...Secrets Edgar Allan Poe’ Secret Considered as part of the American Romantic Movement, Edgar Allan Poe was an American poet, author, and literary critic in the 1800’s. In the textbook “Anthology of American Literature,” George McMichael and James Leonard included a literary criticism from Edgar Poe in “Twice-Told Tales” written by Hawthorne. In his review, Edgar Allan Poe set the rules of short stories. Also, the authors included Poe’ theory of poetry in “The Poetic Principle" and "The Philosophy of Composition" which contained the unified core and basis of Poe's critical theories and these two essays alone suffice to give one a full understanding of Poe's critical views. Edgar Allan Poe is considered to be America's first significant literary critic or, at least, the first major writer in America to write seriously about criticism, about the theory of composition, and about the principles of creative art. He was also the first to set down consistent set of principles about what he thought was acceptable in art and what should be essentially rejected in art. Poe's major theories can be found in the many reviews he wrote analyzing the writings of other authors; in this genre, his most famous review is entitled "Twice-Told Tales," a review of Nathaniel Hawthorne's short stories. Among Poe's greatnesses was his ability as an editor to recognize great literature and to dismiss insignificant works. Poe was the first major, or influential, writer to recognize the genius of Nathaniel...
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...Secrets Edgar Allan Poe’ Secret Considered as part of the American Romantic Movement, Edgar Allan Poe was an American poet, author, and literary critic in the 1800’s. In the textbook “Anthology of American Literature,” George McMichael and James Leonard included a literary criticism from Edgar Poe in “Twice-Told Tales” written by Hawthorne. In his review, Edgar Allan Poe set the rules of short stories. Also, the authors included Poe’ theory of poetry in “The Poetic Principle" and "The Philosophy of Composition" which contained the unified core and basis of Poe's critical theories and these two essays alone suffice to give one a full understanding of Poe's critical views. Edgar Allan Poe is considered to be America's first significant literary critic or, at least, the first major writer in America to write seriously about criticism, about the theory of composition, and about the principles of creative art. He was also the first to set down consistent set of principles about what he thought was acceptable in art and what should be essentially rejected in art. Poe's major theories can be found in the many reviews he wrote analyzing the writings of other authors; in this genre, his most famous review is entitled "Twice-Told Tales," a review of Nathaniel Hawthorne's short stories. Among Poe's greatnesses was his ability as an editor to recognize great literature and to dismiss insignificant works. Poe was the first major, or influential, writer to recognize the genius of Nathaniel...
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...arrives at the general truths basic to human nature. Through the imaginative power, the poet is able to present emotions which he has not directly experienced. But he presents them in such a way that they seem personally experienced. Imagination is always associated with the created power and is a poetic principle. It is a transforming power as it has the ability to change the usual and ordinary in an unusual and uncommon way. Poetry is a modified "image of man and nature”. The poet is able to impart "the glory and freshness of a dream" to ordinary things of nature. He can present in his poetry the light that never was on land and sea. He is able to do so to the creative faculty of imagination. It is thus an active power. Poet is not a passive reflector of images formed from nature. He is a man who not only feels strongly but also thinks long and deeply. He is able to treat absent things as if they are present. Here Canterbury tales present an example of this imaginative power to visualize objects which are not present before poet’s eyes in their concrete forms but he presents them before us that they seem real. 29 pilgrims of Chaucer are his imaginative characters, all their qualities, merits and demerits are his own creations and here his creation is supported by his imagination. Imagination enables the poet to look deep into the heart and soul of things. It is through the imaginative faculty that he arrives at...
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...Literature is a term that does not have a universally accepted definition, but which has variably included all written work; writing that possesses literary merit; and language that foregrounds literariness, as opposed to ordinary language. Etymologically the term derives from Latin literatura/litteratura "writing formed with letters", although some definitions include spoken or sung texts. Literature can be classified according to whether it is fiction or non-fiction, and whether it is poetry or prose; it can be further distinguished according to major forms such as the novel, short story or drama; and works are often categorised according to historical periods, or according to their adherence to certain aesthetic features or expectations . Literature may consist of texts based on factual information, a category that may also include polemical works, biographies, and reflective essays, or it may consist of texts based on imagination . Literature written in poetry emphasizes the aesthetic and rhythmic qualities of language—such as sound, symbolism, and metre—to evoke meanings in addition to, or in place of, ordinary meanings, while literature written in prose applies ordinary grammatical structure and the natural flow of speech. Literature can also be classified according to historical periods, genres, and political influences. While the concept of genre has broadened over the centuries, in general, a genre consists of artistic works that fall within a certain central theme;...
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...Byron's Poetic Style Unlike other romantic poets of the time, Byron freely expressed all of his emotions, dark and otherwise, and focused more on man and the nature of life rather than nature itself. Byron' style of poetry gained him a life in literature by his use of shocking frankness in expressing his emotions, enduring themes, and style of writing. More importantly, in making his name immortal, he made his ideas immortal. Written in ink, and translated into the mind of the reader, he preserved ideas and philosophies that are written with enough style and emotion, and possessed of enough merit and allure of their own to become foundation stones of humanity's psyche. Byron used a rather odd sort of writing in order to express his emotions. T.S. Eliot labeled some of his work antiquated -- Byron no doubt influenced by his indulgence in Shakespeare -- but all the same, some of his work possessed a unique style. For instance, there lie within his texts numerous examples of exclamatory remarks, shouting expressions of grief and fury. In one poem, "Remember thee!", there were six sentences, fully five of which ended in an exclamation points. Remember thee! remember thee! Till Lethe quench life's burning stream Remorse and shame shall cling to thee, And haunt thee like a feverish dream! Remember thee! Aye, doubt it not. Thy husband too shall think of thee: By neither shalt thou be forgot, Thou false to him, thou fiend to me! However, not only...
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...Review of the Related Literature and Studies A researcher needs to review the write-ups, readings, and studies related to the present study in order to determine the similarities and differences of the findings between the past and present studies Related Literature * Literature maybe defined as written works collectively, especially those enduring importance, exhibiting creative imagination and artist skill which are written in a particular period, language, and subject. * In other words, any written matter such as book, journal, magazine, novel, poetry, and encyclopedia are considered as literature. Guidelines on Effective writing of Literature 1. Research paper must be written in a formal style, which is in the third person, not the first person. 2. Avoid highly descriptive writing style, not appropriate for a scholarly research. 3. Language should be neutral gender, no sexy language like his. 4. Make the conclusion and contradictions found in the literature clear in the report. 5. Use proper grammar and proofread the work. 6. Never plagiarized, give credit to the original author of ideas. 7. Pay attention to the structure and form of published articles, which are good examples of how literature reviews can be written. Example 1. Peters (1993) claims that job-related stress can enhance productivity up to a certain point. There is, however, a threshold point beyond which stress becomes a harmful factor in one’s productivity. On...
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...of Justice to portray powerful messages, providing not just a contrast to the deterioration within the play but an explanation for the anguish witnessed. The notion of ‘Poetic Justice’ or deserved retribution is arguably denied by Shakespeare in ‘King Lear’, revealing the dangers of ‘unnatural evils’ and their far reaching consequences through its absence. The uncomfortable dramatic irony throughout Gloucester’s journey to his attempted suicide as he calls out for his ‘dear son Edgar,’ unaware that he stands before him, leaves the audience desiring union and peace for the victim of a horribly vivid crime. Despite this, resolution is never achieved, the eventual union causes only further death and is reported alongside Edgars regret, ‘’Never - O fault - revealed myself’, and bitter comments about Gloucester's ‘flawed heart’. As a result Shakespeare builds pity for the character of Gloucester to an unbearable level, denies the audience an opportunity for ‘catharsis’ and hence Gloucester's fate feels poetically unjust. In a society that saw suicide as a deadly sin, synonymous with questioning God’s wisdom and an ingratitude for the sacrifice of Christ, the real significance of Gloucester’s hopeless situation lies in it serving as a warning against the destructive and evil nature of despair. An element of Poetic justice is achieved however by the death of the ‘she-wolves’ Goneril and Regan: the combination of suicide, poisoning and jealousy establish the women, in the words of McCluskie...
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...Generation, Allen Ginsberg came with his astounding freedom, powerful moral integrity and unique madness. Life with poem, decadence, wandering and willful indulgence, Allen Ginsberg’s spiritual ethos of getting rid of all the fetters, thinking highly of liberalism, pursing the unconditional and absolute freedom, independence and creativity is the reflection of the truly literary, aesthetic and cultural value of his poems. Allen Ginsberg’s spiritual ethos is embedded in his writing style and language. Ginsberg's style may have seemed to be chaotic or un-poetic, but to Ginsberg it was an open, ecstatic expression of thoughts and feelings that were naturally poetic. “Moloch! Solitude! Faith! Ugliness! […] Moloch! Moloch! […]” (Howl part 2, 3-6). According to Ginsberg: “Poetry is not an expression of the party line. It's that time of night, lying in bed, thinking what you really think, making the private world public, that's what the poet does.” Which also demonstrates Ginsberg’s poem has no form, and it is the chosen phrases that express his mind. Ginsberg believed strongly that traditional formalist considerations were archaic and didn't apply to reality. Though the language of Ginsberg’s poem is vulgar and coarse, it is inevitable in its description, which reveals his masculine. “Who let themselves be fucked in the ass by saintly motorcyclists, and screamed with joy […]”(Howl part 1). “The smoked ashes of some cock cigar, the cunts of wheelbarrows and the milky breasts of cars...
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...Is Mac Flecknoe a lampoon or a satire? At a time when fiction from Grub Street hack writers (whom he called the “multitude of scribblers, who daily pester the world with their insufferable stuff ”) was becoming widely read, courtly poets and dramatists like Dryden felt a need to play the public role of arbiters of literary taste. Dryden was actively engaged in contemporary debates which sought to lay down standards of what was considered high and low art. He published his “Essay of Dramatic Poesie” in 1667 and “Discourses on Satire and Epic Poetry” in 1692. Both of these served as prescriptive texts for what passed muster as “good” art. In an age of a revived interest in the classics, many of the instructions on good satirical writing are based on the works of Horace, Persius and Juvenal. While he did not think highly of Horatian verse which used word-play like anagrams and “ackrosticks” and was favoured by Francophiles poets, he admired Juvenal and Persius for their unity of plot and their use of Wit, which he saw as a more masculine device than lampooning or raillery. In MacFlecknoe, Dryden’s definition of good art also comes to be strongly associated with class. When he says that bad poetry laden with “Pure Clinches” or puns is inspired by the “suburban Muse”, his implication is that it is only the genteel circles of London that produce and read good poetry – thus, Bun-hill and Watling Street are down-market parts of London which by virtue of their economic demography...
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...clear definition of beauty. The same type of argument comes into focus when one considers literature. Dictionary.com defines literature as “written works, especially those considered of superior or lasting artistic merit,” but this brings into question how one is to judge whether a work has greater or enduring artistic value. This question is addressed in Plato’s Ion. In Ion, Plato addresses whether it is through experience and skill or through divine intervention that Ion judges the merit of works. Through an explication of the text, one can consider whether it is knowledge or preference that leads to determining value through literary criticism. The dialogue opens with Socrates speaking to Ion who is a rhapsodist, or a professional performer of epic poetry. The reader learns that Ion is a skilled rhapsodist as he has just won first place among competitors at the festival of Asclepius. It is upon this knowledge and skill that Ion bases his affinity for Homer. Ion makes the claim that Homer is a superior poet and because of this, Ion is better able to interpret his works as compared to his inability to interpret other poets’ works. When this claim is made, Socrates goes through a series of deductions in order to determine how Ion has come to realize the merit of Homer’s works. Unlike Ion, Socrates believes that Ion’s judgment is based on divine intervention as opposed to any real skill. In order to prove his argument, Socrates equates the rhapsodist to artists or sculptors...
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...THE POETICS OF ARISTOTLE A TRANSLATION BY S. H. BUTCHER A Penn State Electronic Classics Series Publication THE POETICS OF ARISTOTLE trans. S. H. Butcher is a publication of the Pennsylvania State Univer- sity. This Portable Document file is furnished free and without any charge of any kind. Any person using this document file, for any purpose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Faculty Editor, nor anyone associated with the Pennsylvania State University assumes any responsibility for the material contained within the document or for the file as an electronic transmission, in any way. THE POETICS OF ARISTOTLE trans. S. H. Butcher, the Pennsylvania State University, Electronic Classics Series, Jim Manis, Faculty Editor, Hazleton, PA 18201-1291 is a Portable Document File produced as part of an ongoing student publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Cover Design: Jim Manis Copyright © 2000 The Pennsylvania State University The Pennsylvania State University is an equal opportunity university. THE POETICS OF ARISTOTLE THE POETICS OF ARISTOTLE Analysis of Contents A TRANSLATION BY S. H. BUTCHER I ‘Imitation’ the common principle of the Arts of Poetry. II The Objects of Imitation. III The Manner of Imitation. IV The Origin and Development of Poetry. V Definition of the Ludicrous, and a brief sketch of the rise...
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...Paradise Lost -John Milton- John Milton (9 December 1608 – 8 November 1674) was an English poet, polemicist, man of letters, and a civil servant for the Commonwealth of England under Oliver Cromwell. He wrote at a time of religious flux and political upheaval, and is best known for his epic poem Paradise Lost (1667), written in blank verse. Milton's poetry and prose reflect deep personal convictions, a passion for freedom and self-determination, and the urgent issues and political turbulence of his day. Writing in English, Latin, Greek, and Italian, he achieved international renown within his lifetime, and his celebrated Areopagitica (1644)—written in condemnation of pre-publication censorship—is among history's most influential and impassioned defenses of free speech and freedom of the press. William Hayley's 1796 biography called him the "greatest English author," and he remains generally regarded "as one of the preeminent writers in the English language," though critical reception has oscillated in the centuries since his death (often on account of his republicanism). Samuel Johnson praised Paradise Lost as "a poem which...with respect to design may claim the first place, and with respect to performance, the second, among the productions of the human mind," though he described Milton's politics as those of an "acrimonious and surly republican". Because of his republicanism, Milton has been the subject of centuries of British partisanship. The phases...
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...craftsman,” attained two goals. The first goal he accomplished was to defend and elucidate why one should study history, and the second goal was to expound how one should study history. Though he wasn’t able to finish this book but we can say that this book was successful in creating an image of history by introducing it to a whole new height of prominence from the beginning phase. “Tell me, Daddy. What is the use of history?” His famous opening lines gave an expression of a meaningful occasion in Bloch’s, and all humankind’s too. It seems that throughout the book he is trying to justify the ‘use’ of history by stating that it’s nothing but understanding and then application. He looked at the techniques of historical inquiry. He believed that history did provide entertainment and comfort although it was also serious and academic at the same time. He believed that it’s necessary for historians to prove themselves as a profession by good observation and transmitting common sense and history as a “legitimate form of knowledge” and proficient in nourishing the intellect as it is narrative and poetic too. It is this searching for legitimacy that takes us back to the empiricists, the school of thought Bloch is attempting to transcend. This school produced a history based solely around documentation and did not challenge documents, primary sources or “official” histories. Bloch emphasized the inquiry of the historian in their sources and the way they frame the history and set out to write....
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...renaissance arrangements, accentuating order and simplicity. Neoclassical architecture as well as literature was motivated by the importance on aggressive bravery witnessed in the Latin and Greek grand. Neoclassicism deduces the subsistence of classical rule of commendable mythical and artistic invention. Neoclassical artists, by desirable qualities of acquaintance with the rule attempt to produce and widen the rule in every piece of their work. Although they evade sheer imitation of classical subject and designs, the artists try to place their work in the circumstance of a recognized custom and exhibit their mastery of the canons of the genre. Since Neoclassicism is divergent to modernization, its articulacy and creativeness are considered as merits. Neoclassicism in every art implies a specific rule of traditional replica. Other cultures have supplementary rules of classics, and a habitual strain of neoclassicism materializes as the expected appearance of cultures that are positive of their conventional traditions, and feel the need to reclaim anything that has slithered away. Neoclassical architecture is founded on the beliefs of simplicity and regularity seen as virtues of arts in prehistoric Rome and Greek, and they were drawn from 16th century as renaissance classicism. Neoclassicism gained pressure in England and France via a generation of art students educated in Rome and predisposed by writings of...
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...ALLEGOR AND IRONY IN 'OTHELLO' Y ANTOINETT B. DAUBER E Othello is Shakespeare's Spenserian tragedy, in which the theme of slandere d chastity becomes a vehicle for exploring the problems of an allegorica l art . Allegory is the mode of selfconscious faith, and Spenser's corpus may be rea d as a portrai t of the artis t as allegorist , wrestling first with the burdens of selfconsciousness and then with the burdens of faith.l In Othello, Shakespeare compresses and objectifies this struggle. Unlike Spenser, he is not committed to the maintenance of allegory, and so he freely dramatizes the interna l weaknesses and external onslaughts that lead to its destruction. What I am calling the 'Spenserian ' quality begins with the chivalric elements in the tragedy. Truly, Othello is a kind of Savage Knight, Desdemona, the absolutely, almost miraculously, worthy lady, and Iago, something of a manipulator like Archimago.2 But more particularl y I would call attention to a specific engagement with Spenserian rhetoric . Consider Cassio' s words of welcome to the disembarking Desdemona: Tempests themselves, high seas, and howling winds, The gutter'd rocks and congregated sands, Traitors ensteep'd to enclog the guiltless keel, As having sense of beauty, do omit Their mortal natures, letting go safely by The divine Desdemona. (2.1.68-73)3 He sets her in the line of Spenser's heavenly allegories . As a parallel , we may recal l Una , slandere d by the arch-magician , abandone d by 123 her...
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