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One of the most striking themes of Robert Frost is man’s isolation in the universe or man’s sense of alienation from his environment. There is in Frost’s poetry a curious anti-social quality, far from Whitman’s dear love of comrades.
Shelley was a true-born child of the French Revolution. The spirits of that revolution found its expression in Shelley’s poetry. But as a critic observes:
Dryden once remarked: Donne affects metaphysics not only in his satires but in amorous verses, too, where nature only should reign. Though Donne was influenced by the sixteenth and the seventeenth century poets, yet he did not tread on the beaten track. His concept of poetry was unconventional. In his poetry, intellect takes the form,
Hemingway made the term “The Generation Lost” popular in his novel “The Sun Also Rises” which he took from American poet Gertrude Stein.
Jane Austen confines her creative activity to the depiction of whatever fell within her range of personal experience. While her range of observation in life is not so wide her work has been variously called as the “Two inches of ivory” and “three or four families”. All these titles exhibit the excellence as well as
Coleridge poses numerous questions regarding the nature and function of poetry and then answers them. He also examines the ways in which poetry differs from other kinds of artistic activity, and the role and significance of metre as an essential and significant part of a poem.
Keats was considerably influenced by Spenser and was, like Spenser, a passionate lover of beauty in all its forms and manifestations. The passion of beauty constitutes his aestheticism. Beauty was his pole star, beauty in nature, in woman and in art.
Wordsworth and Coleridge came together early in life and mutually arose various theories which Wordsworth embodied in his “Preface to the Lyrical Ballads” and tried to put into practice in his poems. Coleridge claimed credit for these theories and said they were “half the child of his brain”. But later on, his views underwent the
S. T. Coleridge: Criticism on Wordsworth’s Theory of Poetic Diction Read More »
The term “Absurd” in its modern sense was first used by Esslin and since then it was attached to a certain outlook on life and viewpoint in literature. Absurd drama has deep roots; it can be related to the mimes of ancient times as well as to the popular comedies of Italy. It connects with
Eliot attributed a great deal of his early style to the French Symbolists–Rimbaud, Baudelaire, Mallarme, and Laforgue–whom he first encountered in college, in a book by Arthur Symons called The Symbolist Movement in Literature.
Swift is not a misanthrope rather he is a philanthrope. It is the misconception of those who think Swift as a misanthrope. Swift only wants to reform mankind out of their follies and stupidities. He says that the chief end of all his labour is:
Tragic-comedy is a play which claims a plot apt for tragedy but which ends happily like a comedy. The action is serious in theme and subject matter and tone also sometimes but it seems to be a tragic catastrophe until an unexpected turn in events brings out the happy ending.