十八世纪文学和浪漫诗歌的差异在此处构成。这是通过的约翰·济慈和亚历山大·蒲柏的影响深远的作品。这些作品被称为《锁的强奸》(The Rape of Lock)和《圣艾格尼丝的前夜》(The Eve of st Agnes)。亚历山大·蒲柏为读者呈现了一部充满仇恨的史诗。《锁的强奸》是一部充满活力的文学作品,爱情引发了精神错乱。另一方面,《圣艾格尼丝之夜》讲述了一个关于生命、爱情、死亡和天堂永恒命运的故事。这两位杰出的作家写了两首精彩的诗。蒲柏表现出自恋者的许多特征。他的独立生活表现在他的小说作品中。这不可避免地描绘了他对生活更深的感受。教皇在这里的努力是卓越的。 However, his poem did fail to convince Arabella to résumé her engagement to Lord Petre. Most of Pope’s efforts here were written with time. Now, Keats has romantically serenaded his reader with descriptive lust and desire, which can be compared with popes’ efforts by the difference in eighteenth century literature and romantic poems, their descriptive natures and ideas they portray to the reader through their writing. Pope has written an eighteenth-century poem which he calls, “An Hero-Comical Poem.”

这首诗升华了一种普遍的规则毫无价值的感觉。提到阿基里斯和一直受欢迎的埃涅阿斯,都是波普哥特式风格的象征。在《锁的强奸》(The Rape of Lock)中,蒲柏(几乎)从头到尾都在说G-D。与济慈相反,济慈在他的作品中有着更现实的现实主义意识。在济慈对圣艾格尼丝生活的浪漫假设的开头,一切都是冰冷的。片头的场景给这个寒冷刺骨的场景带来了一种现实主义的感觉。冰冷的猫头鹰,兔子,麻木的手指在神圣的"珠子人"上珠人象征着年龄和精神的意义。这首诗的大部分内容是对济慈内心灵魂或精神的考验。他去了圣艾格尼丝去了解他自己很久以前的生活。 Keats’ romantic style has brought visionary raw emotion to the aching hearts of all his readers. Then, both poems go separate ways in their tales of body and spirit. Taking account of all differences in these two works, has brought out a sense of unknown ecstasy. Pope displays morality with his own twists on fate and man kind’s inability to rationalize right decision making in life. He complicates this with, “Moral superiority” and his visions of old styles blended with his attitude for recognition. Pope has indulged the reader in consistent religious order, and awkward justice for mankind. However, when viewing Keats poem stanza by stanza, much is revealed. Keats’ tale starts as a direct eagerness for future considerations. His image of love and old age creates a stifled knot in the stomach of the reader. Enthusiastic resistance is overcome by Keats smooth flow, and harmonizing beauty in heaven. Angels and death are brought together like osmosis. His ability to start off in a cold bitter atmosphere of regret, and then sway the reader’s emotion to a peaceful loving atmosphere is in itself astonishing. Desire brings Keats to the heightened point of emotional gratification within, “The Eve of St. Agnes.” St. Agnes is such a peaceful age-old memory for Keats. He presents strength when pain is being inflicted. His early images of purgatory, show Keats in a bind of human emotion and regret for past sins.

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然而,教皇在整个过程中,“锁的强奸”。虽然,教皇不太可能在宽容的故事中找到一个快乐的媒介。他确实设法为了他自己的内在实力来放弃他所有的欲望。这种力量被他的灵魂更加强烈地描绘出来。记忆是诗痛的关键。在所有Keats Mediocre问题都来到爱和荣誉。整个第十个斯坦扎是由与爱情的情绪引起的。但是,这必须将一些读者留下损失。凯特斯似乎真的不关心任何人是否理解他。KeeSs只关注的是悔改并与他的身体和灵魂生活中的和谐。 Each of these two poets has signified their lack of realism with a substantial concern for age-old myth, and undeniable love. The portrayal of love in each poem has brought most of the emotional satisfaction from the reader. Hence, having observed these two magnificent artists for their personal adherence to the reader, it is necessary to delve into the emotional collaboration of imagery and its effect on the mind, body, and soul of the two sides involved in each reading. Imagery can sustain many possible contradictions on the writer’s intentions. For instance, Keats hides his characters(Porphro and Madeline) in order to present a more lustful in-depth love. Safety is a key to Keats’ prolific attitude on the secrecy of a woman’s virginity. A wholesome outlook is always in the future, it would seem. However, this outlook is never reached throughout the poem. In comparison with Pope, Keats has distinguished himself in his writing. Pope relies on old myths and obscure legends in order to achieve his outcome of clarity. Each writer has their own hero of the day. In each writer’s mind is the idea that one can be g-d through their own scripture. Each must be excused for not always being able to know what is still real and what is fiction in life. Their expensive minds have brought their own personal truth to light. Can they hear the crying of their love sick pasts? In classic style, Pope has brought dreams to reality.

虽然Keats更现实地参加了他的个人经历。除了女性,爱,G-D,性别,灵魂,思想和身体,KeeS和教皇在许多类似问题上都采取了不同的前景。Keats已经给了读者更强烈的欲望和欲望,然后是教皇。然而,当神话和爱碰撞亚历山大教皇时,他对他的G-D,天使和来世的故事回答了。作为一个经验性自恋的人,我浪漫化了关于浪漫的Keats所描述的。他内心的想法更加清晰,那么教皇的思想都更加清晰。此外,教皇更加态度,并以令他生命中的缺点令人痛苦的方式。在许多教皇的图像中显着表达。例如,“诗歌眼”由第124行使用。该图像可以表示为读者看到生活模仿艺术的更好方法!现在,观看两种工作都带来了不安全和误解质量的唤醒。 However, each has distinguished its own identity by its style. Referring back to the comparison of Pope and Keats styles can be quite an enhancement upon the cerebral context in each poem. Pope has strictly concerned himself with literary merit, and ghostly apparitions of old tales that haunt all writers of the possibility for brilliance. Keats however, has staked his claim as a romantic idealist of love and thought. Mind, body and soul are key factors in both of these works. Heaven is portrayed as a savior to man, and an unforsaken goal for others. Spirituality reigns deep within the hearts of both Keats and Pope. Consequence is not an issue, but the ability to repent through words of wisdom is. This is what keeps Keats and Pope sane(As well as many other writers, including myself). With wisdom comes age, and with desire comes lust. Therefore, romantic poets need to be preserved for their tremendous ability to stretch the common ability to comprehend all of life’s trials and tribulations as seen here in all its glory!

引用这篇文章:威廉·安德森(学校工作助手编辑团队),“18世纪诗歌分析:约翰·济慈和亚历山大·蒲柏,”在学校努力, 2019,//www.chadjarvis.com/18th-century-poetry-analysis-john-keats-alexander-pope/

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