5. Comment ONE poem , Apuntes de Idioma Inglés

¡Descarga 5. Comment ONE poem y más Apuntes en PDF de Idioma Inglés solo en Docsity! 5. Comment ONE poem (20 minutes) 5.1- “Sonnet I”, from Sidney’s Astrophil and Stella (“Loving in truth, and fain in verse my love to show”): Describe the form and explain what the poet is saying about writing poetry. Astrophil and Stella is a poem written by Sidney. It’s an English Sonnet which follows the Petrarchan tradition. The Rhyme Scheme is ABAB ABAB CDCD EE. In the second quartrain it is ABAB, instead of BCBC that is the typical of Spenserian sonnets. The metric is 6 feet per line (12 syllabes), so the rhyme scheme tends to pick up speed, leading to the acceleration of the climax. It’s an Iambic hexameter. The poem is divided into two parts: an octet and a sextet (first quatrain and the final couplet). There is a turn (volta) in line 9. There are also alliterations and metaphors. The poem ends with a final couplet, giving an epigrammatic and climatic conclusion. In “Astrophil and Stella”, the poet tries to express his feelings. He wants to write because he wished to express throughout verses his love for Stella using a poetry vocabulary. He had been looking for inspiration in other authors, but Stella She said he didn’t have to look for inspiration in other authors; he had to look into his hearth. That’s why, what the poet really thinks about writing poetry is that that the nature of inspiration is in yourself. This is the message: If you want to write or to express something, you have to look into yourself, to say it in the better way, what you really feel. 5.2- “Sonnet CXXX” (“My mistress’ eyes are nothing like the sun”), or “Sonnet CXXXVIII” Sonnet 130 is the poet's pragmatic tribute to his uncomely mistress, commonly referred to as the dark lady because of her dun complexion. Not only is his sequence largely occupied with subverting the traditional themes of love sonnets, he also combines formal patterns with daring and innovation. Many of his sonnets in the sequence, for instance, impose the thematic pattern of a Petrarchan sonnet onto the formal pattern of a Shakespearean sonnet, so that while there are still three quatrains and a couplet, the first two quatrains might ask a single question, which the third quatrain and the couplet will answer. The poetic form uses standard Shakespearean iambic pentameter, following the AB-AB/CD-CD/ EF-EF/GG Rhyme Scheme. Shakespeare uses all the techniques available, including the sonnet structure itself, to enhance his parody of the traditional Petrarchan sonnet typified by Sidney’s work. But Shakespeare ends the sonnet by proclaiming his love for his mistress despite her lack of adornment, so he does finally embrace the fundamental theme in Petrarch's sonnets: total and consuming love. Sonnet 130 is like a love poem turned on its head. Usually, if you were talking about your beloved, you would go out of your way to praise her, to point all the ways that she is the best. In this case, though, Shakespeare spends this poem comparing his mistress's appearance to other things, and then telling us how she doesn't measure up to them. He goes through a whole laundry list, giving us details about the flaws of her body, her smell, even the sound of her voice. Then, at the end, he changes his tune and tells us about his real and complete love for her. -A Valediction: Forbidding Mourning, or The Good-Morrow (both by John Donne): Choose one poem and coment the poetical elements in connection with the metaphysical aesthetics. The Good Morrow. John Donne is one of the most celebrated poets of English language belonging to the metaphysical school of thought. “The Good Morrow” is one of his best poems which has been awarded with some magnificent traits of metaphysical poetry by the poet making it a jolting as well as well as an enthralling read. Metaphysical poetry is predominantly intellectual where the emotions of the poet are expressed expressed a relation between the man and common life with the cosmos. In “I wandered lonely as a cloud”, Wordsworth identifies the daffodils with the starts that shine and the Milky Way, everything as the same thing. Wordsworth wrote realistic poetry, themes and situations from common life, anything about fantastic characters. He preferred tell stories about real and common man or woman, children, animals or nature elements. “I wandered lonely as a cloud” tells the story of a man who is wandering and suddenly he saw a lot of daffodils which “dance in the breeze”. This is an example of how a natural fact as the flowering of daffodils can be used by the poet to make a story and shows it in a poem. It is not necessary to utilize unreal elements or fantastic characters. Furthermore, Wordsworth also changed the language in poetry. He was not only focused in trying to use an archaic language with a lot of metaphors, elevated style and difficult words that people don’t commonly know. He preferred to use the language of feelings, a spontaneous and emotional language which everybody can understand. The metaphors and personifications he used were about natural scenery. The “sublime”, the excellence in language, the expression of a great spirit, the power to provoke an ecstasy in readers. He expresses the sublime through the nature, as it is seen in “I wandered lonely as a cloud”, how a simple fact is telling as a great event, how the poet expresses what the character feels and how Wordsworth makes that the readers can feel. 5.5- “Ozymandias” (by Percy Bysshe Shelley). Comment this poem in connection with the Romantic ideals and preoccupations. Ozymandias is a poem which reflects some aspects of the English Romanticism One of the aspects reflected in the poem is the interest in exotic places. Ozymandias takes place in a foreign land that allows the reader to use their imagination to interpret things in their own way. We can also see the sense of individualism in this poem. It is focused on one individual literally to convey a message. The love and worship of nature is also present here, because the scene of the poem is located in a desert, far away of the urban life. Another characteristic is the interest in the past. The poem Ozymandias travels deep into the past and alludes to thirteenth century Egypt B.C and the supposed monarch in that time period. This allusion is supported by this quote: "I met a traveler from an antique land." It is being compared Shelley’s period with the thirteen century. The interest in inmortality is also seen in Ozymandias. Shelley presents a monarch that was overly proud, his pride was so towering that he built a statue of himself, that he believed would be relevant for some time. Ozymandias felt as though his greatness would endure, as though he would be immortal himself, "My name is Ozymandias, king of kings: Look on my works, ye Mighty and despair!" However, Shelley’s envision proves false as he is no longer relevant, and his statue is no longer erect nor intact, it is isolated and unnoticed, "Nothing beside remains. Round the decay." Shelley builds this piece of work around the theme of immortality. 5.6- “Dover Beach” (by Matthew Arnold). Comment this poem in connection with Victorian times. Dover Beach is a poem by Matthew Arnold, who wanted to say that the faith, that great mainstay of the Victorian world, had failed, like a light gone out. All that's left is love. Matthew Arnold was born in Victorian age in which people no longer appreciated the beauty of nature but believed in new discoveries of science. The faith of religious was being critical, too. However, in this poem, the narrator was kind of mourning the fade of faith in God. In the first stanza, the sea was calm, but under it there were many pebbles drew back and flung which made the "grating roar" and "bring the eternal note of sadness in". The narrator was with his lover standing by the window. He said, "Come to the window, sweet is the night!” He was watching Dover Beach and felt the beauty of it. In the second and third stanza, the narrator compared himself to Sophocles and both of them were listening to "the misery of human". "The misery of human" referred to people at that time pursued science blindly and forgot about the importance of nature inspiration. Matthew Arnold was quite right: love is the basic need for human, especially for lovers. If lovers couldn't be true to each other when other people quench their true feelings to fit the modern trends, then nothing is sincere. It seemed old fashioned for Matthew Arnold to adore romance, but actually he was more modern than other people at Victorian age. He knew the faith in nature and God cannot be changed even if science has its charms to influence people. -“The Windhover” and Gerard Manely Hopkins’ poetic innovations. "The Windhover" is a sonnet by Gerard Manley Hopkins (1844–1889). Hopkins dedicated the poem "to Christ our Lord". The name of “Windhover” refers to the bird's ability to hover in midair while hunting prey. In the poem, the narrator admires the bird as it hovers in the air, suggesting that it controls the wind as a man may control a horse. The bird then suddenly swoops downwards and "[rebuffs] the big wind". The bird can be viewed as a metaphor for Christ or of divine epiphany. Gerard Manley Hopkins is now regarded as one of poetry’s great innovators, using Welsh and Anglo-Saxon traditions to create poems, crammed full of repetition and alliteration. The result is poetry bursting with dynamic energy. The confusing grammatical structures and sentence order in this sonnet contribute to its difficulty, but they also represent a masterful use of language. Hopkins blends and confuses adjectives, verbs, and subjects in order to echo his theme of smooth merging: the bird’s perfect immersion in the air, and the fact that his self and his action are inseparable. Note, too, how important the “-ing” ending is to the poem’s rhyme scheme; it occurs in verbs, adjectives, and nouns, linking the different parts of the sentences together in an intense unity. A great number of verbs are packed into a short space of lines, as Hopkins tries to nail down with as much descriptive precision as possible the exact character of the bird’s motion. “The Windhover” is written in “sprung rhythm,” a meter in which the number of accents in a line is counted but the number of syllables does not matter. This technique allows Hopkins to vary the speed of his lines so as to capture the bird’s pausing and racing. Listen to the hovering rhythm of “the rolling level underneath him steady air,” and the arched brightness of “and striding high there.” The poem slows abruptly at the end, pausing in awe to reflect on Christ. As a result of this sprung rhythm, many of these short lyrics exhibit a tension between the energy and force of the rhythm and the restriction of the form. Many of the best of these lyrics express Hopkins's ecstatic joy in the beauty of nature. His works revealed his constant effort to discern and reproduce the particular characteristics of a beautiful object or experience that distinguish it from any other. Hopkins called this individuality or "inscape" and designated the experience of perceiving inscape and thereby being joined more intimately with the object or experience as "instress." Hopkins extended his earlier, purely sensuous view of natural beauty to a sacramental view of nature as a material symbol of God's perfect spiritual beauty. The realization of natural beauty thus becomes a religious experience in which a perceiver is instressed with the inscape of a beautiful thing and thus instressed with God, the creator of that beauty. His most famous poem, "The Windhover,” records his realization of the inscape of Christ through the inscape of a hawk and poses his ecstatic joy in the beauty of both bird and Christ against his willing submission to the asceticism of routine religious duties. 6. Comment ONE poem (30 minutes) “To His Mistress Going to Bed” John Donne. Comment the metaphysical elements in this poem. writing down what he saw in his hallucination, Coleridge would have solidified the pleasure dome of ice caves. This would have created a physical, geographical location for us to experience in our own minds. Had he been able to remember the topographical details, he could have shared this “miraculous” place with us, his readers. COMPLETAR ALGO CON LA PREGUNTA DE COLERIDGE'S THEORY OS IMAGINATION. And all who heard should see theme there And all should cry: “Beware! Beware! His flashing eyes, his floating hair Weave a circle around him thrice And close your eyes in holy dread: For he on honeydew hath fed, And drunk the milk of Paradise!” Coleridge’s drug use also appears in the poem. These lines can loosely interpreted as Coleridge’s vision would have been so great and strange that people might have seen him as a wizard or a person of dark magic. They also might have thought he was crazy, not unlike many people think that Lewis Carroll, another opium addict, was crazy, too. This comes from the mention of weaving of a circle around him and the flashing eyes and floating hair. The implication of drug use might come from “For on honeydew he hath fed/ And drunk the milk of Paradise!” Paradise could mean the “high” from the opium. With this poem Coleridge shows the fact that If we can share all of what our imagination has to offer with society, society can benefit. It can expose the world to another alternate universe where chaos is order and order does not exist, nothing is what we expect. 6.4- “Ode to the West Wind” (By Percy Bysshe Shelley) and the Romantic Poet. Percy Bysshe Shelley’s “Ode to the West Wind,” is a poem very related with the ideals of Romanticism, of which one is the imaginative proportions to which he depicts the creative force of the “West Wind.” These are just a few of the Romantic elements in Shelley’s poetry, which depict him as an astounding Romantic poet. Shelley pays homage to the “West Wind” by starting the ode with an invocation, and he allows it to run through the poetic veins of the persona in the strophe and the antistrophe. The first stanza is an invocation: “O wild West Wind, thou breath of Autumn’s being,/ Thou, from whose unseen presence the leaves dead/ Are driven, like ghosts from an enchanter fleeing.” Here, the persona seems to be in harmony with the natural world as he appreciates the power of the “West Wind” as an agentive force of change. Metaphors such as “Autumn,” “Wild Spirit,” “Destroyer,” “Preserver,” “Angels,” “bright hair of Maenad,” and “Dirge” are used by the poet to give the poem varying degrees of imagery—kinetic, visual, and auditory—to delineate the external world as reveling in beauty, glory, and power in the strophe. Thou still unravish'd bride of quietness! Thou foster-child of silence and slow time (lines 1–2) The urn is a "foster-child of silence and slow time" because it is created from stone and made by the hand of an artist who does not communicate through words. As stone, time has little effect on it and ageing is such a slow process that it can be seen as an eternal piece of artwork. The urn is an external object capable of producing a story outside the time of its creation, and because of this ability the poet labels it a "sylvan historian" that tells its story through its beauty: Sylvan historian, who canst thus express A flow'ry 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 of Arcady? What men or gods are these? What maidens loth? What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy? (lines 3–10) The questions presented in these lines are too ambiguous to allow the reader to understand what is taking place in the images on the urn, but elements of it are revealed: there is a pursuit with a strong sexual component. The melody accompanying the pursuit is intensified in the second stanza: 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: (lines 11–14) There is a hint of a paradox in that indulgence causes someone to be filled with desire and that music without a sound is desired by the soul. There is a stasis that prohibits the characters on the urn from ever being fulfilled: Bold 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! (lines 17–20) In the third stanza, the narrator begins by speaking to a tree, which will ever hold its leaves and will not "bid the Spring adieu". The paradox of life versus lifelessness extends beyond the lover and the fair lady and takes a more temporal shape as three of the ten lines begin with the words "for ever". The unheard song never ages and the pipes are able to play forever, which leads the lovers, nature, and all involved to be: For ever panting, and for ever young; All breathing human passion far above, That leaves a heart high-sorrowful and cloyed, A burning forehead, and a parching tongue. (lines 27–30) A new paradox arises in these lines because these immortal lovers are experiencing a living death.To overcome this paradox of merged life and death, the poem shifts to a new scene with a new perspective. The fourth stanza opens with the sacrifice of a virgin cow: Who are these coming to the sacrifice? To what green altar, O mysterious priest, Lead'st thou that heifer lowing at the skies, And all her silken flanks with garlands drest? What little town by river or sea shore, Or mountain-built with peaceful citadel, Is emptied of its folk, this pious morn? And, little town, thy streets for evermore Will silent be; and not a soul to tell Why thou art desolate, can e'er return. (lines 31–40) All that exists in the scene is a procession of individuals, and the narrator conjectures on the rest. The altar and town exist as part of a world outside art, and the poem challenges the limitations of art through describing their possible existence. The questions are unanswered because there is no one who can ever know the true answers, as the locations are not real. The final stanza begins with a reminder that the urn is a piece of eternal artwork: O Attic shape! Fair attitude! with brede 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! (lines 41–45) The audience is limited in its ability to comprehend the eternal scene, but the silent urn is still able to speak to them. The story it tells is both cold and passionate, and it is able to help mankind. The poem concludes with the urn's message: When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou sayst, "Beauty is truth, truth beauty," – that is all Ye know on earth, and all ye need to know. (lines 46–50) 6.6- “The Lady of Shalott” (by Alfred Tennyson). Comment the poem. You should pay attention to its parts, stanzaic form (rhythm and rhyme), spatial division, Lady and Lancelot, supernatural elements, explanation of the conclusion, etc. Tennyson breaks up the lines in this poem. The most basic division in the poem is the four big chunks (Parts 1-4). It might help to think of these like acts in a play – they each focus on a different part of the plot. Part 1 describes the landscape around Shalott. Part 2 describes the Lady and the things she sees in her mirror. Part 3 deals with the appearance of Lancelot and how cool he is. Part 4 covers the Lady's boat ride and her death. The first four stanzas describe a pastoral setting. The Lady of Shalott lives in an island castle in a river which flows to Camelot, but little is known about her by the local farmers. Stanzas five to eight describe the lady's life. She suffers from a mysterious curse, and must continually weave images on her loom without ever looking directly out at the world. Instead, she looks into a mirror which reflects the busy road and the people of Camelot which pass by her island. The reflected images are described as "shadows of the world," a metaphor that makes clear that they are a poor substitute for seeing directly. Stanzas nine to twelve describe "bold Sir Lancelot" as he rides by, and is seen by the lady. The remaining seven stanzas describe the effect on the lady of seeing Lancelot; she stops weaving and looks out of her window toward Camelot, bringing about the curse. She leaves her tower, finds a boat upon which she writes her name, and floats down the river to Camelot. She dies before arriving at the palace. Among the knights and ladies who see her is Lancelot, who thinks she is lovely. In this particular poem, Tennyson makes it easy on us, because the stanzas are always nine lines long. There are a total of nineteen stanzas in the whole poem. If we count up the stanzas, we can see that the Parts of the poem get longer as we go along. The first two parts have four stanzas each, Part 3 has five stanzas, and Part 4 has six stanzas. Tennyson made a big deal out of the rhyming lines in this poem, which are super-noticeable once you start to focus on them. Each stanza in this poem rhymes in exactly the same way. The mysterious curse on the Lady of Shalott is a big part of the plot. It rules her life and causes her death. This little thread of black magic helps give "The Lady of Shalott" its spooky, sad atmosphere, and also connects it to the medieval fantasy world of wizards and spells.