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Moments of Vision and Miscellaneous Verses is a collection of poems by English poet Thomas Hardy published in 1917. His largest poetic collection (including as it did the wartime sequence 'Poems of War and Patriotism'), [1] Moments of Vision is (for Hardy's poetry) unusually unified in emotional tone, and is considered to include some of the finest work of his late poetic career.
He says that the beautiful in nature is not quantifiable, but rather focused only in color, form, surface, etc. of an object. Therefore, the beautiful is to be "regarded as a presentation of an indeterminate concept of understanding." However, to Kant, the sublime is more infinite and can be found even in an object that has no form.
Poetic Diction is a style of writing in poetry which encompasses vocabulary, phrasing, and grammatical usage. Along with syntax, poetic diction functions in the setting the tone, mood, and atmosphere of a poem to convey the poet's intention.
Epiphany in literature refers generally to a visionary moment when a character has a sudden insight or realization that changes their understanding of themselves or their comprehension of the world. The term has a more specialized sense as a literary device distinct to modernist fiction. [ 1 ]
English literature is literature written in the English language from the English-speaking world. The English language has developed over more than 1,400 years. [1] The earliest forms of English, a set of Anglo-Frisian dialects brought to Great Britain by Anglo-Saxon settlers in the fifth century, are called Old English.
A view of the Roman Campagna from Tivoli, evening by Claude Lorrain, 1644–1645. Picturesque is an aesthetic ideal introduced into English cultural debate in 1782 by William Gilpin in Observations on the River Wye, and Several Parts of South Wales, etc. Relative Chiefly to Picturesque Beauty; made in the Summer of the Year 1770, a practical book which instructed England's leisured travellers ...
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In a review of contemporary criticism of "Ode to a Nightingale" in 1998, James O'Rouke claimed that "To judge from the volume, the variety, and the polemical force of the modern critical responses engendered, there have been few moments in English poetic history as baffling as Keats's repetition of the word 'forlorn'". [42]