Poetry exam

Principal ideas and themes of romanticism

1) the value of the natural world and its power to console 2) the value and right to express individuality 3) distaste for tyranny 4) imagination as inspiration 5) the role of dreams and unconsciousness as inspiration The gothic- use of horror and the supernatural in an imaginative way

Apostrophe to the ocean

1. There is a pleasure in the path less woods, There is a rapture on the lonely shore, There is a society where non intrudes, By the deep sea, and music in its roar: I love not man the less, but nature more, From these out interviews, in which I steal From all i may be, or have been before, To mingle with the universe, and feel What i can ne'er express, yet cannot all conceal 2. Roll on, thou deep and dark blue ocean— roll! Ten thousand fleets sweep over thee in vain; Man marls the earth with ruin— his control Stops with the shore; upon the watery plain The wrecks are all thy deed, nor doth remain A shadow of man's ravage, save his own, When for a moment, like a drop of rain, He sinks into thy depths with bubbling groan, Without a grave, unknelled, unconfined and unknown. 3. His steps are not upon thy paths, —thy fields Are not a spoil for him,— thou dost arise And shake him from thee; the vile strength he wields For earths destruction thou dost all despise, And send'st him, shivering in thy playful spray And howling, to his gods, where happy lies His petty hope in some near port or bay, And dashes thin again to earth:— there let him lay. 4. The armaments which thunderstrike the walls Of rock-built cities, bidding nations quake, And monarchs tremble in their capitals. The oak leviathans, whose huge ribs make Their clay creator the vain title of war; These are thy toys, and, as the snowy flake, They melt into thy yeast of waves which mar Alike the armada's pride or spoils of trafalgar. 5. Thy shores are empires, changed in all save thee- Assyria, Greece, Rome, clathrate, what are they? Thy waters washed them power while they were free And many a tyrant since: their shores obey The stranger, slave, or savage; their decay Has dried up realms to deserts: not so thou, Unchangeable save to thy wild waves' play— Time writes no wrinkle on thine azure brow— Such as creation's dawn beheld, ,thou rollers now. 6. Thou glorious mirror, where the almighty's for Glasses itself in tempests; in all time, calm or convulsed— in breeze, or gale, or storm, Icing the pole, or in the torrid clime Dark0heaving; —boundless, endless, and sublime— The image of eternity— the throne Of the invisible; even from out thy slime The monsters of the deep are made; each zone obeys thee: thou goest forth, dread, fathomless, alone. 7. And i have loved thee, ocean! And my joy Of youthful sports was on thy breast to be Borne like thy bubbles, onward; from a boy I want one'd with thy breakers— they to me were a delight; and if the freshening sea Made them a terror- 'twas a pleasing fear, For i was as it were a child of thee, And trusted to thy billows far and near, And laid my hand upon thy mane — as i do here.

Romantic period

1798-1834

Metaphor

A direct comparison of two entities

Internal rhyme

A word inside a line of poetry rhymes with another word in the line or in a nearby line

"I wandered lonely as a cloud"

Alone but not sad, clouds are alone but have a lightness, not a heavy sad feeling

Apostrophe

An address to an inanimate nonhuman entity of absent person

Focus of daffodils and Tintern abbey

Appreciation of the natural world, and the memory as inspiration

Focus of kubla khan

Appreciation of the natural world, the gothic or exotic, poetic sound devices; narrative poetry

Focus of apostrophe to the ocean

Appreciation of the natural world; the pests persona, tone; irony; poetic devices. Romantic distaste for authority

Personification

Attributing human characteristics to something that is not human

Samuel Taylor Coleridge

Believed his son should be brought up in nature, children born innocent and are morally changed by society, was addicted to drug laudanum(mix of Brady and opium),(pain reliever), was friend of Wordsworth

Apostrophe to the ocean

By Lord Byron

Ozymandias

By Percy Bysshe shelley

Ode on a Grecian urn

By john keats

On first looking into champan's homer

By john keats

Simile

Comparison between two entities using like or as

Kubla khan

Composed in a dream, visual imagery of constant and uncontrollable movement, literally surreal (about unconscious mind), gothic tone

Sublime

Creates an admiration and fear

Visual imagery

Description that appeals to the sense of sight

Sensory imagery

Description that appeals to the senses of hearing, smell, touch, or taste

"Continuous as the stars that shine"

Endless quantity, very bright, shining

Tintern Abbey

Five years have past; five summers, with the length Of five long winters! And again I hear These waters rolling from their mountain-springs With a soft inand murmur.— once again Do i behold these steep and lofty cliffs That on a wild secluded scene impress Thoughts of more deep seclusion; and connect The landscape with the quiet of the sky. The day is come when I again repose Here, under this sark sycamore, and view These plots of cottage-ground, these orchard-tufts. Which at this season, with their un ripe fruits, Are clad in one green hue, and lose themselves Mid groves and copses. Nice again I see these hedge-rows, hard;y hedge-rows, little lines Of sportive wood run wild: these pastoral farms, Green to the very door; and wreaths of smoke Sent up, in silence, from arming the trees! With some uncertain notice, as might seem Of vagrant dwellers in the house less woods, Or of some hermits cave, where by his fire The hermit sits alone Through a long absence, have to been to me As is a landscape to a blind mans eye; But oft, in lonely rooms, and mid the din Of towns an cities, I have owed to them, In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing been into my Pierre mind With tranquil restoration: — feelings too Of unremembered pleasure: such, perhaps, as have no slight or trivial influence On that best portion of a good man's life, His little, nameless, unremembered, acts Of kindness and of love. Nor less, I trust To them i may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world, Is lightened:—that serene and blessed mood, In which the affections gently lead us on,— Until, the breath of this corporal Frame and even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things. If this Be but a vain belief, yet, oh! How oft— In darkness and amid the many shapes of joyless daylight; when the fretful stir Unprofitable, and fever of the world Have hung upon the beatings of my heart— How oft, in spirit, have I turned to thee, O sylvan Wye! Thou wanderer thro' the woods, How often has my spirit turned to thee! The sounding cataract Haunted me like a passion: the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms, were then to me An appetite: a feeling and a love, That had no need of a remoter charm, By thought supplied, not any interest Unborrowed from the eye And i have felt A presence that disturbs me with the joy Or elevated thoughts; a sense sublime Of something far more deeply inter fused whose dwellings is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man; A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things. Therefore am I still A lover of the meadows and the woods a And the mountains; and of all the mighty world Of eye, and ear, —both what they half create, And what they perceive; well pleased to recognize In nature and the language of the sense The anchor of my purest thoughts, the nurse, The guide, the guardian, of my heart, and should of all my moral being.

Ozymandias

Form of the Egyptian pharaoh Ramses II - 13th century BC, who constructed huge statues of himself

Ode

Formal poem of praise

To a skylark

Hail to thee blithe spirit! Bird thou never wert, That from heaven, or near it, Pourest thy full heart In profuse strains or unpremeditated art Higher still and higher From the earth thou springest Like a cloud of fire The blue deep thou wingest , And singing still dost soar, and soaring ever singest In the golden lightning Of the sunken sun, O'er which clouds are bright'ning Thou dost float and run; Like a nun bodied joy whose race is just begun. The pale purple even Melts around thy flight; Like a star of heaven, In the broad daylight Thou art unseen, but yes i hear thy shrill delight, Keen as are the arrows Of that silver sphere Whose intense lamp narrows In the white dawn clear, Until we hardly see, we feel that it is there. All the earth and air With thy voice is loud, as, when night is bare From one lonely cloud, The moon rains out her beams, and heaven is overlow'd. What thou art w know not; What is most like thee? From rainbow clouds there flow not Drops so bright to see As from thy presence showers a rain of melody. Like a poet hidden In the light of thought Singing hymns unbidden, Till the world is wrought To sympathy with hopes and doers it heeded not; Like a high-born maiden In a palace- tower Soothing her love-laden Soul in secret hour With music sweet as love, which overflows her bower; Like a glow-worm golden In a dell of dew, Scattering unbeholden It's a real hue Among the flowers and grass, which screen it from the view; Like a rose embower'd In its own green leaves, By warm winds deflower'd Till the scent it gives Makes faint with too much sweet those heavy-winged thieves; Sound of general showers On the twinkling grass, Rain-awaken'd flowers, All that ever was Joyous, and clear, and fresh, thy music spots surpass. Teach us spirit, sprite our bird, What sweet thoughts are thine: I have never heard Praise of ove or wine That panted forth a flood of rapture so divine. Chorus hymeneal, Or triumph chant, Match's with thine would be all But an empty vaunt, A thing wherein we feel there is some hidden want. What objects are the fountains Of thy happy strain? What fields, or waves, or mountains? What shapes of sky or plain? What love of thine own kind? What ignorance of pain? With thy fear keen joyance Languor can not be: Shadow of annoyance Never cane near thee: Thou loves: but ne'er knew love's and satiety. Waking or asleep,'thou of death must deem Things more true and deep Than we mortals dream, Or how could thy notes flow in such a crystal stream? We look before and after, And pine for what is not; Our sincerest laughter With some pain is fraught; Our sweetest songs are those that tell of saddest thought. Yet if we could scorn Hate, and pride and fear; If we were things born not to shed a tear, I know not how thy joy we ever should come near. Better than all measures Of delightful sound, Better than all treasures That in books are found Thy skill to poet were, thou scorner of the ground! Teach me half the gladness That they brain must know, such harmonious madness From my lips would flow The world should listen then, as i am listening now.

Tintern Abbey

He is consoled from nature when he is away from mit, mystic feel- able to leave personal body and see God like visions, has irregular stanzas, no rhyme scheme, more realistic, not poetic voice, poem suggests that he was a deist— someone who believes that god exists everywhere in creation (doesn't personify God)

Percy Bysshe shelley

Husband of Mary shelley, liked to boat but could not swim, and he ended up drowning, most children he had with Mary Shelley died either very young or at childbirth. Creation of powerful symbols in his visionary pursuit of the ideal, while at the same time tempered by a deep skepticism. He worked for Mary's father and then later ran away with Mary, once his wife had died.

Ozymandias

I met a traveler from an antique land, Who said — "two vast and trunkless legs o stone Stand him the desert... near them, on the sand Half sunk a shattered visage of lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that it's sculptor well those passions read Which yet survive, stamped on these lifeless things, The Han that mocked them, and the heart that fed; And on the pedestal, these words appear: My name is ozymandias, king of kings; Look on my works, ye mighty, and despair! Nothing desire remains, round the decay, Of that colossal wreck, boundless and bare The lone and level sands stretch far away."

I wandered lonely as a cloud

I wandered lonely as a cloud That floats on high o'er vale's 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 be gay, in south jocund company: I gazed— and gazed— but little thought What weath 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

Romanticism themes

Imagination- Grecian urn, Chapman's homer Dream inspiration- kubla khan, Individuality - to a skylark, i wandered lonely as a cloud, Tintern Abbey, apostrophe to the ocean, both of Keats Natures ability to console- Tintern Abbey , i wandered lonely as a cloud, apostrophe to the ocean Memory - I wandered lonely as a cloud, Tintern Abbey Fear of the natural world- apostrophe to the ocean, Gothic- kubla khan, apostrophe to the ocean Distaste of tyranny- ozymandias, apostrophe to the ocean

Negative capability

Intuition and uncertainty above reason and knowledge ; willingness to imagine and wonder about an object without needing to be logical or entirely correct about it

The romantic period was a generational reaction to the ideas of the enlightenment

It favored emotion and imagination and individualism over logic, reason, and conformity

Byronic hero

Moody, dangerous, daring, attractive; defiant, melancholy, haunted by secret guilt, seems model, daring

On first looking into Chapman;s homer

Much have I travell'd in the realms of gold, And many goodly states and kingdoms seen; Round many western islands have I been Which bards in fealty to Apollo hold. Oft of one wide expanse had I been told That deep-brow'd homer ruled as his demesne; Yet did i never breathe its purest serene Till i heard Chapman speak out loud and bold; Then felt i like some watcher of the skies When a new lancet swims into his ken; Or like stout Cortez when with eagle eyes He star'd at the pacific— and all his men Look'd at each other with a wild surmise Silent, upon a peak in Darien.

Kubla khan

Or a vision in a dream. A fragment. In Xanadu did kubla khan A stately pleasure-dome decree: Where alph, the sacred river, ran Through caverns measureless to man Down to a sunless sea. So twice five miles of fertile ground With walls and towers were girdled round; And there were gardens bright with sinuous rills, Where blossomed many an incense-bearing tree; And here were forests ancient as the hills, Enfolding sunny spots of greenery. But oh! That deep romantic chasm which slanted Down the green hill athwart a cedar cover! A savage place! As holy and enchanted As e'er beneath a waning moon was haunted And from this chasm, with ceaseless turmoil seething, As if this earth in fast thick pants were breathing, A mighty fountain momentary was forced: Amid whose swift half-intermittently burst Huge fragments vaulted like rebounding hail, Or chaff grain beneath the thrasher's flail: And mid these dancing rocks at once. And ever It flung up momentary the sacred river. Five miles meandering with a mazy motion Through wood and dale the sacred river ran, Then reached the caverns measureless to man, And sank in tumult to a lifeless ocean; And mid this tumult kubla heard from far Ancestral voices prophesying war! The shadow of the dome of pleasure Floated midway on the waves; Where was heard the mingled measure Fro the fountain and the caves. It was a miracle of rare device, A sunny pleasure-dome with caves of ice! A damsel with a dulcimer In a vision once i saw: It was an abyssian maid And on her dulcimer she played Singing of mount Abora. Could i revive within me Her symphony and song, To such a deep delight would win me, That with music loud and long, I would build that done in air, That sunny dome! Those caves of ice! And all should cry, beware! Beware! His flashing eyes, his floating hair! Weave a circle round him thrice, And close your eyes with holy dread For he on honey-dew hath fed, And drunk the milk of paradise.

To a skylark

Percy Bysshe Shelley

Focus of champans homer

Poets imagination as a source of inspiration

I wandered lonely as a cloud

Power of nature even through memory to console, daffodils, has stanzas meters and rhyme scheme, similes - "I wandered lonely as a cloud", "continuous as the stars that shine"

Consonance

Repetition of a consonant sound at the end of a stressed syllable

Assonance

Repetition of a vowel sound within the stressed syllables of words

Alliteration

Repetition of the initial consonant sound in a stressed syllable. It can create sound or create units of meaning in which the words seem to belong together.

Focus of ode to a skylark

Romantic appreciation of the natural world and the poets persona

Focus of ozymandias

Romantic distaste for authority, irony

Kuala khan

Samuel Taylor Coleridge

Irony

Statue claims that he is the king of kings and for others to despair, but the statue is in ruins

Onomatopeia

The formation of a word from the sound it makes

Rhyme scheme

The pattern of rhyme in a poem

Focus of ode on a Grecian urn

The power of the poets imagination; the ability of aesthetic beauty to bring solace to life

Start of romantic period

The publishing of lyrical ballads by Wordsworth and Coleridge

Meter

The rhythm of a line of poetry

Ozymandias parallel with apostrophe to the ocean

They share the theme of the inevitable decay and death of man, but the everlasting nature

Lord Byron

This English poet joined the Greeks and died fighting so that they may be free, friend of the shelleys, not very well to do, had a broken family, outrageous and expensive life, inherited his title from uncle, clubbed foot, fall in love with his cousin

Ode on a Grecian urn

Thou still unravish'd bride of quietness, Thou forester-child of silence and slow time, Sylan historian, who canst thus express A flowery tale more sweetly than our rhyme: What leaf-fring'd legend haunts about thy shape Of deities or mortals, or of both, In Tempe or the dales or Arcady? What men or gods are these? What maiden lots? What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy? Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; Not to the sensual ear, but, more endear'd, Pipe to the spirit ditties of no tone: Fair youth,beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare; Cold lover, never, never canst thou kiss, Though winning near the goal yet, do not grieve; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair! Ah, happy, happy boughs! That cannot shed Your leaves, npr ever bid the spring adieu; And happy melodies, unwearied, For ever piping songs for ever new; More happy love! More happy, happy love! For ever warm and still to be enjoy'd For ever panting, and for ever young; All breathing mans passion far above, That leaves a heart high sorrowful and cloy'd A burning forehead, and a parching tongue. Who are these coming to the sacrifice? To what green altar, o mysterious priests Lead'st thou that heifer lowing at the skies', And all her silken flanks with garlands dress? What little town by river or sea shore, Or mountainbuilt with no peaceful citadel, Is emptied of this folk, this pious morn? And, little town, thy streets for everyone Will silent be; and not a soul to tell Why thou art desolate, can e'er return. O attic shape! Fair attitude with breed Of marble men and maidens overwrought, With forest branches and the trodden weed; Thou, silent form, dost tease us out of thought As doth eternity; cold pastoral! When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say'st, "Beauty is truth, truth beauty,—that is all Ye know on earth, and all ye need to know."

On first looking into Chapman's homer

Travels in his imagination, talks about Greek gods as if they were still worshiped in Greece, "travels" to realms of gold such as Greece, homer; first named poet of western literature— "ruler" of western lit

Ekphrastic tradition

Verbal as male, pictorial as female

John Keats

Was raised to be an apothecary or doctor, but wanted to be a poet. Died of tuberculosis. Traveled to Italy at the end of his life. Never married, but fell in love with a woman and got engaged but didn't want to leave her widowed. His family all died when he was young. He contracted tuberculosis from his dying brother who died just before him,

I wandered lonely as a cloud

William wordsworth

Tintern Abbey

Willian Wordsworth

William Wordsworth

Wrote lyrical Ballard's with Samuel Taylor Coleridge, wrote based off of oberservations of nature, used sisters journal to write