Introduction to Poetry and the Problem of Beauty
To me, this seems to beKeats’s realisation that the imagination can provide a means not only ofproducing the beauty of poetry, but also of escaping from hardships in life; itseems to provide another, alternative world to the one in which he is forced tolive and bear pain.
The Beauty of Figurative Language Essay Examples
This is not to say that all poems are beautiful. Many do notfulfill the terms of their own construction, and so leave us feelingdissatisfied. On the other hand, some poems leave us feeling dissatisfiedbecause that is part of their point. It is as impossible to determine thedifference--in terms of establishing interpretive predictions or tools--asit is to define poetic beauty. Beauty is contingent and unique and cannotbe derived from or defined according to rules or explanatory codes. But Iwant to insist that poetic beauty is important to talk about and wonderfulto experience. As Wendy Steiner puts it, "the pleasures of art, howeverscandalous they have come to be seen, are valuable and worth protecting"(80).
So, what is the experience of poetic beauty? It is, first of all,subjective interestedness. Interestedness requires sympathy, so poeticbeauty might be defined as the result of subjective sympathy: payingenough attention to a poem for it to teach us how to read it (crucially) feeling that it fulfills the terms it lays out. These termsmay be of many varieties, such as lyricism, word attention, sounddissonance, even of a faltering which is part of the poem's point. Poemswhose beauty strikes us overwhelmingly and immediately are poems that usewell some of the rules we are well trained to perceive. Poems whosebeauty takes time for us to appreciate have worked to increase ouraesthetic faculties.
Beauty in November- Poetry Analysis Essay - 732 Words
Such shameless Bards we have; and yet 'tis true,
There are as mad, abandon'd Criticks too.
The Bookful Blockhead, ignorantly read,
With Loads of Learned Lumber in his Head,
With his own Tongue still edifies his Ears,
And always List'ning to Himself appears.
All Books he reads, and all he reads assails,
From Dryden's Fables down to Durfey's Tales.
With him, most Authors steal their Works, or buy;
Garth did not write his own Dispensary.
Name a new Play, and he's the Poet's Friend,
Nay show'd his Faults--but when wou'd Poets mend?
No Place so Sacred from such Fops is barr'd,
Nor is Paul's Church more safe than Paul's Church-yard:
Nay, fly to Altars; there they'll talk you dead;
For Fools rush in where Angels fear to tread.
Distrustful Sense with modest Caution speaks;
It still looks home, and short Excursions makes;
But ratling Nonsense in full Vollies breaks;
And never shock'd, and never turn'd aside,
Bursts out, resistless, with a thundering Tyde!
analysis of "She Walks in Beauty" Essays - …
Dickinson’s biographer and editor Thomas Johnson has said that she often felt herself possessed by a demonic force, particularly in the years 1861 and 1862 when she was writing at the height of her drive. There are many poems besides “He put the Belt around my Life” which could be read as poems of possession by the daemon—poems which can also be, and have been, read, as poems of possession by the deity, or by a human lover. I suggest that a woman’s poetry about her relationship to her daemon—her own active, creative power—has in patriarchal culture used the language of heterosexual love or patriarchal theology. Ted Hughes tells us that
The Beauty of the Husband: A Fictional Essay in 29 Tangos ..
These two poems are about possession, and they seem to me a poet’s poems—that is, they are about the poet’s relationship to her own power, which is exteriorized in masculine form, much as masculine poets have invoked the female Muse. In writing at all—particularly an unorthodox and original poetry like Dickinson’s—women have often felt in danger of losing their status as women. And this status has always been defined in terms of relationship to men—as daughter, sister, bride, wife, mother, mistress, Muse. Since the most powerful figures in patriarchal culture have been men, it seems natural that Dickinson would assign a masculine gender to that in herself which did not fit in with the conventional ideology of womanliness. To recognize and acknowledge our own interior power has always been a patch mined with risks for women; to acknowledge that power and commit oneself to it as Emily Dickinson did was an immense decision.