🟫 Major 5 assignment
🔹 Parmar Khushi j.
🔹SY BA English
🔹 Maharani shree nandkumar arts and commerce college.
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Class assignment
🟫 Literature is an interpretation of life
Literature is an interpretation of life as it shapes itself in the mind of the writer,
and when we describe something as poetical, we mean it is emotional and
imaginative. This can apply to anything—a person, a book, a picture, or an idea.
Poetical interpretation means treating life's facts, experiences, and problems
with a focus on emotions and imagination, transforming realities and giving
form to abstract ideas. This explains why many definitions of poetry emphasize
emotional and imaginative aspects. However, while imagination and feeling are
essential to poetry, they alone do not make something poetry. These qualities
can exist in poetic prose, which remains prose despite its poetic attributes.
Poetry specifically combines these qualities with a certain form of expression,
namely rhythmic language or meter. Without rhythm, we might have the spiritstill left with our personal impressions of mystery and beauty. These
impressions remain with us and are often intensified by scientific explanations.
Poetry, in contrast, engages with these emotional and spiritual responses to the
world. It captures and interprets the beauty and mystery of things as they affect
us emotionally. For instance, while a gardener might call a flower a "lily" and a
botanist might describe its scientific classification, poetry might speak of the
flower as "the lady of the garden" or "the plant and flower of light," revealing its
deeper emotional and imaginative significance. Poetry, thus, complements
science by exploring the emotional and aesthetic dimensions that science does
not cover.
Poetry and science offer different perspectives on the world, emphasising their
distinct roles and contributions.
Science deals with the world objectively, focusing on facts, classification, and
explanations. For example, scientists can provide detailed information about a
flower's structure and classification, offering a rational and systematic
understanding.
However, this scientific approach, while valuable, does not fully capture the
emotional and aesthetic experience of the flower. Science might explain what a
flower is and how it functions, but it doesn’t convey the beauty and emotional
impact we experience when we see it.
Poetry, on the other hand, engages with the world through imagination and
feelings. It captures the essence of how we perceive and respond to things
emotionally. For instance, while a botanist might describe a flower in technical
terms, a poet might express its beauty in a way that resonates with our emotions
and senses.
Matthew Arnold points out that poetry's power lies in its ability to awaken a
deep, intimate sense of things, beyond what scientific explanations can
provide. For example, Shakespeare’s descriptions of daffodils or Wordsworth’s
portrayal of nature evoke a rich emotional experience that science cannot fully
achieve.
While science helps us understand the factual and physical aspects of the
world, poetry gives us a deeper, emotional connection to it. Both have theirown important roles, but they approach the world in fundamentally different
ways.
It is a common misconception to assume that a poet's focus on the beauty and
emotional resonance of their subject means they are free from the obligation to
adhere to objective reality. In truth, poetic greatness relies on a clear and
accurate vision of the world. While a poet like Oliver Wendell Holmes might
infuse a crocus with imaginative charm by calling it "spenthrift" with a "cup of
gold," this description is flawed for those who know the crocus well, as it is
neither spendthrift nor golden. Similarly, Milton’s natural imagery in
"L'Allegro" and "Il Penseroso" has been criticized for inaccuracies, such as
describing the eglantine as twisted or the reed as balmy, reflecting a lack of
precise botanical knowledge. Despite the use of imaginative language, the
accuracy of natural detail is crucial. Imaginative handling should enhance, not
distort, the truth of the natural world. Thus, while poetry often involves
imaginative interpretation, it must still be grounded in a faithful representation
of natural facts.
In contrast to Milton's occasional inaccuracies and conventionalisms, we can
observe the meticulous detail that often defines Tennyson's portrayal of nature.
For instance, Tennyson's lines such as "More black than ashbuds in the front of
March," and "A crowd of hopes, / That sought to ow themselves like winged
seeds," demonstrate a careful and precise observation of natural phenomena.
Similarly, his depiction of a woman's hair "In gloss and hue the chestnut, when
the shell / Divides threefold to show the fruit within," and his observation that
"In the spring a fuller crimson comes upon the robin's breast," reveal a deep
attention to detail and accuracy. These examples highlight how Tennyson's work
often combines imaginative expression with a faithful representation of the
natural world, contrasting with the occasional inaccuracies found in Milton's
descriptions.
The poet's fidelity (accuracy and faithfulness in representing reality) to
objective reality (The world as it exists independently of personal feelings or
perceptions) is crucial, even as he employs imagination to render nature and
human experience. The principle that poetic imagination should transfigure
rather than distort reality is essential. Bacon's notion of poetry as mere
"feigning" must be refined: while imagination can transform our perception ofthe world, it should not misrepresent (To give a false or misleading account of
something) it. This distinction between justified poetic transformation and
misrepresentation is nuanced and complex. For instance, Ruskin's criticism of
the "pathetic fallacy,"(Attributing human emotions or characteristics to nature)
or projecting human emotions onto nature, illustrates this difficulty. While
Ruskin critiques Kingsley’s description of foam as "cruel" and "crawling" and
Keats’s depiction of a wave’s foam as "wayward" and "indolent," arguing that
these descriptions distort (To alter something in a way that misrepresents it)
natural facts, he acknowledges that these portrayals reflect emotional truths
and enhance the poetic expression. This indicates poetic truth,(realities about
human emotions and experiences) which involves subjective interpretations
(Personal and emotional perspectives on reality) of nature, is valid when it
faithfully conveys human emotions without distorting the essence of the natural
world. Therefore, the translation of natural facts into emotional terms is
acceptable as long as the emotions are genuine(Authentic or real, as opposed to
false or insincere) and contextually appropriate (Suitable or fitting for the
situation or context in which it is used), ensuring the vision remains true to both
the object and the poet’s experience.
In conclusion Poetry plays a crucial role in helping us see and appreciate the
world more deeply. It reveals the beauty and meaning in life and nature that we
might otherwise miss. Many people have some poetic insight, but everyday
concerns often limit this ability. True poets, however, have a special talent for
seeing and expressing beauty and meaning in a powerful way. They help us
break out of our routine and notice the wonders around us that we might take for
granted. This is why poets are often seen as guides who help us rediscover the
wonder and beauty in the world.
To systematically study poetry, we first need to understand its main types:
personal (or subjective) poetry and impersonal (or objective) poetry.
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Home assignment
🟫 Classification of poetry
Basically Hudson defines poetry in two major types: 1) Subjective or
personal poetry - personal experience, emotions, feelings and pet
idea in his personal life,rson or aboutHe defines poetry as "Poetry is the spontaneous overflow of powerful feelings;
it takes its origin from emotion recollected in tranquillity." For example -
Daffodils.
2) Objective and Impersonal poetry:
In this kind of Poetry the poet tries to view the experience of the world as third
person or a particular event.
T.S Eliot wrote this kind of Poetry,
Poetry is not the expression of personality, but an escape from personality.
Definition: Personal poetry centres on the poet’s internal experiences, thoughts,
and emotions. It often explores the poet's personal feelings and perspectives.
Types:
🔹1. Lyrics poetry : Originally meant poetry set to music with a lyre or harp, in
modern usage it refers to poetry focusing on personal feelings rather than
storytelling or dramatic situations.
○ Friendly or Celebration Lyrics: These poems celebrate joyous
occasions, festivities, and social gatherings, often with a
light-hearted tone.
○ Love Lyrics: These explore various aspects of love, including
passion, longing, joy, and sorrow.
○ Patriotic Lyrics: Poems that express national pride or reflect on
the poet’s relationship with their country.
○ Religious Lyrics: These poems deal with spiritual themes,
religious experiences, and divine contemplation.
○ Other Personal Themes: Includes any poetry reflecting personal
experiences, emotions, or thoughts, such as personal reflection,
grief, or joy.
Principles for Lyric Poetry:
🔹1 emotions : xamine the type and quality of emotion conveyed. The poem
should express feelings in a way that resonates and feels authentic.
🔹2. Sincerity : The effectiveness of a lyric poem often depends on how
sincerely and convincingly it communicates its emotional content.
🔹3.Language and Imagery : Look for beauty and vividness in the language
and imagery. The choice of words and the use of imagery should enhance
the poem’s emotional impact and be appropriate for its subject.
🔹4. Brevity and Condensation: Effective lyrics are often concise and
focused. Overly elaborate language or excessive detail can diminish the
poem's emotional power. The ability to convey deep feelings in a compact
form is a hallmark of strong lyric poetry.
Impersonal (Objective) Poetry
Definition: Impersonal poetry focuses on the external world and broader themes
rather than the poet’s personal feelings. It often involves storytelling or dramatic
elements.
Types:
● Epic Poetry: Long narrative poems that tell stories of heroic deeds and
significant events, often with a focus on historical or legendary subjects.
● Dramatic Poetry: Includes plays and monologues where characters
express their thoughts and feelings in a structured dramatic form.
Comparison:
● Personal Poetry: Centers on the poet’s personal perspective and
emotions, aiming to communicate individual feelings and experiences.
● Impersonal Poetry: Focuses more on external events and universal
themes, presenting a broader view of life and the world.
Importance: Both types of poetry play crucial roles in literature. Personal
poetry allows readers to connect deeply with individual experiences and
emotions, while impersonal poetry offers a broader view of human experience
and the world. Understanding these distinctions helps in analyzing and
appreciating the diverse ways poetry can express and explore human experience.
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Essay
🟫 Elements of Poetry
Alliteration is a repetition of the same consonant sounds in a sequence of words, usually at the
beginning of a word or stressed syllable: “descending dew drops;” “luscious lemons.”
Alliteration is based on the sounds of letters, rather than the spelling of words; for example,
“keen” and “car” alliterate, but “car” and “cite” do not.
Assonance is the repetition of similar internal vowel sounds in a sentence or a line of poetry, as
in “I rose and told him of my woe.”
Figurative language is a form of language use in which the writers and speakers mean
something other than the literal meaning. of their words. Two figures of speech that.
particularly important for poetry are simile and metaphor. A simile involves a comparison
between unlike things using like or as. For instance, “My love is like a red, red rose.” A
metaphor is a comparison between essentially unlike things without a word such as like or as.
For example, “My love is a red, red rose.” Synecdoche is a type of metaphor in which part of
something is used to signify the whole, as when a gossip is called a “wagging tongue.”
Metonymy is a type of metaphor in which something closely associated with a subject is
substituted for it, such as saying the “silver screen” to mean motion pictures.
Imagery is the concrete representation of a sense impression, feeling, or idea that triggers our
imaginative ere-enactment of a sensory experience. Images may be visual (something seen),
aural (something heard), tactile (something felt), olfactory (something smelled), or gustatory
(something tasted). Imagery may also refer to a pattern of related details in a poem.
Rhyme is the repetition of identical or similar concluding syllables in different words, most
often at the ends of lines. Rhyme is predominantly a function of sound rather than spelling; thus,
words that end with the same vowel sounds rhyme, for instance, day, prey, bouquet, weigh, and
words with the same consonant ending rhyme, for instance vain, rein, lane. The rhyme scheme
of a poem, describes the pattern of end rhymes. Rhyme schemes are mapped out by noting
patterns of rhyme with small letters: the first rhyme sound is designated a, the second becomes
b, the third c, and so on.
Rhythm is the term used to refer to the recurrence of stressed and unstressed sounds in poetry.
Poets rely heavily on rhythm to express meaning and convey feeling. Caesura is a strong pause
within a line of poetry that contributes to the rhythm of the line. When a line has a pause at its
end, it is called an end-stopped line. Such pauses reflect normal speech patterns and are often
marked by punctuation. A line that ends without a pause and continues into the next line for its
meaning is called a run-on line or enjambment.
Stanza is a grouping of lines, set off by a space, which usually has a set pattern of meter and
rhyme.
Tone conveys the speaker’s implied attitude toward the poem’s subject. Tone is an abstraction
we make from the details of a poem’s language: the use of meter and rhyme (or lack of them);
the inclusion of certain kinds of details and exclusion of other kinds; particular choices of words
and sentence pattern, or imagery and figurative language (diction). Another important element
of tone is the order of words in sentences, phrases, or clauses (syntax).
major 5
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