Similarities and Dissimilarities Between Shelley and Keats

Similarities and dissimilarities atomic number 19gh P. B. Shelley and john Keats were mutual friends, plainly they perk up possessed the diversified qualities in their creativity. These aroundwhat(prenominal) argon the prominent contri as wellors of side Literature, though their briocycle were very(prenominal) goldbrick. Their comparison ar also little with separately an separate(prenominal), while from each one atomic number 18 very lots similar in opinions, imagination, creation and also their smelltime. 01)Attitude towards the geniusP. B. Shelley Whereas older romanticistic poets looked at character as a realm of communion with pure mankind and with a truth preceding tender take in, the later romanticists looked at personality primarily as a realm of everywherewhelming viewer and estheticalal pleasure. While Wordsworth and Coleridge lots write nigh spirit in itself, Shelley tends to run through with(predicate) and through words character as a so rt of supreme metaphor for knockout, creativity, and transportion.This m over that close of Shelleys metrical compositions approximately art rely on metaphors of constitution as their means of put forwardion the western closely move up in Ode to the western Wind becomes a attri b argonlye of the poetical faculty spreading Shelleys words ex opa hunt leaves among mankind, and the amuse in To a rollick becomes a symbol of the purest, to the highest degree joyful, and well-nigh inspired creative impulse. The skylark is non a dolly, it is a poet hidden. bath Keats Keatss sentiment of Nature is unproblematicr than that of other romantics. He system absolutely influenced by the Pantheism of Wordsworth and P. B. Shelley.It was his instinct to love and interpret Nature to a greater consummation for her stimulate sake, and less for the sake of the sympathy which the sympathetic mind shadower read into her with its own workings and aspirations. Keats is the poet of experiences, and he loves Nature beca go for of her sensual pull, her appeal to the sensation of velvedeuceod, the sense of take ining, the sense of smell, the sense of touch. some(prenominal) men were great lovers of nature, and an abundance of their poetry is filled withnatureand the mysterious magnificence it holds. Their attitudes towards the Nature are slightly difference. P. B. Shelley treats the natural bjects as the supreme elements of stir him. indispensable elements are success seriousy glorified by Shelley. He worships Nature and wants close to of power from nature to enrich his poetical power to transmit his capacity to the people in this older solid ground. On the other hand Keats treats nature as an observer, as a traveler. He acknowledges occupy to appreciate the forcible beaut of Nature. both generators happened to compose rimes c formerlyrning capitulation in the year of 1819, and although the cardinal pieces contain similar traits of the amoro us full point, they differ from each other in several expressive styles as well.Keats verse form To surrender and Shelleys poetry Ode to the westside Wind both contain potent andvivaciouswords just about the eon and both include similar metaphors involving autumn. However, the feelings each author express in their pieces vary greatly from each other, and Keats and Shelley address nature in their poems with variedintentions as well. Shelley and Keatsexhibittheir genius for rich energized word use within these two poems wonderfully. Also, interesting similarities betwixt the two pieces are around of the metaphors the poetsimplement.Hairis a subject both writers explored as ametaphorfor nature. Shelley, in Ode to the air jacket Wind, claims the wind is a uniform the bright hair uplifted from the head/ Of almost fierceMaenad, while Keats views autumn as sitting careless on a granaryfloor,/ Thy hair soft-lifted by the winnowing wind. Hair, often utilize in poetry metaphor ic bothy, tends to symbolize feminine smasher and strength in this case, both poets make use of thesubjectof hair when describing ac citati unityd aspects of nature. The vocalizers in these two poems also express their thoughts on theportentof the coming spring.In the final twosome of Shelleys poem, the speaker asks, Oh wind,/ if Winter comes, can Spring be far fag? The speaker in Keats poem inquires, Where are the rimes of spring? Ay, where are they? Both poets look upon autumn as anindicationof the coming season which is black eye of autumn. The subjects of let outds and budding plants are also touched upon within the two pieces. Autumn is when, as Shelley writes, the winged seeds are placed in their dark arctic bed and lie cold and low. And Keats writes that autumn is the time when the hazel shells are plumpwith a sweetkernel to set budding to a greater extent. These similarities in the midst of the two pieces are interesting however thither are umpteen differences in the poems as well. Keats and Shelley express assorted emotions about the plungeseason. Shelley looks at autumn as being unrestrained and fierce while Keats has a more gentle view of the season. Shelley perceives autumn as an annual termination, c everying it Thoudirge/Of the dying year, and he uses words such as clay andsepulchre in the poem.He also employs words such as hectic and tameless, and looks upon the autumn horizon as being the locks of the approachingstorm. Also, he claims the autumn winds are where black rain and fire and hail exitburst. Lines such as this reveal the speakers attitude that autumn is a rough and reckless season bearing unwholesomeportence of the coming winter. On the other hand, Keats fills his poem with lighter words such as mellow, sweet, patient, and soft. The speaker of this poem looks out upon the landscape and hears the full-grown lambs loudbleatfrom hilly bourn, and listens as the gathering swallows twitter in the skies. These lines indicate a much softer and moreamiableemotion felt by the speaker sentiments sort of opposite to those felt in Ode to the West Wind. other great difference in these poems is the intentions of the poets themselves. Shelley, in his thirst for being known, wants to chance on power standardised the wind has. He asks of the wind, Be thou, heartfierce,/ My step Be thou me,impetuousone He pleads for it to move his thoughts over the universe/ Like withered leaves to quicken a new birth, and to scatter, as from an unextinguished hearth/ Ashes and sparks, my words among mankind. Shelleys moreambitiousapproach to the weather differs from Keats, who merely enjoys the season for what it holds and asks aught from it. Keats thoroughly enjoys the stubble-plains with rosy hue, and listening as the red-breast whistles from a garden-croft. Although both writers go out the autumn season, each express different intentions in the poems they take on written.Shelleys Ode to the West Wind and K eats To Autumn have spectacular similarities when it comes to their rich metaphors however, the poems differ in almost every other sense. Shelley holds a much moresavage public opinion about the season, while Keats looks upon autumn as being soft andgentle. Shelleys ambitions are show in his piece, while Keats nevertheless reflects the beauty of what he sees. Both writers expose their own funny talent as poets,deservingtheir titles as being two of the greatest Romantic writers of the period. 02)Imagination Imagination is one of the striking characteristics of Romantic Poets.P. B. Shelleys poem To a Skylark and throne Keatss poem Ode to a Nightingale are both centered on nature in the photo of birds. Both poems are classified as Romantic and have certain poetic elements in gross, scarcely in addition both poems have differences in style and in theme that differentiate them cl archeozoic. Both poets are spurred to react and to write because of their encounter with a bird. Sh elley is addressing the bird that excites his interest more directly, while Keats turns to reverie because of the song of the nightingale more than the nightingale itself.In the latter case, the song of the poet has a different tone from the song of the birdthe joy of the bird becomes a contemplative song for the poet. for each one poet begins with the reality of the bird or its song and thus uses that as a beginning point for artistic and philosophic speculation. P. B. Shelley If the West Wind was Shelleys maiden convincing attempt to articulate an aesthetic philosophy through metaphors of nature, the skylark is his greatest natural metaphor for pure poetic expression, the disablementonious furore of pure ardor.The skylarks song issues from a state of purified existence, a Wordsworthian nonion of complete unity with Heaven through nature its song is incite by the joy of that uncomplicated purity of being, and is unmixed with every tinge of melancholy or of the bittersweet , as valet de chambre joy so often is. The skylarks unimpeded song rains humble upon the world, surpassing every other beauty, inspiring metaphor and making the speaker guess that the bird is not a mortal bird at all, but a Spirit, a sprite, a poet hidden / In the light of thought. In that sense, the skylark is almost an direct twin of the bird in Keatss Ode to a Nightingale both map out pure expression through their songs, and akin the skylark, the nightingale wast not innate(p) for death. however while the nightingale is a bird of darkness, invisible in the shadowy forest glades, the skylark is a bird of daylight, invisible in the deep bright saturnine of the sky. The nightingale inspires Keats to feel a drowsy numbness of happiness that is also kindred pain, and that makes him think of death the skylark inspires Shelley to feel a frantic, rapturous joy that has no part of pain.To Keats, human joy and sadness are inextricably linked, as he explains at length in the fi nal stanza of the Ode on Melancholy. tinyly the skylark sings emancipate of all human error and complexity, and while listening to his song, the poet feels free of those things, too. structurally and linguistically, this poem is almost unique among Shelleys works its strange form of stanza, with quadruple compact lines and one very long line, and its lilting, song bid diction ( abounding strains of unpremeditated art) work to create the tack of spontaneous poetic expression flowing symphonyally and naturally from the poets mind.Structurally, each stanza tends to make a single, quick point about the skylark, or to look at it in a sudden, brief new light still, the poem does flow, and gradually advances the mini-narrative of the speaker watching the skylark flying higher and higher into the sky, and envying its untrammeled inspirationwhich, if he were to capture it in words, would cause the world to listen. illusion Keats With Ode to a Nightingale, Keatss speaker begins his fu llest and deepest exploration of the themes of creative expression and the mortality of human life sentence.In this ode, the transience of life and the tragedy of old age (where palsy shakes a few, sad, last gray hairs, / Where youth grows pale, and spectre-thin, and dies) is set once against the eternal renewal of the nightingales unstable music (Thou wast not born for death, immortal bird ). The speaker reprises the drowsy numbness he experienced in Ode on Indolence, but where in Indolence that numbness was a sign of dis conjunctive from experience, in Nightingale it is a sign of too full a get togetherion being too happy in thine happiness, as the speaker tells the nightingale. earreach the song of the nightingale, the speaker longs to flee the human world and join the bird. His number 1 thought is to reach the birds state through alcoholin the bite stanza, he longs for a draught of vintage to transport him out of himself. But after his speculation in the third stanza on the transience of life, he rejects the melodic theme of being charioted by Bacchus and his pards (Bacchus was the Roman god of wine and was speculate to have been carried by a chariot pulled by leopards) and chooses instead to fill, for the beginning(a) time since he refused to keep up the figures in Indolence, the viewless wings of Poesy. The shipping of poetic inspiration matches the endless creative rapture of the nightingales music and lets the speaker, in stanzas five through s take down, imagine himself with the bird in the darkened forest. The rhapsodic music even encourages the speaker to embrace the thinker of dying, of painlessly succumbing to death while enraptured by the nightingales music and never experiencing any hand over pain or disappointment. But when his meditation causes him to utter the word forlorn, he comes back to himself, recognizing his plan for what it isan imagined outflow from the inescapable (Adieu he fancy cannot cheat so well / As she i s famd to do, deceiving elf). As the nightingale flies away, the intensity of the speakers experience has left him shaken, unable to remember whether he is awake or asleep. In Indolence, the speaker rejected all nice effort. In genius, he was willing to embrace the creative imagination, but only for its own internal pleasures. But in the nightingales song, he finds a form of outward expression that translates the work of the imagination into the outside world, and this is the dis managey that compels him to embrace Poesys viewless wings at last.The art of the nightingale is endlessly repositionable and renewable it is music without record, existing only in a thoroughgoing(a) present. As befits his celebration of music, the speakers language, sensually rich though it is, serves to suppress the sense of sight in party favor of the other senses. He can imagine the light of the moon, But here there is no light he knows he is surrounded by flowers, but he cannot see what flowers are at his feet. This suppression will find its match in Ode on a Grecian Urn, which is in many ways a play along poem to Ode to a Nightingale. In the later poem, the speaker will finally confront a created art-object not subject to any of the limitations of time in Nightingale, he has achieved creative expression and has placed his faith in it, but that expressionthe nightingales songis spontaneous and without physical manifestation. 03) noble-mindedness Idealism is the very much common characteristics especially in second generation Romantic Poets. Romantic noble-mindedness favored this hermeneutic and phenomenological outlook on life. At this juncture, we want here to address and emphasize the question of the poems inspiration by the natural phenomenon, the luminous star.P. B. Shelley Among the great Romantics whose poetry, in the early nineteenth century, forms one of the most glorious chapters in the whole of looking at Literature, no one perhaps was inspired by a purer and lo ftier high-mindedness than P. B. Shelley. Shelleys is divided by three sub categories Revolutionary Idealism Religious Idealism Erotic Idealism Penetrates and clasps and fills the world Epipsychidion That beauty in which all things work and move Adonais John Keats The hush of natural objects opens quite To the core and every secret essence thereReveals the elements of good and neat Making him see, where Learning hath no light. With regard to Romantic patternism, there are undoubtedly elements here that show Keatss enthusiasm for nature. Even if Keatss conception of nature has affinities with spirituality as discerned in the works of Romantics like William Wordsworth (17701850), Samuel Taylor Coleridge (17721834) and Percy Bysshe Shelley (17921822), the intention of this write-up is not primarily the fullness of spiritual experience in nature. Nature plays a vital role in the understanding of his aesthetic ambitions and achievements.Though there are a number of characteristic features in Keatss poetry which affiliate with Coleridge and Wordsworth, his nature- intelligence will be seen to take a slightly different turn. Keatss poetry and prose show proof of certain monistic traits common in the two elder poets, justifying the assertion that he can be discussed within the mainstream of Romantic idealism with regard to nature, even if he does not handle the matter in a like manner. It can be argued equally that his poetry lends credence to apprehend nature from an organics viewpoint.Yet, his eco-poetics, as we intend to analyze, does not place priority on the verbose and transcendental and, therefore, the dominant spiritual dimension of nature is not like that of his elder colleagues, for it tends to reduce nature primarily within the conmulcts of his aesthetic quest rather than brood over it fundamentally as a universal force or the basis of his spiritual longings. 04)Revolution M. H. Abrams wrote, The Romantic period was eminently an age obsessed with fa ct of violent change. Especially the second generations Romantic Poets are the pioneer to revolt against society, religion and state.P. B. Shelley Shelley resembles Byron in his thorough-going revolt against society, but he is totally unlike Byron in several important respects. His front impulse was an unselfish love for his fellow-men, with an combative eagerness for martyrdom in their behalf his nature was unusually, even abnormally, fine and sharp and his poetic quality was a delicate and ethereal lyricism unexcelled in the publications of the world. In both his life and his poetry his windy reforming zeal and his superb lyric instinct are inextricably intertwined. Shelley was the most politically active of the Romantic poets.While attempting to instigate reform in Ireland in 1812-13, he wrote to William Godwin, author of Political Justice. (Note also Godwins connections with Wordsworth and Coleridge. ) Shelleys pure idealism led him to take extreme positions, which hurt t he feasibility of his attempts at reform. By 1816 he had mostly given up these politics in favor of the study and writing of poetry his Queen Mab later became popular among the Chartists. The longest-lasting resultant role of his extreme views were the fact that he met and eloped with William Godwins brilliant daughter Mary, abandoned his wife, and was in the end forced to leave England.Even far away in Italy, however, he was incensed by the Peterloo massacre and wrote The Mask of Anarchy in response to it. He also turned into an attack on George IV his comment of Sophocles, Oedipus Tyrannus or Swellfoot the Tyrant. John Keats Keats was neither rebel nor Utopian day-dreamer. As the modern seemed to him to be hard, cold, and prosaic, he habitually sought an fanciful escape from it. Not like Shelley into the future land of promise, but into the past of classic mythology, as in Endymion, Lamia, and the fragmentary Hyperion. 5)Symbolism P. B. Shelley Shelley uses symbolism succes sfully in his noted sonnet Ozymandias. Nothing, in this world is immortal. Even things that are protrude in stone, can be one day undone that things whitethorn fall and crumble there forgotten one by one. It has been express time after time for as long as most anyone can recall, a small saying that says zero is cast in stone. This poem is just another example that unlike something cast in stone, nature will always conquer over all notwithstanding the way that mankind may think.The poet Percy Bysshe Shelley tells us the said(prenominal) thing in the poem Ozymandias through both exquisite wording and beautiful imagery. The poem is a genius work about strength and the fall of treasonably greatness, told from the eyes of a traveler who encounters an elderly unknown region. In the poem the stranger tells him about the fall of a great kingdom that had thought itself unbeatable by even time. The author uses the image of a statue as a symbol for this kingdom. The image of a broken s tone man, which has been beaten down by nature and time plays as an example for many things.The commentator learned throughout the poem that not only did time and nature beat this great kingdom, but also they themselves did it during their struggle to be great. The image of two trunkless legs still planted and slowly being covered by the sand is, in a way, exposing how mankind thinks. Men often believe they are unstoppable even by nature and time, often canvas the elements to other men, believing that the best surpasses even their power. In another line the writer refers to the face of the statue, left fall in the sand, its lips curled in a look of cold and cruel command.This is a play on the way that mankind is by nature. Mankind is a race that spends all its time rushing about, employ commands and war to strive for survival. It is a common belief that he who is strongest will outlive them all. In this poem the writer shows that this is almost always outlived. Weather they are b eaten by time, the elements, or themselves, the strongest kingdom will always crumble. The words written on the statues house are said in a beautiful wrathate queue, My cognomen is Ozymandias, king of kings Look on my works, ye Mighty, and despair In this passage the writer says that the sculptor of this piece knew all to well, that even the strongest army will fall with time, look and despair that man is not eternal. The sculptor leaves a morbid example to all who would wander upon his works to look around and see what has become of greatness. It is, in a way, telling the reader that greatness is short lived, and that nothing is forever. The last lines are a beautiful expression of the fallen city, which lie in the sand about the pieces of the broken statue.Crumbled and dead, the sands load on still, holding the vast proof that forever is not so long a time in the eyes of the world and that life will continue on even after the walls have crumbled. It is this poem that sets a pe rfect example that mankind does not give credit to the strength that comes with time and the forces of nature, and will often put so much time into becoming the best and most in good order that they lose sight on life, becoming nothing more than a fallen king. possibly the writer hoped to express a greater understanding of the tragedy of greatness, or even express the value of life over the conquest of power.John Keats In Ode to a Nightingale one can discern the consciousness of the use of nature, symbolized in the bird and its melodious song, not only for poetic composition, but also for advancing the poets philosophical speculations. Both bird and song represent natural beauty, the poetic expression of the non-verbal song signboard the harmony of nature. Apart from the ecstasy that the birds song generates, the unseen but vivid pictorial description of the surrounding landscape adds to the bliss and serenity of the atmosphere I cannot see what flowers are at my feet,Nor what soft incense hangs upon the bough, But, in embalmed darkness, guess each sweet Wherewith the seasonable calendar month endows The grass, the thicket, and the fruit-tree wild White hawthorn, and the pastoral eglantine Fast fading violets coverd up in leaves And mid-Mays eldest child, The coming musk-rose, full of dewy wine, The murmurous haunt of lies on summer eves. (Stanza V, L. 41 50) These lines express the splendor of spring while foreshadowing the approach of summer, which will have its own store of nature beauty and luxury.As preceding said, nature here seems to be a springboard for intense speculations in the face of the impermanence and mutability of life which strongly preoccupies the poet. To put it in other words, the song seems to engender a phenomenological process of self-transformation or a psychological metamorphosis that enhances a deep desire for the eternal and unalterable through death. Yet the poet submits to a stoical fortitude, apparently emphasizing the mat erial and aesthetical realm of existence rather than the struggle to maintain a unchanging and raised(a) state.This has often been problematical as imaginative failure, or as a characteristic Keatsian trademark of ambivalence between reality and imaginative illusion. 06)Melancholy Second generations Romantic Poets were Melancholic according to the bad effect of French Revolution. Their desires did not come true and their endeavor to the Ideal world remained in their dream. So they were very much frustrated and possessed torment to the real world order. P. B. Shelley He is one of the greatest, successful Melancholic in his age.It is this unsatisfied desire, this almost painful yearning with its recurring disappointment and disillusionment, which is at the root of Shelleys melancholy. His most famous and powerful lines, reveals the melancholy, are in Ode to the West Wind Oh, lift me as a wave, a leaf, a cloud I fall upon the thorns of life I bleed A heavy weight of hours has chain ed and bowed One too like thee tameless, and swift, and proud. His melancholy is thus vital to his poetry. It may be said that his music is the product of his genius and his melancholy.His melancholy is what the world seems to like best as Our sweetest songs are those that tell of saddest thoughts. John Keats In the poem Ode on Melancholy, Keats takes a sinister look at the human condition. The idea that all human pleasures are susceptible to pain, or do inevitably lead to pain, is a disturbing thought. Keats comments on the miserable power of melancholy, especially how it thrives on what is beatiful and preferable and turns it into its opposite. She dwells with witness Beauty that essential die And joy, whose hand is ever at his lipsBidding adeiu and aching Pleasure nigh, Turning to poison while the bee-mouth sips Ay, in the very temple of Delight Veild Melancholy has her sovran shrine, Though seen of none save him whose strenuous tongue Can burst Joys grape against his palate fine His soul shall taste the sadness of her cleverness, And be among her cloudy trophies hung. (ll. 21-30) In this passage, there seems to be an emphasis on lost hope. There seems to be this idea that true happiness is either ephemeral or unreachable. For example, Keats writes above about Joy Bidding adeui and Pleasure Turning to poison. Keats seems to be saying that happiness is a temptation which people are tragically prone to dream about, an illusion upon which is unrealistic. 07)Hellenism & Platonism From the Renaissance to the nineteenth century Greece was a prime object of myth-makers attentions, its history as well as its mythology fodder for the imagination. These two poets were deeply influenced by the Greek literature. Shelley wrote Hellas, which is the ancient name of Greece. Keats was also influenced by Hellenism, while P. B. Shelley was influenced by Platonism. John KeatsShelley expressed the opinion that Keats was a Greek. Indeed, Keats was unmistakably a represen tative of Greek thought, in a sense in which Wordsworth and Coleridge and even Shelley were not. The Greek spirit came to Keats through literature, through sculpture, and through an innate tendency, and it is under Hellenic influence as a radiation diagram that he gives of his best. Keats has contrived to talk about the gods much as they might have been supposed to speak. The world of Greek paganism lives again in his verse, with all its frank sensuousness and joy of life, and with all its mysticism.Keats looks back and lives again in the time When holy were the haunted forest boughs, Holy the air, the irrigate, and the fire. Ode to Psyche P. B. Shelley Shelleys Platonic leanings are well known. Plato thought that the supreme power in the universe was the Spirit of beauty. Shelley borrowed this conception from Plato and parted it in his metaphysical poem sing to Intellectual Beauty. Intellectual Beauty is omni potent and man must worship it. The favorite Greek conceit of pre-exi stence in many earlier lives may frequently be found in other poems besides the Prometheus Unbound quoted in part II of our series.The last stanza of The Cloud, is Shellys Platonic symbol of human life I am the daughter of earth and water And the nursling of the sky I pass through the pores of the ocean and shores I change, but I cannot die. For after the rain when with never a disfigurement The pavilion of heaven is bare And the winds and sunbeams with their convex gleams Build up the blue dome of air I silently laugh at my own cenotaph And out of the caverns of rain Like a child from the womb, like a ghost from the tomb, I arise and unbuild it again. 08)Love & Beauty John KeatsKeats is called the poet of beauty or some tyros address him as the worshiper of beauty. Keatss notion of beauty and truth is super inclusive. That is, it blends all lifes experiences or apprehensions, negative or positive, into a holistic vision. craft and nature, therefore, are seen as therapeutic in f unction. Keats was considerably influenced by Spenser and was, like the latter, a passionate lover of beauty in all its forms and manifestation. This passion for beauty constitutes his aestheticism. Beauty, indeed, was his pole-star, beauty in Nature, in woman, and in art.He writes and find outs beauty A think of beauty is joy for ever In John Keats, we have a remarkable contrast both with Byron and Shelley. He knows nothing of Byrons stormy spirit of antagonism to the existing order of things and he had no sympathy with Shelleys humanitarian real and passion for reforming the world. But Keats likes and worships beauty. In his Ode on a Grecian Urn, he expresses some powerful lines about his thoughts of beauty. This ode contains the most discussed two lines in all of Keatss poetry Beauty is truth, truth beauty, that is allYe know on earth, and all ye need to know. The exact meaning of those lines is disputed by everyone no less a critic than TS Eliot considered them a blight upon an otherwise beautiful poem. Scholars have been unable to sustain to whom the last thirteen lines of the poem are addressed. Arguments can be make for any of the four most obvious possibilities, -poet to reader, urn to reader, poet to urn, poet to figures on the urn. The issue is still confused by the change in quotation marks between the original manuscript copy of the ode and the 1820 published edition. P. B. ShelleyShelley expresses love as one of the God-like phenomena in human life and beauty is the intellectual beauty to him. We find the clear idea of Shelleys love and beauty through hymn to the Intellectual Beauty. The poems process is doubly figurative or associative, in that, once the poet rooks the metaphor of the Spirit from the particulars of natural beauty, he so explains the workings of this Spirit by comparing it back to the very particulars of natural beauty from which it was rattlepated in the first place Thy light alone, like mist over mountains driven Love, H ope, and Self-esteem, like clouds depart This is an inspired technique, for it enables Shelley to illustrate the stunning experience of natural beauty time and again as the poem growthes, but to push the particulars into the background, so that the focus of the poem is always on the Spirit, the abstract intellectual ideal that the speaker claims to serve. Of course Shelleys atheism is a famous part of his philosophical stance, so it may seem strange that he has written a hymn of any kind.He addresses that strangeness in the third stanza, when he declares that names such as Demon, Ghost, and Heaven are merely the record of attempts by sages to explain the effect of the Spirit of Beautybut that the effect has never been explained by any voice from some sublimer world. The Spirit of Beauty that the poet worships is not supernatural it is a part of the world. It is not an independent entity it is a responsive capability within the poets own mind.If the Hymn to Intellectual Beauty is n ot among Shelleys very greatest poems, it is only because its purport falls short of the poets extraordinary powers simply drawing the abstract ideal of his own experience of beauty and declaring his fidelity to that ideal seems too simple a task for Shelley. His most important statements on natural beauty and on aesthetics will take into account a more complicated idea of his own connection to nature as an communicative artist and a poet, as we shall see in To a Skylark and Ode to the West Wind. Nevertheless, the Hymn remains an important poem from the early period of Shelleys maturity. It shows him working to incorporate Wordsworthian ideas of nature, in some ways the most important theme of early romance, into his own poetic project, and, by connecting his idea of beauty to his idea of human religion, making that theme explicitly his own. 09) expression One of the most distinct attributes of theRomanticwritersPercy Bysshe ShelleyandJohn Keatsis their gift of using bothlushand tactile words within their poetry. P. B. Shelley Shelley uses terza rima in his Ode to the West Wind.Terza rima utilizes three-line stanzas, which combine iambic meter with a propulsive poesy scheme. at bottom each stanza, the first and third lines rhyme, the middle line having a different end sound the end sound of this middle line then rhymes with the first and third lines of the next stanza. The rhyme scheme thus runs aba bcb cdc ded efe, and so forth. Shelleys Ode to the West Wind (1820) instances one of the finest uses of terza rima in an English-language poem O wild West Wind, thou breath of Autumns being, Thou, from whose unseen presence the leaves deadargon driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes O thou, Who chariotest to their dark wintry bed each of the seven long stanzas of the Hymn to Intellectual Beauty follows the same, highly fastness scheme. each line has an iambic rhythm the first four lines of each stanza are written in pentameter, the fifth line in hexameter, the sixth, seventh, eighth, ninth, tenth, and ordinal lines in tetrameter, and the twelfth line in pentameter. (The syllable pattern for each stanza, then, is 555564444445. severally stanza is rhymed ABBAACCBDDEE. John Keats Influenced by Greek literature, he applied those pure characteristics of his poetry Keats is one of the great word painters in English Literature. Ode on a Grecian Urn follows the same ode-stanza structure as the Ode on Melancholy, though it varies more the rhyme scheme of the last three lines of each stanza. Each of the five stanzas in Grecian Urn is ten lines long, metered in a comparatively precise iambic pentameter, and divided into a two part rhyme scheme, the last three lines of which are variable.The first seven lines of each stanza follow an ABABCDE rhyme scheme, but the second occurrences of the CDE sounds do not follow the same order. In stanza one, lines seven through ten are rhymed DCE in stanza two, CED in stanzas three and four, CDE and in stanza five, DCE, just as in stanza one. As in other odes (especially Autumn and Melancholy), the two-part rhyme scheme (the first part made of AB rhymes, the second of CDE rhymes) creates the sense of a two-part thematic structure as well.The first four lines of each stanza roughly define the subject of the stanza, and the last six roughly explicate or develop it. (As in other odes, this is only a general rule, true of some stanzas more than others stanzas such as the fifth do not connect rhyme scheme and thematic structure closely at all. ). 10) Their Odes John Keats The odes explore and develop the same themes, partake of many of the same approaches and images, and, enjoin in a certain way, exhibit an unmistakable psychological development.This is not to say that the poems do not stand on their ownthey do, magnificently one of the greatest felicities of the sequence is that it can be entered at any poi nt, viewed wholly or partially from any perspective, and still proves moving and recognize to read. There has been a great deal of critical debate over how to treat the voices that speak the poemsare they meant to be read as though a single person speaks them all, or did Keats invent a different persona for each ode?There is no right answer to the question, but it is possible that the question itself is wrong The consciousness at work in each of the odes is unmistakably Keatss own. Of course, the poems are not explicitly autobiographical (it is unlikely that all the events really happened to Keats), but given their sincerity and their shared conformation of thematic reference, there is no reason to think that they do not come from the same part of Keatss mindthat is to say, that they are not all told by the same part of Keatss reflected self.In that sense, there is no harm in treating the odes a sequence of utterances told in the same voice. The psychological progress from Ode on Indolence to To Autumn is intimately personal, and a great deal of that intimacy is lost if one begins to imagine that the odes are spoken by a sequence of fictional characters. When you think of the speaker of these poems, think of Keats as he would have imagined himself while writing them.As you trace the speakers flying from the numb drowsiness of Indolence to the quiet wisdom of Autumn, try to hear the voice develop and change under the guidance of Keatss extraordinary language. P. B. Shelley The wispy, silver terza rima of Ode to the West Wind finds Shelley taking a long thematic trammel beyond the scope of Hymn to Intellectual Beauty, and incorporating his own art into his meditation on beauty and the natural world.Shelley invokes the wind magically, describing its power and its role as both destroyer and preserver, and asks the wind to sweep him out of his torpor as a wave, a leaf, a cloud In the fifth section, the poet then takes a remarkable turn, transforming the wind into a metaphor for his own art, the communicative capacity that drives dead thoughts like withered leaves over the universe, to quicken a new birththat is, to quicken the coming of the spring.Here the spring season is a metaphor for a spring of human consciousness, imagination, liberty, or ethicsall the things Shelley hoped his art could help to bring about in the human mind. Shelley asks the wind to be his spirit, and in the same movement he makes it his metaphorical spirit, his poetic faculty, which will play him like a musical instrument, the way the wind strums the leaves of the trees.The thematic implication is significant whereas the older generation of Romantic poets viewed nature as a source of truth and authentic experience, the younger generation largely viewed nature as a source of beauty and aesthetic experience. In this poem, Shelley explicitly links nature with art by finding powerful natural metaphors with which to express his ideas about the power, import, qual ity, and ultimate effect of aesthetic expression. ConclusionTo an extent, the intensity of feeling emphasized by Romanticism meant that the movement was always associated with youth, and because Byron, Keats, and Shelley died young (and never had the opportunity to sink into conservativism and complacency as Wordsworth did), they have attained iconic status as the representative tragic Romantic artists. Shelleys life and his poetry certainly hold in such an understanding, but it is important not to indulge in stereotypes to the extent that they obscure a poets individual character.Shelleys joy, his magnanimity, his faith in humanity, and his optimism are unique among the Romantics his expression of those feelings makes him one of the early nineteenth centurys most significant writers in English. Shelley is regarded as a major English Romantic poet. His foremost works, including Prometheus Unbound, Adonais, The freak out of Islam, and The Triumph of Life, are recognized as leading expressions of radical thought written during the Romantic age, while his odes and shorter lyrics are often considered among the greatest in the English language.In addition, his essay A Defence of Poetry is highly valued as a statement on the moral richness of poetry and of poets, whom he calls the unacknowledged legislators of the world. While Shelleys significance to English literature is today widely acknowledged, he was one of the most controversial literary figures of the early nineteenth century. Keats was one of the most important figures of early nineteenth-century Romanticism, a movement that espoused the sanctity of emotion and imagination, and privileged the beauty of the natural world. legion(predicate) of the ideas and themes evident in Keatss great odes are quintessentially Romantic concerns the beauty of nature, the congress between imagination and creativity, the response of the passions to beauty and suffering, and the transience of human life in time. The sumpt uous sensory language in which the odes are written, their idealistic concern for beauty and truth, and their expressive agony in the face of death are all Romantic preoccupationsthough at the same time, they are all uniquely Keatss.