Abstract
John Keats and Percy Shelley both died relatively young, Keats at twenty-five and Shelley at thirty, and the tragedies of both of these men seems to have added a mythical aspect to their names that would not be there had they lived to old ages. The paper shows that, instead of focusing on the "what ifs" of the two poets, most critics have turned their eyes on examining the actual poetry produced by both poets in their very short lifetimes. The paper examines several works by these poets, such as "Ode to a Nightingale" by Keats and "Ode to the West Wind" by Shelley. The paper also includes quotes from the poems mentioned.

From the Paper
"The poet eventually realizes that death, however, is not the answer to life's misery. The poet wants "easeful death," and there are requirements for this particular kind of death. For the poet, the main requirement is death while experiencing beauty: "Now more than ever seems it rich to die." Everybody will die, and instead of suffering a long, painful death, he would rather pass away during a happy moment, therefore making death a rich experience. He wrote to Fanny Brawne: "I have two luxuries to brood over in my walks, your loveliness and the hour of my death. O that I could have possession of them both in the same minute.""

Tags:romanticism, Ode, to, a, Nightingale, Maenad

Abstract
Poets' conceptions of their roles in society can be fairly consistent for long periods of time or may change rapidly in a decade or two. The difference between the idea of a poet's function as conceived by the Romantic era and the Victorian period provides an example of significant change. The paper shows that not all the supposed members of any school of poetry share every aspect of the predominant theory of poetry in their generation. It shows that neither John Keats (1795-1821) nor Matthew Arnold (1822-88) is entirely typical of his era. But, especially because Arnold reacted against Keats--among others--in specific, articulated ways, a comparison of their ideas of their role as poets in this paper demonstrates how such changes take place and the effect they have on the poetry that is written.

From the Paper
"The expression of his experience in the poems relied, therefore, on the intelligent apprehension of the beautiful but necessarily avoided the interference occasioned by philosophical rigor or conventional belief systems. Rather than acting as a scientist who catalogues experience or an overt expressionist who presents her/his feelings in all their immediacy and as an end in themselves, Keats valued the ability to go as deeply as possible into feeling and then to communicate and transform the experience with words that, rather than refining and limiting the experience, conveyed an accurate sense of the ambiguity as well as the nature of the experience. He desired, in other words, a meaningful description of what was conventionally indescribable while avoiding a vocabulary or style that would constrain the sense of feeling he wished to express. It was, in short, a poetry of sensation. His most famous formulation of this aspect of his poetic practice came in a letter written to his friend Benjamin Bailey in 1817."

Tags:Wordsworth, Byron, Shelley, Thucydides

Abstract
This paper tackles the difficult task of assigning a general definition and meaning to the art of poetry. It uses quotes from Aristotle, Plato, Pablo Neruda, Percy Bysshe Shelley, William Wordsworth and Charles Johnson. The claims made by the poetry greats and the author are then supported by examples in classic poetry. It is very articulate, and provides a strong, clear argument. It is both reflective and analytical.

From the Paper
"According to Galileo, "All truths are easy to understand once they are discovered; the point is to discover them." This task of discovery is certainly not an easy one, and most are either not willing or not able to share such a process with the world. A good poet, however, thrives upon this very challenge. 1971 Nobel Prize Laureate Neftali Ricardo Reyes Basoalto (penname Pablo Neruda) said that the poet's obligation is to "feel the crash of the hard water / and gather it up in a perpetual cup" so that "through [him], freedom and the sea / will make their answer to the shuttered heart" (ll. 16-17, 29-30). The poet must put his ear to the world and experience each of nature's lessons; this knowledge, however, is useless if he cannot convey it to an audience in indelible ink. He must share these axioms in his words, either through personal experiences or general observations. Most modern classifications of quality poetry are derived from two main camps: that of Plato, and that of Aristotle. Plato affirmed that "all good poets... compose their beautiful poems not by art, but because they are inspired and possessed" (1025). He emphasized that it is the driving force that overcomes a poet that distinguishes his work, not his ordinary ability use the craft. Furthermore, Aristotle explains that "the reason why men enjoy seeing [poetry] is, that in contemplating it they find themselves learning or inferring, and saying perhaps, 'Ah, that is he.'" (1026). Poetry, then, is an articulation of a worldly truth, which may be achieved through a variety of isolated or universal means, and is directly the result of profound passion escaping the author."

Tags:aristotle, definition, english, ginsberg, grecian, keats, neruda, ode, pablo, philosophy, plato, poem, poet, poetry, truth, urn

Abstract
This paper discusses and analyzes the work of poet Samuel Taylor Coleridge and explains how he rebelled substantively against Neo-classical 18th century poetic formalistic and moral traditions. The paper further points out that Coleridge was instrumental in ushering in a new era of Romantic British poetry and that he greatly influenced later British Romantics like Keats, Shelley and Byron, as well as later poets of the United Kingdom and elsewhere. Additionally, the paper points out that it was Coleridge who originated blank verse in poetry and that his work had an impact modern and post-modern poetry as well.

From the Paper
"As for subject matter, 18th century Neo-classical tradition generally concerns itself with moral values; social realities, and mainstream experiences, within not only works like Pope's The Rape of the Lock (1816), but others like Wordworth's Tintern Abbey (1798). Compared against such neo-classical works, Coleridge's Kublai Khan (1816) and Rime of the Ancient Mariner (1798) make use of descriptions of the sublime through nature; of sexuality, and of the unconscious, themes largely unexplored within 18th century British Neo-classical poetry."

Tags:william, wadsworth, romantic, tradition, lyrical, ballads, the, rime, of, the, ancient, mariner

From the Paper
"The Romantic poetry of William Blake, John Keats, Percy Shelley, George Gordon and Lord Byron often utilized metaphors based on human sensory perception. In comparison to the metaphysical poetry of John Donne, in which mechanical objects were the bases for comparison, Romantic poetry relied much more heavily on the human body and its methods of perceiving the world around it. The Romantic school makes no apology for its own particular kind of metaphor; instead, it glories n it, feeling that a world full of dead objects can be brought to life by the superiority of knowledge derived from the senses. There are notable exceptions to this rule, of course, such as the statement by Keats that "Heard melodies are sweet / But those unheard are sweeter." But except in those instances when the metaphor of the senses gives way to the experiences of the imagination, the ... "

Abstract
The paper examines four Romantic poems, Byron's "She Walks in Beauty", Keats' "On First Looking into Chapman's Homer", Shelley's "Ozymandias" and Wordsworth's "I wandered lonely as a cloud". Following a short introduction in which the definition and purpose of imagery is presented, each poem is closely analyzed to extract its most striking and meaningful use of imagery. In each case, the paper explains how the imagery contributes to the overall theme, effect or meaning.

From the Paper
"Byron's poem "She Walks in Beauty" is written in the vein of Romanticism, and therefore it relies mostly on imagery. Romanticism was an effort to idealize nature, and to express feelings in the most natural way. The poet depicts a young woman walking, and the beauty in every aspect of her is expressed as ideal, and in gushing terms. For this purpose, a series of exquisite images are evoked. For example, in the first two lines we have the description of "the night / Of cloudless climes and starry skies" (Kinsella et al 718). It is the glittering beauty of the night sky, without clouds to obstruct the view, that the poet wants to compare the beauty of the woman with. This imagery is important, because in the next two lines we are drawn to the eyes of the girl, which are said to be "dark and bright" like the clear night sky: "And all that's best of dark and bright / Meet in her aspect and her eyes" (Ibid)."

Tags:Byron, Wordsworth, Keats, Shelley, association, meaning, theme

Abstract
In this article, the writer describes the various ways that poets use figurative language and goes on to illustrate with four poems from the Romantic era. Figurative language is said to be in three forms - simile, analogy and personification. Each is defined and explained. A paragraph is then devoted to each category, in which four poems are scanned for their use of figurative language. The poems in question are "I Wandered Lonely as a Cloud" by Wordsworth, "She Walks in Beauty" by Byron, "Ozymandias" by Shelley and "On First Looking into Chapman's Homer" by Keats.

From the Paper
"Three ways in which poets use figurative language is through simile, metaphor or personification. A simile is a direct comparison, most frequently using the words `like' or `as' to make the comparison. A metaphor is an indirect comparison, where a connective is not used, and where the comparison is only suggested. A personification is a form of metaphor, where an object or concept is made out to be a person, and described as such. The following are examples taken from 19th century Romantic poetry that illustrate the use of figurative language.
" The first two lines of Byron's poem ``She Walks in Beauty'' is a simile: ``She walks in beauty, like the night / Of cloudless climes and starry skies''. Here the gait of the young woman is being compared to the cloudless and brilliant night sky. At first the comparison seems odd, because the motion of the woman is being compared to something that is still. However, it is the beautiful aspect of both that is being linked."

Tags:simile, analogy, personification, imagery, poetic, device

Abstract
This paper uses Marx's essay on alienated labor to analyze Mary Shelley's tale of Frankenstein and his monster. After completing this analysis, the author reflects upon what Dr. Frankenstein and Victor Jr. and Shelley would think about Marx's analysis of alienation.

Abstract
This paper compares Victor Frankenstein's treatment of the Daemon in Mary Shelley's novel Frankenstein to George's treatment of Lennie in John Steinbeck's novel "Of Mice and Men". The author focuses on what Steinbeck and and Shelley are saying about trying to control the lives of others.

Abstract
This paper reviews and discusses romanticism. The paper takes a look at the art, music and poetry that emerged during the romantic era. The paper describes its history, the main elements of romanticism and how it differed in different countries. The paper then goes on to discuss political romanticism.

From the Paper
"The romantic musicians found their muse of inspiration in literary works, paintings, and other art sources. Therefore, they believed in the same art values, like freedom of form, peculiar vibration of feelings, impulsive reactions, uniqueness, etc. As literary works reveal solitary characters to bear the imprint of emotional experience, music reveals instruments that have exactly the same role as characters in literature. They create the emotional values. The French composer Hector Berlioz and the Hungarian musician Franz Liszt had the roots of their inspiration in literature. Plenty of music works were created in the 19th century. The most known and successful ones are written by Schubert, Johannes Brahms, Hugo Wolf, Robert Schumann, and Richard Strauss. Abstract music was expressed in chamber music and symphonies. In this respect, there are plenty of composers who may be given as example. Musicians like Schubert, Schumann, Brahms, Tchaikovsky were the most important as they tried new free form music, adapted for the piano, mostly."

Tags:Schubert, Schumann, Brahms, Tchaikovsky, Habermas, Marcuse, Negt, Kluge, Foucault, William, Blake, Wordsworth, Byron, Keats, Shelley