Assignmentp.7

 

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Name    :- Bambha Kajal A.

Sem      :- 2

Roll no   :-17

Batch     :- 2017-2019

Paper no :- Literary Criticism

   

Sem      :- 2

Batch     :- 2017-2019

Enrollment no :- 2069108420180002

Email id :-kajalbambha16@gmail.com

Submitted to  :-

                            Department of English,MKBU

  Topic :-

           Eliot's concept of tradition and its role in poetic creation

Introduction : -

 

"Tradition and the Individual Talent"  in  1919  is an essay written by poet and literary critic He   is  the essay was first published in  The Egoist and later in Eliot's first book of criticism, ^{The Scared wood 1920} The essay is also available in Eliot's "Selected Prose" and Essays
While Eliot is most often known for his poetry, he also contributed to the field of literary criticism. In this dual role, he acted as poet-critic, comparable to Sir Philip and S.T Coleridge  Tradition and the Individual Talent is one of the more well known works that Eliot produced in his critic capacity. It formulates Eliot's influential conception of the  relationship between the poet and the literary tradition which  precedes  them.

T. S. Eliot was very practical. He called himself a classicist in literature. According to Eliot, a critic must obey the objective standards to analyze any work. He thought criticism as a science. Eliot’s criticism became revolutionary at that time.  Twenty century got metaphysical revival because of Eliot. He first recognized or accepted the uniqueness of ‘metaphysical poets’ of 17^th century. Eliot came with new ideas in criticism’s world in19th century. Eliot believed that when the old and new will become readjusted, it will be the end of criticism. 

He says :-

From time to time it is desirable, that some critic shall appear to review the past of our literature and set the poets and the poems in a new order.

Eliot demands, from any critic, ability for judgment and powerful liberty of mind to identify and to interpret. Eliot planned numerous critical concepts that gained wide currency and had a broad influence on criticism. ‘Objective correlative’, ‘Dissociation of sensibility’, ‘Unification of sensibility’, ‘Theory of Depersonalize  are few of Eliot’s theories, which becomes ‘cliché’ now. He emphasizes on ‘a highly developed sense of fact’. He gave new direction and new tools of criticism.

 Main Concepts of the Essay:

      The essay “Tradition and Individual Talent” was first published in “The Egoist”. “The Egoist” was a literary magazine, which is considered today as “England’s Most Important Modernist Periodical”. This essay was later published in “The Sacred Wood”, which is Eliot’s first book of criticism.

     
 This essay is divided into three parts:

1.     The concept of tradition

2.     The theory of impersonal poetry

3.     The conclusion with a gist that “the poet’s sense of tradition and the impersonality of poetry are complimentary things.”

Now I am explaining the main concepts of the essay.

1.     The Concept of Tradition:

In first pat Eliot speaks about tradition, He says: Seldom, perhaps does the word (tradition) appear except in a phrase of censure It means in English writings they don’t see the word ‘tradition’ in positive way.

He says about Englishmen’s attitude towards French Literature. Englishmen have a habit to feel proud on themselves. That is the proud for their creativity and more for their ‘less’ criticality. In French there is a mass of critical writing. Eliot compares English with French that they (French) have habit of critical method and English have habit of ‘conclusion’

. He says :-

  " we only conclude (we are such unconscious people) that the French are more critical than we; and sometimes even plume ourselves a little with the fact, as if the French were less spontaneous"
 

          Eliot seems quite in favor of such ‘criticality’. He thinks “criticism is as inevitable as breathing”. Then he talks about tradition. The Englishmen, while analyzing  the poet, admire those aspects which are different from the poet’s predecessors. Means, they want to get ‘newness’ and ‘uniqueness’ from every poet to praise them. They always find isolation  of the poet from his (mainly) immediate predecessors. Then Eliot says, if we put aside such prejudice; we can come to  know that the poet’s individuality, which we are  finding, is  very much connected with his ancestors. According to Eliot the most individual part of any work is the part in which the dead poets are  mirrored vigorously. And such resemblance is mostly seen in the period of maturity of the poet, not in the period of his  adolescence. So, by this he  say  that tradition and individuality go together.

          Then Eliot talks about tradition and ‘historical sense’. He says that if the form of tradition remained only in blind adherence of dead people or ancestors, then it would be lost or such tradition should be destroyed. But, he says that tradition is not in following p regeneration.This word carries much wider meaning. According to Eliot, in every traditions also there is a bit of novelty. 

He says :-

"Tradition is a matter of much wider significance. It cannot be inherited, and if you want it you must obtain it by great labor. It involves in the first place, the historical sense"

             

This historical sense is inevitable for any poet and with this historical sense they should have perception about its presence as well as about its ‘pastness of past’. This historical sense forces a man to write not only with his own generation, but with the whole age of the English literature. Historical sense makes a poet to feel that the whole of the literature from Homer and the whole of the literature of his own generation has a simultaneous existence. It harmonizes two different things ‘timelessness’ and ‘temporarily’ in poet’s work. This makes a poet traditional. 

Eliot says:-

"No poet, no artist of any art has his complete meaning alone. His significance, his appreciation is the appreciation of his relation o the dead poets and artists. You can’t value him alone; you must set him, for contrast and comparison among the dead"

           

By this statement Eliot wants to prove that nothing can be individual in  keeps some bits of past. Eliot says about ‘conformity between the old and the new’. When a new work is created then the whole time is created with it. It makes vast changes in the universe of literature. Anything happens with that new work that is simultaneously happening with its preceded works. Means when a new work of art comes it is automatically connected with its past. So, Eliot says that nothing and nobody can be valued alone. There is some ideal order between the existing monuments. The whole order of existing monument is readjusted with the addition of new work. So, by this Eliot breaks that belief that ‘past is unchangeable’. He says that past and present has a strong connection with each other. That is the conformity between the old and the new.

Eliot says:-

"the past should be altered by the present as much as the present is directed by the past. And the poet who is aware of this will be aware of great difficulties and responsibilities"
  

          When a poet is being judged, in that process two things are being measured by each other. Eliot says about a more intelligible exposition of the relation of the poet to the past. A poet cannot use the past as a shapeless mass, or he cannot fit himself in one or two private admirations, and also he cannot fit himself in one preferred period. The port must know that ‘art never improves, but the substance of the art is changing’. Eliot puts one anonymous quote here:

The dead writers are remote from us because we know so much more than they did.He talks about necessary of knowledge for poets. He rejects that belief that a poet requires a huge amount of learning. He believes that “much learning deadens or perverts poetic sensibility.” He is not in favor of confining the knowledge for examination, library or publicity. Knowledge is a matter of absorption. What he wants to be insisted is that a poet first must develop the awareness of the past. With this discussion Eliot softly comes on the point of ‘depersonalization’. At the end of the first part he starts making structure for second part. So, at the end he says:

“The progress of an artist is a continual self-sacrifice, a continual extinction of personality.”

Theory of Impersonality :-

T.S. Eliot’s impersonal conception of art and the fullest expression of his classicist attitude towards art and poetry are essentially given by him in his essay Tradition and the Individual Talent.

Eliot explains his theory of impersonality by examining first, the relation of the poet to the past and secondly, the relation of the poem to its author. According to his view the past is never dead, it lives in the present. No poet or no artist has his complete meaning alone.His significance, his appreciation is the appreciation of his relation to the dead poets and artists.” Above all, the artist or the poet has to work in the long established tradition of the literature to which he belongs. We cannot value the poet alone; we must set him for comparison and contrast among the dead poets of his language.

In the next part of the theory he examines the relation of the poet to the poem. According to him, the poem has no relation to the poet. The difference between the mind of a mature poet and an immature one is that, a mature poet has more finely perfected medium. Eliot thinks that the poet and the poem are two separate things. The feeling or emotion or vision resulting from the poem is something different from feeling, emotion, and vision in the mind of the poet. The art emotion is different from personal emotion. In other words the poet should be passive and impersonal.

To explain the theory, Eliot has brought the analogy of chemical reaction. When oxygen and sulphur di-oxide are mixed in the presence of a filament of platinum, they form sulphurus acid. This combination takes place only when platinum is presence. Platinum is the catalyst that helps to process of chemical reaction, but it itself is apparently unaffected. The mind of the poet is the shred of platinum. Its presence may be necessary for partly or exclusively to operate for the combination of the experience in order to give birth to a piece of poetry.

Eliot says that, the business of the poet is not to find new emotions, but to use the ordinary ones and in working them up in poetry, to express feelings which are not actual emotions at all.

The emotion of art is impersonal. It has its life in the poem and not in the history of poets. So, honest criticism and sensitive appreciation is directed not upon the poet but upon the poetry. The biography of the poet is not to be studied; the structure of the poem and its evocation powers are important. 

Conclusion :-

 T.S.Eliot spread his concept of Tradition which reflects his reaction against Romantic subjectivism and emotionalism. He describes the concept of historical senses very useful for better understanding of poetic sense or literary sense.At the end, in this third part Eliot says that this essay stops at the starting of mysticism. And it can be applied by the responsible person, who really interested in poetry. It is very hard thing to take interest in poetry and to keep a poet aside. We usually read poem with the name and fame of the poet.

Workcited :-

http://life-literature12.blogspot.in/2012/04/theory-of-impersonality.html

 https://en.wikipedia.org/wiki/Tradition_and_the_Individual_Talent

Assignment p.8

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Name    :- Bambha Kajal A.

Sem      :- 2

Roll no   :-17

Batch     :- 2017-2019

Paper no :- Cultural studies

   

Sem      :- 2

Batch     :- 2017-2019

Enrollment no :- 2069108420180002

Email id :-kajalbambha16@gmail.com

Submitted to  :-

                            Department of English,MKBU

  Topic :-  What is Cultural Studies?  Which are the features of     Cultural Studies?

Introduction :- 

 

 

            Cultural Studies first we discussed about the word  Culture. Culture has meant before that  Culture derives from cultura and colere  meaning ‘to cultivate. It also meant ‘to honour’ and protect. By the nineteenth century in Europe it meant the habits customs and tastes of the upper classes. At the present time it is define in Cultural Studies as ‘Culture’ is the mode of generating meanings and ideas. This ‘mode’ is a negotiation over which meanings are valid. Meanings are governed bydi power relations. Elite culture controls meanings because it control the terms of the debate. Nonelite  views on life and art are rejected as ‘tastless useless or even stupid by the elite. What this implies is that certain components of culture get more visibility and significance.This is an introductory level course in cultural studies. Generally considered, cultural studies refers to the notion that the study of cultural processes (the production, circulation, and use of cultural artifacts), especially  though not exclusively, in the context of what is referred to as "popular culture," is theoretically and politically important to an active and productive understanding of the ways in which "power" and influence manifest themselves in a social and/or political order. That said, the phrase "cultural studies" is an extremely contested one in contemporary public and academic discourse, and our primary goal in this course will be to examine the range of ways in which we might understand its meaning and attendant implications for how we theorize, interpret, and critique cultural practices. The course will be organized into three primary sections. In the first section we will examine some of the historical roots of cultural studies, primarily in the American and British contexts, with an eye to developing what Foucault might call an "intellectual genealogy" for its practice. In the second section of the course we will examine a number of theoretical and methodological problems and issues that have occupied the concerns of those working in the area of cultural studies over the past twenty-five years. In the final section of the course we will examine four representative, full-length cultural studies as a means of evaluating and assessing how such theoretical and methodological problems are negotiated.

What is Cultural Studies ? 

Cultural studies is an innovative interdisciplinary field of research and teaching that investigates the ways in which culture creates and transforms individual experiences, everyday life, social relations and power. Research and teaching in the field explores the relations between culture understood as human expressive and symbolic activities, and cultures understood as distinctive ways of life. Combining the strengths of the social sciences and the humanities,cultural studies draws on methods and theories from literary studies, sociology, communications studies, history, cultural anthropology, and economics. By working across the boundaries among these fields, cultural studies addresses new questions and problems of today’s world. Rather than seeking answers that will hold for all time, cultural studies develops flexible tools that adapt to this rapidly changing world.
  
The discipline of psychology has also entered the field of cultural studies. For example, Jacques Lacan’s psychoanalytic theory of the unconscious structured as a language promoted emphasis upon language and power as symbolic systems. From Michel Foucault came the notion that power is a whole complex of forces; it is that which produces what happens. A tyrannical aristocrat does not just independently wield power but is empowered by ‘‘discourses’’- accepted ways of thinking, writing, and speaking- and practices that embody exercise, and amount to power. From punishment to sexual mores, Foucault’s genealogyof topics includes many things excluded by traditional historians, from architectural blueprints for prisons to memoirs of deviants. Psychoanalytic, structuralist, and poststructuralist approaches are treated elsewhere in this Handbook; in the present chapter, we review cultural studies’ connections with Marxism, the new historicism, multiculturalism, postmodernism, popular culture, and postcolonial studies. 

 Feature of Cultural studies :- 


          Cultural studies is not simply the study of cultural as though it was a discrete entity divorced from its social and  political. Its objective is to understand culture in all its complex forms and to analyze the social and political context within which it manifests itself. Culture in cultural studies always performs two functions it is both the object of study and the location of Cultural studies aims to be both an intellectual and a pragmatic enterprise.  Cultural studies attempts to expose and reconcile the division of knowledge, to overcome the split between tacit and objective  forms of knowledge  The tradition of cultural studies is not one of value-free scholarship but one committed to social reconstruction by critical political involvement. 


Features of cultural studies is that  four goals :-

literary criticism or history :-

 Cultural studies involves scrutinizing the cultural phenomenon of a text- for example, Italian Opera a Latino telenovela, the architectural styles of prisons, body piercing- and drawing conclusions about the changes in textual phenomena over time. Cultural studies is not necessarily about literature in the traditional sense or even about  art. Intellectual works are not limited by their own "borders" as single texts, historical problems or even disciplines, and the critic's own personal connections to what is being analysed may also be described. Henry Giroux and others write in their Dalhousie Review manifesto that cultural studies practitioner are "resisting intellectuals", who see what they do as "an emancipatory project" because it erodes the traditional disciplinary divisions in most institutions of higher education. But this kind of criticism, like feminism, is an engaged rather than a detached activity.

2) Cultural studies is politically engaged :-

Cultural critics see themselves as oppositional not only within their own disciplines  but to many of the power structures of the society at large. They question inequalities within power structures and seek to discover models for restructuring relationships among dominant and "minority" or "subaltern" discourses. Because meaning and individual subjectivity are culturally constructed, thus they can be reconstructed. Such a notion, taken to a philosophical extreme, denies the autonomy of the individual, whether an actual person or a character in literature, a rebuttal of the traditional humanistic "Great Man" or Great Book theory, and a relocation of aesthetics and culture from the ideal realms of test and sensibility into the arena of a whole society's everyday life as it is constructed.

3) "High" and "low" or elite or popular culture. 

  Being a cultured person means acquainted with highbrow art and intellectual pursuits. Cultural critics work to transfer the term to include mass structure, whether popular, folk, or urban. Following theorists Jean Baudrillard and Andreas Huygens, cultural critics argue that after World War 2 the distinctions among, high, low and mass culture collapsed, and they cite other theorists such as Pierre Bordeaux or Dick Hebdige on how good taste often only reflects prevailing social, economic, and political power bases. Drawing upon the ideas of French historian Michel de Certeau, cultural critics examine "the practice of everyday life", studying literature as an anthropologist would, as a phenomenon of culture, including a culture's economy. Rather than determining which are the "best" works produced, cultural critics describe what is produced and how various productions relate to one another. They aim to reveal the political, economic reasons why a certain cultural product is more valued at certain times than others. "The Birth of Captain Jack Sparrow: An Analysis" and " Pirates of the Caribbean: The Curse of the Black Pearl  are some famous works and movies.

4)  means of production :-

 Marxist critics have long recognized the importance of such para literary questions as these: who supports a given artist? A well known analysis of literary production is Janice Radway's Study of the American romance novel and its readers, Reading the Romance: Women, Patriarchy and Popular Literature, which demonstrates the textual effects of the publishing industry's decisions about books that will minimize its financial risks. Reading in America, edited by Cathy N. Davidson, which includes essay on literacy and gender in Colonial New England; urban magazine audiences in Eighteenth Century New York city; the impact upon reading of technical innovations as cheaper eyeglasses, electric lights, and trains; the Book-of -the-Month Club; and how writers and texts go through fluctuations of popularity and canonicity. These studies help us recognise that literature does not occur in a space separate from other concerns of our lives.

             Cultural studies thus joins subjectivity that is, culture in relation to individual lives- with engagement, a direct approach to attacking social ills. Though cultural studies practitioners deny "humanism" or "the humanities" as universal categories, they strive for what they might call "social reason" which often (closely) resembles the goals and values of humanistic and democratic ideals.

           Year 2050, the United States will be what demographers call a majority-minority population that is  the present numerical majority of  white Caucasian  and Anglo Americans will be the minority, particularly with the dramatically increasing numbers of Latina /o residents, mostly Mexican Americans. As Gerald Graff and James Phelan observe.It is a common prediction that the culture of the next century will put a premium on people's ability to deal productively with conflict and cultural difference. Learning by controversy is sound training for citizenship in that future.

          The next class where Western culture is portrayed as hopelessly compromised by racism, sexism and homophobia: professors can acknowledge these differences and encourage students to construct a conversation for themselves as the most exciting part of  education.

Conclution :-

       We can say that as we discussed the characteristics of cultural studies it also have some own limitations. The weaknesses of cultural studies lie in its very strengths, particularly its emphasis upon diversity of approach and subject matter. Cultural Studies can at times seem merely an intellectual smorgasbord in which the critic blithely combines artful helpings of texts and objects and then ‘‘finds’’ deep connections between them, without adequately researching what a culture means or how cultures have interacted.

                                 
workcited :-

  http://culturalstudies.web.unc.edu/resources-2/what-is-cultural-studies/
http://culturalstudies.web.unc.edu/resources-2/what-is-cultural-studies/

Assignment p.5

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Name    :- Bambha Kajal A.

Sem      :- 2

Roll no   :-17

Batch     :- 2017-2019

Paper no :- The Romantic Literature 

Enrollment no :- 2069108420180002

Email id :-kajalbambha16@gmail.com

Submitted to  :-
                            Department of English,MKBU





Topic :- Critically appreciate "Ode to a Nightingale"

  Introduction :-

Ode to a Nightingale" is a personal poem that describes Keats's journey into the state of Negative capability. The tone of the poem rejects the optimistic pursuit of pleasure found within Keats's earlier poems , rather, explores the themes of nature, Transience and mortality, the latter being particularly personal to Keats.

The nightingale described within the poem experiences a type of death but does not actually die. Instead, the songbird is capable of living through its song, which  are a fate that humans cannot expect. The poem ends with an acceptance that pleasure cannot last and that death is an inevitable part of life. In the poem, Keats imagines the loss of the physical world and sees himself dead as a sod  over which the nightingale sings. The contrast between the immortal nightingale and mortal man sitting in his garden, is made all the more acute by an effort of the imagination. The presence of weather is noticeable in the poem, as spring came early in 1819, bringing nightingales all over the heath.

Summary:-

The poet describes himself in a profound state of physical torment as if drugs into a sleep state, engrossed in an unseen nightingale song. The setting is unspecified, but readers can imagine the poet in a garden or perhaps in the woods, during springtime.when nightingales nest the poet addresses the bird directly, a poetic device known as apostrophe, stating his admiration for the nightingale happiness. At this point the nightingale suggests to the reader that it embodies, at minimum, two symbolic meanings: The bird’s song suggests that the bird represent while the poets description of the bird as being like a Greek wood nymph suggests that the bird symbolizes nature.
In stanza two, the poet yearns for an imaginative identification with the bird, perhaps assisted by wine  by which he can escape the ordinary world and disappear into the happier world represented by the nightingale. In stanza three, the bird’s world is contrasted to all the pain such as aging  disease and despair that defines human experience.In the fourth stanza, the poet rejects the escape that alcohol can provide, preferring the flight of poetry. Overall, through his desire for symbolic union with the bird stanzas two through four outline the poet’s desire to  escape the human condition .



Theme  Ode to Nightingale :-

 Reality

It is  hard to pinpoint exactly when the poem leaves the normal  world  because the speaker's version of normal  involves acting like he's on the druges opium. But by the fourth stanza it has become clear that he has joined the nightingale in a dark, lush fantasy world. His journey takes him close to the experience of death, but the spell is broken when the bird flies away unexpectedly. The entire poem is characterized by the speaker's altered mental state, which he claims is not due to alcohol or drugs, although he compares it to these things.

Happiness :-

 Is happiness  and unhappiness  a more appropriate theme for Ode to a Nightingale We're not sure. The speaker is mighty unhappy about the demands placed on him by life, time, and age. He hates to consider that young, beautiful people  the Romantic A list    will eventually be old and incoherent. But he claims that the  such his heart feels is due to extreme happiness for the nightingale, so we'll have to take his word for it. He seems content enough, at least, to have an I could die happy moment around the middle of the poem.

 Morality :-

The speaker of  Ode to a Nightingale fools himself into believing that the nightingale is immortal, or at least its song is. But this statement seems only to give him another excuse to complain about human mortality  a common complaint in Keats's poetry. The nightingale's song echoes through generations of history, from Ancient Greece to Biblical times through the present. Keats was maybe the most romantic notice the small of the British Romantic poets, and he might have agreed with the saying that you shouldn't trust anyone over thirty. It seems that the worst aspect of death is not that old people must die, but that young people must turn into old people who die.

Analysis  :-

 The Ode to a Nightingale is written in eight ten-line stanzas and is metrically variable. The eighth line of each stanza is written in iambic trimester, while the first seven lines and last two are written in iambic pentameter. Iambic trimester occurs when there are only three accents in a line of poetry. This poem displays a complex form of end rhyme scheme unique to the poem. Each verse of “Ode to a Nightingale” has a rhyme scheme AB,AB,CD,EC,DE. 

This rhyme scheme is used throughout the entire poem; however, there are a few instances where off-rhymes appear in place of the perfect rhymes. A good example of off-rhyming appears in the second stanza between lines in 16 and 1. Line 16 reads, Full of the true  the blushful Hippocrene, while line 1 reads, That I might drink, and leave the world unseen. I use these two lines as an example of off-rhyming because these two lines show Keats’s notion of writing lines that have a centralized idea involving alcohol. Off  rhyming also appears in the sixth verse, specifically in lines 55 and 58 where the words die and ecstasy are used to end the lines. These two words do not appear to perfectly rhyme with one another. Keats uses these kinds of rhyme  to enhance the emotions of the poem. 

The first few stanzas of this poem are filled with allusions involving alcohol, Tdrinking, and also drugs. In the first line, Keats says, My heart aches, and a drowsy numbness pains.” At the start of an Ode to a Nightingale the speaker seems to be initially in a sort of daze and describes it as a heart ache along with a drowsy numbness pain. The way Keats says this reminds me of the way you feel when you lose someone that you are in love with. I would describe this pain as despair with a lack of self-regard or regard for others. After that in the second line the poet writes, My sense, as though of hemlock I had drunk. First of all, hemlock is a type of poison made from an herb. Keats compares his daze like feeling to that of person is drugged up on hemlock. This line seems to be a reference to some type of regret towards something. It appears to me that the speaker wishes to forget the bad and perhaps maybe the good of his past in this line. In the second line, Keats uses his first reference to a sedative or drug. The third line of the poem says  and emptied some dull opiate to the drains.”The poet compares his current state to that of consuming opium in this line. This alludes to the poet only being half awake, somewhat vulnerable and less in control than normal. In the fourth line of an Ode to a Nightingale Keats writes One minute past, and Lethe-wards had sunk.” The Lethe is a river in Hades where souls about to be reincarnated drank from to forget their pasts. This alludes to the way the poet tries to escape his life by drinking wine in line 11 of the second stanza. Keats feels that the only way for him to live a carefree, pleasant life, just like the nightingale  would be to use some sort of druges. 

With the start of the second stanza, the poet wants to be rid of his pain from life and instead live in a world of imagination or fantasy. In line 11 Keats writes for a draught of vintage! That hath been. Keats calls for a glass of vintage in this line, which is more commonly known as wine. He calls for vintage rather than beer because vintage is more romantic and he wishes to experience the qualities associated with fine wines. It appears that he is not in fact asking for a glass, but instead asking for the warm feeling of being content and relaxed. Keats feels that the liquid he drinks will provide inspiration as well as comfort. Also in the second stanza, Keats says in line  one Tasting of Flora and the country green.The word Flora is used here to represent the taste of the vintage. Flora is the goddess of flowers and fertility. From this I concur that the taste of this vintage would have been a very wonderful tasting drink. Line 14 says, Dance, and Provencal song, and sunburnt mirth. Provincial is a region in southern France associated with song, pleasure, and luxury. France is known for their wine and that is why it is used in this poem to display another allusion to drinking. The use of sunburnt mirth is an excellent example of synesthesia. Dance is associated with song, and together they produce pleasure or mirth. The however is sunburnt because country dances are held outdoors. In line 16 Keats says, Full of the true, the blushful Hippocrene. Hippocrene is the name of a spring sacred to the muses located on Mt. Helicon where poets became inspired after drinking its waters. Each of the nine muses was associated with different arts including epic poetry  sacred song, and dancing. The last two lines of this stanza say, “That I might drink, and leave the world unseen, And with thee fade away into the forest dim.” These two lines  give off the impression that the poet experienced something that hurt him traumatically and does not wish to feel it again. To me this appears to be perhaps about a love of his who left or passed on. These emotions may cause a person to not want to endure the good of the future in order to avoid the bad of their past. The second line of  these two again show the poet’s desire to get away from something and return to a peaceful state. Thus being in the forest would suit his emotional state well causing him to be very peaceful.

The third stanza seems to be like a suicide note because Keats practically says that he desires to forget the past and does not wish to go on living. At the end of the second stanza the word fade is used and it is again used in the beginning of the third stanza. This appears to be a way of to tie the stanzas together, so that it can move easily into the next thought. Line 1 and begin the third verse and read, Fade far away, dissolve, and quite forgot, What thou among the leaves hast never known . At this point, the poet is in deep despair and longs to fade away and forget his troubles. Keats wants to forget the strife of human life and believes that drugs and alcohol are the only answer to this. The poet’s awareness of the real world pulls him back from his fantasy world of drink enjoy Through the first three stanzas in this poem the tone of the speaker is dark and melancholic. I believe that the poem starts like this because in the first three stanzas Keats believes that alcohol and drugs are his only way out. Most alcoholics and drug users seem to be dark, melancholic individuals when not sober. 

With the start of the fourth stanza the tone somewhat lightens becoming almost cheerful. Keats begins this stanza with a return to life and a goal on staying focused within his emotions. He has finally realized that alcohol is not the way to reach the nightingale. The first three lines of the fourth stanza  read Away!   Away!  For I will fly to thee, Not charioted by Bacchus and his pards, But on the viewless wings of Poesy. In line the poet rejects wine. There is also a reference to Bacchus, the Roman god of wine who was supposed to have been carried by a chariot pulled by leopards in line . Instead of using alcohol to escape, the speaker says he will escape on the invisible wings of Poesy in line . This is where the bulk of the allusions to alcohol and drugs end because Keats now says he does not need either to escape his problems. 

In “Ode to a Nightingale”, Keats built the poem around a large amount of strategically placed allusions involving alcohol and drug use. Keats used extreme differences throughout the entirety of the poem. His emotions range from dark to light, but he never touches any melancholy ones. The use of drugs and alcohol in the poem seem to make the poem become funny and ironic at the same time when mixed with lines containing sobering experience. Keats may not have meant that he actually wanted wine or something else, but just wanted the association of feeling high and carefree. 

Mind that the sample papers like Ode to Nightingale Analysis Essay presented are to be used for review only. In order to warn you and eliminate any plagiarism writing intentions, it is highly recommended not to use the essays in class. In cases you experience difficulties with essay writing in class and for in class use, order original papers with our expert writers. Cheap custom papers can be written from scratch for each customer that entrusts his or her academic success to our writing team. Order your unique assignment from the best custom writing services cheap and famst

 Conclusion :-

We can say that  Keats soars high with his wings of poesy into the world of ideas and perfect happiness. But the next moment, consciousness makes him land on the grounds of reality and he bids farewell to the ideal bird. At this moment Keats must also have been conscious that the very bird, which he had idealized and immortalized existed in the real world mortal and vulnerable to change and suffering like himself.

  Workcited :-
 https://www.bachelorandmaster.co/britishandamericanpoetry/ode-to-a-nightingale.html#.
 https://www.shmoop.com/ode-nightingale/themes.html

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