Romantic Poetry

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Romantic Poetry

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Title: Romantic Poetry

1
Romantic Poetry
R.J. Schatz
2
Characteristics of the Age of Reason

Uniformity
Intellect
Objectivity
Control
Education
Nature as the source of laws and order in the
universe

3
Characteristics of Romanticism

Individuality
Emotion
Subjectivity
Spontaneity
Direct experience
Nature (concrete, physical nature as the source
of direct experience as opposed to nature as the
source of laws and order in the universe)

4
Robert Burns
5
To a Mouse (p. 588)

Storyline
The farmer inadvertently plows under a nest that
a mouse has built to survive the winter.
Attitude towards mouse
apologetic, not just for plowing the nest under,
but for humanity domination of the planet.
Lesson
Direct experience teaches that the best plans can
lead to failure because of unforeseen
circumstances.

Individuality
The speaker is reacting one on one to the mouses
specific situation in November of 1785.
Emotion
The speaker sympathizes with the mouse about the
trials it must suffer.
Subjectivity
The poem is written in dialect. The point of view
is that of a farmer.
Spontaneity
It just happened. There was no premeditation.
Nature
On observing the mouse in its situation, the
speaker becomes aware of his own helplessness.

7
To a Louse (p. 590)

Storyline
The speaker sees a louse on a young womans
bonnet at church and observes her reaction to it.
Attitudes towards the louse and Jenny
the louse The speaker is angry that it seems to
be unaware as to where it should be.
Jenny The speaker sees her reaction as humorous
as she mistakes the peoples attention to the
louse as admiration for her.
Lesson
Direct observation reveals that we should learn
to have a more realistic view of ourselves.

Individuality
The speaker is reacting one on one to the louse
and to Jenny.
Emotion
The speaker condemns the impudence of the louse
and the vanity of Jenny.
Subjectivity
The poem is written in dialect. The very specific
events suggest a particular incident.
Spontaneity
It just happened. There was no premeditation .
Nature
Seeing Jennys foolishness in her assuming the
attention is directed at her and her beauty, the
speaker becomes aware that we could be freed of
vanity if we looked at ourselves as others do.

9
William Blake
10
(No Transcript)
11

Introduction
Piping down the valleys wild,Piping songs of
pleasant glee,On a cloud I saw a child,And he
laughing said to me
'Pipe a song about a Lamb!'So I piped with merry
cheer.'Piper, pipe that song again.'So I piped
he wept to hear.

'Drop thy pipe, thy happy pipeSing thy songs of
happy cheer!'So I sung the same again,While he
wept with joy to hear.
'Piper, sit thee down and writeIn a book, that
all may read.'So he vanished from my sightAnd
I plucked a hollow reed,
And I made a rural pen,And I stained the water
clear,And I wrote my happy songsEvery child may
joy to hear.

13
Stages of composition
music music music words words wrote the
poems from a subjective point of view

Piping down the valleys wild
'Pipe a song about a Lamb!'
Sing thy songs of happy cheer!
'Piper, sit thee down and writeIn a book, that
all may read.'
And I made a rural pen,And I stained colored
the water clear,And I wrote my happy songsEvery
child may joy to hear.

14
The Lamb (p.598)
15
The Lamb

Little Lamb, who made thee?
Dost thou know who made thee?
Gave thee life, and bid thee feed,
By the stream and o'er the mead
Gave thee clothing of delight,
Softest clothing, woolly, bright
Gave thee such a tender voice,
Making all the vales rejoice?
Little Lamb, who made thee?
Dost thou know who made thee?

Little Lamb, I'll tell thee, Little Lamb, I'll
tell thee. He is called by thy name, For He
calls Himself a Lamb. He is meek, and He is
mild He became a little child. I a child, and
thou a lamb, We are called by His name. Little
Lamb, God bless thee! Little Lamb, God bless
thee!

From The Songs of Innocence.
Rhythmic pattern
of a childs song, suggesting the simplicity of
the childs world.
Diction
delight, bright, tender, rejoice, meek, mild,
suggest an ideal world filled with good and
without discomfort. The words are euphonic (i.e.,
they have pleasant agreeable sounds.)
Structure
Questions in the first stanzas and definite
answers in the second suggest a simply existence.
Every question is answered.

18
The Tyger ( p. 599)
19
The Tyger

Tyger! Tyger! burning bright In the forests of
the night, What immortal hand or eye Could
frame thy fearful symmetry?
In what distant deeps or skies Burnt the fire of
thine eyes? On what wings dare he aspire? What
the hand dare seize the fire?

And what shoulder, what art. Could twist the
sinews of thy heart? And when thy heart began to
beat, What dread hand? what dread feet?
What the hammer? what the chain? In what furnace
was thy brain? What the anvil? what dread grasp
Dare its deadly terrors clasp?

When the stars threw down their spears, And
watered heaven with their tears, Did he smile
his work to see? Did he who made the Lamb make
thee?
Tyger! Tyger! burning bright In the forests of
the night, What immortal hand or eye Dare frame
thy fearful symmetry?

From The Songs of Experience.
Rhythmic pattern
irregular, even rough.
Diction
burnt, fire, twist, dread, hammer, chain,
furnace, anvil, grasp, terrors, spears, tears,
suggest a harsher world that comes with
experience. The words are cacophonous (i.e., the
have harsh discordant sounds).
Structure
consists of unanswered questions suggesting that
life is open ended.

23
The Chimney Sweeper (p. 600)
24
History The sweeps life

Orphaned four year olds were sold to a master.
Sweeps cleaned the soot off chimney walls with
hands and scrapers.
Fire forced the child to the top.
origin of the phrase "To light a fire under you"
Common causes of death were suffocating from
breathing dust, being trapped in narrow flues, or
falling from the chimney.
Long term consequence Emphysema occurs when the
air sacs at the ends of the smallest air passages
(bronchioles) are gradually destroyed.

25
The Chimney Sweeper

From The Songs of Innocence
The speakers pleasant language contrasts with
the sweepers harsh and cruel reality.
The rhythm sounds like a childs verse, a
ludicrous style for their lives.
The Angel the church is seen as power in the
corruption and enslavement the children. How does
the angel accomplish this?

26
William Wordsworth
27
Expostulation and Reply

"WHY, William, on that old grey stone,
Thus for the length of half a day,
Why, William, sit you thus alone,
And dream your time away?
"Where are your books?--that light bequeathed
To Beings else forlorn and blind!
Up! up! and drink the spirit breathed
From dead men to their kind.
"You look round on your Mother Earth,
As if she for no purpose bore you 10
As if you were her first-born birth,
And none had lived before you!

One morning thus, by Esthwaite lake,
When life was sweet, I knew not why,
To me my good friend Matthew spake,
And thus I made reply
"The eye--it cannot choose but see
We cannot bid the ear be still
Our bodies feel, where'er they be,
Against or with our will. 20

Nor less I deem that there are Powers
Which of themselves our minds impress
That we can feed this mind of ours
In a wise passiveness.
"Think you, 'mid all this mighty sum
Of things for ever speaking,
That nothing of itself will come,
But we must still be seeking?
"--Then ask not wherefore, here, alone,
Conversing as I may, 30
I sit upon this old grey stone,
And dream my time away,"

30
Wordsworth and poetry

incidents and situations from common life
language really used by men
ordinary things should be presented to the mind
in an unusual aspect
by tracing in them . . . the primary laws of our
nature
humble and rustic life was generally chosen

31
Wordsworths definition of poetry

I have said that poetry is the spontaneous
overflow of powerful feelings it takes its
origin from emotion recollected in tranquility
the emotion is contemplated till, by a species of
reaction, the tranquility gradually disappears,
and an emotion, kindred to that which was before
the subject of contemplation, is gradually
produced, and does itself actually exist in the
mind.
Preface to Lyrical Ballads. 1798

32
The Solitary Reaper
33

Behold her, single in the field,
Yon solitary Highland Lass!
Reaping and singing by herself
Stop here, or gently pass!
Alone she cuts and binds the grain,
And sings a melancholy strain
O listen! for the Vale profound
Is overflowing with the sound.

No Nightingale did ever chaunt
More welcome notes to weary bands
Of travellers in some shady haunt,
Among Arabian sands
A voice so thrilling ne'er was heard
In spring-time from the Cuckoo-bird,
Breaking the silence of the seas
Among the farthest Hebrides.

Will no one tell me what she sings?
Perhaps the plaintive numbers flow
For old, unhappy, far-off things,
And battles long ago
Or is it some more humble lay,
Familiar matter of to-day?
Some natural sorrow, loss, or pain,
That has been, and may be again?

Whate'er the theme, the Maiden sang
As if her song could have no ending
I saw her singing at her work,
And o'er the sickle bending--
I listened, motionless and still
And, as I mounted up the hill
The music in my heart I bore,
Long after it was heard no more.

37
The World Is Too Much with Us"
p. 624

The world is too much with us late and
soon,Getting and spending, we lay waste our
powersLittle we see in Nature that is oursWe
have given our hearts away, a sordid boon!The
Sea that bares her bosom to the moonThe winds
that will be howling at all hours,And are
up-gathered now like sleeping flowersFor this,
for everything, we are out of tuneIt moves us
not.

Great God! I'd
rather beA Pagan suckled in a creed outwornSo
might I, standing on this pleasant lea,Have
glimpses that would make me less forlornHave
sight of Proteus rising from the seaOr hear old
Triton blow his wreathed horn.

39
Composed upon Westminster Bridge, September 3,
1803

Earth has not anything to show more fair
Dull would he be of soul who could pass by
A sight so touching in its majesty
This City now doth, like a garment, wear
The beauty of the morning silent, bare,
Ships, towers, domes, theatres, and temples lie
Open unto the fields, and to the sky
All bright and glittering in the smokeless air.

Never did sun more beautifully steep In his first
splendour, valley, rock, or hill
Ne'er saw I, never felt, a calm so deep!
The river glideth at his own sweet will
Dear God! the very houses seem asleep
And all that mighty heart is lying still!

41
This City now doth, like a garment, wear The
beauty of the morning silent, bare, Ships,
towers, domes, theatres, and temples lie Open
unto the fields, and to the sky All bright and
glittering in the smokeless air.
42
This City now doth, like a garment, wear The
beauty of the morning silent, bare, Ships,
towers, domes, theatres, and temples lie Open
unto the fields, and to the sky All bright and
glittering in the smokeless air.
The river glideth at his own sweet will
43
The river glideth at his own sweet will
44
Lines Composed a Few Miles above Tintern Abbey
pp.616ff
45
ll.1-22

Synecdoche lengthens absence
Five years, five summers, five long winters
Imagery is multi-sensory
Visual steep and lofty cliffs
Auditory a soft inland murmur
Olfactory wreaths of smoke

Mans peaceful coexistence with nature
I . . . connect the landscape with the quiet of
the sky.
I see . . . These pastoral farms/Green to the
very door.
Wreaths of smoke are/Sent up . . . From among
the trees.
houseless woods

47
Test Burns, Blake, and Wordsworth

Expostulation and Reply (web) Not 8th
Tintern Abbey (616)
The World is Too Much with Us (624)
Composed upon Westminster Bridge (web)
The Solitary Reaper (web)

To a Mouse (588)
To a Louse (590)
The Lamb (598)
The Tyger (599)
The Chimney Sweeper (600)

48
ll. 23-49

Contrast between the city and nature
City
lonely, din, weariness, weary weight, and
unintelligible
Nature
memories bring sensations sweet

The sensations sweet are felt
physically felt in the blood
emotionally felt along the heart
intellectually passing even into my purer mind
spiritually We see into the life of things.

breath and blood/ Almost suspended we are laid
asleep/ In body, and become a living soul . . .
We see into the life of things.

51
ll. 49-57

Transition from the past--How oft . . . Have I
turned to thee--to the present as he addresses
the river O sylvan Wye!

52
ll. 58-111

Mature consideration ll. 58-65
present pleasure, food for future years
Childhood appreciation ll. 65-85
When first I came among these hills, nature
had no need of a remoter charm/ By thought
supplied. It was a purely physical appreciation.
Present appreciation ll. 85-111
Other gifts have followed that are abundant
recompense for his youth which is now past.

I have felt
A presence that disturbs me with the joy/Of
elevated thoughts
A sense sublime/ Of something . . . whose
dwelling is in various aspects of nature and in
the mind of man.
A motion and a spirit that impels/All thinking
things, all objects of all thought,/ And rolls
through all things.

54
Conclusion

. . . Therefore am I
. . . well pleased to recognize
In nature and the language of the sense,
The anchor of my purest thoughts, the nurse,
The guide, the guardian of my heart, and soul
Of all my moral being.

55
Needs met by nature in Wordsworths life

physical the nurse
intellectual the guide
emotional the guardian of my heart
spiritual the soul of all my moral being

56
ll. 111-159

Advice to his sister Dorothy on this trip to
Tintern Abbey
He sees her looking at nature the same way he did
when he was young she has his former language,
enjoys his former pleasures.

57
Samuel Taylor Coleridge
1772-1834
58

The Frost performs its secret ministry,
Unhelped by any wind. The owlet's cry
Came loudand hark, again! loud as before.
The inmates of my cottage, all at rest,
Have left me to that solitude, which suits
Abstruser musings save that at my side
My cradled infant slumbers peacefully.
'Tis calm indeed! so calm, that it disturbs
And vexes meditation with its strange
And extreme silentness. Sea, hill, and wood,
This populous village! Sea, and hill, and wood,
With all the numberless goings-on of life,
Inaudible as dreams! the thin blue flame
Lies on my low-burnt fire, and quivers not
Only that film, which fluttered on the grate,

Still flutters there, the sole unquiet thing.
Methinks, its motion in this hush of nature
Gives it dim sympathies with me who live,
Making it a companionable form,
Whose puny flaps and freaks the idling Spirit
By its own moods interprets, every where
Echo or mirror seeking of itself,
And makes a toy of Thought.

But O! how oft,
How oft, at school, with most believing mind,
Presageful, have I gazed upon the bars,
To watch that fluttering stranger ! and as oft
With unclosed lids, already had I dreamt
Of my sweet birth-place, and the old
church-tower,
Whose bells, the poor man's only music, rang
From morn to evening, all the hot Fair-day,
So sweetly, that they stirred and haunted me
With a wild pleasure, falling on mine ear
Most like articulate sounds of things to come!

So gazed I, till the soothing things, I dreamt,
Lulled me to sleep, and sleep prolonged my
dreams!
And so I brooded all the following morn,
Awed by the stern preceptor's face, mine eye
Fixed with mock study on my swimming book
Save if the door half opened, and I snatched
A hasty glance, and still my heart leaped up,
For still I hoped to see the stranger's face,
Townsman, or aunt, or sister more beloved,
My play-mate when we both were clothed alike!

Dear Babe, that sleepest cradled by my
side,
Whose gentle breathings, heard in this deep calm,
Fill up the intersperséd vacancies
And momentary pauses of the thought!
My babe so beautiful! it thrills my heart
With tender gladness, thus to look at thee,
And think that thou shalt learn far other lore,
And in far other scenes! For I was reared
In the great city, pent 'mid cloisters dim,
And saw nought lovely but the sky and stars.

But thou, my babe! shalt wander like a breeze
By lakes and sandy shores, beneath the crags
Of ancient mountain, and beneath the clouds,
Which image in their bulk both lakes and shores
And mountain crags so shalt thou see and hear
The lovely shapes and sounds intelligible
Of that eternal language, which thy God
Utters, who from eternity doth teach
Himself in all, and all things in himself.
Great universal Teacher! he shall mould
Thy spirit, and by giving make it ask.

Therefore all seasons shall be sweet to thee,
Whether the summer clothe the general earth
With greenness, or the redbreast sit and sing
Betwixt the tufts of snow on the bare branch
Of mossy apple-tree, while the nigh thatch
Smokes in the sun-thaw whether the eave-drops
fall
Heard only in the trances of the blast,
Or if the secret ministry of frost
Shall hang them up in silent icicles,
Quietly shining to the quiet Moon.

65
The Rime of the Ancient Mariner
66
Stages of plot

The exposition introduces the mariner and the
wedding guest. The setting is the stark, austere
night contrasting with the music and celebration
from the wedding hall. The story is about a
strange sea voyage.
The inciting incident is the mariners killing of
the albatross. It introduces the man versus
nature conflict.
The development consists of the action in which
the other sailors die and the mariner begins to
be aware of the consequences of his actions.

67
Stages of plot

The climax of the poem occurs when the mariner
has a change of heart and the albatross falls
from his neck.
The resolution occurs when the mariner blesses
the sea creatures unawares and no longer thinks
of them as the slimy things upon the slimy sea.
At that point that the conflict ends the mariner
is no longer critical of nature, but loves it.
The denouement consists of the return home and
his receiving forgiveness from the hermit.

68
Themes

Sin and Redemption
Man is a sinful creature, but redemption awaits
if he repents his wrongdoing and performs
penance.
Respect for Nature
Humans should respect all of Gods creation and
all of His creatures. In doing so, people
indicate their respect for the Creator Himself
Farewell, farewell! but this I tell To thee,
thou Wedding-Guest! He prayeth well, who loveth
well Both man and bird and beast. (611-614)

69
Enjambment is the practice of carrying the sense
of one line of verse over to the next line
without a pause.

And now the storm-blast came, and he Was
tyrannous and strong (41-42)
We could not speak, no more than if We had been
choked with soot. (137-138)
Instead of the cross, the Albatross About my
neck was hung. (141-142)
'There passed a weary time. Each throat Was
parch'd, and glazed each eye. (143-144)

70
Internal rhyme is rhyme within a line of poetry.

The guests are met, the feast is set (7)
The ship drove fast, loud roared the blast (49)
And through the drifts the snowy clifts (54)
The ice did split with a thunder-fit (69)
In mist or cloud, on mast or shroud (75)
The fair breeze blew, the white foam flew (103)

71
Alliteration is the repetition of initial
consonant sounds.

By thy long grey beard and glittering eye (3)
He holds him with his skinny hand (9)
The Wedding-Guest here beat his breast, For he
heard the loud bassoon.(31-32)
The merry minstrelsy (36)
The furrow followed free (104)

72
Anaphora is the repetition of a word or words at
the beginning of two or more successive verses,
clauses, or sentences.

The ice was here, the ice was there, The ice was
all around. (59-60)
With throats unslaked, with black lips baked
(157)
Without a breeze, without a tide (169)
Her lips were red, her looks were free, Her
locks were yellow as gold Her skin was as white
as leprosy (190-192)
They groan'd, they stirr'd, they all uprose,

73
Irony

Water, water, every where, And all the boards
did shrink Water, water, every where, Nor any
drop to drink. (119-122)

74
Metaphor

Each turned his face with a ghastly pang, And
cursed me with his eye. (215-216)
They coil'd and swam and every track Was a
flash of golden fire. (281-282)

75
(No Transcript)
76

To what do the verbs refer?
It cracked and growled, and roared and howled.
(61)

Howl
77
Personification

The Sun came up upon the left, Out of the sea
came he ! And he shone bright, and on the right
Went down into the sea. (25-28) Comparison of
the sun to a person

78
Simile

Every soul, it passed me by, Like the whizz of
my crossbow! (223-224) Comparison of the passing
of a soul to the sound of a shot arrow
The sky and the sea, and the sea and the sky Lay
like a load on my weary eye (251-252) Comparison
of the sky and sea to a weight on the eye
Her beams bemocked the sultry main, Like April
hoar-frost spread (268-269) Comparison of
reflected sunbeams to frost
The bride hath paced into the hall, Red as a
rose is she (33-34) Comparison of the bride to a
rose
The water, like a witch's oils, Burnt green, and
blue and white. (129-130) Comparison of water to
witch's oils
Day after day, day after day,
We stuck, nor breath nor motion As idle as a
painted ship Upon a painted ocean. (115-118)
Comparison of the motionless ship and ocean to a
painting

79
Synecdoche is a literary device in which the part
represents the whole.

The western wave was all a-flame (171) Wave
refers to the ocean.

He holds him with his glittering eye (13)
The Mariner hath his the Wedding Guests will
(16)

The ship was cheered, the harbour cleared,
Merrily did we drop
Below the kirk, below the hill,
Below the light-house top. (21-24)

The Sun came up upon the left, Out of the sea
came he ! And he shone bright, and on the right
Went down into the sea. (25-28)

Ah wretch! said they, the bird to slay
That made the breeze to blow! (ll. 95-96)
'Twas right, said they, such birds to slay,
That bring the fog and mist. (ll. 101-102)

All in a hot and copper sky,
The bloody Sun, at noon,
Right up above the mast did stand,
No bigger than the Moon. (111-114)

The fair breeze blew, the white foam flew,
The furrow followed free (ll. 103-104)
Day after day, day after day,
We stuck, nor breath nor motion
As idle as a painted ship
Upon a painted ocean. (ll. 115-118)

Water, water, every where,
And all the boards did shrink
Water, water, every where,
Nor any drop to drink. (ll. 119-122)

At first it seemed a little speck,
And then it seemed a mist
It moved and moved, and took at last
A certain shape, I wist. (ll. 149-153)
speck mist shape

With throats unslaked, with black lips baked,
We could not laugh nor wail
Through utter drought all dumb we stood!
I bit my arm, I sucked the blood,
And cried, A sail! a sail! (157-161)
What does the imagery suggest about the sailors
situation?
What emotion on the part of the sailors does the
last line suggest?

And straight the Sun was flecked with bars,
(Heaven's Mother send us grace!)
As if through a dungeon-grate he peered,
With broad and burning face. (ll. 177-180)
What is compared to a face peering through a
prison grate?

Alone, alone, all, all alone,
Alone on a wide wide sea!
And never a saint took pity on
My soul in agony. (ll. 232-235)

The very deep did rot O Christ!
That ever this should be!
Yea, slimy things did crawl with legs
Upon the slimy sea. (123-126)
Ah! well a-day! what evil looks
Had I from old and young!
Instead of the cross, the Albatross
About my neck was hung. (139-142)

I looked to Heaven, and tried to pray
But or ever a prayer had gusht,
A wicked whisper came, and made
My heart as dry as dust. (ll. 244-247)
The self same moment I could pray
And from my neck so free
The Albatross fell off, and sank
Like lead into the sea. (ll. 288-291)

Beyond the shadow of the ship,
I watched the water-snakes
They moved in tracks of shining white,
And when they reared, the elfish light
Fell off in hoary flakes.
Within the shadow of the ship
I watched their rich attire
Blue, glossy green, and velvet black,
They coiled and swam and every track
Was a flash of golden fire.
O happy living things! no tongue
Their beauty might declare
A spring of love gushed from my heart,
And I blessed them unaware
Sure my kind saint took pity on me,
And I blessed them unaware. (272-287)

bioluminescence
94

Swiftly, swiftly flew the ship,
Yet she sailed softly too
Sweetly, sweetly blew the breeze--
On me alone it blew. (ll. 460-463)

95
Percy Bysshe Shelley
96
Ramses II
97
Ozymandias
I met a traveller from an antique land Who
saidTwo vast and trunkless legs of stone Stand
in the desert. Near them on the sand, Half sunk,
a shatter'd visage lies, whose frown And
wrinkled lip and sneer of cold command 5 Tell
that its sculptor well those passions read Which
yet survive, stamp'd on these lifeless
things, The hand that mock'd them and the heart
that fed.
98
And on the pedestal these words appear "My name
is Ozymandias, king of kings 10 Look on my
works, ye mighty, and despair!" Nothing beside
remains round the decay Of that colossal wreck,
boundless and bare, The lone and level sands
stretch far away.
Ozymandias
99
Ozymandias (p. 670)

I met a traveller from an antique land
Who saidTwo vast and trunkless legs of stone
Stand in the desert. Near them on the sand,
Half sunk, a shatter'd visage lies, whose frown
And wrinkled lip and sneer of cold command 5
Tell that its sculptor well those passions read
Which yet survive, stamp'd on these lifeless
things,
The hand that mock'd them and the heart that fed.

100

And on the pedestal these words appear
"My name is Ozymandias, king of kings 10
Look on my works, ye mighty, and despair!"
Nothing beside remains round the decay
Of that colossal wreck, boundless and bare,
The lone and level sands stretch far away.

101
Song to the Men of England

Men of England, wherefore ploughFor the lords
who lay ye low?Wherefore weave with toil and
careThe rich robes your tyrants wear?Wherefore
feed and clothe and save,From the cradle to the
grave,Those ungrateful drones who wouldDrain
your sweat--nay, drink your blood?Wherefore,
Bees of England, forgeMany a weapon, chain, and
scourge,That these stingless drones may
spoilThe forced produce of your toil?

102

Have ye leisure, comfort, calm,Shelter, food,
love's gentle balm?Or what is it ye buy so
dearWith your pain and with your fear?
The seed ye sow another reapsThe wealth ye
find another keepsThe robes ye weave another
wearsThe arms ye forge another bears.
Sow seed,--but let no tyrant reapFind
wealth,--let no imposter heapWeave robes,--let
not the idle wearForge arms, in your defence to
bear.

103

Shrink to your cellars, holes, and cellsIn
halls ye deck another dwells.Why shake the
chains ye wrought? Ye seeThe steel ye tempered
glance on ye.With plough and spade and hoe and
loom,Trace your grave, and build your tomb,And
weave your winding-sheet, till fairEngland be
your sepulchre!

104
John Keats
1795-1821
105
The Protestant Cemetery in Rome.
106
Grecian Urns
107
More urns
108
Ode on a Grecian Urn

Thou still unravished bride of quietness,
Thou foster child of silence and slow time,
Sylvan historian, who canst thus express A
flowery tale more sweetly than our rhyme
What leaf-fringed legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loath?
What mad pursuit? What struggle to
escape? What pipes and timbrels?
What wild ecstasy?

109

Heard melodies are sweet, but those unheard Are
sweeter therefore, ye soft pipes, play on
Not to the sensual ear, but, more endeared,
Pipe to the spirit dities of no tone.
Fair youth, beneath the trees, thou canst not
leave Thy song, nor ever can those trees
be bare Bold Lover, never, never
canst thou kiss,
Though winning near the goal---yet, do not
grieve She cannot fade, though thou hast
not thy bliss Forever wilt thou
love, and she be fair!

110

Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu
And, happy melodist, unwearied, Forever
piping songs forever new More happy love! more
happy, happy love! Forever warm and still
to be enjoyed, Forever panting, and
forever young All breathing human passion far
above, That leaves a heart high-sorrowful
and cloyed, A burning forehead, and
a parching tongue.

111

Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands
dressed? What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious
morn? And, little town, thy streets for evermore
Will silent be and not a soul to tell
Why thou art desolate, can e'er return.

112

O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought, With
forest branches and the trodden weed
Thou, silent form, dost tease us out of thought
As doth eternity. Cold Pastoral! When old
age shall this generation waste,
Thou shalt remain, in midst of other woe Than
ours, a friend to man, to whom thou say'st,
"Beauty is truth, truth beauty"---that is all
Ye know on earth, and all ye need to
know.
1820

113
Ode

lyric poem
usually of a serious or meditative nature
having an elevated style
formal stanzaic structure.

114
To Autumn

1.
SEASON of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves
run
To bend with apples the mossd cottage-trees,
And fill all fruit with ripeness to the core
To swell the gourd, and plump the
hazel shell
With a sweet kernel to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has oer-brimmd their clammy

cells.

115
To Autumn

1.
SEASON of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves
run
To bend with apples the mossd cottage-trees,
And fill all fruit with ripeness to the core
To swell the gourd, and plump the
hazel shell
With a sweet kernel to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has oer-brimmd their clammy

cells.

116

2
Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind
Or on a half-reapd furrow sound asleep,
Drowsd with the fume of poppies, while thy hook
Spares the next swath and all its
twined flowers And
sometimes like a gleaner thou dost keep
Steady thy laden head across a brook Or by
a cyder-press, with patient look, Thou
watchest the last oozings hours by hours.

117

2
Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind
Or on a half-reapd furrow sound asleep,
Drowsd with the fume of poppies, while thy hook
Spares the next swath and all its
twined flowers And
sometimes like a gleaner thou dost keep
Steady thy laden head across a brook Or by
a cyder-press, with patient look, Thou
watchest the last oozings hours by hours.

118

3
Where are the songs of Spring? Ay, where are
they? Think not of them, thou hast thy
music too, While barred clouds bloom the
soft-dying day, And touch the stubble
plains with rosy hue Then in a wailful
choir the small gnats mourn Among the
river sallows, borne aloft Or
sinking as the light wind lives or dies And
full-grown lambs loud bleat from hilly bourn
Hedge-crickets sing and now with treble
soft The red-breast whistles from a
garden-croft And gathering swallows
twitter in the skies.

119

3
Where are the songs of Spring? Ay, where are
they? Think not of them, thou hast thy
music too, While barred clouds bloom the
soft-dying day, And touch the stubble
plains with rosy hue Then in a wailful
choir the small gnats mourn Among the
river sallows, borne aloft Or
sinking as the light wind lives or dies And
full-grown lambs loud bleat from hilly bourn
Hedge-crickets sing and now with treble
soft The red-breast whistles from a
garden-croft And gathering swallows
twitter in the skies.

120
Themes in Romanticism

Mans insensitivity to nature.
I'm truly sorry man's dominion Has broken
Nature's social union. Burns, To
a Mouse
Little we see in Nature that is ours For
this, for everything, we are out of tuneIt
moves us not.

Wordsworth, The World Is Too Much
with Us

121
Themes in Romanticism