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Nostalgia in Romantic Poetry, 1996.
An examination of the use of nostalgia in the poetry of the romantic era (1768 - 1839), focusing in particular on the poetry of William Wordsworth and Samuel Taylor Coleridge.
1,951 words (approx. 7.8 pages), 5 sources, MLA, $ 62.95
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Abstract
This paper argues that nostalgia in poetry can be considered a particular kind of literary device, through which it is possible to gain some degree of insight into the whole ideology on which the romantic movement was based. Through an analysis of the poetry of William Wordsworth and Samuel Taylor Coleridge, it looks at how the romantics mourn the fleeting nature of time and look back to the golden age of childhood - which can only be recaptured through nostalgia. It shows how nostalgia allows the poets the opportunity to not only recapture the past, but to manipulate and control it and how the nostalgia displayed in romantic poetry is, then, a tool of the intellect and a calculated attempt to make sense of a confused world of impressions and feelings, to bring order where previously there was only chaos.
From the Paper
"Coleridge?s is an extreme model of nostalgia. Casting his mind back to childhood, he finds that the child he once was is also indulging in nostalgic thoughts of a still deeper past; the past he may have experienced even before birth, on a far different plane. This is the blissful, innocent world which becomes the ideal for all present existence, and the child who can still recall it, and imaginatively re-inhabit that world through nostalgia becomes, to the romantic mind, like a visionary without language or the proper means of expressing his recollection."
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Poetry in the 21st Century, 2004.
Explains the continuing relevance of poetry in our current era.
1,280 words (approx. 5.1 pages), 1 source, APA, $ 43.95
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Abstract
As the 21st century begins, poetry remains relevant to the lives of people in the Western world, an antidote to the popular culture of spectacle and instant gratification. Using the example of British poet, Jamie McKendrick, this paper argues that poetry remains relevant because it reflects what is universally felt and experienced by humanity. Poetry is irrelevant to popular culture, but not to the populace. McKendrick's poetry reflects life in a way that more spectacular entertainment cannot do. His poems invite the reader to reflect on great questions and to notice small details and beauties of the world. One of McKendrick's abilities is to express emotions in a way that the readers themselves could perhaps never manage. Poets are truth-speakers, and because their work truly reflects life, it is seldom straightforward. It is rare that a poem is fully appreciated after the first reading. Poetry demands engagement with the reader or listener; it cannot be passively watched like a Hollywood film. The reader must interact with the poem, and in the process, helps create the poem, since the meaning inferred by one reader may be different from that of another reader, and both may be different from the author's intended meaning. The paper concludes that poetry continues to be relevant because it expresses the human experience and does so with an uncommon intimacy and truthfulness.
From the Paper
"A poem will last for centuries if it skillfully explores the human experience because the essence of that experience does not change. Sappho and John Donne, for example, will always be relevant because people will always develop romantic infatuations. Alienation, longing, love, grief, the search for meaning, the discovery of the sublime in mundane life: These things will always be relevant. McKendrick can set his poems outside of time, as he does with "The Belen", or set a poem in Dante's Hell, because he writes about being human, not about being human in a particular century. In Ink Stone, he often writes of loss. The struggle of the intellect to understand death and the loneliness felt at the death of someone who understood one's dreams will resonate with readers in the next century as much as in this one because the act of grieving will not change."
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Matthew Arnold's Poetry, 2002.
An examination of Matthew Arnold's criticism applied to his own poetry.
1,150 words (approx. 4.6 pages), 3 sources, $ 44.95
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Abstract
This five-page undergraduate paper applies the theories and principles found in three selections of Arnold's criticism of poetry to his own poetry. His longer poetry is excellent; his short poems are often far from what he says poetry should be.
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Open Form Poetry, 2002.
A study of the open form style of poetry, as seen in the anonymous poem: "What a wonderful bird the frog are,?.
1,160 words (approx. 4.6 pages), 3 sources, MLA, $ 39.95
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Abstract
This paper examines attention-attracting styles in poetry, primarily open form poetry. It uses the anonymous poem: "What a wonderful bird the frog are,? to highlight the characteristics of open form poetry explains the effect that this style of poetry has on the reader. It also touches on other attention-attracting devices, such as startling and repetition.
From the Paper
"Artists and writers utilize all manner of devices to attract their readers? attentions. Vladimir Nabokov, in his tome ?Pale Fire,? framed a novel in the form of a poem and its associated criticism. Nabokov publically stated that he attempted absolute mediocrity in writing the poem ?Pale Fire,? but this only showcases the unerring genius in the remainder of the work -- and as some critics would have it, genius in the poem itself despite Nabokov?s own disclaimer. Thomas Pynchon, in his epic ?Gravity?s Rainbow,? used all manner of attention-getting including various songs that the reader automatically sets to music in her head."
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"The Metamorphosis" and Poetry, 2002.
Discusses Franz Kafka's "The Metamorphosis" within the context of elements of poetry
650 words (approx. 2.6 pages), 1 source, $ 26.95
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Abstract
This paper compares specific aspects of Franz Kafka's "The Metamorphosis" to aspects of poetry. This allows Kafka's text to be seen in terms of both epic poetry and lyrical poetry, where the format and the content of the story are compared.
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Poetry of Sensibility, 2004.
An examination of the Romantic period of English poetry.
1,102 words (approx. 4.4 pages), 5 sources, MLA, $ 38.95
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Abstract
This paper briefly looks at the poetry of Thomas Gray and William Wordsworth and discusses how they symbolize the poetry of the English Romantic era. The paper consists of examples of their poems and an explanation of the different characteristics of Romantic poetry.
From the Paper
"It has also widely been felt that the English Romantic poets were the direct inheritors of the eighteenth century tradition of ?poetry of sensibility.? In truth of fact, romanticism as a genre in English literature, developed out of social repression by the government and press censorship, which forced writers to develop a form of narrative that was more ephemeral in nature. Thus, sensibility and the issues on which it focuses found a more romantic form of expression."
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Eavan Boland?s Poetry, 2002.
Examining poet Eeavan Boland's writing style and how her poetry tries to come to terms with feminist forms of identity.
4,254 words (approx. 17.0 pages), 14 sources, MLA, $ 113.95
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Abstract
This paper takes an in-depth look at the feminist perspective of poetry which is represented by six different aspects--multiple oppression, multiple subject positions, contradictory subject positions, relational subjectivity, situational subjectivity, and hybridity. It explains how and why Boland has attempted in her poetry to come to terms with each of these forms of identity. It explains how Boland has been described as believing that women poets have been hampered by traditional ideas of femininity and poetry on the one side, and by the demands of separatist feminism on the other. In this paper, her work is examined from the perspective of feminist criticism in general and gynocriticism in particular. Assessments of the degree to which Boland has achieved her objectives are also be presented.
From the Paper
"The feminist critical perspective has been variously developed to reflect many of the central concerns expressed by women and women writers. Lee (p. 1) comments that feminist criticism moves away from an androgynous appreciation of literature and its products as essentially ?senseless? or ?genderless.? Women?s writing, like that of men, is viewed as inherently gendered. In gynocriticism argues that the female experience occurs in the feminine subjectivity of the reading process, with ?gynesis? or ?gynetic disruptions? paramount as expressions of this orientation. Gynesis is therefore set against - and often in opposition to - the patriarchal system. The patriarchal system in literature has gendered a world of images, symbols, and metaphors in which woman is positioned as ?other,? as dependent, as object and as essentially silent. It is this silence, imposed from outside, that most troubles many modern women poets, including Evan Boland. One of Boland?s first books of poetry was titled Introducing Eavan Boland. A review by Marie Ponsot (p. 665), written in 1984, when the book was first published, commented that Boland?s range was broad and canny. Her poems were characterized as clear, coherent, and true to what is known of mental life where there is no categorical hiatus or separation between inner and outer vision. In one poem, ?The Mimic Muse,? Boland descries a woman who fled housework and battering and left the world she could have sheltered in her skirts. The early female characters or speakers created by Boland were deliberately identified as housewives, small and ordinary women who were an antithesis to the ethic mythological heroines of the Irish male poets whose construction of women as other has become a literary canon."
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