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1、shelleyandkeatsshelleyandkeats Alastor, written 1815, was followed by the epic The Revolt of Islam,andby1818ShelleywaslivinginItaly.HereheproducedThe Cenci;thesatireonWordsworth,Peter Bell the Third 1819; and Prometheus Unbound.Other works of the period are Ode to the West Wind1819; The Cloud and Th
2、e Skylark, both 1820; The Sensitive PlantandThe Witch of Atlas;Epipsychidionand,onthedeathofthepoetKeats,Adonais1821;thelyricdramaHellas1822;andtheproseDefence of Poetry1821. ShelleysWorksDeath In July 1822 Shelley was drowned while sailing near Viareggio, and his ashes were buried in Rome.Definitio
3、ns of OdeDefinitions of Ode na. Odea. OdenAn ode is a poem of celebration.nThe Horatian ode (named for the classical Roman poet Horace) is regular - each stanza has the same form. The Pindaric ode (named for the Greek poet Pindar) is irregular - an inconsistent number of feet in each verse, for inst
4、ance, or variation from stanza to stanza. nb. Ode b. Ode nA poem in praise of something divine or expressing some noble idea. O wild West Wind, thou breath of Autumns being,Thou, from whose unseen presence the leaves deadAre driven, like ghosts from an enchanter fleeing,Yellow, and black, and pale,
5、and hectic red,Pestilence-stricken multitudes: O thou,Who chariotest to their dark wintry bedThe winged seeds, where they lie cold and low,Each like a corpse within its grave, untilThine azure sister of the Spring shall blowHer clarion oer the dreaming earth, and fill(Driving sweet buds like flocks
6、to feed in air)With living hues and odours plain and hill:Wild Spirit, which art moving everywhere;Destroyer and preserver; hear, O hear!OdetotheWestWindMake me thy lyre, even as the forest is:What if my leaves are falling like its own!The tumult of thy mighty harmoniesWill take from both a deep aut
7、umnal tone,Sweet though in sadness. Be thou, Spirit fierce,My spirit! be thou me, impetuous one!Drive my dead thoughts over the universeLike withered leaves, to quicken a new birth;And, by the incantation of this verse,Scatter, as from an unextinguished hearthAshes and sparks, my words among mankind
8、!Be through my lips to unawakened earthThe trumpet of a prophecy! O Wind,If Winter comes, can Spring be far behind? OdetotheWestWindOde to the West Wind is Shelleys most famous short poem. It is an invocation（符符咒咒） for an unseen force to take control and revive life. It was first composed on October
9、 19, 1819, inspired by a walk in woodland near Florence, and it was first published in August, 1920 with Prometheus Unbound. Ode is unique in its structure and its use of the complicated terza rima（三三行行诗诗节节）, which has a rhyme scheme of aba bcb cdc ded ee. Each of the five stanzas of the poem is com
10、posed of fourteen lines; four tercets and a couplet. This gives each stanza a compactness and solidarity unto itself.InterpretationThe personal conflicts explain the imagery of death and decay in the first stanza of the poem. The poem calls for a mythical power to inspire and induce change or a new
11、Birth. It is about the regenerative powers of Nature to bring forth not only new life but also poetic inspiration. The call for inspiration comes in the form like a prayer, not to a Christian God, but to an unseen spiritual force which has the same omnipresence and power as a god. Shelleys original
12、drafts of Ode had marked differences from the way readers see it today. The notebooks show that the original last line to the poem ended not in a question but in an assertion, When Winter comes, Spring lags not far behind! However, Shelley later changed this statement into a rhetorical question, O W
13、ind/ If Winter comes, can Spring be far behind? By ending with a question, Shelley draws in the reader to develop their thoughts on the creative process and of political change. The last line shows Shelleys optimism about Spring and regeneration.InterpretationAt his time, Shelley was known more for
14、his radicalphilosophicalandpoliticalviewsthanforhispoetry. Whilehispoliticalandphilosophicalviewsweredeterminedbeforehewastwenty,itishispoetrythatheismostrememberedfor;hisbeautiful,elegiclyricalpoetryandlinesmakehimascion of the Romantics. During his life, Shelley seemed tohavebeentornbetweenfollowi
15、nghispoeticalpursuitsorhisphilosophical ones; his wife, Mary Shelley, writes that herhusbanddeliberatedatonetimewhetherheshoulddedicatehimself to poetry or metaphysics, and he resolved on theformer.However,Shelleyfoundanequilibriuminwhichhewas able to incorporate both. His poems seldom do notreprese
16、ntsomesortofphilosophicalideology.InterpretationUnit4JohnKeats(1795-1821)JohnKeatsA thing of beauty is a joy for ever: Its loveliness increases; it will neverPass into nothingness. Endymion. Book i. nCritical reception of his poetry:Critical reception of his poetry:- not much read during his lifetim
17、e - harshly judged by critics - belief arose that negative criticism hastened his death (see Norton p. 767 for refutation of this theory) - Keats wrote to his brother George I think I shall be among the English poets after my death - but wrote this for his own epitaph: Here lies one whose name was w
18、rit in water - reputation (like Blakes) established by later Victorians - Tennyson considered him the greatest poet of the 19th C - the Victorian critic Arthur Hallam (editor and close friend of Tennyson) contrasted Keats and Shelley as poets of sensation with Wordsworth as a poet of reflection - li
19、terary criticism at first echoed this judgment, focusing on the philosophical implications of Wordsworths writing, but limiting discussion of Keats to the aesthetic aspects of his poetry - Keats began to be treated as a serious thinker and literary theorist with the publication of his letters in the
20、 twentieth century (see Norton p. 828) Poetic Theory (Letters)Keats did not, like Wordsworth, articulate a formal poetic theory, but he wrote informally to his friends about the ideas that most excited him: the imagination, the relation between thought and sensation, the poets identity. Definitions
21、of OdeDefinitions of Ode na. Odea. OdenAn ode is a poem of celebration.nThe Horatian ode (named for the classical Roman poet Horace) is regular - each stanza has the same form. The Pindaric ode (named for the Greek poet Pindar) is irregular - an inconsistent number of feet in each verse, for instanc
22、e, or variation from stanza to stanza. nb. Ode b. Ode nA poem in praise of something divine or expressing some noble idea. In Ode on a Grecian Urn, English poet John Keats expresses his appreciation of the beauty and agelessness of a work by a Grecian artisan.Ode on a Grecian UrnInrpo.library.utoron
23、to.ca/poem/1129.htmlThoustillunravishdbrideofquietness,n2Thoufoster-childofsilenceandslowtime,n3Sylvanhistorian,whocanstthusexpressn4Aflowerytalemoresweetlythanourrhyme:n5Whatleaf-fringdlegendhauntsaboutthyshapen6Ofdeitiesormortals,orofboth,n7InTempeorthedalesofArcady?n8Whatmenorgodsarethese?Whatmai
24、densloth?n9Whatmadpursuit?Whatstruggletoescape?n10Whatpipesandtimbrels?Whatwildecstasy?n11Heardmelodiesaresweet,butthoseunheardn12Aresweeter;therefore,yesoftpipes,playon;n13Nottothesensualear,but,moreendeard,n14Pipetothespiritdittiesofnotone:n15Fairyouth,beneaththetrees,thoucanstnotleaven16Thysong,n
25、orevercanthosetreesbebare;n17BoldLover,never,nevercanstthoukiss,n18Thoughwinningnearthegoalyet,donotgrieve;n19Shecannotfade,thoughthouhastnotthybliss,n20Foreverwiltthoulove,andshebefair!nIIn21happy,happyboughs!thatcannotshedn22Yourleaves,noreverbidtheSpringadieu;n23And,happymelodist,unwearied,n24For
26、everpipingsongsforevernew;n25Morehappylove!morehappy,happylove!n26Foreverwarmandstilltobeenjoyd,n27Foreverpanting,andforeveryoung;n28Allbreathinghumanpassionfarabove,n29Thatleavesahearthigh-sorrowfulandcloyd,n30Aburningforehead,andaparchingtongue.nIIIn31Whoarethesecomingtothesacrifice?n32Towhatgreen
27、altar,Omysteriouspriest,n33Leadstthouthatheiferlowingattheskies,n34Andallhersilkenflankswithgarlandsdrest?n35Whatlittletownbyriverorseashore,n36Ormountain-builtwithpeacefulcitadel,n37Isemptiedofthisfolk,thispiousmorn?n38And,littletown,thystreetsforevermoren39Willsilentbe;andnotasoultotelln40Whythoua
28、rtdesolate,caneerreturn.nIVn41OAtticshape!Fairattitude!withbreden42Ofmarblemenandmaidensoverwrought,n43Withforestbranchesandthetroddenweed;n44Thou,silentform,dostteaseusoutofthoughtn45Asdotheternity:ColdPastoral!n46Whenoldageshallthisgenerationwaste,n47Thoushaltremain,inmidstofotherwoen48Thanours,af
29、riendtoman,towhomthousayst,n49Beautyistruth,truthbeauty,-thatisalln50Yeknowonearth,andallyeneedtoknow.InterpretationnInthefirststanza,thespeaker,standingbeforeanancientGrecianurnusesapostrophewhenhespeakstotheurnasifitisalive.nThespeakerdescribesthepicturesasiftheyarefrozenintime.Itisthestillunravis
30、hdbrideofquietness,foster-childofsilenceandslowtime.Hespeakstotheurnandnotabouttheurn,hetreatstheurnlikeitislisteningtohimlikeahuman.Healsodescribestheurnasahistorian,whichcantellastory.Hewondersaboutthefiguresonthesideoftheurn,andaskswhatlegendtheyportray,andwheretheyarefrom.Keatsusesanoxymoronunra
31、vishdbridemeaningavirginbride,abridewhohasnotbeentakenthoughsheismarried.nInthesecondstanza,thespeakerlooksatanotherpictureontheurn,thistimeofayoungmanplayingapipe,lyingwithhislovebeneathatree.Thespeakersaysthatthepipersunheardmelodysaresweeterthantoamortalsearormelody,becausetheyareunaffectedbytime
32、.Thoughhecanneverkisshisloverbecauseheisfrozenintime,Heshouldnotgrievebecauseherbeautywillneverfade.nInthethirdstanza,helooksatthetreessurroundingthelovers,andfeelshappythatntheywillnevershedtheirleaves;heishappyforthepiperbecausehissongswillbeforevernew,andhappythattheloveoftheboyandthegirlwilllast
33、forever,unlikemortallove,whichslowlyturnsintobreathinghumanpassion,andeventuallyvanishes,leavingbehindonlyaburningforehead,andaparchingtongue.nInthefourthstanza,thespeakerexaminesanotherpictureontheurn,thisoneofagroupofvillagersleadingaheifertobesacrificed.HewonderswheretheyaregoingTowhatgreenaltar,
34、Omysteriouspriest.,andwheretheyhavecomefrom.Heimaginestheirlittletown,withoutthevillagers,andtellsitthatitsstreetswillforevermorebesilent,forthosewholeftit,frozenontheurn,willneverreturn.nInthelaststanza,thespeakeragainaddressestheurnitself,sayingthatit,likenEternity,dothteaseusoutofthought.Hethinks
35、thatwhenhisgenerationislongdead,theurnwillremain,tellingfuturegenerationsitspuzzlelingstoryorlesson.nThefinaltwolinesinthepoemBeautyistruth,truthbeautythatisallYeknowonearth,andallyeneedtoknowcouldmeanthatKeatsdidntreallyknowtherealtruthandbelievedthatbeautyandtruthwasthetruthtohimalone,anditcouldnt
36、bearguedbecausethereisnodefinatetruth.Thatisastrueasanything.The Keats-Shelley Memorial HouseThe Keats-Shelley Memorial House The Keats-Shelley House is the pink building on the right. The Piazza di Spagna, Rome I think I shall be among the English Poets after my death, John Keats soberly prophesied
37、 in 1818 as he started writing the blank verse epic Hyperion. Today he endures as the archetypal Romantic genius who explored the limits of the imagination and celebrated the pleasures of the senses but suffered a tragic early death. Edmund Wilson counted him as one of the half dozen greatest English writers, and T. S. Eliot has paid tribute to the Shakespearean quality of Keatss greatness. Indeed, his work has survived better than that of any of his contemporaries the devaluation of Romantic poetry that began early in the 20th century. Assessment结束语结束语谢谢大家聆听！谢谢大家聆听！29
