AgialaiD all pout Ald Aaie9 st met | We pay alfention fo detcils Third Grade Poetry Part 1 cBgzital) la Al Naggav ~ Instructor of English - © 01009022399 *7 [Poetry [pore a Neephysics aa Ofthe 17" Century Introduction pst period, \the 18° ceutury Age of a sbcialy -concepned literature. oes Lyall Sik all us. Lenn "geal date LS GS ApS gh Sagi) «bh Nee q a veep allg OP oil Ft iN af ye fO eentsans +9 yall ga P. The term ‘innovatt In “acel some literary per iences of the Renaissance _ epgafimasr poetry, Romaliticsm, the late 19"-centy ry Symi bolsm, Aes icism) and other avan At-garde trendsey nd the 208 century fodprnisr if as well as other more recent experimental trends. ae 19"-century Realisth, th ‘and post-modern fete, ply vata aa Cee ey The art and literature of Renaissance already reveal the two | contradictory but co-existing aspects of ‘innovation' (for instance, sonnet in poetry) and ‘tradition’ (the revival of ancient models, as, for example, in Renaissance tragedy). a”? YEAR2 [porrny [Part 1 Ph Nba gatgheidl oly quabentall Guilall Ge Daily Lenglll p-20 Bolly alll aty cob US « Legal @ SLA ell) rail" y (gall Ca gall DEA! aes te) "sys = Geel puee Renaissance tree, dngill poe #885 58 ualll (5 hi" cles, Metaphysical poetry means the poetry which addicted to witty conceits and farfetched imagery. ul JS» sl ell a Stl) Gat aay dia! Bap pyuall ye Ui LLY, * ‘Metaphysical implies a process of dry reasoning, a speculation about the nature of universe and the problems of life and death NG shay Gy ySI Leagle Spa CLG, « cihe Sib Malar (oll "pis Bla Las ult Cayally thal * The term ‘metaphysical’ came from Dryden who described the poetry of John Donne as ‘affecting the metaphysics’. elle" ho pe et ey oll Gul es opal cll nee ole z MU patel However, the term ‘metaphysical poets’ was coined by Dr. Johnson who applied the-term to describe a loose group of English lyric poets of the 17" century. pana gill Cpuciga Sal) Lio "ey jain ol yell" claim GH lB ens NVSh gsi gb Salas) Castiall el pest ya Realy de gape Cine qllenell3 | Poeray [Parts Metaphysical poetry “oneal en gage Te to the poetry written by Donne, George Herbeyt, Andrew Marvell, Hei iy Vaughan and other shes by ingenuity, 17" century Engli intellectuality and sly ona ey, dell aniusb ed lees edie 3 A dyjstiel pall ad goby Lib (ae Jilly The era of v poetry is eareidered ; be between 1610 and 1680s. Ya gon my, AWosacud) : The word " a ‘combination ofthe words meta, which means rena Greek, and physical, — worldly. oi telas Le geal cm bs Uisx pomtinlcemite NFU Is als {isgtid is ally « Balu ef ie >) ‘te Poetry + Cavalli Pi Poetry = Restoration Period 436 The metaphysical poetry is Nes saieass by its intellectual unconventional Use of language, _ y Aa gaits) je Sa Aalasiuts «83 jail il je a The Metaphysical poets“wrote bath secular’and religious poetry, Way gs Nat yh jan ol pal Gas, While the secular poetry deals with the experience of contemporary voyages and discoveries, theorles of humanists and& [Poetry [part 1 scientists in the religious verse deals with the contemporary religious debate, questions of faith and spiritual allegiance. SS GLa co phe all CMLL EW ad gg gh ll Ly Lay eM ply CLAY! Sasa « pecaleall pall Jacl) isa jaatll p§ JL cL oust ty weal The Metaphysical poetry is a combination of two diverse elements— intellect and emotion. Mab Sill - ue sila Gy wale Ge ede oA oi jlinall al The themes occupying the Metaphysical poetry range from serious philosophical issues to common ones as love and death. col) Sag Aaa aa) Yall yp cpl pl pall pa tl Ugh pall cle gt gall ch tt Cage y Gaal fe ASLAM She pe gall Metaphysical poetry of the 17” century is characterized by a strong dependence on irony and paradox. WAS ball y Ay pda gle gg gill Late YG WI gall jst atl ju Metaphysical poets worked on the Elizabethan symbols and developed a tested device called conceit. Saku cpndd Rayne STN Ly yyy Mat AYN 5 ya ll le Capi pall el tll ee What is meant by metaphysical poetry? The term "metaphysical" was coined by the influential critic pth Samuel Johnson (1709-1784) to describe a group of 17 cently. cea ae| LOR oe ai nore [51 Pottny [part a” year ' tines. 3 poets who were chare cleriééd by terse: tive use of conceits and by an emphasis on thé spoken quality of théiverse, ned ye RENN) eye J 5 UI ath gL wk sty a UE = ll phos 1 5nd SRN gM el pc es gage _ | Lam pb SE i os gol . my Cee | ) Until the 2obleerey they WerStreated as minor poets. opt Goal el yell GS J+ hy ah ca q \ According tol. 5, ‘ello, the name (Was ‘ascribed to poets who ‘dealt with swbsectcngerth infact in concrete terms, using logic and ratiocination t explaintite inexp cable, hay aed Zales IE PEs Ss LAN SY dan i ly a, a SMB SW YL CH cuayl, alli, i é , Philagophically speaking, -nietaphysical Means "to_transcend ar § JAAN |.) above or beyond the physical or coner te", ] + agelell sf cll 5 glass is A bkanch of philosophy that ies to explain the natural world " and mankind's place within it, Tt ‘asks questions Such.as—Ts there a god? what is my place lit the-universe?-what is my reason for existing? bbe AI poy Ad og tll aN FES apa lal 52 Ila Ll Gag Sten ae pe Le ty sSll GE SS gs Le fall ony J,6 |Potray [Port 2” Yeay Metaphysics is usually associated with that part of the philosophical tradition which asks about ‘last things’, questions: cB yak LAAN Gye Law og hll paalill autill cps e jal Wags Sale Gy jStiaall bast 3 2 Ab Which is more fundamental, quantity or quality? Are events prior to things, or do they happen to those things? How many substances are there ih the world? TGS al eSI Ay ot ge SSI gl Sola bed ona Yel pls clad Mik Slat a Spllall (5 59 ym gall af gall ane 9S John Donne is regarded as both the pioneer and the chief spokesperson of metaphysical poetry. cogtp Jae acly coat ol GLI g at Mh i ley 59.9 uel) SBE Metaphysical Poets John Donne (1572 -1631), the founder of the metaphysical school of poetry and the greatest representative of the metaphysical poets. % lat Lee pels Ay 5itind dll Lo jae Gauge (AT) VSN) op dae George Herbert Andrew Marvell John Dryden George Herbert Henry Vaughan ~ Thomas Traherne Abraham Cowley Richard Crashaw7 | Pottay |rare 4 Decorum of Imagey Passion Paradox his diversity in characteristics of verse is occasionally roug ther than written in | perfect meter, resulting in a dominance of thought over form. LBhpal sapealll 585 agence olill gf ULSASY) dale plies dare gL AMY yal coe Sal Lege col ggg Len « LalS Gy bp LIAS oe Yas galell iss nau Jt§ [rorrny [Part 1 Metaphysical wit: The poem contains unexpected, even g or shocking analogies, offering elaborate parallels between apparently dissimilar things. ‘ oo Chasing Abney Lye Lage pat LG le ile Bape cg god A sla di Ly igiltiia ye sad elatl on Ribs alte J ass, The analogies are drawn from widely varied fields of knowledge, not limited to traditional sources in nature or art. peo Vy « gay Gti age Le stall 4b jaall Glas yo Cl etViSL all Galas ; «al ff Ragged ob Ayal ola Analogies from science, mechanics, housekeeping, business, philosophy, astronomy, etc. are common. be MEd y Sec Why al jal Gy pull SASpally p shell Ge CU tie ¢ gb QSL eo. “als A Ley od Questions 1. Who is known as the founder and master of metaphysical poetry? - John Donne - Andrew Marvell - - George Herbert - Samuel Johnson 2. Which of the following would NOT be considered 4 metaphysical question? - Does God exist? - What is the chemical composition of water?| PoetRy [Pare 4 ~ Is our fate pre-determtffed> ~ Can there be things that exist that >. in time? 3. Which of io iS Untcue of metaphysical poetry? - Metaphys' Ce ‘0 shock the ireader with its paradoxes and Va ( ~ It dealt with en could n uns Soe by science, - It often ot uhlikel Myibin slike lovers anda compass. - All of the met eal ee were ence sho riffed off of each other's works. - OS a “2 “Metaphysical C Conceit Metaphysical poetry. Hf Been by. = concells, peculiar rhyme, oe Philosophy and. frequent Ise of par OXES, plated {GIG 4a sel 5 ay ye mente eae Z The poets have a strongux Vand tended to apart from the traditional love poetry during the Elizabethan period. Sail JS (ga glill Gall pat ye SRY oll shars ud ba yc og» el jell abt Conceit is the main feature of Metaphysical poetry.10 | Poerny |Part 1 3” yeaa Metaphysical poets regarded that ordinary and stale can not express the rich connotation and real feeling of life. Metaphysical poets broke the form and pattern, using unconventional images to manifest the rationality, setting people thinking deeply and taste the aroma. SBN NYS Ge panel abt Y Saaually gall ol 6 ily jain) ol tll tel De Agee Qyetsiee Halll SS Gy ysis Salteall ol pet jo Sloall Sila yells ASSN OA phy Sons 9 Sb Cll dees Gall by Gal The conceit, as a literary device, had been used a long time before the metaphysical poets. At the hands of the metaphysical poets, especially John Donne and George Herbert, it reached its climax of maturity and sophistication that it became the main characteristic feature of the Metaphysical tradition. : agg He nts jal ol pall J My gh 5 pill Lpalatal 95 ¢ Ayal stats 5 ky! Lgl Legs abil call ne Ley bl heey Gyo Zoya Oye Lely cei palpi Zonas I 3 jpnall Leal Cone! “conceit'=derived from the Italian word "concetto" It became synonymous with "thought", "concept", "idéa", and "conception" and "it might also denote a fanciful supposition, an ingenious act of deception or a witty or clever remark or idea." Lita yeh 25" y "paca" 4% Say My yabal! 4 "Sal" Gye ISI Lh yo Coney MASS ldo e584 late Hee Ee dee i lsd yal ail[F7|eorray [rare a The conceit as a liter: 1 me to denote a elaborate figurative device orf fanciful kind whieh often incorporates metaphor, simile, hyperbole. or. a --» ahd which intends to surprise and delight by Its wit and ingen Pe UE geet ts ¢ (eS FLY Ge ese fi q é 7, & "elas i \ . Helen Sacinly a0 that § ‘a conse sa Eeaparison whose ingenuity is more 4 ion han! ess! and a comparison becomes a conceit ule we. «acing le to allow likeness while being ! Maes oie ; us) i Seed Se 7 conceit is an elaborate poetic image or a_far- Wetehed Willy or ingenious way. The conceit is different from the traditional ones. The metaphor iS an indirect, implicit comparison between two dissimilar things Such as a beautiful woman and a rose or a brave fighter and a lion Which suggests one level of meaning.12 |worrny [rare + gps Aha A fa pn 3 Jail] Syl ay Qe AUS A aS uaa ¢ yl La (ang lt OME) ol G9 Ulee Hal) de OM Gs vottall Yel, an extended or elaborate The conceit can simply be defined as metaphor making striking mixtures of apparently unrelated abjects or_ideas_suggesting more than one level_of meaning like John Donne's conceit of the two legs of the compasses for the two lovers. hes tlenke gf 5atee 8 ylcLadl gil ele Uso Fg pail 5 LLY! Cas ped Sg G fina pa 8S coll yess etl] y Ly pals LL 48d YN SGA yf ebth ge Shade + Algal cs ling Blatall cy 99 cy yp Agu cla ialnall Ge If the Elizabethan conceit is "ornamental or superficial as when the poet compares his mistress's eyes to stars and her teeth to pearls... the metaphysical conceit is functional... it is a basic medium to the poet's intent". asiaate: elie Oy ge LAN GUS LS Adee gh KS 9! Akal NN 2 LT cats 1 WS LEN wet fin Pais ’ pli mz gp doses. Ais y Lub jt | LLYN ols | tBu Lalas oY The metaphysical conceit is a combination of dissimilar image - or discovery of occult resemblances in things apparently unlike. Allin elatl ogy Lina QUES Ye GRAS I Ayal ijl LY ta i13 |porrny [rae ; ~ ‘The poetry of Donfeis characterized byhis frequent use of the j "’ r aif ae \ conceit, making striking mixtutes of apparently unrelated objects or ideas but always bie precise in mefnite andyconnotation. The content of his (ove Bee RS fP both cynicah and sensuous, he represents a reaction*against ‘the’ sentimental Elizabethan sonnet, feu, oan OF \ and this work influenced thejattitudes of, the, eaaleipoets. Shee pe Lal INOS, st ou PME 9 at 5s AY hell on sa Se Ws rem Bey] cella Tid a, EAM ja os sine Shey al App Bel ASyc dau y = es en, Donne'sspietry was nedlécted: during the 17" century and f Ee gh i wee far-fetched conceits and images. / b ee bb OE ALG tl IE A, Sh aA Aa put lal \ Se jpeg Get! aa y A foraottenfebnine the 18" mainly bécause’of the sophistication of, his 7 a slat py sad eb gla g™ ®t Ugelsl oly Le LAS lly & gl Ie Ge Baye el Donne fell secretly in love with Anne More "while he was living and employed as a secretary in her uncle's house" and after eloping with her they got married.14 |poerey [Part 2" yeag| sany “Lane OD pha d V5h Ss any a GUS La" yy le he dy wag Flewcyyh This poem was written specifically for Donne's wife, Anne More Donne, as the two were to experience a geographical separation when the poet travelled to France on government business and his wife remained in England to convince her not to grieve over his departure. 2 Bd et GAY Lie: Case og) ype le gpd Zag Lined Sypcell obs cu pda Lee Ly | sila) oh Any 5 Cy Aaa So Lge ob La ob ol} je Lill rll Lane il ie Aba) le wal The imagery and the conceits of the poem are drawn from a variety of fields: religion, geometry, philosophy, astronomy and medicine. Kassigllig phNl OL all ye AS gia Le gene (pe Farell Cl eiuly ygee Cele saball will le Miulill, Questions 1, Select the poets to form the following who compared two legs of the compass to two lovers in one of his poems? - John Donne - Andrew Marvell - Abraham Cowley - Henry Vaughan - None of them 2. In The Sun Rising, by John Donne, which of the following adjectives is used to describe the sun? . .$$. 1§ | poerny [pared - a” YEAR - Saucy - PB emtin - Busy - All of the above Me None of these 3. —__ #f f eadeigae Metaphysical poetry that poetry? - Conceit - Wit ysical & - None of these A gat 4. q ty ee ae soul! with a : of dew in ‘one of his poems? - John Donne * = a y y ay Vaughan Nont.of hese - Abraham Cowles 5. _ 4 poet was the hap of ‘Lives of a Most J eG Eminent*English Poets! creat ‘Which the term ‘Metaphysical Poets’ Wes used by Samuel Johnson? — - Abraham Cowley - Jakn Donne - aoe) - oye oy - None of these | 6. From the: following posts : BO vo a he Stee "He affects the metaphysics, not only in his satires but in his amorous verses, where nature only should reign..."? ~ Samuel Johnson - John Dryden ~ Andrew Marvell - Henry Vaughan - None of these16 | porrny [Part 1 hn 7. Which of the following is wrong about metaphysical poets? - They were lyric poets. - They belonged to the 17" century - The term was coined by Dr. Johnson - They wrote basically about Nature. - None of these 8. In work did Samuel Johnson use the term ‘Metaphysical Poets'? - Lives of the Most Eminent English Poets - The Patriot - Plan for a Dictionary of the English Language - The Literary Magazine ——- None of these 8. Who used the term "metaphysical" in his essay on Abraham Cowley in his Lives of the Poets? - Ben Johnson - Dr. Johnson - John Donne 9. The metaphysical poets were: - honest, original thinkers - analyze their feelings and experience, hoped for immortality - both a and b 10. John Dohne poetry tan be divided into three parts which includes: - Amorous - Metaphysical ~ Satirical - All of the above 11. John Donne, Herrick, Thomas Carew, Richard Crasha¥: Henry Vaughan, George Herbert and Lord Herbert of Cherbuy were belong to which school of poets?77 | poetry [Parts ~~ a?” YEAR| - The school of Spense} eegiipestictaphysica school ~ The Cavalier Poets >. A 12. Why these p, sets are called the: etaphysical poets? - They are NISHA sophie ay - Their poetry cohte in ies lay of learning and far-fetched similes and metaphors { is Sine and b A Ne ( T fohn Donne ¢ ) John Donne Los fre ae oF Meta Hhysical Poetry Anne More, 2 a 16, P. get ie 1601 hes r.. married th and her engere@ther had him imprisoned He was tom a thot but later conietged to f Anglicanism in his oil 6 ty includes poems satred and secular, full of puns, ane conceits,. wit, and a allusions at whose meanings we can sometimes only guess, n oNgalseas clos a Vine Gi levn se uadsa al, Mi ol Gay ds Maal ti « Late ELEY « SE ay gl ah 0 ped pany oye, Lad Shasalilly 4b, atin 1 Love in terms of sexual desires Love in terms of friendship John Donne is regarded as both the pioneer and the chief Spokesperson of metaphysical poetry. His works are noted for theira. 1 ye] strong, sensual style and include sonnets, love poetry, religious poems, Latin translations, epigrams, elegies, songs, satires ang sermons, Uggla Lec pgS85 eas SLUM, Qf 5llinall pel aL) Al cle O99 ae Gl) sh ASN Lag sly « Aiea GLicilly ¢ ual ped OU pall Lats ep gill pul ebay ¢ ebaglly ¢ HEM; LE pally 6 5 yell Lay Despite his great education and poetic talents, Donne lived in poverty for several years, relying heavily on wealthy friends. He spent much of the money he inherited during and after his education on womanizing, literature, pastimes, and travel. In 1601, Donne secretly married Anne More, with whom he had twelve children. . z octas chp ad 9B GhOp tle Api ales ga ead oe etek || ple Aaghd Sang olill Meh yy cell UL Ge AS Goi ah “ey AN elie le oo BY ple gh ely oHyLiatly « cash « etal | 2 Bab te the Donne critically sketched human love to differentiate it from conventional concept of love given by others. . Seagal gp petal Cell gad IS Ce? aay gill qual ga atill a patel) coe « s aa | cathy «ype ol oe Wee gh +1 The Mystery of Geoni etric Circle If they be two, they are two so As stiff twin compasses are 1wo, , el _ie ee Thy soul, the fixed fool, maker 11 To move, bit doth, iP “ideotier do, >» i ling ener Geometric The shape of ote us People a fee circle means perfectign, integty—— : ‘- SU put Lull le Geet! el etl abbas yee: | ile pty ole W pgSle Ly uted y «yl yy) att ult22 | poetry |part4 John Donne regarded the sun as the pedantic wretch. The sun is the disturber who interrupted the lovers in their sleep; it shouig be rebuked by them. ; : ped oh Gl ce 55 pall ek ell Kee jy Ll Geel Os ose pel Sshydl as John Donne called the sun unruly sun for it interrupt the sweet sleep with his lover. = Migs ce east da gt LU UY Sakell Geely Gaal 59 ys les The sun symbolizes the power and light, so it should do its. duty, but the sun failed to keep its duty and called the lovers suddenly, slak pb ALS gems Shy Lesa ge pit FLD gay Te gclly ll I) 58 gual * gd Gal cab gay * Busy old fool, unruly Sun, . Why dost thou thus, Through windows, and through curtains, call on us? ‘Must to thy motions lovers" seasons run? Saucy pedantic wretch, go chide The Innovative Image of Flea Mark but this flea, but mark in this, How little that which thou deny "st me is; It sucked me first, and now sucks thee, - And in this flea, our two bloods mingled be; Thou knowest that this cannoli be said _ age yl ath by palZp rorrny [are 4 Asin, nor shame, nor loss of maidenhead. Dryden says of John Donne, "He affects the metaphysics, not only in his satires, but in his amorous verses, where nature only should reign." Dryden further says that Donne perplexes the minds of the fair sex with nice speculations of philosophy, when he would engage their hearts and entertain them with the softness of love. OSs 6 reba gS aid yal o Lui jal i diay Ai" G9 dye Ge Culp dst sie jess Gy Gl ARS Gael y pip Mai Laghl phyct ol aay Cus ¢ Lyall eallat cts Le yada pales pg gh Al pty Laatc «Adsl yo Aiyha! Coraliy (eLually Gish ish His poetry expounds the concept of love in_a very innovative and ingenuous way Ayla Ladd yy 3 Stine My phy Gaal p pete opt oy Donne's love was absolutely different from that of his predecessors or even successors. His love is passionate, rude brute, cynical and sometimes whimsical or not allegiant. A pullé,y « ekg eagle Am ASIA cpio 14s DLal cua Ge Las Lilies (453 cas IS wale pe gl lite Gols Slay The Concept of Metaphysical Conceits Metaphysical conceit is a literary, term that réfers to a poet's use of somewhat unconventional language to describe the quality of an everyday concept. cy Hylis ye AAU je LAN lal oll yet ctl lates 8 Ub pallial | LLY! wpe pople Mayh2 | Poetry Jpart 1 John Donne a SadMetaphysical Poet His poetry is metaphysical because of sf his individualism and his quest for learning. Hi He poetry is fi is full of- wit. A hb t tgleryes pba Tt is obscure i i D “dee far fetched conceits. It fuses thought and emotion logical ir eiytil and mystical. giilnly ie ati SI i eg en iu \ oe mi PAS New_Thour nies atid Expres signs; sbotite's poetry is purely intellectual and it make: pes{dbithe intellectuals’ His thoughts intellectual ik er intellectials. His thoug are often new. TOS y Jesh Sue, Osta Bey ey Mel gy nt say's 1 He haslrpresed his tho nt jique manner. In short, he played ith thoughts. Jey PE Let 34 8 MB gh AS Ge je is LEARBING) Donne is a great metaphysical poet. To sors learning } § his chief object. ae BBs HB ke Baill ob ys OR Se» His poetry becomes Veryadificult to_u derstand. In Donne's Poetry, there is always an antitt asis between natural and divine knowledge. BE sila lis 553 Po gb 0 put aed25 | poeTRY [Part 1 3” year Donne's pre-occupation_with mortality and death fills his poetry with a shocking element. wpdlia pate; oyu Slay Ci galls lilly "Ey ya!" QL OBSCURITY: Obscurity is one of the important features of Donne's poetry. O52 rAd Kegel) Gaal aol ya saa yall 220 pall In his poetry we find obscurity and vagueness of subject. This is linked with sensibility of literary wit and philosophical conceptions, Cy pacalllly sa GAS AM jay daa ps Tay & seta gall ob plead y a pa pet dass . yl He frequently combines dissimilar ideas. Thus his poetry is harsh, obscure and puzzling. pony aM yg ulb past CAB SD Ll SISSY Cy any Le |S wit:” This important feature can be found e everywhere i in Donne's poetry. It fashions his feeling and thought. Passion sentiment and sensuality are subordinated to wit. His wit is unique in the discovery of comparison and analogies. Ejmet Leslie a8 gg Ds IS gS Legg nl ee GEST CySey 4a Lal GLE) (pi Lge si 04 Bagh AG LM goeally Gabbe golds auedt oo Sy oy yt SEL y cag Lt It is realistic and straightforward. It looks to run side by side with humor and irony. The varied material is compelled into unity26 | Portny [Part ¢ 3°° YEAR; by the rapid association ofstH@Ughts, ‘The Flea’ is a beautiful example of it. i eu. i aly Lata os Us Se tal oe oe adsl, 53 se Hi 3 eas Sa Mage" cals SSL, ae ws te a use of ct ncel ts. It is an Ne CONCET: Ddfing raked Sane We can easily oN =a the conceits i in Bonne! 5 poetry. Ween se In his popular poem/The Flea! the flea becomes ay Iparriage bed, It is because it gt the beloved after tg the poet. bs ses) su tal EAN chy MUS Hage ll yeild ee! ae "The a Rising" Published after his death in the 1633. In. "The Sun Rising, ithe speaker wants to bend the neo of the universe, ther than allowing the SS the way the speaker spends his time, the speaker challenges the sun's authority and claims that love gives him (the speaker) the power to stay in bed all day with his lover.97 | poerny [Pare 1 2” EAR Leal ee eet OAS sad clas ye Yad yy SN 20s (385) GI Sa atall 2 Maks Carat gaat o ( sheilly dhl sles) 48 y Crasiall Lys pei pil diy pall (pd pS, Ata posal Sl ple ja pal gd oll dle 3 pall 4d Gall Gi peasy Gaal In this way, the poem elevates the importance and power of love above work, duty, and even the natural rhythms of the day itself. CHLYN otny al lly Lael yh onl 5 gy Zaenl cps anal bed Lis pall okgs Anadi p gall Lon subalt “The Sunne Rising" is a 30-line poem in three stanzas, written with the poet/lover as the speaker. The meter is irregular, ranging from two to six stresses per line in no fixed pattern. EO 9gM Sete Canal / jell dS « labia VDE 65 Wybaue Pe (ye gy SS Saal ecb dead O53 sas IS Shs ool) bed ys © | iidy « plain The longest lines are generally at the end of the three stanzas, but Donne's focus here is nat on perfect regularity. co ad Lt 3 FSS GSI «AIM claleall GUS oh ple JE J LY! 5 shall an gs wld! ALIS The rhyme never varies, each stanza running abbacdcdee . abbacdedee le jou ebie Use Il yatt y Lat The poet's tone is mocking and railing as it addresses the sun, covering an undercurrent of desperate, perhaps even obsessive. love and grandiose ideas of what his lover is,28 | Porter Jrare 1 a" YEAR Ch BS JUS Lolli AL i (Lg) a yllly GS an gol - ASG y gilgteVly pill asl ri The poet Personifles the sun as a "busy aid fool" (line 1). He asks why it is y in and ‘disturbing ie ia) who appear to be two lovers in bedfThe sun is sec aig - the curtains of the ( window of we bain, & (fou. the} morning ed the end of their time tenets The comet annbyed wishing that the day has not veto comel, , Mae! ‘ \ ) Ji“ asd i a 4 He i ar world, oF fore one, where Re yembraces of lovers are | fot relegated only to the night; but that lovers can\make their ow time as they see fit.) e Sy Tp LS LU he Stat Gls Pal Yeas calle ice iy gl c Lille Jad, \ is AsahS saall eG, pat of gles \ y summa 5 y John Donne*starts his morning out angry at the surcu. peal wusuiill yo coal. He feels bothered by its Shine Lac ba oe geal ety and tells it to go off and go bother other MbLg ae 9 ay ul Ling well Gls, lesser peopleass Us Js wall. He tells the sun that love is not some slave to the sun's movements (Leals) foe Gat Gol29 |portRy [Part 1 ot YEAR yasudl ulSjoa) or the changing of the seasons Us_aall ,.ai) |, SO shove off, thank you very much gS ee , (saanl) sills WU, Then he gets really arrogant 119.20 quol. He says he's better than the sun, stronger than the sun, even, because he can just shut his eyeSausc le ol gbr uu a and make that bright star disappear entirely Labs nay gblll poll ila ews. He tells the sun to look around LpJs> Jas and discover that the whole world resides right there in Donne's bed wos jw god Ld cSay . He extends 1.0; this idea, telling the sun that he and his lady are all the countries and kings in the world combined wtos oll JS Los oszaixe allall, that everything else in the world is just pretending to be thempa asi pally had pllall 8 sant JS uly. Hé ends by pitying the poor old sun Spal jgzall yuottll le GLYL and telling it that its job just got easier Jp oul obo linge ul lab] Lee. Because the whole world now consists of just this one roomasall oda ye bad ally jlo ol pllalls, the sun’ doesn't have to travel Jip sal 4,05 ass pJ-it only needs to *4 shine on this couple uemsiJI uria ole glu ul eliss had and everything” is bright and good 249 Leo UeSiw trad S59,0 30 | Poetry |Partt a” Year The Canonization John Denne, in thedferson of the speal i, speculates upon the f 1 ‘1 Prospect of his being “canonized, -He\ is using the term in the i og religious sense, of Faurse - by implying tat he and his lover will be elevated to the Javelmot. sainisagtie, live in 4 World that values oS. M everything above love.7 a0" f ‘ cell neall ais Aiea IS ALL ete Sa Pasa iy ope % : f I it dle ite calla. J Sle ISLEY a sll aly 8 ™ ; gf + SN Gd eds 5 SS aN A Nese ee r a eles ey Introduction a Bot § r oe =A bi . The Flea is afi erotic humorous.metaphysical POEMS Si Slo bcd eae \ a4J55 0:8 tackling the conceit THEA tis #5) 6,58 sls, Which has _ Sucked|varel blood from the speaker and his beloved ease serve 3S bane Oss an extended. metaphor éica Siler! for the or ba them Lapin a os. The predominant theme in this poem™S5250 UWs , imagery, figurative language ale» a4 and musical devices wissi 4.i.ouge to take the reader into the conversation of the two lovers, where the argument posed 4> bol Aacul is So clever ala! ac, that a girl might almost be convinced gizazow lial! ulss 524 > to let the speaker have his waycsmzall gus pin led ol. Paraphrase The speaker notices 4>\w a flea and points it out Lp4)| yaty to the woman he loves. The flea has bitten them both p:-,3, and now their blood is mixed jie inside the flea, He says that no one would consider it a sinful or shameful for théir blood to mix inside a bug ol 230 gl gable Job ail ale dato [els lapes bbls shu, 50 why don't they just swap Vslay fluids lagtle in bed ? Now she, rationally alin, tries to kill the flea vale lei] valul ole) + (aly ys, but the speaker stops her. He says the flea represents the joining of their blood laps» stall sez, as in marriage Gh; oeie: If she kills the flea, she will be killing herself, the speaker, and committing sacrilege against the institution of marriage =5,1 us Sig elajll Sino @eussil) Laie .32 | Porrny |raret She kills the poor, innosean She thinks this disproves his claim a> Jiao. But Define, as always Lails 9 has a comeback é ready (gL Ul>) f fe SSHOLS the fact that she ‘hasn't suffered from the death of the figa in which their blo Lages Gee Gly hat en i dangerous to heb hon 35 SS SATIS bg Tee Gl) a. ele!” ol Gow ee LoS ys fie i straightforward lata a, his point \ a in it q is na Se; "Yourhave.noth having sex with me™ Figurative Lanai ‘ The flea is, the! primary qadyIl image of the Boem,, through which all PS metaphors and FANS Lai! Ghlaxwl are woven — <4 WJ wsscadl In_the first eye ee directing the attention cusl > of his beloved to the flea. Donna uses the device of apostrophe stots by speaking to 2 person outside the poem who cannot respond. The phrase “that which “has very sexual a”? YEAR33 | POETRY [Ports 3” YEAR overtones .alb sux cLe,|. We know which that he's talking about. The image of "blood" — "Our two bloods mingled be’ — is used both literally and figuratively Ljteos (q.nall lakes) 03,> throughout the ‘poem, which makes it a kind of pun 4s. Literally, that flea really does contain two people's blood. But metaphorically, when two people procreate Wiz, we often talk about "mixing bloodlines" b> Mu, and Denne plays with this double meaning. The "enjoyment" of the flea is a pun. The flea literally "enjoys" her blood, but to the speaker, it also "enjoys" her in the erotic Way d,unJl az bil that he would like to "enjoy" her grersy ol way goal ecu go lg,. He personifies the flea as if it were a "pamper'd" silgp a person, gorging on a feast 6f blood clo! yo Aouly pile. Here we get the delicious image of a flea swelling with blood aul 6.2) Joa Lia lal Gatis Cpb yale Donne begins the second stanza by a metaphor to equate bleod With life sLoJdl clos! s9luu dyleial + the flea contains "three fives’, its own, his, and hers. Here, the speaker thinkS of "Blood’ as a metonym aus for “essence” ea,JI or "life". Also, the image of three- in-one oly ad awh alludes J oat to the Holy Trinity jwssoJ! osiLal, in which the Father, Son, and Holy Spirit widll eantls oils Ml areif [voce [rae eal contained in one unity puss laglea—ax Their so-called "marriage", in "our pie: bed, and Praieve temple’, is an extended metaphor that stems from.» ew the| oun on two kinds of “blood': literal bided and family relations aul), iI. Mixing of bloodlines is what hs penseth compared to a" Sloister’ A with: ‘black als in which the marriage ceremony takes blace al bs Plo Xy pi. Feane to, ne metaphor KR that the flea contains! ‘ineitlives, the sgeaker scrip her Lpaeis of trying to commit = alte, SOS) by kip the flea. She gh mattlage: @ flea, then, is would be murdering cashes suleide-herself Also, she weu'd desecrate:the institution.of -matriage elas apu38 Sa. In thé ‘third stanza, she, rhetorié ea aaNLII about e a the flea, but the extralagat Hood 0 Of innocence! contrasts with the triviality i a/aals go ail, of a dot of blood on a fingernail 4 a (caput ) sail ste 03. "Falke fears" ateretion “lll Le, that high lights eal her concern about the loss Of chastity sll lad cll Leu Valdfot ‘small pun. He wants her to "yield" ga-5/elas to the (twisted) logic of his argument sbial! cae) sgalall, but he also wants her to yield" Is an example’ of to him (in bed). Also, he uses a simile that compares the Preservation of her life we blll35 | poerny [parts a” YEAR Lgil> when the flea dies to the preservation of her honor after she has given in to him oss ol sine) 2) pants a lorie dp ts onde blicdl (Yd Garey gS lowell Wiss, ail Gaos al Soe palle The tone of the poem is highly ironic, dramatic and absurdly amusing. Extravagant declarations of devotion and eternal fidelity which are typical found in love poetry are absent. Instead, the unorthodox and creative speaker offers philosophical and theological arguments that -their union has already been consummated within the flea's little body. Cal japetll Gee |g] Banal VA 2 cele Mghany Ayal jay AGM Sle Bayeall Bot Cssadall pay « lS Ge You eal jot peas esl gall eV slly veISY! Ce ddl! Tal hae Easels gall 2 _ pial Eué | ll ng als daly p55 pealy vested cl Gia Form This poem alternates metrically Lass Sled between lines in tetrameter ahead! 4 cl, and lines in jambic pentameter aule> iambic yme scheme asl Ls in each stanza is similarly &lpeasll, The rh regular abiie, in couplets! with the final couplet aubsS p51 go eV Laie olds ih with the final line rhyming slau -sSliuy! AABBCCDDD, The direct address narcative of the poem alters in tempo over the three stanzas. The first stanza is contemplative and whimsical, ,36 | Porrey Pare 4 3° vena] moving slowly in a tytn eas be likened to sexual foreplay, Donne uses words such as ‘sucked! and ‘swell’ giving a strong impression of the sbeaker's sexual desires. The second stanza is ‘ sets , } a, even more delghtifly ludicrous as the lady moves to strike the flea and the seeakeyatimps euteces her} of the heinous nature of this action, The ‘thi Sze ‘slo\ again, the tempo similar to a post~ coital quietlde, paste speaker reflects on the fate of the flea % vi and during which 4g completely reverse ise dratirei eel IMI hil sgl Se ga aes. a Aan iae Sia, gS OSG EL cha iy ¢ isl Sl a il be. ua pide ce Sela th ‘3 ae ja aye — She. \ ARID Marvell The \metaphysical poets were nen of learning, and, to show their learning was their whole ‘endeavor, Unluckily ie" to i fey Bry wick wrote verses, and, very often, such verses as stood the tri trial of the finger better need the trial of the finger better than_of the ear; for the modulation was SO imperfect, that they were only found to be verses by counting the syllables, show it in rhyme, instead.of {writing Poetry,Fron [Pare 8 a” YEAR: dha ete Talal 9 pagers DS OLS 5 4 UG peu Shey cy ils joLinall el path OLS Je Ay pak GLa glib 1 908 Set URS (ye Youd ABU jut 4 La gd! Vy of bball e sully ONN STT gGRS Lae Sat psa) la plata oda ta al GUAT ga oS Gd + bial has By ghee Ab Ay gust ile gabe (gal Ltt i ul Aa jal Leads QS ptt Their_learning_instructs, and their subtlety surprises, but the reader commonly thinks his improvement dearly bought, and, though | he sometimes admires, is seldom pleased. 5 open gt La ace tiny (esha GSI # (Gad pgiiay « CUalt - deed py th pan CAs Age yy SIS LA LGU UE YY GANT yay gd lee] ea tily « igade OS Quad Marvell (1621-1678) remains much a private poet than a public one, His collected poems appeared only in 1681 and it was then that he achieved some fame. He remains a minor poet as compared to his contemporaries. wld cr ygls Let Ue ah S cye Sh Laks Pel (VAVALT VY) date dlp (Aa peakecg Aia Gd VoL ey peal sae in PC VVAY ple eb dai pean. ol Marvell wrote extensively during his lifetime, from topics fanging_from_politics, his _love for_nature, philosophy, nature's Contempt of men, satires and _pastorals. Fahl dus y Lalall Quy py ke 2 (dda DS Qual GU ole Ls Las cagge JN geil cle! Seas Ces Legal ae 5 Aint,38 | Poetny [pare t v? vEAR Marvell constantly uses spistunilinnce of language coupled with his wit and wealth of -iffacination to pees sone of the wittiest works of his age. 5 Ed oe ae HY AE 5 fh SS Le alg sl a \ Marvell develope 2 odet syle in} which (Soy spiritua! subjects were approached | {with reason and . often concluded in oardon, ‘vain! ‘ SiN em gly A La Bieusy “i Yr So Marvell, now condi wi of the ‘Greatest-poets of the 17" century, published very [little of his séathing politieal satire and complex Whe Verse in his lifetime: Se i) veh gg URS 1 Gal SeBel aaloyl jad ell dao) 1d Gh Sal aN eye th : k An Ve of Marvell's poems show the peculiar blend of passion and thought which a distinctive mark of metaphysical 2M ¢ tena at kelWeas poetryis. Ne I RUE SOE jo 335 saath att The most outstanding example of this is " "To his coy Mistress", it is one of the Marvell's best known love poems based upon logically developed line of reasa" YEAR jp geal ad cs) a HM yy ll ASagea Cl)" gh alld (dle 3 pall Jy SG Go Galata bd te Lizall UH ld The poem narrates a strong emotion and at the same time it jas. an intellectual character, It has an argumentative quality and the argument proceeds in a logical manner. ng alte Laas Wh of US gS bebe el al ls a Hille al a Ajilais Tis play QS This syllogistic structural poem thus clearly portrays a successful fusion of deep passion and intellectual thought in the last stanza where the poet gives a solution of what he and his beloved should do. i ily Xigaall dablall Log la pe Ayu! Halsall sacl obs oI! cal sl O« pce I chill yf oll cpt td Sx pe 7 the brevity of its style o extreme that we e. dygnng ys Aba cl also’ remarkable for Marvell's poetry is for condensation is 5 Marvell shows a rare talent have to think very hard in order to understa d the full meaning and all the implications of certain lives: In the poem wpe His cov Mistress” the following bvo lines have a similar concise quality. private place, embrace. 'y q fine and The grave Tihink, do there But nohe,J" YEAR G1 | Porrny [Part 1 "The Definition of love" opens with metaphysical conceits when the poet says that his love was —begotten by despair _upon impossibility". "AME y lll G4 Uys ob yell Ugh Laie A jal, ISU sanedll [as My love is of a birth as rare As ‘tis for object strange and high; It was begotten by Despair + Upon Impossibility Abrupt openings are another distinct feature of metaphysical poetry and some of Marvell's poems have this dramatic quality. —"A Dialogue Between the Soul and Body" starts dramatically by the soul's lament. ble Sid piney hati hs jell) peut Uc yal b jee Le ps Usd clalaiy! THM FUME Ge gS JS Masel cy sll Cay lye Lass Ayal yall Leal og O who shall from this Dungeion raise A soul inslavd so many ways ?" There is a conceit in almost every stanza of the poem. Yet another conceit occurs in the stanza in which the poet compares the loves between him.and his beloved to the parallel lines which can never meet. Ba obs ph Gal peli Ly fi Sell Go hile IS gb Ly pln 5 lad om FU 6 ol Sg YI pia de pad Ay pe Oy Aly all poll 38 Gh gla” Yenp G2 | poerny [Part 1 Only oblique lines meet ipgall_ geometrical angles, and in the same way only the potion of guilty or adulterous lovers can be satisfied. This love { i “Conjunction of the iin and opposition of the stars " whid is really remarkable and BPA iticent. 1) Say Aigo dhs, Hamed isd eon ii asia Lal) ob gas 2S Lal gs Gaal tha | Well Get} jell A bB eltyl | lin by wy dat laa y Lill As lines, sol wl ate saly ial Themselves fev es i But ours so uff pale — Though infinite, " eg In the debate aan te cco ig the body, ‘te body | certainly i succeeds ji I building up a ‘strong ‘case for itself, but the soul ‘asserts its superiority with great S “We can also see dramatic form | in this poem which is very much metaphysical. | ead 48 has oly i acts Pall cay cell el oy dial wh tl? Say BS cs ol Gay ws, ah ih ay 5 : cy ee As well as being a se ieMaMUMEL TB HIE BEF Mistress’ sale carpe diem poem, which argues that We should 'seize the day" because life Is short. Marvell, addressing his sweetheart, says that the woman's reluctance to have Sex with him would be fine, if life[part 4 ORTRY ae (i a” YEAR wasn't so short. But such a plan is a fantasy, because in reality, time is short. Marvell says that, in light of what he's just said, the only sensible thing to do is to enjoy themselves and go to bed together — while they still can, Mina yl 3¢53I" Sawa sre) cot 6 ADI e) Uke Guile Sued YS oI GLeYL gh Ugg « Cas Wales eb gla i jee Ball GY "a gall WEI" Like Gigs ail oc 8 Lilly Sa 8b Ip Bye Bland GSS ol (3) Legge Wal cy Sse dae cual da las Gye al ya nla gel AB «sl ANS Leo pa ob AST Le syed Cll INN 4 GY SLs Sill Se jp Y Las = Us (all (I) Ally gaily PILL ya Aled Cp gill age gt Gl ginal il pull Sel "To His coy Mistress" is full of wonderful metaphysical conceits. When the poet compares his love's growth with the growth of vegetables we become amused. This strange comparison evokes_ our attention and wonder at the same time. ade agi Aas M iba jllinall pels] atl; Tle "A gasll ASayee col} Sapadl” ve 95 Wt Galatta Ay Ube ced yap gall Apa jell dy Laie “ eat |- The picture of Time's a four wheeled carriage chariot hurrying and coming closer and closer to overtake the lovers vividly brings before another remarkable metaphysical conceit, The picture of the Women lying in her grave and the worms attacking her long Preserved virginity and her honour turning to -dust are also Wonderful conceits showing the poet's wit.4&4 | portray [pare 4 3°? yenpl SSMS RAEI SU SiG sity Lg edtee gil yshia LS Yall Ippo ene sh cetaly JS cL SA Jal ga lf cll a srs Ms Bo ei te asled olaally oa yd i \ elt cles seb iat, Fan ae: oS | sa SS “Momento a ie is a reminder of death. cid »ss "we" How des J ms fanoun help ® ae United in their ite - ‘ ii a) r “coyness" shes ous) unwillingness , fashionable for tet) women to behave i his it the time, battle against ume agit 5 HEI ses an 1s UAL An attempt to escape the; ive } of time to an a We wherethey may pass each’ Hig ha eve jay together, os eS Giese ene tall ne elo et ts Ge Gy all Ug Lyric S Octosyllabic lines ie syllables per line) Recta Min song" rhyt thyme cbt a "comic" fe —_.. strongly with the underlying themeoF life o., Lleol Gls pte SE bjsy WG (hii das Ways) ide suas yes Mel lel pal at astm Asap is1 |vorrny [Parez A Valediction; idding Mourning (Physical love NX agai cally len dying quietly, isagree about YN obs pa slual {3 Le ipa satis Natural earthly disturbances, such as earthquakes, hurt and “scare human beings. Ordinary people notice these events happening and wonder what they mean. However, the movements of the heavens, while being larger and more significant, go unnoticed by most people.2. | poetry [part 2 a” YEAR pl Seay BG gg ghd «DIV Se A ell ee YL LgasS aby « clad CAS ps old coll aay ini Poke cy ghelacing Calan! ode Giga gy gla) yf op i Apaal ASL y_ si Boring, commonpiae 10%, love that, because it separation. Being ‘that their love speaker n they will expand to cove een them, as fine metal expands when it is hammered. Gl peal | cB + gals ol cing Canal I Gp le cane naa CLT A (AG pla Se (giill jana a0 LS parigy Tikal celail peal y sf ih Gh ges Lally frei ’3. | Poetry [Part 3" yEaR| Tf their souls are in fact j in ivicual, sey are nevertheless linked movement, Ng hs 5 ol ie yh } we 3] als 13) i GA) Jill 3 se N cf Leis Lead Paper, When - eeming alert and excited, tea ecttl J ju@ | Poerny |pure 2 3" yena| ibs Stella oh cagg che ge each Serica, ou, sad lay Case analy gilt LI a yila ALY | fala CU Lead yo) gst, BN 5 ya Sa pe Casi two lovers have to “part, and explain: tua unification I makes this parting unimportant. The¢Speaker argues that Lai te dass Stanza Seven Ipltto. ¢ sMitral conceit, the comparison bet, c e of a drawing one that includes both re vuadall Seach Aang pal 8 ya Covad ape « GNA yl ga! Bla LagBdle 4.2%) Cosa yal y all Lasky ¢ ag Lal (LSI Gye ebm gh Adkens gill Gall llporrny |Part 2 - a" YEAR Roman ti Poetry 's_promotion ‘of experience of slag 6c Jolll sill pee Samuel Taylor cy Bysshe Shelley (1792- -1822) hn Keats (1795-1821)6 | Porrny |part 2 | a Yen (dreamy - remote - idealized versions of love- escapism - a period of wars, revolutiong (Satis SL silly American Revoluit fst od oe Lill la Sayles Romanticism was an artistic and philosophical revolt against the Enlightenment and Neoclassicism (emotional restraint - order .- balance - dignity - decorum). 4POETRY | Pal 7! [Pare 2 3° YEAR = agilalell call Jon) danas ASO, y gill ad It Atle 5 sl Cals SLM — Bs gy 5h Ua The impulse thus 46 thinking and living, in 1832, OVW AA ple iA he pb gtils Cpl S yh js LVAYY Romantic poetry gets written during a period of wars and of revolutions. The half century from about 1780 to about 1830, is the &xtent and depth of those changes.§ | porray [pare 2 % mm cA YAS ll gs Get Call ea cal silly cag pall 85 ODA pathy Mh jasc og, ot yuilll AG ee y cae YS VAY, ola Romantic literature fOn@tely)Re, come to terms with the Eeries of wrenching 92! al slayg [rorrry [Pare 2 Lyrical Ballads Lyrical Ballads, with immediate effect ins a landmark, yserag ys jays Leg ll AS jal Zylay : Fskigaavatcl gi _ Stimulated by Coleridge and under the healing influences of tire and his sister, Wordsworth began in 1797-98 to compose short lyrical and dramatic poems for which he is best10 | poetry |Part 2 on remembered by many readers. Some of these were affectionate tributes to Dorothy, som es to daffodils, birds, ang other elements of "Naf oly pls indysome were portraits of nature. gic dials Sylye lpia AS, fe i Sostally goal cae, later, their objecT™ Wasa \ and situations from common life and to relate or describe them...in a selection of language really used by men,...tracing in them.. .the primary laws ‘of our nature." Most of the poems were dramatic in form, designed toqf [POETRY [pare 2 ia a”? YEAR reveal the character of th n_of Romanticism. ‘he first and second gener English romanticism began with the publication Ay uilogyl olay yAyalsyl of Lyrical Ballads. The lyrical ballads deal with the CO intyside and its simple people +Uaull alaly iJ! Jsis, This poem12 | Portry.| Part 2 ye was considered the manifestoc..,!loLJI of English Romanticism self-thought poeby (1789), this sed a second Part, called "Sonik; with the evil and injustice in the with social prob ions recollected His3” YEAR) = Samuel Taylor Coleridge born in 1772, he lived in Lake a oe. ¥ f | district and he wrote so these collections were Bly pall, casei. His— rr 44| rotrny |Part 2 ta He wrote some important lyrics’ and odes asic siLa3, These poems link nature and mg zeedom and happiness L,,,, 9 wrote some longe; in fact he died IS a necessary ttant ballads like "Le belle Dam where he showed15 | POETRY [Pore 2 Romantic Poetry{ wk 95858 "Oe ayyict Ls lad cil ‘ weed y galls Ely! 4 Sat LS Sura William_Wordswo: "spontaneous : “i overflow of powerful feel er that had to be:nur Creativity, passion a ion that captured human experiences, the world and beyond. EAL LSI, Ay gielly peutl pectic pA cgaatley ll pall 3 jreall Gatliodll Goes spel gg Log lla Ms ula let gle Cah gail i EY) 5,5 Habtally16 | Portey [part 2 mon man, drawing Rahticizing life in all its beauty. f ely Qual) Gaal ghhall lino, limitations. Aya od sl lel ol express one's subjective & dividuality, lay emphasis on one's feelings and emotions -and to enjoy the freedom of exploring the sense perceptions, as well as, spiritual elements. ’17 | Poetry | Pare 2 O° YEAR aeall ce al Gee Ny peck ysl «ol yest Agia Ay pally Ula Acie I Sal) cla Ay pa elalll y dibal ge. 0 sill fll gf ASI 9 sill Caled ye pusetll ¢ Aaasll ON guctll GLESiul ~ they believed the unknown or supernatural, conwevi (poetical vision, taking judicious recourse of nature and being conscious Rdg NW ye 2 Cpa’ | sls t) col) Ala e sal ‘period from ipted texts, as well ture. MOSH "es ll Imagination which was considered the active and vital source of Creation, was divided into the ‘primary imagination’ and the ‘Secondary imagination’. 2" AY QUAI A) ELLDY psa Aaetil jane PH AS gi JU aa : : Mg sl Dual" Se aii18 | rortny |part 2 oi, While the primary imagination, "automatically balances dtd fuses the innate capaciti wers of the mind with the hat the mind Tecelyes ai jain tion or the ‘free wil, "a all aL ype tes % ie A. eee d On the other hand, ‘ane. was: i a a source of creation much Sssociated ‘With the emery, accumulating all that j Se ee ON was seen or experiai a all «3 SIMM jasS sy Ubi / Cm |} eal int ge poetry from that of his contemporaries. Ai Ba Alay peal ol) Aas 65H SSNs ality gg al phe gids Sat wy ene Mary Shelley, author of Frankenstein (1818) and the literary genre of Gothic fiction. Taal Yl Elly (ANA) OARS ye She ue ote Ck zaudsS pall19 | POETRY [Part 2 So Tak ht to his creative imagination ive genius, which also Las) cgal Le WE biJs psall oy 0 AzclyYl (MAS seed Kathy snchgnn hail ~ dng Jamaal yey yl padi)20 | rortny |Part 2 Symbolism and myth are highly appreciated in romantic poetry because the symbolic la is used in poetry proposes many things. ' e eset Hasteall Ly ja tl Lalll AP all all oS Goat slaty jal glia | : EN Nos tl cot aly € Lyricism is ope! aes, thall charactetize the Romantic win OS poetry. It is th Sy a } not found in any ot! e jod. Slt ea a a peg tat ee ah GAIA! Bo adl a; Oe pase to the neodlssi poetry. Two Nodes. ooty | is ue with intellect and reaso hile romahtie poetry is a mixture of emotions, sentiments; and imagin i 3 igns. © iS egal bail, si = Ppa dated LCDUAAM y ye-Lball » Cab yal The choice of the subject matter is regarded.a one of the features of romantic poetry. The romantic poets chose to talk aboutpf lPorrey [Part 2 Sit exotic, melancholic, and melog atic subjects, Moreover, they focus on nature in all x s, trees, mountains... etc. Ciasl ey gpuile y ll gh voyages over seas", ol yeill Gy te ll i jladlly «215 jLaall adopted even conce Instead, they preferred to grant the indis follow the system that he prefers. Nelly Baby c api Gygpetlay Wel pedi kth clay I pel A MGM Lege dn sill SAV AT Ogtacile allel pel lies pb coe ey Gu jes 1 5S Qual y pellayt22 | porrny |Part 2 "Wh oe Yop Uphecady gall y Maal inal Sad sl AM J a Alay ll pl ELEY Fe il 9 la dy Romantic poetry isgtfie MIxture 6 p miseries and despairs, It is a mixture of h ida! pally yeLtall ¢ Although 1870, yet, its $p pal rs 4alS; Baill « VYAY ale gf ag 5H aly aga a Lhe Gl[23 | POETRY [Pare 2 3 YEAR which is described in, Lad gd Ala gle "Wordsworth, what frees the emotions. Cs ill spss pad "He can foresee the futui ather the unification with natures the thoughts of nature produce a heightened sense of - Mental stimulation in the poet" Seah AGL ¢ Aaglall a a5, sth gel st eile Cle tay Gell hy" : MN gellall gal isSll jubaily [hl fis Wulaal eth24 | porrey | Part 2 The poet presents nature in diver ent ways in i oct Nature and God. ie eg le the Universal Spirit « uidin (Sym bwhohike to be quided by her, ol as ae Leahy atiey 1 ath sips thll ot stash cos t hfs! dO -_ Mr e ‘Wordsworth's poems: ssienated for their simply humanity and adoration of cli potty EI with fre common folk AS . from ordinary life, .W poet, but not the feeling of beng on EC @estanzas, the speaker describes a kind of utopia, where peace and joy abound. In the fourth stanza, ‘however, he reveals that his time in this perfect7s | Poetry |Part 2 Tapa place was short lived, andesth reality is different from his experience wandering ad $a) ee Ge oll th gl cg! chill 3 ls f siues Ge Cillsy ail J Say pert “a fc -"Eoull Bis Mas y Jal he tg tall yeas 2 Namal gf mals shy! VsIS pgs) Alf aie. Tye gl) 5 gual aM y Zale Mea oxy gill Acalal Asall lt o pina! Beostd yl Th the second stanza, ‘the. speaker shifts his focus from: the etfodits and compares them with the "continuous stars that shine Sec ve ere nat ieee ee26 | PortRy [Part 2 yea) and twinkle on the milky way". At this point, the reader begins to sense that he is not on ea majesty and beauty, and rhythm help it is an integral pa Figurative lang - are described as tossing ae a heads" This gives the readers the feeling that this peaceful, Utopian place, is also lively. and spirited. Abel giall p gaill” 4 ae 5 SaaS its | glad 4 ce Wa pe ans ol ll geal il re A et Sol « b4yeaill elatl lee S — the effect the dazzling daffod peaker. When he says, "What wealth the show to me had brought", it shows that the mere sight of the golden daffodils somehow enriched his life and brought a ‘2. = AFi leoerer [Pare 2 wealth to him. The use of the ward "wealth" gives the reader the idea that some things g joney such as peace, joy, and life, coal bol chal y EMU gdb paces alt cl ya gle a as" oe sel soil Y" dg eae Vel ape Apne il ell 1S oH + a thes ES 5 Shy _ My Heart Leaps Up Wordsworth's love for nature is well-known, and his ability to resent simple things in such a beautiful way made his poems2 | porrny [part 2 hea] enjoyable read, My Heart Leaps Up is one such poem that shows his love for the things i s Up’, is about the closely, the poet is oa aye ry symbolized by the Sos e always - and he thinks it shoul be er t Syetvone. sm ; part of the Romantic Mower ears Lay time erated nature, discussing it as ie ad beauty beyond hi lime," or Sol néthing of great This resi pect and reverence 1 = aati i oa a: cH Wel 5 Al a of VAS ee ‘I Je. fa dls all Veja BY 95355 DS grea alls 555 pis (3S: eS byt pa) AS all oe niilly pla) Ga gles sey Degg se Mab aps 2 aged Gaye 088 6d pela Aaya The poem starts with the praise of the sight of a rainbow. Wordsworth says that his heart-leaps up (which means that it ispplroerey [Pare 2 filed with joy and excitement) when he sees a rainbow. He felt the same when he saw thi when he has grown his heart when he s¢ he was a child and even jar joy takes hold of Be cou tll bag b Leste (6 BYLy cil ith nature, He Wa ‘Ses the words "piety" in a religious sense. So his love for nature is "just any love, but the love one has for the creator, a religious WW, He praises and loves nature as it deserves to be. Nature is39 | rocray [Part 2 ma where we have come from and where we'll go into. So the love for nature is the highest lov Os OLS gy shall i IS patting ELS Lgassy Raub «GRU e yl Cos gag peta All yi Lisl cl rom the poem is perhaps the mos . f a child, you'll be th te a man too. What is bie person's life? Hé is t pga anid affect the child's ty man as molded by Firstly, the title of poem directly and obviously expresses the theme of loneliness. Then, the poet used different words to repeat the reaper's loneliness and emphasized the isolation, such asif |porrny | Part 2 3” YEAR, "single", "solitary", "alone", "Sou one is willing to spend reaper loves workit BeIF and the life of tranquility. Thus, and yearn for th; Ah g i ir oul can only be lifted and purifie ind"oreres @5, therebare also some words like "by @ (and "silence", which indirectly gy Sha S 5 om and tranquility. Moreover, these re : i yrords set off a mood of loneliness. e atmosphere of lonely background Saseall S305) (ye Asal jo Aja Ge eee Ue US The first stanza uses many imperative sentences. For example, the beginning sentence "Behold her, single in the field!" Stengthens the visual impact, and put the heroine of the poem intoca 32 | porray [Pert 2 3 Yen a profound highland field, And "O listen!" attracts readers’ attention of hearing. Then "stop afraid of bothering harmonious moment Vy sla” IY! Adeall a) odes Metal ya i ass Firstly, this feen bw the poet's a recollection in tranquility, wine Cs yet he used thé cee whict fie one i that he was ea ail went om call Ebel dadll ye dil cole Bye .o yam Akal Gh Ll La 63 a) Lt ya Las aah feo ysSVI alata 4 hal EASE 5 Speed He ge ott) Gamal! PLS ygk8 & saall chad! old « ld tise Cpe cans in pH Lao plas city nan il Sal Ll 3 gue Gi SA”Part 2 rpireeny | a es to foil the reaper's singing and ey span from the bird in the Hebrides also contain deep Images betray the activity with the natural ™"WQiia melancholy and pleasant sound of the os ae ea dk Saja all jabs tasslall Cryo cal gd teats las de Ful) Bi > Bl ie) Ay Ans . wa " - hell cy wa ths past is Gh geal A cde Guill « hilly castle tal Cape 7 Mhas inal gi Y 6a~ [3g | porrny [part 2 gbLts plauil le aSlil gg pl Th gk a pay Sstall ect Ray aga 4a Bape gl Sancta Gadelly i Jal Capel GABSs SIE pull CMe gas alll wage ta Moe _ children, or maldens away from ctv a “elementary reenact utter soil ft town i and could be better strengthened’ in shelly ad ition with ni ire, Aasshall s Axsalall ol) Sun laren By denbll - ABS: sya Alel ols gSLYL gf desea the ‘whole oer i lonel music is the soul of ene an and, the soul of the poem. ¢ lonely and sad voice echoes and echoes the bottomless vale. In the second stanza, the nightingale sings out sweeter tune to a lonely visitor in the Arabian Desert; the cuckoo bird sings such a melodic sound in ‘spring timeaay [Part 2 3" YEAR stv" to break the calmness of the-g Yet the girl's singing runs like water and surpasses ganza, the poet s knowing her lang last stanza desc! and still. Thoug! heart. ~ Cus Seale Ic 42 trlghtenment to $6 is, helps one to ‘id an outlet of negative mood and purifies and lifts one's soul. Nratever the song is about, he stands captivated and carries the ‘WSic with him till long after it is heard no more. 4M aad Aaball SsLallS puedo HEN GI Sete felje eLtlh aagall ei “ell hall pba ale ele eel solids Aas LGM dais Las coll sills “. : me36 | pocrny [Pact 2 ; eal Get de ip pall angy [yous eLall cay 421 cals Ue Uf es ty col Git, dyclen cig (th sh gia Loneliness and mel: relation. Melancholy js : h lon liness. Wordsworth's ie ncholy. f heart, but it is to consolate people’ ings. being al ne can let people ponder a. if cs ' snd iter a state of meditation. In 4 prey peingZatohe is also the = way to shake off depregsion ( oO} bangle & Rial Nh igh gs Uist heen votes} Ie, bas dl a5 aoa 4 Piles a yeu AS Hi hth oy wll Ly a eo? aes vl — “ay! Wordsworth is the pioneer of romantic poetry. opie; al Ty ely aot ates) asia Wa (MATEUS) cals) plage UGE A Bly Soa Poetry readers. It was rough a Moreover, it_was 2 poetry for poetry sake but poetry for moral purposes. ; : - > OS ely Cds ghite aly apne ial) etl oS Rahal AY nD IS oth hon ie Ber- Part2 Gyleeerey [Pe at YEAR Neo-Classical poets conveyed messages and reformed the poetry did not touch the senses but give messages t f Ik poetry on the other its purpose. wspll DS Ge N elyetll GS Bday ll alll GRY) pwildel oe a Fulpl pt ove for nature. ; in fact, it is a a jucltall Sly Hal palsy acpat: ogi lbus Net Wa alent Although he cannot surpass John _Keats_yet_he has qood Négination, love for nature, Sense delightful color and technique c ic poetry. ‘Supernaturalism to write romantl3§ | porrny |part 2 3” Year| Rasp any Css Dad adel a} ¢ US ye Sula gut YA Ge pl le poems are not exes makes use of is eon in te work; C it is the kind of poetic i agin: tigi: Ihe values * Eee imagination or fancy asi AIC ie Z ” 4 paStuly « ggslall GUND es coudss i {ods des dL Yall g SEE yet Le Fo p.2 Wily ing The primary _imaginati ous creation of new ideas, emotions .ahd they are expressed perfectly in the form of poetical imagination. The secondary imagination is moderated by the coriscious and deliberate act of imagination by the poet.porray [Part 2 at YEAR, sal (Si As USE Tle junlll ob Bate Gal ey ISA Atul pla yo AVI JL Js ge seddly gol! LS) adage pl) NS Louce ais Leis oc put LS welll fidustrial Revolution, and that may be highly valued. 8d inal yo Ih constructed ing So fast, the gination, it was ad their value, “ginative abilities, Wernatural was clearly meant to contribute to i imaginative outa, Sn gal yal 5 ABAD EA al A CS nd LF IS “al fala lc peg tS ell G840 | Poetry [part 2 PH The term "sublime" is a literary concept which was widely discussed and used in erelc McKusick di OS something that, is "beyond any limited nooner of a es fe Is known for creating a pecu pels pgotere in his nich pe achieves by incorporating sii mit stole ey some poetic devices, such as personification, nel CMe Here, and a ae A Ss 2 2gils eed oleridge believed that axstrong, active imagination jcould Ne a vehicle for Beer ond ‘Unpleasant “circumstances ingf | POETRY | Part 2 Summary "Kubla Khan," ons four-line lyric in thé conquered and southeastern Mol constructed Dass Slsin a5 € ‘a! YEAR [i Kubla Khan lish poems, is a fifty- opening paragraph, dome" be built in striven to find e, theré is no residence in his palace its journey to uu agin gd Gate Ste , cess cu te ceeded ase : ofl clans olat bees shpat ost Oa lees ale ABS do Blan yah bls Ylalayas giorry [Part 2 Xanadu is described more romantically in the second stan becomes "A savage place followers, but by imagés ation. His Xanady is a magical place pected, as when a "mighty fountain" h into the air, folloy progressed from magical actions of ¥ reaches "caverns lifeless ocean." is younger brother, Arigboge, which led eventually to a military victory for Kubla. Coleridge then shifts the focus back to the pleasure-dome, with its shadow floating on the waves of the river.fu roetny [Pare STRVEAR ih aah peal / ee Ce USS Geae Lesic juny 5 ial) Gall Ube gets digg sll eal g state ad sisi daca lee coll 8 LH} Nha cy 9S oS Maly Db eo + US ES Gl ily 9b DusSl yg Sue lei! welll clgal de by The final parag ‘prese ist person narrator who dome, and all t of "his flashing eyes, his floati {| c eir eyes "with holy dread,/ For n n unk the milk of Paradise." baa Q-taken an "anodyne," ; he fell asleep immediately upon reading in a 17" century travel book by Samuel Purchas: "Here the Khan Kubla comimanded a Palace to be built, and a stately garden thereunto." He claims that ’ ee : Fha | poetry | Part 2 3°” yeaR| he composed two-hundred to three- e remembered the entire while sleeping for three hours hundred lines. When Colg poem and set about Md recall only “some: and a visitor for this curiouS"aRa He-poamr rather than bravely taking responsibility for it himself. “oan Goa LeeLee 3 pe Ugil de Upinay pi gill "OS US" Bead GSS ight Lg8 ple cell asl cals bed ape lll of Lads 9 UV e jell egill ppalls plas WL ga Leiny celigal US sep pli AG Ga ed jell yo AM gh23” YeaR appl te tans Me ase 9 aay Gs Un Aaa al opal AULA aio Yai abs ally qailly CHS ole pully ol ped hy i Hie cL cis W Sazueall dg! i Ny ¢ Cal pasa y bla Khan creates an entire world, a fountains and ri predicted, for the astl « Suls fale ¥ Pal say ust y sale ewe oghLyeyl oY « What us Piieae. : i AA ols 5448 EL ssl JUG gle Lat 5a elgsel 5 eas os Shey Geel, cull 44 pally tet essill Oo HAs a Xi CLI ca nls46 | poetry |Part 2 Themes and Meanings Much of the commer c a Rhan" has focused on the on its dreamlike For other critics tla Khan" is clearly an allegory about the creation of art AS the artist decided to create his work of art, so does Kubla Khan decide to have his pleasure-dome constructed, Feet Ge «ill Gee 2c) Ladle Use 2335 "yl 4S! Js Gol Gletosyh AgsS" gh el si ODEN HL a ala call of ae