ANALISIS GAYA DENGAN PENDEKATAN STILISTIKA PADA PUISI A VALEDICTION: FORBIDDING MOURNING KARYA JOHN DONNE

Stylistics as the study of style is a sort of approach which is rarely used. In this occasion, the writer would like to employ stylistics to analyze the style of A Valediction: Forbidding Mourning written by John Donne. The unsure of style in this poem, then, will be scrutinized to prove whether it is proper or not with the characteristics of metaphysical poetry which is designed by John Donne himself. Among three views which are developed in stylistics –monism, dualism, and pluralism-, the writer follows the monism one. This view is chosen because it is applicable to analyze poetry. Meanwhile, between two sorts of methods which are so possible to employ in operating stylistics –qualitative and quantitative-, the writer agrees with the qualitative one. This method is chosen due to its higher possibility to result in a comprehensive analysis. Related to the case of standpoint, the writer starts with the ground of appreciation to the poetry which is analyzed. Later on, the writer does multilevel approach to identify the unsure of style in A Valediction: Forbidding Mourning. Based on the analysis of the poem, both hypotheses do work. Firstly, as the designer of metaphysical poetry, practically, the works of John Donne contain the characteristics of this sort of poetry. Secondly, applying stylistics, it can be seen how linguistics and literary study work in team

Energetic, Rigorous and Uneven Style in Metaphysical Poetry

Metaphysical poetry is a genre of poetry that deals with deep and profound subjects like spirituality religion etc It s a really heady kind of poetry that shows the world in a new light There are many unanswered questions raised The best examples of metaphysical poetry force the reader to question the very nature of reality itself Its imagery humour and absurdity transport the reader to a fantastical realm where new insights might be gained The final point is that metaphysical poetry requires a precise and rigorous approach to language due to the usage of sophisticated philosophical concepts and religious topics The poet has to be able to express these high-level concepts eloquently and precisely using language and grammar that leaves no room for misunderstanding Overall the ability to explain complicated concepts clearly and coherently through a rigorous style is crucial for successful metaphysical poetr

Poetry and Skiagraphia in Republic X: A New Analysis of Tragic Mimesis

In Republic X Socrates accuses poetic “imitators” [μιμητικοί] of corrupting the soul (the psychological charge) and producing appearances that are far removed from truth (the metaphysical charge). The success of the psychological charge against mimetic poetry crucially depends on the success of the metaphysical charge; tragic poetry corrupts the soul by making images that are far removed from truth (that is, appearances of virtue and value). The dominant interpretive strategy cashes out the relationship between these two charges as follows: images corrupt the soul, because images are metaphysically inferior; all images are “far removed from truth” and hence potentially corruptive. Unfortunately, this strategy pits Book III against Book X; mimetic poetry forms the foundation of the guardians’ early education (in Book III), but mimetic poetry is corruptive (in Book X). In this paper I defend an alternative strategy. I contend that the metaphysical charge should be interpreted narrowly, to encompass false and illusory appearances of virtue and value produced via skiagraphic techniques. I argue that Socrates’ critique of tragedy and Homeric poetry does not rest on dubious metaphysical claims about images per se, but rather on the plausible and interesting claim that tragedians and their leader, Homer, employ skiagraphic techniques – that is, the manipulation of temporal distances and the contrasting of fortune with misfortune and virtue with vice - in order to produce powerful illusions of virtue and value. Even the denier of the Forms must take this claim seriously. I conclude with some thoughts about good mimesis and the importance of poetry to the larger project of the Republic

MacNeice and Larkin: A Neglected Affinity

Zadanie pt. „Digitalizacja i udostępnienie w Cyfrowym Repozytorium Uniwersytetu Łódzkiego kolekcji czasopism naukowych wydawanych przez Uniwersytet Łódzki” nr 885/P-DUN/2014 dofinansowane zostało ze środków MNiSW w ramach działalności upowszechniającej nauk

Absurdity and Metaphysical Rebellion in the Philosophies of Albert Camus and Omar Khayyam

The first time Omar Khayyam’s Rubaiyiat were brought to the Western world, it was through a translation from their original Persian to English by Edward Fitzgerald in 1859. Over the next century, Khayyam’s verses saw extraordinary popular success among intellectuals both in England and beyond. This paper, however, explores what these verses meant to Persians in Omar Khayyam’s context, long before the quatrains reached the West. Although whether the meaning of his poetry is esoteric or hedonistic in nature is debated, his quatrains express an existential longing and grieving that can be compared to parallel feelings described by Albert Camus in The Myth of Sisyphus and The Rebel. In this project, I explore the similarities in the notion of the absurd as defined by Albert Camus with the expressions of absurd experience in The Ruba\u27iyat of Omar Khayyam. Through this exploration of the absurdist experience across cultures and centuries, I propose Omar Khayyam\u27s Ruba\u27iyat as an example that the spirit of metaphysical rebellion can exist in a non-Western context, and that it existed nearly a millennium before Albert Camus developed it as an idea in the 20th century

The metaphysical in Emily Dickinson's poetry

Thesis (M.A.)--Boston University, 1947. This item was digitized by the Internet Archive