English Romanticism - Liceo Quadri

More documents

Recommendations

Info

Negative capability The poet is endowed with what Keats called “negative capability”: that is the ability to experience "uncertainties, mysteries, doubts, without any irritable reaching after fact and reason”. Negativity refers to the capability the poet has to deny his certainties and personality in order to identify himself with the object which is the source of his inspiration and the place where Truth resides. When the poet can rely on this negative capability, he is able to seek sensation, which is the basis of knowledge since it leads to beauty and truth, and allows him to render it through poetry. This is a new view of the poet's task. <strong>Liceo</strong> Statale “Don G. Fogazzaro” 46
Negative capability Keats states that the form and style of art should capture its intensity. In order to accomplish this the poet must write in such a way that all the senses are simultaneously excited. Art should not touch one sense at a time; rather, the impressions made on one sense excites by affinity those of another. Ultimately, Keats wants to feel a work of art through its impressions on all the senses, and he tries to infuse his own poetry with a balance of intensity. The great mind is one that can enjoy itself in the unknown, the uncertain, without feeling the need to analyze everything into certainty. Keats's style is also marked by close attention to details, and in recording these details, he sees the great potential of sympathy and the imagination. Art is dependent on the ability to identify with others: greatness in art, philosophy, moral action involves losing the sense of our own personal identity in some object dearer to us than ourselves. According to Keats the poet should be 'characterless'. Essentially, poets are masters of sympathy since they can identify with others, take on other personae in their poetry to the point that they have no self. Therefore what Keats advocates is a removal of the intellectual self while writing (or reading) poetry. <strong>Liceo</strong> Statale “Don G. Fogazzaro” 47
Page 1 and 2: Prof. Tiziana Malosto 1
Page 3 and 4: Two generations of Romantic Poets F
Page 5 and 6: The noisy activity of the town was
Page 7 and 8: CHILDHOOD To a Romantic a child wa
Page 9 and 10: Romantic poetry MAIN FEATURES of mo
Page 11 and 12: Lyrical Ballads Wordsworth’s clos
Page 13 and 14: Man and nature Wordsworth shared Ro
Page 15 and 16: The importance of senses and memory
Page 17 and 18: The poet's task and his style The p
Page 19 and 20: The subject of poetry From The Pref
Page 21 and 22: The identity of the poet “[…] T
Page 23 and 24: “[…] In this mood successful co
Page 25 and 26: The Child is father of the Man In t
Page 27 and 28: Continuous as the stars that shine
Page 29 and 30: The Solitary Reaper W. Wordsworth L
Page 31 and 32: Will no one tell me what she sings?
Page 33 and 34: Composed upon Westminster Bridge, W
Page 35 and 36: Ode: Intimations of Immortality fro
Page 37 and 38: Shades of the prison-house begin to
Page 39 and 40: Keats’s masterful poems: The Eve
Page 41 and 42: the ballad La Belle Dame sans Merci
Page 43 and 44: The role of Imagination It was his
Page 45: Physical beauty and spiritual beaut
Page 49 and 50: Thou still unravish’d bride of qu
Page 51 and 52: Ah, happy, happy boughs! That canno
Page 53 and 54: O Attic shape! Fair attitude! with
Page 55 and 56: I see a lily on thy brow With angui
Page 57 and 58: She found me roots of relish sweet,
Page 59 and 60: I saw their starv'd lips in the glo
Page 61 and 62: Keats’s Aesthetic Philosophy The
Page 63 and 64: Theories of Poetry Keats did not a
Page 65 and 66: The Theme of Nature Nature is used
Page 67 and 68: On Poetry Wordsworth rejected much
Page 69: Thank you for your attention Liceo

English Romanticism - Liceo Quadri

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?