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On Naïve and Sentimental Poetry (Über naive und sentimentalische Dichtung) is a 1795–6 paper by Friedrich Schiller on poetic theory and the different types of poetic relationship to the world. The work divides poetry into two forms. Naïve poetry is poetry of direct description while sentimental poetry is self-reflective.
His lyrical poetry has its roots in Romanian folklore intertwined with Kantian [48] and Schopenhauer's philosophy [49] and Buddhist cosmology. [50] Among his greatest poems are the romantic poems Floare Albastră (1872) and Luceafărul , as well as the series of five philosophical poems called Letters (1881–1890).
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Bereavement is a common theme of sentimental poetry. Friedrich Schiller discussed sentimental poetry in his influential essay, On Naïve and Sentimental Poetry. Isaac Pray described a sentimental poet as "He who plays off the amiable in verse, and writes to display his own fine feelings". [1] Romantic poetry is rooted in and springs from ...
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John Clare (poetry) Samuel Taylor Coleridge (poetry, philosophy, criticism, German scholar) John Constable (painting) Thomas de Quincey (essays, criticism, biography) Thomas Chatterton (poetry) Ebenezer Elliot (Poet Activist) William Hazlitt (criticism, essays) John Keats (poetry) Charles Lamb (poetry, essays) Mary Shelley (novels) Percy Bysshe ...
Over the course of World War II, Miłosz's poetry evolved toward "poetic directness," a new poetic ethic in which the poet which was sovereign of the expectations of the reader and committed to providing the reader wisdom as the poet saw it. [21] Under this ethos, Miłosz produced The World: Naive Poems, a cycle of twenty
Luceafărul opens as a typical fairy tale, with a variation of "once upon a time" and a brief depiction of its female character, a "wondrous maiden", the only child of a royal couple—her name, Cătălina, will only be mentioned once, in the poem's 46th stanza.