What is Metaphysical Poet

8/11/2019 What is Metaphysical Poet

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What is metaphysical poetry?

Metaphysical poetry

, a term coined by Samuel Johnson, has its roots in 17th-century England. This typeof poetry is witty, ingenious, and highly philosophical. It topics included loe, life and

e!istence. It used literary elements of similes, metaphors, imagery, parado!es, conceit,and far-fetched iews of reality.

John "onne is regarded as the #leading poet$ of this highly intellectual form of poetry."onne was influenced by the belief that the precision of beauty in the adored %loed

one& behaed as a commemoration of ideal beauty in the eerlasting 'ingdom %heaen&.

(e also used unconentional and collo)uial rhythm and tone, which was highly contraryto the Eli*abethan poetry style.

AGAIN+irst we should pay our attention the word etaphysical.It is made of words meta - beyond and physical - our sorroundings means such

artificial world.

Thus the combine sense in association with poetry is - The /oetry that is haing aparticular sense that is beyond this artificial world. It means (eaenly 0 Spritual 0

Intllectual thought.

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Sunday, February 19, 212

!I"#$A$% "#$MS

!I"#$A$% "#$MS&e'inition o' #le(y4n elegy is a poetic lament for the dead. Its tone is mournful and formal. The form began

in ancient 8reece where it followed rules of content2 the first section e!pressed grief, the

second praised the dead, and the last offered consolation. The form continues to be usedin modern times. 9hitman wrote :;


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bloom0+ifty springs are little room,04bout the woodlands I will go0To see the cherry hung

with snow.:

&e'inition o' *onceit4 conceit is an intricate e!tended metaphor, which compares two e!tremely incongruous

ideas and arries at a surprisingly apt parallel. ost often found in 17th century literature,

one of the most famous conceits is seen in "onnes :The +lea,: in which he argues thatbecause a flea has bitten both the lady and her loer, their blood is already mi!ed and

intimacy has been achieed. (e preents her from 'illing the flea, saying2 :;h stay three

lies in one flea spare09here we almost, yea more than married are.0This flea is you andI, and this0;ur marriage-bed and marriage-temple is.:


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From the )oetics

Aristotle-s Ideas About "ra(edy4ristotle was one of the greatest philosophers of 4ncient 8reece. 4 philosopher loo 's for

ideal form s, and tries toe!plain the nature of reality. The search for ideal forms led4ristotle to e!plore many sub>ects. (is analysis of the ideal form of tragic plays became a

guideline for later playwrights in 9estern ciili*ation. +or centuries, European

playwrights li'e 9illiam Sha'espeare tried to write plays that would match the ideals of4ristotleFs model."rama was not inented by 4ristotle. In fact, he used e!amples from

the wor's of famous 8ree' playwrights such as Sophocles to illustrate his main ideas.

The 8ree's belieed that tragedy was the highest form of drama, and 4ristotleFs ideas

about tragedy we re based on this belief.

Aristotles Definition of Tragedy./A tra(edy is the imitation o' an action that is serious

an d also, a s ha0in( ma(nitude, complete in itsel' inappropriate and pleasurable lan(ua(e...in a dramatic

rather than narrati0e 'orm ith incidents arousin( pity

and 'ear,hereith to accomplish a catharsis o' these

emotions.31. /the imitation o' an action that is serious and also, as ha0in( ma(nitude, complete

in itsel'3

This means that a good tragedy deals with one issue that is ery #serious.$ Gou canFt hae

a tragedy about something

triial li'e brea'ing a fingernail. #agnitude$ here means great importance. The issuehas to be serious and ery,

ery important. ThatFs why a lot of tragedies deal with someoneFs death. #


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tragic hero. The audience should also feel afraid for the he ro as he moes toward a

destructie end.

7. /hereith to accomplish a catharsis o' these emotions.3

4s the play moes along, the eents should build up the emotions of pity and fear. 4

catharsis is a purging, or

cleansing of th e emotions --a release o f tension. In a trage dy, this is often a moment o freelation w hen the tragic

hero #falls flat on his face,$ and the audience can finally #e!plode.$

Aristotles Elements of Tragedy

Aristotle said that tragedy has six main eleme nts:

1. )lot 2. *haracter 5. "hou(ht

6. &iction 7. Melody . Spectacle.These will be described from least important to most important.

The last four elements %Thought, "iction, elody, and Spectacle& are the least important,

but 4ristotle felt they mustbe done well for the play to succeed.

"hou(htis the power of saying w hateer can be sa id and should be said at eachmoment of the plot. "o the lines

spo'en by the actors ma'e sense 4re they saying what should be s aid at each particular

moment in the play

&ictionis the actual composition of the lines that are recited. Thought deals withwhat is said, and d iction deals w ith

how it is said. There are many ways to say something. 4 good playwright composes linesthat say something

e!tremely well. In a good play, some lines are so well constructed that the audience can

leae the play )uoting thelines e!actly.

Melody and Spectacleare accesso ries. The 8 ree's sometime s used musical accomp animent. 4ris totle said the m usic%melody& h as to blend in with the p lay approp riately. Spectac le refers to the staging of

the play . 4gain, as with

melody, the spectacle should be appropriate to the theme of the play.


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nothin( should be done or said

that could be seen as /actin( out o' cha racter.3

)lot4ristotle felt that the action of the play %its plot& was the most important of the si!

elements.

(e said, #4ll human hap piness or mis ery ta'es the fo rm of action... .


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er does it consciou sly, does it out of ignorance, or mediates it %ma'es it easy for the deed

to happen&. +or the audience to be horrified by the eil deed, the eil has to be done to

someone important to the tragic hero. If the hero 'ills his enemy, the deed wonFt seem sobad. ;n the other hand, if the hero 'ills someone he doesnFt care about, the audience

wonFt care much either. To ma'e it really horrible for the audience, 4ristotle suggested

that the eil deed should be done to a family member./osted by Santanu (alder at 2D /5 comments

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"he #pic4 &e'inition

"he #pic"efinition2-- 4 long narratie poem on a great and serious sub>ect, related in an eleatedstyle, and centered on a heroic or )uasi-diine figure on whose actions depends the fate

of a tribe, a nation, or the human race. The traditional epics were shaped by a literary

artist from historical and legendary materials which had deeloped in the oral traditionsof his nation during a period of e!pansion and warfare %Beowulf, The Odyssey, The Iliad&.

#pic *on0entions, or characteristics

common to both types include41. The hero is a figure of great national or een cosmic importance, usually the ideal

man of his culture. (e often has superhuman or diine traits. (e has an imposing

physical stature and is greater in all ways than the common man.

. The setting is ast in scope. It coers great geographical distances, perhaps een

isiting the underworld, other wortlds, other times.D. The action consists of deeds of alor or superhuman courage %especially in battle&.

. Supernatural forces interest themseles in the action and interene at times. The

interention of the gods is called :machinery.:3. The style of writing is eleated, een ceremonial.

K. 4dditional conentions2 certainly all are not always present&

1. ;pens by stating the theme of the epic.. 9riter ino'es a use, one of the nine daughters of Leus. The poet prays

to the muses to proide him with diine inspiration to tell the story of a

great hero.D. ?arratie opens in media res. This means :in the middle of things,:

usually with the hero at his lowest point. Earlier portions of the storyappear later as flashbac's.. ects, places,

and people place the finite action of the epic within a broader, uniersal

conte!t. ;ftentimes, the poet is also paying homage to the ancestors of

audience members.3. ain characters gie e!tended formal speeches.
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K. Ase of the epic simile. 4 standard simile is a comparison using :li'e: or

:as.: 4n epic or (omeric simile is a more inoled, ornate comparison,

e!tended in great detail.7. (eay use of repetition and stoc' phrases. The poet repeats passages that

consist of seeral lines in arious sections of the epic and uses homeric

epithets, short, recurrent phrases used to describe people, places, orthings. 6oth made the poem easier to memori*e.

4ristotle described si! characteristics2 :fable, action, characters, sentiments, diction, and

meter.: Since then, critics hae used these criteria to describe two 'inds of epics2

Serious #pic

fable and action are grae and

solemn

characterrs are the highest

sentiments and diction presere the

sublime

erse

*omic #pic

fable and action are light and

ridiculous

characters are inferior

sentiments and diction presere the

ludicrous

erse

9hen the first noelists began writing what were later called noels, they thought they

were writing :prose epics.: "aniel "efoe, (enry +ielding, and Samuel Buichardsonattempted the comic form. Get what they wrote were true noels, not epics, and there are

differences.

"he #pic

oral and poetic language

public and remar'able deeds

historical or legendary hero

collectie enterprise

generali*ed setting in time and place

rigid traditional structure according

to preious patterns

*omic #pic

written and referential language

priate, daily e!periencer

humani*ed :ordinary: characters

indiidual enterprise

particulari*ed setting in time and

place

structure determined by actions of

character within a moral pattern

An extended narrative poem,

usually simple in construction, but grand in scope,exalted in style, and heroic in theme, often giving expression to the ideals of a nation or

race.

Sideli(ht4(omer, the author of The Iliadand The Odyssey, is sometimes referred to asthe :+ather of Epic /oetry.: 6ased on the conentions he established, classical epics

began with an argument and an inocation to a guiding spirit, then started the narratie in

medias res. In modern use, the term, :epic,: is generally applied to all lengthy wor's onmatters of great importance. The Bhapsodoi, professional reciters, memori*ed his wor'

and passed it on by word of mouth as part of an oral tradition.


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Monday, February 15, 212

#NG!IS< *I=I! WA$ AN& $#S"+$A"I+N

#n(lish *i0il War4 A 'e ords

The war was an iolent struggle for power between /arliament and the 'ing that at firstseemed to hae been settled in faor of /arliament, but in the end created a constitutional

monarchy.

In 1K when both /arliament and @ing declared they had control of the army. 9hen

some members of the army chose to obey the 'ing while others chose to obey /arliament,the ciil war began. It ended in 1K with the e!ecution of


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*harles I 8127;169

ust about eerything wrong, een when it wasnt his fault. +or

e!ample, his father arranged a marriage with a Spanish princess. 6ecause she was both

Spanish and


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/arliaments demands. The political reforms went down smoothly enough, but when

/arliament turned to religious reform, splits began to show clearly.

;n one side was the 'ing and those who supported him--the Boyalist party, also called

the


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1K at Edgehill. It was an inconclusie battle, but it showed both that /arliament was

not strong enough to defeat the 'ing, and that


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charge. The Boundheads had demonstrated superior discipline.

?aseby mar's the real ictory of /arliament.


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manhood suffrage, poor and serants e!cepted. That is, the right to ote was to be

e!tended to the wor'ing class of England. They demanded also reduction of tithes,

abolition of restraint on trade, and liberty of conscience.

6ut other, smaller groups, went een further. ost notorious were the "iggers, who

adocated the abolition of priate property and an end to goernment. The rumblingsfrom the 4rmy were attac'ing the ery bases of society.


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(e was conicted of treason by a ote of K to 5, for members refused to ote. (e

was beheaded before a large but silent crowd on D5 January 1K. (is stoicism anddignity, at his trial and at his e!ecution, went far to repair public opinion of him.

So did England 'ill its 'ing. It was the first time the public authority e!ecuted a 'ing,either in England or anywhere else in Europe. It mar's how far political thin'ing had

adanced, and it mar's how strong the non-noble classes had grown. It also showed yet

again, as if anyone needed the demonstration, of how powerful a political force religioncould be.

+li0er *romell

The undisputed leader of /arliament was ;lier


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In 1K3 war bro'e out with (olland.


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a strong ruler, and almost immediately the royalists began to wor' for a restoration of the

Stuarts.

English Civil War :The RestorationBichard


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9riters li'e John =oc'e lied and wor'ed in this political enironment, and it shaped

their ideas. Their writings in turn profoundly affected the political thought of the4merican Beolutionaries of the 1775s.

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Saturday, February 11, 212

)eriods +' #n(lish !iterature

Periods Of English Literature-Historians normally divide English literature into periods forconvenience of discussion. Sometimes the numbers, dates or thenames of the periods seem to vary. The folloing list follos the

idespread practice of listing!

35-15KK ;ld English %4nglo-Sa!on& /eriod

15KK-1355 iddle English /eriod

1355-1K55 The Benaissance %Early odern& /eriod

133-1K5D Eli*abethan 4ge

1K5D-1K3 Jacobean 4ge

1K3-1K


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13- /ost odernism/osted by Santanu (alder at 72D / commentsEmail This6logThisShare to TwitterShare to +aceboo'

"he Au(ustan A(e

"he Au(ustan A(e

The eighteenth century in English literature has been called the Augustan Age, theNeoclassical Age, and the Age of Reason. The term 'the Augustan Age' comes fromthe self-conscious imitation of the original Augustan writers, Virgil and Horace, bymany of the writers of the eriod. !ecifically, the Augustan Age was the eriod afterthe Restoration era to the death of Ale"ander #oe $%&() - &*++. The maorwriters of the age were #oe and ohn /ryden in oetry, and onathan !wift andoseh Addison in rose. /ryden forms the lin0 between Restoration and Augustanliterature1 although he wrote ribald comedies in the Restoration 2ein, his 2ersesatires were highly admired by the generation of oets who followed him, and hiswritings on literature were 2ery much in a neoclassical sirit. 3ut more than anyother it is the name of Ale"ander #oe which is associated with the eoch 0nown asthe Augustan Age, desite the fact that other writers such as onathan !wift and/aniel /efoe had a more lasting influence. This is artly a result of the olitics ofnaming inherent in literary history4 many of the early forms of rose narrati2ecommon at this time did not fit into a literary era which defined itself as neoclassic.The literature of this eriod which conformed to #oe's aesthetic rinciles $andcould thus 5ualify as being 'Augustan' is distinguished by its stri2ing for harmonyand recision, its urbanity, and its imitation of classical models such as Homer,

6icero, Virgil, and Horace, for e"amle in the wor0 of the minor oet 7atthew #rior.8n 2erse, the tight heroic coulet was common, and in rose essay and satire werethe redominant forms. Any facile definition of this eriod would be misleading,howe2er1 as imortant as it was, the neoclassicist imulse was only one strain in theliterature of the first half of the eighteenth century. 3ut its reresentati2es were thedefining 2oices in literary circles, and as a result it is often some asect of'neoclassicism' which is used to describe the era.

'Neoclassicism'The wor0s of /ryden, #oe, !wift, Addison and ohn 9ay, as well as many of theircontemoraries, e"hibit 5ualities of order, clarity, and stylistic decorum that wereformulated in the maor critical documents of the age4 /ryden's An Essay ofDramatic Poesy$&:, and #oe's Essay on Criticism$&*&&. These wor0s, forming

the basis for modern English literary criticism, insist that 'nature' is the true modeland standard of writing. This 'nature' of the Augustans, howe2er, was not the wild,siritual nature the romantic oets would later ideali;e, but nature as deri2ed fromclassical theory4 a rational and comrehensible moral order in the uni2erse,demonstrating 9od's ro2idential design. The literary circle around #oe consideredHomer reeminent among ancient oets in his descritions of nature, and concludedin a circuitous feat of logic that the writer who 'imitates' Homer is also describingnature.


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Those rules of old disco2ered, not de2ised,Are nature still, but nature methodi;ed.#articularly influential in the literary scene of the early eighteenth century were thetwo eriodical ublications by oseh Addison and Richard !teele, The Tatler $&*)(-&&, and The Spectator $&*&&-&=. 3oth writers are ran0ed among the minormasters of English rose style and credited with raising the general cultural le2el of

the English middle classes. A tyical reresentati2e of the ost-Restoration mood,!teele was a ;ealous crusader for morality, and his stated urose in The Tatlerwas>to enli2en 7orality with ?it, and to temer ?it with 7orality.> ?ith The Spectator,Addison added a further urose4 to introduce the middle-class ublic to recentde2eloments in hilosohy and literature and thus to educate their tastes. Theessays are discussions of current e2ents, literature, and gossi often written in ahighly ironic and refined style. Addison and !teele heled to oulari;e thehilosohy of ohn @oc0e and romote the literary reutation of ohn 7ilton, amongothers. Although these ublications each only ran two years, the influence thatAddison and !teele had on their contemoraries was enormous, and their essaysoften amounted to a oulari;ation of the ideas circulating among the intellectuals ofthe age. ?ith these wide-sread and influential ublications, the literary circlere2ol2ing around Addison, !teele, !wift and #oe was ractically able to dictate the

acceted taste in literature during the Augustan Age. 8n one of his essays for TheSpectator, for e"amle, Addison critici;ed the metahysical oets for their ambiguityand lac0 of clear ideas, a critical stance which remained influential until the twentiethcentury.The literary criticism of these writers often sought its ustification in classicalrecedents. 8n the same 2ein, many of the imortant genres of this eriod wereadatations of classical forms4 moc0 eic, translation, and imitation. A large art of#oe's wor0 belongs to this last category, which e"emlifies the artificiality ofneoclassicism more thoroughly than does any other literary form of the eriod. 8n hissatires and 2erse eistles #oe ta0es on the role of an English Horace, adoting theRoman oet's informal candor and con2ersational tone, and alying the standardsof the original Augustan Age to his own time, e2en addressing 9eorge 88 satirically as

>Augustus.> #oe also translated the 8liad and the dyssey, and, after concluding thisdemanding tas0, he embar0ed on The Dunciad $&*=:, a biting literary satire.The Dunciadis a moc0 eic, a form of satiric writing in which commonlace subectsare described in the ele2ated, heroic style of classical eic. 3y arody and deliberatemisuse of heroic language and literary con2ention, the satirist emhasi;es thetri2iality of the subect, which is imlicitly being measured against the higheststandards of human otential. Among the best-0nown moc0 eic oems of thiseriod in addition to The Dunciadare ohn /ryden's MacFlecknoe$&:=, and #oe'sThe Rape of the Lock$&*&+. 8n The Rape of the Lock, often considered one of thehighest achie2ements of moc0 eic oetry, the heroic action of eic is maintained,but the scale is sharly reduced. The hero's rearation for combat is transosed toa fashionable boat ride u the Thames, and the ensuing battle is a card game. Thehero steals the titular loc0 of hair while the heroine is ouring coffee.

Although the moc0 eic mode is most commonly found in oetry, its influence wasalso felt in drama, most notably in ohn 9ay's most famous wor0, The e!!ar"s#pera$&*=:. The e!!ar"s #peraludicrously mingles elements of ballad and 8talianoera in a satire on !ir Robert ?alole, England's rime minister at the time. The2ehicle is oera, but the characters are criminals and rostitutes. 9ay's burles5ue ofoera was an unrecedented stage success and centuries later insired the 9ermandramatist 3ertolt 3recht to write one of his best-0nown wor0s, Die Drei!roschenoper$The Threepenny #pera, &(=:.ne of the most well-0nown moc0 eic wor0s in rose from this eriod is onathan


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!wift's The attle of the ooks$&*)+, in which the old battle between the ancientand the modern writers is fought out in a library between The 3ee and The !ider.Although not a moc0 eic, the satiric imulse is also the dri2ing force behindonathan !wift's $ulli%er"s Tra%els$&*=, one of the masterieces of the eriod. Thefour arts describe different ourneys of @emuel 9ulli2er1 to @illiut, where theomous acti2ities of the diminuti2e inhabitants is satiri;ed1 to 3robdingnag, a land

of giants who laugh at 9ulli2er's tales of the greatness of England1 to @auta and@agoda, inhabited by 5uac0 scientists and hilosohers1 and to the land of theHouhynhnms, where horses are ci2ili;ed and men $Bahoos beha2e li0e beasts. As asatirist !wift's techni5ue was to create fictional sea0ers such as 9ulli2er, who uttersentiments that the intelligent reader should recogni;e as comlacent, egotistical,stuid, or mad. !wift is recogni;ed as a master of understated irony, and his namehas become ractically synonymous with the tye of satire in which outrageousstatements are offered in a straight-faced manner.

The Nature and 9ra2eyard #oetsNeoclassicism was not the only literary mo2ement at this time, howe2er. Two schoolsin oetry reected many of the recets of decorum ad2ocated by the neoclassicalwriters and anticiated se2eral of the themes of Romanticism. The so-called nature

oets, for e"amle, treated nature not as an ordered astoral bac0dro, but ratheras a grand and sometimes e2en forbidding entity. They tended to indi2iduali;e thee"erience of nature and shun a methodi;ed aroach. Anne


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and Ro&inson Crusoe$&*&(, owe less to the satirical and refined imulse of theAugustan tradition, and more to a contrary tradition of early rose narrati2e bywomen, articularly Ahra 3ehn, 7ary /elari2iere 7anley and ane 3ar0er. !ince 8an?att's influential study, The Rise of the )o%el $&(D*, literary historians ha2egenerally considered Ro&inson Crusoethe first successful English no2el and /efoe asone of the originators of realistic fiction in the eighteenth century, but he was deely

indebted to his female recursors and robably would ne2er ha2e attemted rosenarrati2e if they had not created an audience for it in the first lace.The English no2el was a roduct of se2eral differing literary traditions, among themthe


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combine reentance for ast misdeeds with a celebration of the indi2idual's ower tosur2i2e in a hostile en2ironment.Although /efoe and his female contemoraries were loo0ed down uon by theintellectual establishment reresented by #oe and !wift, later de2eloments inliterary history ha2e shown that it was they who would define the literature of a newage, and not the so-called Augustans. ?hile the no2el remains the dominant literary

form of the twentieth century, moc0 eic is at best an element used occasionally incomedy. Ro&inson Crusoe and Moll Flandersare still widely read1 The Rape of theLockis mentioned in history boo0s. onathan !wift roduced an enduring classic aswell with $ulli%er"s Tra%els, but desite his brilliance it is the merchant /aniel /efoe,a ournalist who saw writing as >a considerable branch of the English commerce>$Essay upon Literature, &*=, who is considered the father of the English no2el.

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S%!!A:BS :.A.


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the alliteratie reial %See 4ppendi! I&, the 6lac' "eath, =angland, 8ower, =ydgateH


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SE


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II&

"rama for detailed study2

SE


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Thereto of my goods will I gie thee, if thou wilt be 'ind,P%15&

Gea, a thousand pounds shalt thou getP

4nd defer this matter till another day."eath.

Eeryman, it may not be in any way.

I set no store by gold, siler, riches, or such gear,%13&?or by pope, emperor, 'ing, prince, or peer.

+or, if I would receie gifts great,

4ll the world I might get,6ut my custom is clean the contrary way.

I gie thee no respite.


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to death and hell, 6efore I yield to such a slaery.

T46AB=4I?E. 6ase illain, assal, slae to Tamburlaine, Anworthy to embrace or

touch the ground That bears the honour of my royal weightH Stoop, illain, stoopstoopHV1W for so he bids That may command thee piecemeal to be torn, ;r scatterd

li'e the lofty cedar-trees Struc' with the oice of thundering Jupiter.

64J4LET(. Then, as I loo' down to the damned fiends, +iends, loo' on me and thou,dread god of hell, 9ith ebon sceptre stri'e this hateful earth, 4nd ma'e it swallow both

of us at once T46AB=4I?E gets up on him into his chair.U

T46AB=4I?E. ?ow clear the triple region of the air, 4nd let the a>esty of (eaenbehold Their scourge and terror tread on emperors. Smile, stars that reignd at my natiity,

4nd dim the brightness of yourV1W neighbour lampsH "isdain to borrow light of

a*eth,

and remain with me, That will maintain it gainst a world of 'ings.-- /ut him in again.

They put him into the cage.U64J4LET(. Is this a place for mighty 6a>a*eth a*eth be 'eptH 4nd, where I go,be thus in triumph drawnH 4nd thou, his wife, shaltV5W feed him with the scraps y

seritors shall bring thee from my boardH +or he that gies him other food than this, Shall

sit by him, and stare to death himself2 This is my mind, and I will hae it so. ?ot all the

'ings and emperors of the earth, If they would lay their crowne before my feet, Shall


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ransom him, or ta'e him from his cage2 The ages that shall tal' of Tamburlaine, Een

from this day to /latos wondrous year, Shall tal' how I hae handled 6a>a*eth2 These

oors, that drew him from 6ithynia To fair "amascus, where we now remain, Shall leadhim with us wheresoeer we go.-- Techelles, and my loing followers, ?ow may we see

"amascus lofty towers, =i'e to the shadows of /yramides That with their beauties

graceV5W the emphian fields. The golden statureV15W of their featherd bird,V11WThat spreads her wings upon the city-walls, Shall not defend it from our battering shot2

The townsmen mas' in sil' and cloth of gold, 4nd eery house is as a treasuryH The men,

the treasure, and the town areV1W ours.T(EBI"44S. Gour tents of white now pitchd before the gates, 4nd gentle flags of

amity displayd, I doubt not but the goernor will yield, ;ffering "amascus to your

ma>esty.

T46AB=4I?E. So shall he hae his life, and all the rest2 6ut, if he stay until thebloody flag 6e once adancd on my ermilion tent, (e dies, and those that 'ept us out so

longH 4nd, when they see me march in blac' array, 9ith mournful streamers hanging

down their heads, 9ere in that city all the world containd, ?ot one should scape, but

perish by our swords.LE?;


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/ercy 6. Shelley2 ;*ymandias, To a S'ylar'0;de to the 9est 9ind

John @eats 2 ;de to a ?ightingale, To 4utumn, 9hen I hae fears that I may cease to be.

6yron2 9hen 9e Two /arted In Silence and TearsSE


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"etailed


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SEa Bao2 @anthapura

Sunetra 8upta2 emories of Bain@iran "esai 2 The Inheritance of =oss

SE


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Edgar 4llan /oe2 QThe

What is Metaphysical Poet

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