famous lines of his "Defence of it articulated the last famous lines of his "Defence of Poetry": "Poets are the hierophants of an Poetry": "Poets are the hierophants of an unapprehended inspiration; the mirrors of the unapprehended inspiration; the mirrors of the gigantic shadows which futurity casts upon the gigantic shadows which futurity casts upon the present; the words which express what they present; the words which express what they understand not; the trumpets which sing to battle, understand not; the trumpets which sing to battle, and feel not what they inspire; the influence which is and feel not what they inspire; the influence which is moved not, but moves. Poets are the moved not, but moves. Poets are the unacknowledged legislators of the world."unacknowledged legislators of the world."

Page 26: Romantic idea of poetry and its role Second generation of romantic poets

‘‘The sensitive Plant’ 1820The sensitive Plant’ 1820

……That garden sweet, that lady fair, That garden sweet, that lady fair, And all sweet shapes and odours there,And all sweet shapes and odours there,

In truth have never passed away:In truth have never passed away:‘Tis we, ‘tis ours, are changed; not they.‘Tis we, ‘tis ours, are changed; not they.

For love, and beauty, and delight,For love, and beauty, and delight,There is no death nor change: their might  There is no death nor change: their might  Exceeds our organs, which endureExceeds our organs, which endureNo light, being themselves obscure.No light, being themselves obscure.

Page 27: Romantic idea of poetry and its role Second generation of romantic poets

‘‘Queen Mab’ 1813Queen Mab’ 1813

• dedicated to his young wife, Harriet Westbook, in 9 dedicated to his young wife, Harriet Westbook, in 9 partsparts

• Queen Mab; A Philosophical Poem; With NotesQueen Mab; A Philosophical Poem; With Notes, published , published in 1813 in nine cantos with seventeen notes, was the first large in 1813 in nine cantos with seventeen notes, was the first large poetic work written by Percy Bysshe Shelley (1792-1822), the poetic work written by Percy Bysshe Shelley (1792-1822), the English Romantic poet. After substantial reworking, a revised English Romantic poet. After substantial reworking, a revised edition of a portion of the text was published in 1816 under the edition of a portion of the text was published in 1816 under the title title The Daemon of the WorldThe Daemon of the World..

• This poem was written early in Shelley's career and serves as a This poem was written early in Shelley's career and serves as a foundation to his theory of revolution. It was his first major foundation to his theory of revolution. It was his first major poem. In this work, he depicts a two-pronged revolt involving poem. In this work, he depicts a two-pronged revolt involving necessary changes, brought on by both nature and the necessary changes, brought on by both nature and the virtuousness of humans.virtuousness of humans.

Page 28: Romantic idea of poetry and its role Second generation of romantic poets

Mary ShelleyMary Shelley ( (Mary Mary Wollstonecraft Godwin)Wollstonecraft Godwin)

• the second wife of the second wife of Percy Bysshe ShelleyPercy Bysshe Shelley

• an English novelist, short story writer, an English novelist, short story writer, dramatist, essayist, biographer, and travel dramatist, essayist, biographer, and travel writer, best known for her Gothic novel writer, best known for her Gothic novel ‘‘Frankenstein’ or ‘The Modern Prometheus’Frankenstein’ or ‘The Modern Prometheus’ (1818). (1818).

• Her father was the political philosopher Her father was the political philosopher William Godwin, and her mother was the William Godwin, and her mother was the philosopher and feminist Mary Wollstonecraft.philosopher and feminist Mary Wollstonecraft.

Page 29: Romantic idea of poetry and its role Second generation of romantic poets

‘‘Prometheus Unbound’ 1820Prometheus Unbound’ 1820

• is a four-act play by Percy Bysshe Shelley first published in is a four-act play by Percy Bysshe Shelley first published in 1820, concerned with the torments of the Greek 1820, concerned with the torments of the Greek mythological figure Prometheus and his suffering at the mythological figure Prometheus and his suffering at the hands of Zeus. It is inspired by Aeschylus ‘hands of Zeus. It is inspired by Aeschylus ‘Prometheus Prometheus Bound’ Bound’ and concerns Prometheus release from captivity. and concerns Prometheus release from captivity. Unlike Aeschylus version, however, there is no Unlike Aeschylus version, however, there is no reconciliation between Prometheus and Zeus. Instead, Zeus reconciliation between Prometheus and Zeus. Instead, Zeus is overthrown, which allows Prometheus to be released.is overthrown, which allows Prometheus to be released.

• Shelley's play is closet drama, meaning it was not intended Shelley's play is closet drama, meaning it was not intended to be produced on the stage. In the tradition of Romantic to be produced on the stage. In the tradition of Romantic poetry, Shelley wrote for the imagination, intending his poetry, Shelley wrote for the imagination, intending his play's stage to reside in the imaginations of his readers. play's stage to reside in the imaginations of his readers. However, the play is filled with suspense, mystery and However, the play is filled with suspense, mystery and other dramatic effects that make it, in theory, performable.other dramatic effects that make it, in theory, performable.

Page 30: Romantic idea of poetry and its role Second generation of romantic poets

‘‘The Hymn to Intellectual The Hymn to Intellectual Beauty’ Beauty’ • The speaker says that the shadow of an invisible Power floats The speaker says that the shadow of an invisible Power floats

among human beings, occasionally visiting human hearts—among human beings, occasionally visiting human hearts—manifested in summer winds, or moonbeams, or the memory of manifested in summer winds, or moonbeams, or the memory of music, or anything that is precious for its mysterious grace. music, or anything that is precious for its mysterious grace. Addressing this Spirit of Beauty, the speaker asks where it has Addressing this Spirit of Beauty, the speaker asks where it has gone, and why it leaves the world so desolate when it goes—why gone, and why it leaves the world so desolate when it goes—why human hearts can feel such hope and love when it is present, and human hearts can feel such hope and love when it is present, and such despair and hatred when it is gone. He asserts that religious such despair and hatred when it is gone. He asserts that religious and superstitious notions—”Demon, Ghost, and Heaven”—are and superstitious notions—”Demon, Ghost, and Heaven”—are nothing more than the attempts of mortal poets and wise men to nothing more than the attempts of mortal poets and wise men to explain and express their responses to the Spirit of Beauty, which explain and express their responses to the Spirit of Beauty, which alone, the speaker says, can give “grace and truth to life’s unquiet alone, the speaker says, can give “grace and truth to life’s unquiet dream.” Love, Hope, and Self-Esteem come and go at the whim of dream.” Love, Hope, and Self-Esteem come and go at the whim of the Spirit, and if it would only stay in the human heart forever, the Spirit, and if it would only stay in the human heart forever, instead of coming and going unpredictably, man would be instead of coming and going unpredictably, man would be “immortal and omnipotent.” The Spirit inspires lovers and “immortal and omnipotent.” The Spirit inspires lovers and nourishes thought; and the speaker implores the spirit to remain nourishes thought; and the speaker implores the spirit to remain even after his life has ended, fearing that without it death will be even after his life has ended, fearing that without it death will be “a dark reality.”“a dark reality.”

Page 31: Romantic idea of poetry and its role Second generation of romantic poets

‘‘The Hymn to Intellectual The Hymn to Intellectual Beauty’Beauty’part 2part 2FormForm• Each of the seven long stanzas of the Each of the seven long stanzas of the

“Hymn to Intellectual Beauty” follows the “Hymn to Intellectual Beauty” follows the same, highly regular scheme. Each line same, highly regular scheme. Each line has an iambic rhythm; the first four lines has an iambic rhythm; the first four lines of each stanza are written in pentameter, of each stanza are written in pentameter, the fifth line in hexameter, the sixth, the fifth line in hexameter, the sixth, seventh, eighth, ninth, tenth, and eleventh seventh, eighth, ninth, tenth, and eleventh lines in tetrameter, and the twelfth line in lines in tetrameter, and the twelfth line in pentameter. (The syllable pattern for each pentameter. (The syllable pattern for each stanza, then, is stanza, then, is 555564444445.) Each .) Each stanza is rhymed ABBAACCBDDEE.stanza is rhymed ABBAACCBDDEE.

Page 32: Romantic idea of poetry and its role Second generation of romantic poets

‘‘The Cloud’The Cloud’

• I bring fresh showers for the thirsting flowers,I bring fresh showers for the thirsting flowers,From the seas and the streams;From the seas and the streams;I bear light shade for the leaves when laidI bear light shade for the leaves when laidIn their noonday dreams.In their noonday dreams.From my wings are shaken the dews that wakenFrom my wings are shaken the dews that wakenThe sweet buds every one,The sweet buds every one,When rocked to rest on their mother's breast,When rocked to rest on their mother's breast,As she dances about the sun.As she dances about the sun.I wield the flail of the lashing hail,I wield the flail of the lashing hail,And whiten the green plains under,And whiten the green plains under,And then again I dissolve it in rain,And then again I dissolve it in rain,And laugh as I pass in thunder. I sift the snow on the mountains below,And laugh as I pass in thunder. I sift the snow on the mountains below,And their great pines groan aghast;And their great pines groan aghast;And all the night 'tis my pillow white,And all the night 'tis my pillow white,While I sleep in the arms of the blast.While I sleep in the arms of the blast.Sublime on the towers of my skiey bowers,Sublime on the towers of my skiey bowers,Lightning, my pilot, sits;Lightning, my pilot, sits;In a cavern under is fettered the thunder,In a cavern under is fettered the thunder,It struggles and howls at fits;It struggles and howls at fits;

Page 33: Romantic idea of poetry and its role Second generation of romantic poets

‘‘Liberty’Liberty’

• I.I.The fiery mountains answer each other;The fiery mountains answer each other;Their thunderings are echoed from zone to zone;Their thunderings are echoed from zone to zone;The tempestuous oceans awake one another,The tempestuous oceans awake one another,And the ice-rocks are shaken round Winter's throne,And the ice-rocks are shaken round Winter's throne,When the clarion of the Typhoon is blown. When the clarion of the Typhoon is blown.

II.II.From a single cloud the lightening flashes,From a single cloud the lightening flashes,Whilst a thousand isles are illumined around,Whilst a thousand isles are illumined around,Earthquake is trampling one city to ashes,Earthquake is trampling one city to ashes,An hundred are shuddering and tottering; the soundAn hundred are shuddering and tottering; the soundIs bellowing underground. Is bellowing underground.

III.III.But keener thy gaze than the lightening’s glare,But keener thy gaze than the lightening’s glare,And swifter thy step than the earthquake’s tramp;And swifter thy step than the earthquake’s tramp;Thou deafenest the rage of the ocean; thy stareThou deafenest the rage of the ocean; thy stareMakes blind the volcanoes; the sun’s bright lampMakes blind the volcanoes; the sun’s bright lampTo thine is a fen-fire damp. To thine is a fen-fire damp.

IV.IV.From billow and mountain and exhalationFrom billow and mountain and exhalationThe sunlight is darted through vapour and blast;The sunlight is darted through vapour and blast;From spirit to spirit, from nation to nation,From spirit to spirit, from nation to nation,From city to hamlet thy dawning is cast,--From city to hamlet thy dawning is cast,--And tyrants and slaves are like shadows of night And tyrants and slaves are like shadows of night In the van of the morning light.In the van of the morning light.

Page 34: Romantic idea of poetry and its role Second generation of romantic poets

‘‘Love’s Philosophy’ 1819Love’s Philosophy’ 1819

• The fountains mingle with the river The fountains mingle with the river •       And the rivers with the ocean, And the rivers with the ocean, • The winds of heaven mix for ever The winds of heaven mix for ever •       With a sweet emotion; With a sweet emotion; • Nothing in the world is single; Nothing in the world is single; •       All things by a law divine All things by a law divine • In one spirit meet and mingle. In one spirit meet and mingle. •       Why not I with thine?— Why not I with thine?— •

See the mountains kiss high heaven See the mountains kiss high heaven •       And the waves clasp one another; And the waves clasp one another; • No sister-flower would be forgiven No sister-flower would be forgiven •       If it disdained its brother; If it disdained its brother; • And the sunlight clasps the earth And the sunlight clasps the earth •       And the moonbeams kiss the sea: And the moonbeams kiss the sea: • What is all this sweet work worth What is all this sweet work worth •       If thou kiss not me? If thou kiss not me? •

Page 35: Romantic idea of poetry and its role Second generation of romantic poets

‘‘Epipsychidion’ 1821Epipsychidion’ 1821

• Source: love to Emily Viviani, ‘the Source: love to Emily Viviani, ‘the spirit od poet’s spirit’spirit od poet’s spirit’

• Topics: beauty of world, free love, full Topics: beauty of world, free love, full of lifeof life

• Scenary: middeterranian ‘great Scenary: middeterranian ‘great Arkady’, mythic ‘Golden century’Arkady’, mythic ‘Golden century’

• Hedonism of spirit and bodyHedonism of spirit and body

Page 36: Romantic idea of poetry and its role Second generation of romantic poets

John Keats (1795-1821)John Keats (1795-1821)

- No-aristicratic rootsNo-aristicratic roots- Son of the owner of horse stableSon of the owner of horse stable- junior surgeon (occupation)junior surgeon (occupation)- Without upper educationWithout upper education- The same political camp like Byron and ShelleyThe same political camp like Byron and Shelley- Esthetic, lyric, epicEsthetic, lyric, epic- Excellent odesExcellent odes- Untypical romanticUntypical romantic- Died on tuberculosis in 25th year of lifeDied on tuberculosis in 25th year of life- Very Very maturitymaturity poetrypoetry- ‘‘Play of 5 senses’Play of 5 senses’- Poet of the sunPoet of the sun- Poet for optimisticsPoet for optimistics

Page 37: Romantic idea of poetry and its role Second generation of romantic poets

Two important sentences of Two important sentences of Keats:Keats:

• „„The poetry of earth is never dead”The poetry of earth is never dead”

• „ „ A thing of beauty is a joy for ever”A thing of beauty is a joy for ever”

Page 38: Romantic idea of poetry and its role Second generation of romantic poets

Topics of poetry:Topics of poetry:

• naturenature

• beauty around the worldbeauty around the world

• works of artworks of art

• ancient worldancient world

• hot summer sceneryhot summer scenery

• full contact with naturefull contact with nature

Page 39: Romantic idea of poetry and its role Second generation of romantic poets

Isabella Jones Isabella Jones

• ‘‘Hush, Hush!Hush, Hush! ‘ ["o sweet Isabel"] ‘ ["o sweet Isabel"]

• in 1821, Jones was one of the first in 1821, Jones was one of the first people in England to be notified of people in England to be notified of Keats's death Keats's death

Page 40: Romantic idea of poetry and its role Second generation of romantic poets

the first version of „Bright the first version of „Bright Star” Star” • Keats befriended Isabella Jones in May 1817, while on Keats befriended Isabella Jones in May 1817, while on

holiday in the village of Bo Peep, near Hastings. She is holiday in the village of Bo Peep, near Hastings. She is described as beautiful, talented and widely read, not of the described as beautiful, talented and widely read, not of the top flight of society yet financially secure, an enigmatic top flight of society yet financially secure, an enigmatic figure who would become a part of Keats's circle. figure who would become a part of Keats's circle. Throughout their friendship Keats never hesitates to own Throughout their friendship Keats never hesitates to own his sexual attraction to her, although they seem to enjoy his sexual attraction to her, although they seem to enjoy circling each other rather than offering commitment. He circling each other rather than offering commitment. He writes that he "frequented her rooms" in the winter of writes that he "frequented her rooms" in the winter of 1818–19, and in his letters to George says that he "warmed 1818–19, and in his letters to George says that he "warmed with her" and "kissed her". It is unclear how close they were with her" and "kissed her". It is unclear how close they were but Bate and Gittings suggest the trysts may represent a but Bate and Gittings suggest the trysts may represent a sexual initiation for Keats. Jones' greatest significance may sexual initiation for Keats. Jones' greatest significance may be as an inspiration and steward of Keats's writing be as an inspiration and steward of Keats's writing

Page 41: Romantic idea of poetry and its role Second generation of romantic poets

Fanny Brawne Fanny Brawne

• „„Bright Star" Bright Star"

• Their love remained Their love remained unconsummated; jealousy for his unconsummated; jealousy for his 'star' began to gnaw at him 'star' began to gnaw at him

Page 42: Romantic idea of poetry and its role Second generation of romantic poets

‘‘Ode on a Grecian Urn’ Ode on a Grecian Urn’

• Written in 1819, 'Ode on a Grecian Urn' was Written in 1819, 'Ode on a Grecian Urn' was the third of the five 'great odes' of 1819, the third of the five 'great odes' of 1819, which are generally believed to have been which are generally believed to have been written in the following order - Psyche, written in the following order - Psyche, Nightingale, Grecian Urn, Melancholy, and Nightingale, Grecian Urn, Melancholy, and Autumn.  Of the five, Grecian Urn and Autumn.  Of the five, Grecian Urn and Melancholy are merely dated '1819'.  Critics Melancholy are merely dated '1819'.  Critics have used vague references in Keats's letters have used vague references in Keats's letters as well as thematic progression to assign as well as thematic progression to assign order.  ('Ode on Indolence', though written in order.  ('Ode on Indolence', though written in March 1819, perhaps before Grecian Urn, is March 1819, perhaps before Grecian Urn, is not considered one of the 'great odes'.)not considered one of the 'great odes'.)

Page 43: Romantic idea of poetry and its role Second generation of romantic poets

‘‘Ode on a Grecian Urn’ part Ode on a Grecian Urn’ part 22• This ode contains the most discussed two lines in all of This ode contains the most discussed two lines in all of

Keats's poetry - '"Beauty is truth, truth beauty," - that is Keats's poetry - '"Beauty is truth, truth beauty," - that is all/Ye know on earth, and all ye need to know.'  The exact all/Ye know on earth, and all ye need to know.'  The exact meaning of those lines is disputed by everyone; no less a meaning of those lines is disputed by everyone; no less a critic than TS Eliot considered them a blight upon an critic than TS Eliot considered them a blight upon an otherwise beautiful poem.  Scholars have been unable to otherwise beautiful poem.  Scholars have been unable to agree to whom the last thirteen lines of the poem are agree to whom the last thirteen lines of the poem are addressed.  Arguments can be made for any of the four addressed.  Arguments can be made for any of the four most obvious possibilities, -poet to reader, urn to reader, most obvious possibilities, -poet to reader, urn to reader, poet to urn, poet to figures on the urn.  The issue is further poet to urn, poet to figures on the urn.  The issue is further confused by the change in quotation marks between the confused by the change in quotation marks between the original manuscript copy of the ode and the 1820 published original manuscript copy of the ode and the 1820 published edition.  (This issue is further discussed at the bottom of edition.  (This issue is further discussed at the bottom of this page.)this page.)

Page 44: Romantic idea of poetry and its role Second generation of romantic poets

‘‘To Autumn’To Autumn’

• "To Autumn" describes, in its three stanzas, "To Autumn" describes, in its three stanzas, three different aspects of the season: its three different aspects of the season: its fruitfulness, its labour and its ultimate fruitfulness, its labour and its ultimate decline. Through the stanzas there is a decline. Through the stanzas there is a progression from early autumn to mid autumn progression from early autumn to mid autumn and then to the heralding of winter. Parallel to and then to the heralding of winter. Parallel to this, the poem depicts the day turning from this, the poem depicts the day turning from morning to afternoon and into dusk. These morning to afternoon and into dusk. These progressions are joined with a shift from the progressions are joined with a shift from the tactile sense to that of sight and then of tactile sense to that of sight and then of sound, creating a three-part symmetry which sound, creating a three-part symmetry which is missing in Keats's other odes.is missing in Keats's other odes.

Page 45: Romantic idea of poetry and its role Second generation of romantic poets

‘‘To Autumn’ part 2To Autumn’ part 2

• "To Autumn" is a poem of three stanzas, "To Autumn" is a poem of three stanzas, each of eleven lines. Like others of Keats's each of eleven lines. Like others of Keats's odes written in 1819, the structure is that odes written in 1819, the structure is that of an odal hymn, having three clearly of an odal hymn, having three clearly defined sections corresponding to the defined sections corresponding to the Classical divisions of strophe, antistrophe, Classical divisions of strophe, antistrophe, and epode.The stanzas differ from those of and epode.The stanzas differ from those of the other odes through use of eleven lines the other odes through use of eleven lines rather than ten, and have a couplet placed rather than ten, and have a couplet placed before the concluding line of each stanza before the concluding line of each stanza