APUNTES TEXTOS POÉTICOS TOMÁS, Apuntes de Análisis de Textos Literarios

¡Descarga APUNTES TEXTOS POÉTICOS TOMÁS y más Apuntes en PDF de Análisis de Textos Literarios solo en Docsity! Contenidos teóricos y prácticos de la asignatura 1. An Introduction to the Study and Analysis of Poetry. 2. Sixteenth and Seventeenth Century Poetry. 2.1 Elizabethan Poetry: Spenser, Sidney and Shakespeare. The Sonnet. 2.2 Metaphysical Poetry: John Donne. 2.3 An Introduction to John Milton’s Paradise Lost. 2.4 Other 17th-Century Poetry. 3. Eighteenth-Century Poetry: An Overview. 4. Romantic Poetry. 4.1 An Introduction to the English Romantic Poetry. 4.2 William Wordsworth. 4.3 Samuel Taylor Coleridge. 4.4 Percy Bysshe Shelley. 4.5 John Keats. 5. Victorian Poetry. 5.1 Tennyson's "The Lady of Shalott". 5.2 Other Victorian Poets. 6. Twentieth-Century Poetry. 6.1 W. B. Yeats. 6.2 WW1, SCW and WW2 in British Poetry. 6.3.Post-WW2 Poetry: Larkin and Hughes. ♦ AN INTRODUCTION TO THE STUDY AND ANALYSIS OF POETRY 06/02 Rhetorical devices TEXTOS POÉTICOS BRITÁNICOS E IRLANDESES 07/02 My Heart Leaps Up William Wordsworth, 1770 - 1850 My heart leaps up when I behold A rainbow in the sky: So was it when my life began; So is it now I am a man; So be it when I shall grow old, Or let me die! The Child is father of the Man; And I could wish my days to be Bound each to each by natural piety. ♦ Basic vocabulary for the study of poetry -Poem: a metrical composition -Stanza: a recurrent unit of a poem, consisting of a number of verses (lines) estrofa -Line: single verse poetry -Rhyme: consists of a repetition of accented sounds in words, usually those falling at the end of verse lines. (‘number’ and ‘gum’ have a rhyme because of the accented sounds are ‘num’ and ‘gum’) -Eye rhyme: are words used as rhymes that look alike but actually sound different (alone, done; remove, love) -Meter: is the means by which rhythm is measured and described. MEASURE= SCAN (exam**) -Rhythm: in English, rhythm is marked by the regular alternation of stressed and unstressed syllables. The unit that is repeated to give steady rhythms to a poem is called a poetic foot. TEXTOS POÉTICOS BRITÁNICOS E IRLANDESES -Iambic foot: unstressed + stressed -Trochaic foot: stressed + unstressed -Anapaestic foot: unstr. + unstr. + Stressed -Dactylic foot: stressed + unstr. + unstr. -Spondaic foot: stressed + stressed -Lyric mode (eye of the poet, his views, feelings and emotions): hymns, eclogues, odes… -Pastoral mode: idealized world inhabited by shepherds and shepherdesses. Tchey tend their flocks, fall in love and engage in poetry contests (love, pain, moods, passions…) -satirical mode: ridiculed and scorned certain attitude in society (from lawyers and merchants to fools and lovers), chiefly in rhymed iambic pentameters. Epigrams (short satirical poems) are typically Elizabethan (Ben Johnson) Ending of Elizabethan poetry 2.2 Metaphysical Poetry: John Donne. 17th Century Renaissance England John Donne (1572-1631) (main representative) & The Metaphysical Poetry ‘difficult, complex, learned and simultaneously intellectual, sensual and feeling’ mix of feeling and thought *Blend of emotion and intellectual ingenuity Poetry: ▲ A sense of deep disquiet (not only in the growing violence of the Civil War but the confusing feeling of doubting if believe in what everyone thought they knew or believe in the new thing that was being discovered) ▲ Lyric forms of love and devotion tend to incorporate the new intellectual energies. Departures from the Petrarchan tradition in form and expression. ▲ Classical influence is still present: Lyric, Elegy, Epigram… (imitation…) ▲ The poems are analytical and follow a logical order of development. (specific and unique about the metaphysical poems) ▲ Combination of thought and feeling. Reason and emotion ▲ Striking imagery. KEY ELEMENT TO DISTINGUISH THIS POEMS. Ideas that are not usually compared, the metaphysical poetry links them and makes them have sense. TEXTOS POÉTICOS BRITÁNICOS E IRLANDESES Sonnets Conventions established by Petrarch (1304-1374). Introduced in England by Thomas Wyatt (1503-1542) and Earl of Surrey (1517-1547) ♦ Sonnet: a poetic composition consisting in 14 lines of iambic pentameter (none of the elements in this definition is absolute there are variations) ♦ Sonnet sequence: a series of fourteen-line sonnets, exploring contrary states of feelings experienced as a lover desires and idealizes an unattainable lady. (Contrary: f.ex. the poet so in love and the lady is very cold and ignores him.) THEMES ♦ Lady’s great beauty ♦ Her power over the poet ♦ Her cruelty to him and is uffering ♦ The fire of his love and the ice of her chastity ♦ The pain of absence ♦ The renunciation of love ♦ And the eternity and originality of his poems The sonnet and the sonnet sequence ♦ Italian form (ABBAABBA): octave (2 quatrains) and sextet, rhyming abba abba cdecde. The ‘volta’ or ‘turning point’ occurs in the line 9. ♦ English form: 3 quatrains and a couplet, rhyming abab, cdcd, efef, gg. The ‘volta’ occurs in the 3rd quatrain or in the ending strophe (tercet or couplet) ♦ Spencer’s Amoretti, 1595, preferred richer rhymes: abab bcbc cdcd ee. *be able to distinguish between an Italian sonnet (ABBABBA CDECDE) and an English one (ABAB CDCD *EFEF*). Shakespeare’s Sonnets (1609) more into the Jacobean period than in the Elizabethan. His formation was Elizabethan but his theatre was more Jacobean. • Finest love-poems. Cryptic sequence, neither narrative, nor autobiographic. • The ‘I’ of the poet, the ‘Lovely Boy’, the Rival Poet, the Dark Lady. • Based on the Petrarchan tradition, but subverting it (idealism vs. realism; chaste lady vs. dark and promiscuous lady; `Lovely Boy’ (not the Lady) is the object of praise, love and devotion, etc. *****importaaant The Language of Sonnets ▲ Meta physical conceit: Conceits to illustrate a theme, leading to a wide range of emotions and subtle analysis of life and love. Often hyperboles. ▲ Direct colloquial language (not the artificial Elizabethan language BECAUSE THEY WANT TO PERSUADE THE READER) and irregular stanzas. ▲ Preference of monosyllabic words. ▲ INTELLECT AND WIT BLENDING WITH EMOTION AND FEELING 2.3 An Introduction to John Milton’s Paradise Lost. 13/03 A BRIEF INTRODUCTION TO MILTON’S PARADISE LOST (1667, 1674) Milton one of the greatest poetical voices in the 17th C. -Born in London (which was a ‘literary island’ on itself). Belonged to middle class (son of a businessman) -mastered in European languages, Greek, Latin and Hebrew -knew the Bible by heart -puritan, defended Cromwell -Secretary for Foreign Tongues. In 1654 he became blind (he dictated his poems to his daughters) -With the Restoration (1660), the Old Good Cause, for which he sacrificed too much and was imprisoned and then pardoned -he is still connected to the Renaissance, no interest on becoming the man of the Restoration (DO NOT TAKE HIS WORKS AS RESTORATION, even though some of them were published once the Restoration was established) Paradise Lost (1667) *Milton decided against another Spenserian national epic on Arthurian literature (which was originally his intention) and committed himself to a Biblical epic instead. He is TEXTOS POÉTICOS BRITÁNICOS E IRLANDESES TO HIS MISTRESS GOING TO BED *there is a male speaker in the poem who seduces his mistress to open her clothes so as to have physical intimacy. * The poem slowly processes forward as the unclothing processes from top to toe and from the belly to vulva. Throughout the poem the speaker praises the beauty of a naked woman and says that the clothing is just the external adornment. * He compares the situation to going to bed with the situation of a soldier waiting for the war. The word ‘standing’ puns with both to the standing soldier and to the erection of the speaker. He compares her naked body with the newly found land, America and expresses his unbound joy of watching it. *CONCEIT related to wit * for him going to bed to have sex is not a sin but an act of innocence. By the imagery of childbirth, he tries to prove that to have sex is natural and even a pious act as it continues the human race. If the act of sex is stopped, then there would not be human kind in the earth. So, he wholeheartedly praises this physical union of male and female with many wits and metaphors. * 48 lines of rhyming couplets with a meter of iambic pentameter. Not an elegy at all in the traditional sense of a poem written to commemorate a death, it instead celebrates the end of a woman's resistance to the speaker's sexual advances *Told in media res in 10 original books, later (1674) amounted to 12. Written in blank verse: lines of iambic pentameter with n rhyme. -he under ined what God had created rebelli n a ainst God 1st ed tion: The first two books are set in Hell, wher S tan holds councel. It creates the e ic simile. *Satan’s palace in Hell as striking an instance of the sublime in poetry, as the Garden of Eden is of the beautiful. *In book 3 Adam is created and Satan flies around the earth. *Eden is described and Satan is discovered in Eden in book4. *Eve tells of her dreams in book 5 and the story of battle in Heaven starts. *It continues in books 6-8 *The story of the Fall of Man is told in book 9 and the subsequent punishment inflicted upon the devils in book 10 following Spencer but then he changes his mind. It is important to remark that it is an EPIC. *Already blind, he dictated to his daughters an epic on the Fall and on Satan, the fallen angel. The fall of man and the fall of Satan, justifying the ways of God. *In the 2nd edition (1674), Books 11-12 round off the story with a vision of history beyond the Flood to the Second Coming of Christ. *It is for Milton a personal way of coming to terms with his political and religious ideas in a much tormented period of the English history. 3. EIGHTEEN-CENTURY POETRY: AN OVERVIEW Restoration and 18th Century poetry -Imitation of the Classics (the total re-creation of effect in contemporary terms of a work by Horace, Ovid, or Virgil). the aim was to recreate the pleasure these works made them feel. - (Ab)Use of Personification, Mythological figures, references to Rome and Greece, etc. -To ‘follow Nature’ (this was the rule). ‘Nature’ (GENERAL) (COMMONSENSE, reason) was meant the order and reason in the universe, a reflection of the order in the mind of God. -Follow the Rules and the Classics hierarchy in topics of writings, just as society was. The rules and the classics were told by Aristotle’s poetics. Poetry in the Age of the Enlightenment Neoclassical poetry TEXTOS POÉTICOS BRITÁNICOS E IRLANDESES Rise of philosophies against Rationalism -German idealism: (Kant…) explored the relationship between the human mind and the external world (thought of natural human kindness –not learned-). Art began to be seen as expressive (of feelings, emotions, suffering, inner conflicts…) *Romantics are going to give feelings, on the contrary of the 18th cent. Poets who just want to show the universal. -Rousseau: emphasis on freedom, natural goodness of man (noble savage). Ridiculed scientific progress. Condemned tyranny (absolutist monarchy) and corrupted institutions. -William Godwin: philosophical radicalism. Attacked social inequality (consequences of industrial revolution) and defended freedom. -subjective rather than objective -fragmentary rather than complete. *moment of inspiration. Constantly revising their work -organic rather than preconceived in form. *preconceived: (a ruled structure for ex. A sonnet, which has to have 14 lines, and a rhyme...) organic: (come up with the idea and portray it) -interested in nature, the self, the wonderful, and the supernatural -interested in confusion, fluidity (dreams), indeterminacy -The poet does not escape from the world but casts a sharp eye on the world around him. *role of the poet in society (they are not going to nature on their melancholy, they stay and see society and the world) -the poet has a sense of enjoyment (of life, world and his apprehension and understanding of them) -extraordinary sense of life and energy, of freshness and excitement…they tried to answer questions about their individuality, their existence and role in society, about art and politics, about the future…and struggled to formulate the answers using their own way and own poetic technique. -Interest in NATURE, but also in dreams, fairy tales, legends, Gothic, enchantments and magic, etc. TEXTOS POÉTICOS BRITÁNICOS E IRLANDESES General notions about the Romantic poetryThe Romantic Poet -Interest in the SELF, that individuality ‘which imprisons and gives freedom’ -A new understanding of the poet and his function -Except Blake, all the Romantics celebrated nature. -Nature was opposed to cities. There is a ‘genuine pleasure at seeing, hearing, and feeling the freshness of the natural world’ -Landscape is seen for its ability ‘to express some of the elusive truths and perceptions of the mind’ -Nature is associated with moral and physical health: * nature resemblances a greater spirit that gives peace of mind (too big to explain with words) -Nature is a site of the numinous, and a source of the SUBLIME -The Poet as a visionary (Blake’s hallucinations) -The imagination enjoys a creative freedom (for revelation, political change, spiritual truth, and for purely excitement) -The imagination is God-like (it parallels that of God in creation), and unique to every individual. -It is escapism, but also domination of the external world -Originality -Recognition of power within the individual -Poetry is more preoccupied with expression -Intense use of metaphors and much more symbols (Biblical, prophetic language) -The moment of inspiration ‘is mysterious, natural (nothing to do with God or the Muses), instinctive, and holy, the working of the human spirit inspired by something greater than itself’ -The poet as a prophet: (like Ezequiel) keeping alive a sense of national identity and encouraging a spirit of resistance. Higher awareness of history. Illuminating the path towards a better future. These writers had an intuitive feeling that they were ‘chosen’ to guide others through the tempestuous period of change TEXTOS POÉTICOS BRITÁNICOS E IRLANDESES The Romantic Poet and NatureImaginationRomanticism brought th ‘I’: -Imagination -Individualism The Poe c SelfOther aspec s -Dreams: private and unexpected workings of the individual mind. Make new worlds, combinations and things previously unthought-of both beautiful and fearful. Mysterious, freer (no constrictions), and operating in symbols. 5. VICTORIAN POETRY -Variety of forms: 1. Use of traditional forms and much experimentation in narrative poetry 2. Arthurian revival 3. Mistrusted subjectivity and experience. We are not going to find the ‘poet’ so present 4. Sentiment, Emotion, Love (legends and myths, amorous and sentiment, frustrated, mystical, ect) 11/04/19 GERARD MANLEY HOPKINS (1844-1889) • Born in Stratford, East of London • Studied Classics at Oxford • Influential professors: Matthew Arnold (professor at uni), Walter Pater • Influenced by John Henry Newman (he wrote Apologia Pro Vita Sua when he was attacked) • In 1866 he converted to Catholicism. His family rejected himdeep pain • He became a Jesuit priest and also a professor • Traditional poems (John Keats) • The lyric-narrative, The Wreck of the Deutschland *he was a Jesuit priest and then started to write poetry. But his poems were not published until the 20th century because the other priests did not support him and he decided not to publish but kept writing As a Victorian Poet Inscape and instress Inscape: conveys the uniqueness of each created thing or person Instress: how that individuality of anything or person is perceived or experienced by the observer Victorian?/ 20th century Poets TEXTOS POÉTICOS BRITÁNICOS E IRLANDESES ‘Un país donde lucía el sol (poesía inglesa de la GC española)’ W.H Auden (1903-1973). Leading writer of the group of poets of the 1930s (Auden Group or Oxford Poets) ‘SPAIN’ WORLD WAR II ‘VERGISSMEINNICHT’ by Keith Douglas https://poemanalysis.com/vergissmeinnicht-by-keith-douglas-poem-analysis/ Telling the situation of being in the dessert for 3 weeks. 2nd stanza: period two ideas. The gun could not protect him. Maybe gun as a symbol of his sexuality *not showing any respect for the enemy 15/05/19 IRISH POETRY IN ENGLISH BEFORE YEATS -Jonathan Swift: satirical, eschatological poetry and the so called ‘Stella poems’. *quite brutal and disgusting -Samuel Ferguson. Interested in Irish themes -Oscar Wilde. ‘The Ballad of Reading Gaol’ THE IRISH LITERARY REVIVAL (OR RENAISSANCE –the Irish renaissance) (1890-1940) -Nationalist movement focussing on Gaelic past and Irish lore. -Yeats’s The Celtic Twilight -Abbey Theatre (1st Irish theatre,1904) managed by Yeats & Lady Gregory, George Russell (‘AE’), Edward Martyn and John Millington Synge. IRISH RENAISSANCE, they deal with Irish issues (maybe they could refer to Ireland portraying it as a country woman) -Journals and literary reviews. Easter Rising 1916 -Irish republican movement against the British rule. TEXTOS POÉTICOS BRITÁNICOS E IRLANDESES -Violent confrontations resulting in hundreds of casualties and thousands of injured, followed up by trials and executions. -Civil disobedience & raids for Independence until 1912. -1922: Official independence of the Irish Free State (Republic of Ireland) William Butler YEATS (1865-1939) Irish poet -Yeats belonged to the London ‘Rhymer’s club’ (1890s. fin-de-siècle decadence), influenced by the work of French symbolists, Verlaine and Mallarme. -Incapable of embracing Christian orthodoxy (because of his father), yet hungry for spiritual illumination, he was attracted to theosophical and hermetic studies, spiritualism and magic alternatives themes. -He fell deeply in love with actress Maud Gonne, but she rejected him successively, she became a symbol. -Celtic Twilight period. (Verse) Plays and poems. The Wanderings of Oisin (1889) -His early poetry shows rhythmical virtuosity and decorative imagery (indebted to the Pre-Raphaelites, Swinburne, and Keats, but also reminiscent of Blake and Shelley), the mood is often melancholic. -Personal & Poetical developments: honest analysis of the self and the world. analysis of what’s going to happen now in Ireland (Leda and the Swan)*he is not only one thing, he evolutioned and transformed. -Symbols are not used to decorate the real, but to transform it. -A more detached poetic persona. -The range of mood and tone expanded in successive collections: Michael Robartes and the Dancer, The Tower, The Winding Stair, A Full Moon in March, and Last Poems. ‘A COAT’ metapoetical poem, talking about poetry in the poem. ‘LEDA AND THE SWAN’ (published in 1924) A sudden blow: the great wings beating still Above the staggering girl, her thighs caressed By the dark webs, her nape caught in his bill, He holds her helpless breast upon his breast. How can those terrified vague fingers push The feathered glory from her loosening thighs? And how can body, laid in that white rush, But feel the strange heart beating where it lies? A shudder in the loins engenders there *Sort of a Volta. Moment of eyaculation The broken wall, the burning roof and tower And Agamemnon dead. TEXTOS POÉTICOS BRITÁNICOS E IRLANDESES Being so caught up, So mastered by the brute blood of the air, Did she put on his knowledge with his power Before the indifferent beak could let her drop? *Sonnet, iambic pentameter, 3 stanzas. ABABCDCDEGEG *Zeus transformed into a swan seduces the mortal woman Leda (not clear if it is a rape). The had children because of this assault *the two protagonists are not clearly mentioned in the poem, but there are some references such as ‘the great wings’ *it is presented as if Yates was truly there (past participle use) *Leda as just a body for the God’s use, not a free subject, she is only mentioned as body parts *passiveness of Leda. *she does not answer the questions the author makes *Ireland as Leda being abused by the English crown (the swan) *end of the poem: Irish as a free state. What’s going to happen now? He did not like this new movement. Are we happy? Is this the way? Did we get the English knowledge to self-govern? this is what the poem is about. *of the union of Zeus and Leda, only bad things came out (daughters) so is an allusion of what happens now with Ireland. Is Leda capable of taking the knowledge that the swan had on order to keep going? The Second Coming *(of Christ?) =the end of the world (because the second coming of Christ will happen when the world ends) By William Butler Yeats Turning and turning in the widening gyre historical periods The falcon cannot hear the falconer;the falcon is moving away and loose sense of the falconer (humanity & God; humanity & Ireland…) Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; not clear what this ceremony is but is something positive which is being drowned The best lack all conviction, while the worst Are full of passionate intensity. very wide and unclear terms (best-worst, we do not know to what the author is making reference) TEXTOS POÉTICOS BRITÁNICOS E IRLANDESES