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Title page of Poetical Sketches. Poetical Sketches is the first collection of poetry and prose by William Blake, written between 1769 and 1777.Forty copies were printed in 1783 with the help of Blake's friends, the artist John Flaxman and the Reverend Anthony Stephen Mathew, at the request of his wife Harriet Mathew.
The Romantic movement in English literature of the early 19th century has its roots in 18th-century poetry, the Gothic novel and the novel of sensibility. [6] [7] This includes the pre-Romantic graveyard poets from the 1740s, whose works are characterized by gloomy meditations on mortality, "skulls and coffins, epitaphs and worms". [8]
For other uses, see Bard (disambiguation). Title-page of The Bard illustrated by William Blake, c. 1798 The Bard. A Pindaric Ode (1757) is a poem by Thomas Gray, set at the time of Edward I's conquest of Wales. Inspired partly by his researches into medieval history and literature, partly by his discovery of Welsh harp music, it was itself a potent influence on future generations of poets and ...
Romantic poetry is the poetry of the Romantic era, an artistic, literary, musical and intellectual movement that originated in Europe towards the end of the 18th century. It involved a reaction against prevailing Enlightenment ideas of the 18th century, [ 1 ] and lasted approximately from 1800 to 1850.
William Blake – The Marriage of Heaven and Hell; William Wordsworth – The Prelude; Samuel Taylor Coleridge – The Rime of the Ancient Mariner; George Gordon, Lord Byron – Don Juan, "Childe Harold's Pilgrimage" Percy Bysshe Shelley – Prometheus Unbound, "Adonaïs", "Ode to the West Wind", "Ozymandias" John Keats – Great Odes ...
"The Clod and the Pebble" is the exemplification of Blake's statement at the beginning of Songs of Innocence and of Experience that it is the definition of the "Contrary States of the Human Soul". It shows two contrary types of love. The poem is written in three stanzas. [2]
Blake is emphasizing, she thinks, "that aspiration itself (if it is present-hating and future-loving) is a form of confinement". For Johnson, Blake is turning the emblem convention around and criticizing the "frustrated desire, deferred pleasure, and preoccupation with the hereafter that rack the characters" in his poem.
[3] The poem, 767 lines long, is an exemplar of what became known as the school of graveyard poetry. [4] Part of the poem's continued prominence in scholarship involves a later printing of poems by Robert Hartley Cromek which included illustrations completed by the Romantic poet and illustrator William Blake. He completed forty illustrations ...