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Journal articles on the topic 'English Poets'
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1
Brewbaker, James. "POETRY: English Journal - November 2005." English Journal 95, no. 2 (2005): 125–29. http://dx.doi.org/10.58680/ej20054358.
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Meenu. "Contribution of Indian English Poets towards Indian Freedom Movement." Research Review Journal of Social Science 3, no. 02 (2023): 38–41. http://dx.doi.org/10.31305/rrjss.2023.v03.n02.006.
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The idea of independence has always captivated the minds of the poets. Poets all around the world have always supported the cause of freedom of different countries. They have even served in wars for the same purpose. English Romantic poets were inspired by the French Revolution. There were war poets who served in the world wars and filled the hearts of people with patriotism. Some fought for the liberation of Greece and Spain. India had also been colonized by the Britishers for over a century. Freedom for India was brought about by the supreme sacrifice of many brave souls. The contribution of poets was no less as they ignited the souls of the people through their fierce words. Many poets have dedicated poems to their mother land which in turn reminded people of their glorious past. Prominent pre-independence poet Henry Derozio pines for the country to return to its pristine glory. Poets like Toru Dutt have written on Indian themes. Sarojini Naidu, through her poems, has shown her hatred for all forms of tyranny and shows the wish of rejuvenation of her motherland. This paper is a humble attempt to show the contribution of different Indian English poets towards the Indian freedom struggle.
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Venn, Edward. "SERENADES AND ELEGIES: THE RECENT MUSIC OF HUGH WOOD — PART II." Tempo 59, no. 233 (2005): 26–37. http://dx.doi.org/10.1017/s0040298205000215.
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Geoffrey Hill's latest book of poems, Scenes from Comus, borrows its title from Wood's op. 6, and is dedicated to the composer for his seventieth birthday. The two men have been friends for many years and are exact contemporaries: for the poet's seventieth birthday, Wood wrote a vocal-instrumental setting of Hill's Tenebrae. This interchange between poet and musician highlights Wood's abiding concern with poets and poetry, and particularly English verse of the 20th century. He has described this repertoire as ‘a treasure-house, and our poets continue to produce good lyric poetry to this day: it's a waste of being English not to draw on these riches; and the composer has a particular duty to the poets of his own time’. More recently, Jeremy Thurlow has drawn attention to Wood's ‘idiomatic and refined response to English verse: his songs for voice and piano form a considerable part of his oeuvre and must be considered the most distinctive and substantial contribution to British song-writing since Britten and Tippet’.
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Sharma, Dr Lok Raj. "Exploring Birds as Glorified in the Romantic Poetry." Global Academic Journal of Linguistics and Literature 4, no. 2 (2022): 24–27. http://dx.doi.org/10.36348/gajll.2022.v04i02.001.
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English Romantic poetry contributes profound love and genuine reverence of the poets to nature. Birds constitute a part of nature, and love for nature is one of the perpetual features and themes of the Romantic poetry. This article, which aims at exploring birds how English Romantic poets glorify them in their poetry, comprises five poems of four celebrated English Romantic poets, namely Wordsworth, Coleridge, Shelley and Keats. This article concludes that the Romantic poets glorify birds as a blithe spirit, a light-winged fairy, an ethereal minstrel, a blithe new-comer, a wandering voice, a darling of the spring, Christian soul and so on.
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Ramayya, Nisha. "Poetry in Expanded Translation: Audre Lorde, Theresa Hak Kyung Cha, Harryette Mullen, Don Mee Choi." English: Journal of the English Association 69, no. 267 (2020): 310–30. http://dx.doi.org/10.1093/english/efaa031.
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Abstract In this article, I discuss the politics and poetics of translation in the work of Audre Lorde, Theresa Hak Kyung Cha, Harryette Mullen, and Don Mee Choi, considering each poet's ideas about translation and translation practices, suggesting approaches to reading and thinking about their work in relation to translation and in relation to each other. I ask the following questions: in the selected poets' work, what are the relationships between the movement of people, the removal of dead bodies, and translation practices? How do the poets move between languages and literary forms, and what are the politics and poetics of their movements with regards to migration, dispossession, and death, as well as resistance, refusal, and rebirth? I select these poets because of the ways in which they confront relationships between the history of the English language and literature, imperialism and colonialism, racialisation and racism, gendered experiences and narratives, and their own poetic practices. These histories and experiences do not exist in isolation, nor do the poets attempt to circumscribe their approaches to language, representation, translation, and form from their lived experiences and everyday practices of survival and resistance. The selected poets’ work ranges in form, tone, and argument, but I argue that their refusal to circumscribe politics and poetics pertains to their subject positions and lived experiences as racialised and post/colonial women, and that this refusal is demonstrated in their diverse understandings of translation and translation practices.
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Yong, Ping. "The Imagination of Romantic Poetry under Different Regional and Cultural Backgrounds: Comparison and Analysis of Kubla Khan and Mount Skyland ascended in a Dream-A Song of Farewell." Communications in Humanities Research 3, no. 1 (2023): 340–47. http://dx.doi.org/10.54254/2753-7064/3/20220335.
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Romanticism is an important branch of the literary genre, and imagination is an important feature of it. From different historical backgrounds, Both British poets and Chinese have each profound insight into the imagination in their romantic poetry creations. Samuel Taylor Coleridge, as a pioneer of English Romantic poetry, his dream fragment Kublai Khan established an unshakable position in the poet's literary circle, while Li Bai was a well-known romantic poet in the prosperous Tang Dynasty. His representative work, Mount Skyland ascended in a Dream-A Song of Farewell, shocked the entire Chinese poetry circle as soon as it came out. This essay analyzes the poets' poetic thoughts on imagination by studying the different backgrounds of the two poets, the cultural traditions they contacted, and the philosophical thoughts they infected and meanwhile compares and analyzes the image characteristics of the two poets' representative works to explore the concrete expression of the poet's imagination in the poems. It is found that there are similarities and differences spatially and emotionally in terms of imagery. Moreover, the imagination in romantic poetry not only creates a series of illusory images and casts a phantom veil on the whole poem but also insinuates the poet's poetic thought and inner emotional appeal.
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Saha, Dr Santanu. "“The Rule of Father”: A Study of Father-Daughter Relationship in Select Poems of Indian Poetry in English." International Journal of English Literature and Social Sciences 7, no. 4 (2022): 244–49. http://dx.doi.org/10.22161/ijels.74.36.
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Indian Poetry in English by women writers has been giving birth to several issues related to feminism. These poets are trying to express their long-suppressed voice through these issues. However, in most cases they are posting their fight against patriarchy. Patriarchy, as a male dominated social system, always seems hostile to the liberation of women by suppressing their identity. Modern women poets are successful in disturbing this traditional mindset. My paper will try to focus on another perspective of this issue where ‘father’ is supposed to be the agent of patriarchal domination. I’ve tried to analyze some poems by Indian women poets in English who have incorporated ‘father’ as a character in their poems in order to expose male domination. And it is not surprising to notice that several women poets are linked by the same issue as they are a part of same social system.
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Raj Sharma, Lok. "PREFERENTIAL TREATMENT OF NATURE IN ROMANTIC POETRY." International Journal of Advanced Research 10, no. 02 (2022): 87–90. http://dx.doi.org/10.21474/ijar01/14181.
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Love for nature is one of the perennial characteristics perceived in Romantic poetry. English Romantic poets employ nature as an influential theme in their poetry: however their treatment of nature does not sound to be similar. This article aims at differentiating English Romantic poets preferential treatment of nature succinctly by including ten poems of five noted English Romantic poets, namely Wordsworth, Coleridge, Byron, Shelley and Keats. This article concludes that nature for Wordsworth is a sort of God or Goddess for Coleridge it is an expression of the mystical power for Byron it is a reflection of mankind for Shelley it is a healing power and for Keats it is a source of sensuousness inflaming sensual pleasures.
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Chernaik, Warren, Gerald Hammond, and Lawrence Venuti. "Fleeting Things: English Poets and Poems, 1616-1660." Yearbook of English Studies 23 (1993): 343. http://dx.doi.org/10.2307/3508017.
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Lerner, Laurence, Gerald Hammond, and Sukanta Chaudhuri. "Fleeting Things: English Poets and Poems, 1616-1660." Comparative Literature 45, no. 1 (1993): 74. http://dx.doi.org/10.2307/1771311.
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Kürtösi, Katalin. "Poets of Bifurcated Tongues, or on the Plurilingualism of Canadian-Hungarian Poets." TTR : traduction, terminologie, rédaction 6, no. 2 (2007): 103–30. http://dx.doi.org/10.7202/037153ar.
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Abstract Poets of Bifurcated Tongues, or on the plurilingualism of Canadian-Hungarian Poets — This article aims at an analysis of the plurilingualism of four poets of Hungarian origin, living in Canada: Robert Zend, George Vitéz, László Kemenes Géfin and Endre Farkas. Before examining the poems themselves, the various concepts of plurilingualism and the aspects of grouping these poems, including the code-switching strategies used in them, are reviewed. The base language and the nature of code-switching is discussed with a special emphasis on the relationship of grammatical units, intra- and intersentential switches within contexts where plurilingualism occurs. The first three poets have become bilinguals as adults: they form part of Hungarian literature as well as of Canadian writing. The last one, however, has a childhood bilingualism and is considered an English-Canadian Poet. Since they have a twofold minority status (Hungarian origins, plus writing in English in Montréal), analysis of these poets requires a special approach. The main hypothesis of the article is that, when using more than one language within the same work, the author is able to reach special effects which would be otherwise impossible. These poems, plurilingual in nature, also show that, for these authors, language is of multiple use: not only is language a tool of communication, but also the theme of some of their poems: they are often self-reflexive, making formal and semantic experimentation possible.
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Muhammed, Qaisar Taha, and Khalid Sh Sharhan. "A Gender-based Stylistic Analysis of Selected English Love Poems." Al-Adab Journal 2, no. 141 (2022): 73–82. http://dx.doi.org/10.31973/aj.v2i141.3713.
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One of the most interesting issues in the study of language is the relation between language and gender. A lot of studies have been conducted so far to find out if men speak and write differently from women. The present study is also an attempt in the same area but it considers gender differences in love poetry. It aims to find out the differences between male and female poets in their love poems. The data of the study consists of three male love poems, and three female poems. Leech and Short's (1981) checklist is used as a framework to analyze the selected love poems. The findings of the study reveal that there are differences between male and female poets with regard to lexical categories, grammatical categories and figures of speech.
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Rahman, Muhd Mustafizur. "An Overview of the Romantic Age, Romantic Poets and Romantic Poetry in English Literature: A Critical Analysis." Integrated Journal for Research in Arts and Humanities 3, no. 4 (2023): 43–54. http://dx.doi.org/10.55544/ijrah.3.4.6.
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This article aims at giving an overview on the whole romantic period. The start of the romantic period, the way it happened, the poets that helped to make this period shine, the background of the poets and the details of the romantic poetry that ruled this era – all of the aspects are described very elaborately in this article. The romantic age was established at the end of the eighteenth century and it lasted up to the 30’s of the nineteenth century. This romantic period replaced the neoclassical period where the classical poets like Alexander Pope made classical poetry famous among readers. Elements such as imagination, emotion, nature were used very passionately in the romantic poetry. There are more than four poets who wrote romantic poems in this period but only the life and poetry of the significant four poets are written in this article who was William Wordsworth, Samuel Coleridge, John Keats, P. B Shelley. Wordsworth and Coleridge were the very first influencers of the romantic period. Wordsworth portrayed nature very artistically with his imagination in his poems. He wrote poems to pleasure the feelings of the common people. His close friend, Coleridge was influenced by some early politic affairs, his master James bowers and poet William Bowles to write romantic poetry. His investigation of the human nature through his poems made his poems very relatable. John Keats came after Wordsworth and Coleridge in this era. He upheld beauty and imagination frequently in his writing and shared the importance of his created term ‘negative capability.’ P.B Shelley differed from the other romantic poets by giving some importance to logic. He cared about morality and good lessons in his poems. He also portrayed melancholy very beautifully with his pen. This article will guide people in knowing even the little things of the romantic era.
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Frolova, N. S. "Anglophone Poetry in Kenya at the Turn of the Century: Past Experience and Artistic Transformation." Nauchnyi dialog, no. 2 (March 3, 2021): 259–75. http://dx.doi.org/10.24224/2227-1295-2021-2-259-275.
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The main trends in the development of the English-language poetry of Kenya at the turn of the XX—XXI centuries are considered. The main material is a collection of poems by Kenyan poets, first published in the early 2000s. Particular attention is paid to the ideological and artistic transformation in the work of the young generation of Kenyan poets of the key directions in the development of Kenyan English-language poetry, which developed in the first half of the XX century. The novelty of the research lies in the conclusion about the continuity of the experience of the older generation poets by the English-speaking Kenyan poets, which is expressed in the development of two key directions of the development of Kenyan English-language poetry: socio-political and philosophical-lyric. At the same time, a fundamental change in the artistic method and style transformation is noted in the work of the new generation of Kenyan authors: unlike their predecessors, young Kenyan poets are increasingly gravitating towards the use of rhyme, expressed allegory and imagery, and also adopting previously untested techniques, for example, the use of elements of youth subculture. New material has been brought in, many names are first introduced into the everyday life of domestic and world African studies.
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Mahil Abd Allah, Mohamed Jabraddar. "The Value of Night in English Poetry of The Romantic Period (1757-1822)." International Journal of Applied Linguistics and English Literature 10, no. 1 (2021): 58. http://dx.doi.org/10.7575/aiac.ijalel.v.10n.1p.58.
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This study has attempted to examine the value of night in English poetry of the Romantic period (1757–1822). It has aimed to establish how the writers of English poetry of the Romantic period highlight the value of night and images of nature involved in creating this value, while also realising the importance of night in life, according to the poems examined in this study. Three poems of the English poetry of the Romantic period (1757–1822), were used as data for the current study. The poems were analysed quantitatively – the occurrence of the expressions, words and phrases highlighting the value of night were recorded. Results showed that the poets highlight the value of night as an image of nature. Besides, the poets believe that night is a sign of beauty and tranquillity in human life.
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Hurtado, Rosa Eugenia Rivas. "The English Romantic Poets." International Area Review 1, no. 1 (1997): 190–201. http://dx.doi.org/10.1177/223386599700100112.
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The period dating from 1789 to about 1830 is the epoch of the Romanticism, who first exponens among others were Blake, Coleridge, Southey, Wordsworth and in a second generation Byron, Shelley, and Keats who all died at young age. Many values and interest of the Romantic period remained alive through the nineteen century with poets such as Yeats and Stevens. Imagination, Nature, the Self, and Eternity are among the elements that the period named “Romantic”. Indeed imagination and insight are in fact inseparable and form for all practical purposes a single faculty. “For Coleridge imagination is the primary instrument of all spiritual and creative activities.” At the ages of about 33 Wordsworth passed a crisis and this dealt to experience two different ideas about nature; the first one when he wrote Tintern Abbey in 1798, he distinguished the blessed of nature. Some years later, the other came when this all-absorbing wision was lost. Kubla Khan written by Coleridge after three hours in a profound sleep, during which time he had the most vivid confidence of the external senses. Rebellion specially ideas on favour of The French Revolution, political points of view idealist as Shelly had and never lost his enthusiasm for revolutionary politics.
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Bakir, Ardalan Luqman, and Khadeeja Saeed Ismail. "ANALYSIS OF THE CAUSES OF PHILIP LARKIN’S WOUNDS IN THE MIRROR OF FREUD’S PSYCHOANALYTIC THEORY." Journal of Tikrit University for Humanities 30, no. 6, 2 (2023): 82–105. http://dx.doi.org/10.25130/jtuh.30.6.2.2023.25.
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Philip Larkin is one of the prominent post-modern poets who tackled with various themes in his poems. He approached his ideas directly or indirectly. This study aims to analyze selected poems of Philip Larkin as one of the most vital figures of English poetry. The analysis of the poems is achieved on the basis of Sigmund Freud’s psychoanalytic theory which is regarded as a great criterion used in modern English literature. Psychoanalysis is a well-known method that helps critics and readers to interpret and dive deep beneath the meanings of the lines of the poems to get familiar with the unconscious mind of poets. Sigmund Freud in his work The Interpretation of Dreams (1900) believes that poetry is the dream of poets and writers. So, the one who reads the literary work has to use psychoanalysis as a focal method and technique for finding and figuring out the hidden meanings and intentions of the writer within the work. Psychoanalysis, to a great extent, aids critics and readers to understand the conflict between Id, Ego and Superego as well the inner psyche of the writer in order to comprehend the reasons behind the writer’s actions and behaviors.
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Abdullah, Ahmed Mahmood, and Hawshen Slewa Eessa. "Elements of Short Poems by (Mudrik Zhali)." Journal of University of Raparin 8, no. 2 (2021): 1–23. http://dx.doi.org/10.26750/vol(8).no(2).paper.1.
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This research is entitled: ( Elements of Short Poems by (Mudrik Zhali)) .It consists of third sections, which are an attempt to define and use the content, form and Elements value of poetry. It has several concepts in contemporary Kurdish poetry, especially among contemporary poets in the last century in (Koya) city.
 This present research has scientific significance and value in the field of regeneration and highlighting the poet's ability and talent in this field. For this research, we used an analytical and descriptive method. It consists of third topics: The first topic: Experience of the poet (Mudrik Zhali).. The concept of haiku. The second topic: Elements language, poetic music, poetic image, and symbols in poet’s poetry. The third topic: Reading poetry of (The Eves of the Memories of the Impossible Love).With abstracts of the research in Arabic and English and a list of references.
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Hasan, Mariwan. "Robert Herrick’s Daffodils, Percy Bysshe Shelley’s Flower and Abdulla Goran’s Ivy Flower: A Comparative Study." JOURNAL OF LANGUAGE STUDIES 6, no. 4, 1 (2023): 239–52. http://dx.doi.org/10.25130/jls.6.4.1.15.
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This paper intends to highlight the similarities in three poems by three different poets coming from different times and places - Robert Herrick’s poem, “To Daffodils”, Percy Bysshe Shelly’s poem, “The flower that smiles today” (mutability), and Abdulla Goran’s poem, “To the Ivy Flowers”. It endeavours to depict the influence that Shelly and Herricks’ poems had on the Kurdish poet Goran in composing his poem. Herrick’s poem was first published in the 17th century in English Language, although Shelley’s Poem was published in the 19th century in England, yet its language is English, too. The influence of the English language and English writers generally and the influence of Shelly and Herrick, particularly is clearly seen in Goran’s poem. This study for the first time points out that there is the high possibility of the influence of two poems on Goran in composing his poem, “To the Ivy Flowers”, which shows the novelty of this study as no scholar so far has said two English Writers influenced him in writing this poem. This is a comparative study relying on the French school of comparative literature. The Kurdish poet, Goran was influenced by both Shelley and Herrick. The paper intends to see to which degree is Goran influenced by the two poems, and why particularly by those two English poets. The study relies on comparative, descriptive and textual analysis approaches to examine meaning, content and style of the three poems to demonstrate the aesthetics of the three poems
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Rostampour, Saloome. "Word Order of Noun and Verb Phrases in Contemporary Persian and English Poems." JOURNAL OF ADVANCES IN LINGUISTICS 8, no. 1 (2017): 1229–35. http://dx.doi.org/10.24297/jal.v8i1.6216.
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Literature is a system of semantic markers which convey emotions as well. Sentences in literary texts, particularly poetic ones, are not merely a medium to convey a message. In literary language, there is not a one to one correspondence between words and their meaning. That is in literary texts, the words and consequently sentences do not have their common dictionary meaning. Rather, in many cases, they include the writers or poets intended meaning. For writers and poets, words are not simply means of conveying a message, but a scheme to create beauty and novel innovations. The poets to make more impression on their addressees usually create uncommon sentences in the language. To express their feelings and thoughts, they invert the poems internal word order or sort out the structural system of their poetic sentences counter to standard language. By creating marked words or sentences, they actually seek to communicate their audience artistically and innovatively. Sentence is the poets main instrument that according to traditional grammars definition consists of two parts: subject and predicate. However, in modern linguistics sentence is a set of noun and verb phrases that are joined together as a harmonious whole. Each of noun or verb phrases has a unique structure so that their internal order cannot be changed; however, poets make their utterance poetic by inverting these groups to create greater influence. By using content analysis method, an attempt is made in this article to analyze the internal orders of noun and verb phrases in contemporary poems. The author gratefully acknowledge the financial and other support of this research, provided by the Islamic Azad University. eslamshahr Branch, Tehran ,Iran
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Ali, Shakir Hussein. "Subverting Traditional Gender Roles in Contemporary English Poetry: The World's Wife by Carol Ann Duffy Mike and Honey by Rupi Kaur Ariel by Sylvia Plath." Integrated Journal for Research in Arts and Humanities 4, no. 3 (2024): 61–64. http://dx.doi.org/10.55544/ijrah.4.3.12.
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Generally speaking, male poets depict women in their poetry as typically seen as frail, weak, and reliant on males. However, in this paper we will examine the how women are portrayed in the same way in the poetry written by female poets, which is shocking. The purpose of this article is to examine how women use poetry to create their own gender identities. The language used by female poets to establish their own identities and the themes they chose for their poems reveal how they see themselves in relation to the other gender. The article 'data are derived from an analysis selection of three English-language poems written by female poets: the world's wife by Carol Ann Duffy, Mike and Honey by Rupi Kaur, and Ariel by Sylvia Plath. To thoroughly examine how gender identity is constructed.
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Kryeziu, Naim, and Lirak Karjagdiu. "Heinrich Heine in Albanian Literature." Theory and Practice in Language Studies 13, no. 2 (2023): 299–310. http://dx.doi.org/10.17507/tpls.1302.04.
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Those who wrote about and introduced Heinrich Heine into Albanian literature and culture are the following distinguished Albanian intellectuals, researches and scholars: Javer Malo, Nexhip Gami, Vehbi Bala, Perikli Jorgoni, Pertef Kruja, Robert Shvarc, Petraq Kolevica, etc. However, no all-embracing articles or papers in English or German were written about Heinrich Heine’s presence, popularity and influence on Albanian literature. Therefore, through qualitative and comparative literature methods this article attempts to illuminate the presence, popularity and impact of Heine’s poetry on the poems of some of the most popular Albanian writers and poets, such as: Çajupi, Konica, Noli and Poradeci by focusing on the main similarities and differences of Heine’s poems with those of the aforementioned Albanian poets. The paper demonstrates and proves that it is beyond doubt that the poems of the aforesaid Albanian poets share strange and interesting similarities and a kind of concordance with the topics, motifs, messages and style of Heine’s poems and that he influenced those poets in different ways and to various degrees. The themes and motifs of politics, patriotism, social injustice, longing for motherland, freedom, brotherhood, nature, enthusiasm, love, hate, pain, sadness, disbelief, tradition, anticipation of future, dreams, etc. best connect the poems of Albanian poets to Heine’s.
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Wakefield, Gordon S. "God and Some English Poets." Expository Times 104, no. 7 (1993): 201–5. http://dx.doi.org/10.1177/001452469310400703.
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Wakefield, Gordon S. "God and Some English Poets." Expository Times 104, no. 9 (1993): 263–67. http://dx.doi.org/10.1177/001452469310400903.
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Wakefield, Gordon S. "God and Some English Poets." Expository Times 104, no. 11 (1993): 328–32. http://dx.doi.org/10.1177/001452469310401103.
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Wakefield, Gordon S. "God and Some English Poets." Expository Times 105, no. 1 (1993): 3–7. http://dx.doi.org/10.1177/001452469310500102.
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Wakefield, Gordon S. "God and Some English Poets." Expository Times 105, no. 6 (1994): 167–71. http://dx.doi.org/10.1177/001452469410500603.
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Wakefield, Gordon. "God and Some English Poets." Expository Times 105, no. 9 (1994): 265–69. http://dx.doi.org/10.1177/001452469410500903.
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Wakefield, Gordon S. "God and Some English Poets." Expository Times 106, no. 1 (1994): 10–13. http://dx.doi.org/10.1177/001452469410600103.
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Wakefield, Gordon S. "God and Some English Poets." Expository Times 108, no. 4 (1997): 106–10. http://dx.doi.org/10.1177/001452469710800403.
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Wakefield, Gordon S. "God and Some English Poets." Expository Times 108, no. 10 (1997): 296–300. http://dx.doi.org/10.1177/001452469710801003.
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Islam, Mohammad Shafiqul. "Bangladeshi Poets Writing in English." Journal of World Literature 6, no. 1 (2020): 65–83. http://dx.doi.org/10.1163/24056480-20201003.
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Abstract This article observes that Kaiser Haq has made an immense contribution to Bangladeshi poetry in English, leading the school of English poetry of the country from the front. A relatively new field, Bangladeshi writing in English has started becoming a part of world literature, and its scope, no doubt, is expanding rapidly. The article also focuses on the legacy of Bangladeshi writing in English to demonstrate how Bangladeshi poetry in English has simultaneously progressed. The article argues that Haq’s enormous contributions justify his position as the best English-language poet in Bangladesh. For his poetry, the poet takes material from his motherland and its rich culture, and his style, technique, and diction resonate with those of prominent poetic voices of the world. The article also sheds light on how Haq presents Bangladesh, depicting numerous shades of reality, and how he still dominates in the contemporary scene of Bangladeshi poetry in English.
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Helgerson, Richard. "Fleeting Things: English Poets and Poems, 1616-1660. Gerald Hammond." Modern Philology 90, no. 3 (1993): 430–33. http://dx.doi.org/10.1086/392092.
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E HOSNE ARA, JANNAT. "Harmonization of Mythology into the Poetry of the Modern Poets: A Study on the Selected Poems of Yeats, Eliot and Auden." International Journal of Language and Literary Studies 4, no. 3 (2022): 165–75. http://dx.doi.org/10.36892/ijlls.v4i3.969.
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This research is an endeavour to explore the poetry of the three prevalent modern poets William Butler Yeats, Thomas Sterns Eliot and Wystan Hugh Auden, through the lenses of their harmonization of mythology. Though they belong to the modern period in English literature, they reference different types of myths as they teach us moral lessons and profound purpose, explain historical events and add creativity to literary pieces. This study searches for the reason why and how the poets incorporate the usage of mythology into their poetry. In this paper, the writer will allude to some of the lines of different poems of the three poets above. Through the reference of these poems, the reader will come to understand with what purpose the poets integrate the representation of mythology into their poems. Specifically, this research will focus on the poetry of the modern poets. These three poet depict their poems with mythology in their own way. They always try to deploy different myths into their poems as these are very meaningful and purposeful to our life still. Our selected three poets more or less experience both the WWI and WWII and the after effects of these two massive war make them to contemplate for the people, the country and the world. They ruminate on the contemporary devastative circumstances of the world. Through exhibiting various mythical allusions into their poetry, they attempt to rekindle peace and complacency all over the world. The researcher captures evidence from textual reference to support her opinion regarding the related issues. This paper attempts to expose the related reasons why and how the modern poets delineate mythology into their poetry.
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Weems, Sandra, and Tom Bragg. "The Great War Poets and the Campaign for Empathy." Emotions: History, Culture, Society 2, no. 2 (2018): 236–55. http://dx.doi.org/10.1163/2208522x-02010021.
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AbstractThe British soldier-poets of the Great War (1914–1918) composed works that openly, intuitively sought empathy from civilians back home and commanders absent from the Western front. As a term coined only in 1909, empathy was derived, ironically, from German aesthetics (Einfühlung) by an English psychologist: two peoples imaginatively and intellectually engaged in peacetime, later locked in a prolonged, mutual slaughter. While most of the war poets had never heard the word, many of their poems demonstrate a variety of concepts and tropes that we recognise to be empathic. Examining lines by some of the war’s most famous poets – Edward Thomas, Thomas Sorley, Isaac Rosenberg, Charles Sorley, and Ivor Gurney – the authors illustrate ways the poets campaigned for empathy in verse.
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Abuhammam, Emad A., Zaid M. Al-dabbagh, Abdullah M. Ibrahim, and Ismail S. Almazaidah. "The Portrayal of Spring in English and Arabic Poetry: A Comparative Stylistic Study of Selected Poems." Journal of Language Teaching and Research 15, no. 2 (2024): 355–63. http://dx.doi.org/10.17507/jltr.1502.04.
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This comparative study highlights many romantic affinities in some poems by modern and classic English and Arabic poets. These romantic poets represent spring similarly as a source of pleasure, peace, and comfort. They see spring as their place of sharing compassion, love, and happiness. The study is mainly based on the Parallelism theory of the American School of Comparative Literature which focuses on the parallel themes, linguistic devices, and images of different authors whose social, historical, traditional, and linguistic aspects are different (Bressler, 2011, p. 42). It also adopts the New Criticism’s methodology of analyzing poetic metaphors, symbols, structures, and similes. Their romantic compositions connect spring spiritually, aesthetically, and invisibly with these poets’ souls. They glorify and adopt spring and its influence on them as a symbol of pleasure and comfort.
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Cakir, Burcin, and Berkan Ulu. "“Sons of Two Empires”: The Idea of Nationhood in Anzac and Turkish Poems of the Gallipoli Campaign." Revista Alicantina de Estudios Ingleses, no. 31 (December 15, 2018): 83. http://dx.doi.org/10.14198/raei.2018.31.06.
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An unexpected failure of the Allied forces and a monumental victory for the Turks, the Gallipoli Campaign (1915) is thought to be the first notable experience for Australians and New Zealanders on their way to identify themselves as nations free from the British Empire. For the war-weary Turks, too, the victory in Gallipoli was the beginning of their transformation from a wreck of an empire to a modern republic. Despite the existence of a substantial body of research on the military, political, and historical aspects of the campaign, studies on the literature of Gallipoli are very few and often deal with canonised poets such as Rupert Brooke or national concerns through a single perspective. Aiming to bring to light underappreciated poets from Gallipoli, this paper is a comparative study of less known poems in English and Turkish from Gallipoli. While doing this, the study traces the signs of the nation-building processes of Australia, New Zealand, and Turkey with emphasis on national identity. To this end, the paper examines a number of Gallipoli poems in English and Turkish that were composed by combatant or non-combatant poets by using close reading analysis in search of shifts in discourse and tone. The study also underlines how poets from the two sides identified themselves and the ways the campaign is reflected in these poems. At length, the study shows that Gallipoli poems display similar attitudes towards the idea of belonging to an empire although they differ in the way warfare is perceived. With emphasis on less known poems and as one of the very few comparative studies of the poetry of the Gallipoli Campaign, this paper will contribute to the current research into the legacy and literature of the First World War.
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Sheikh Al-Shabab, Omar A. "Construction and Interpretation Of Corpus-Based English Poetry Vocabulary Profile." International Journal of Applied Linguistics and English Literature 6, no. 5 (2017): 51. http://dx.doi.org/10.7575//aiac.ijalel.v.6n.5p.51.
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Vocabulary Profilers (VPrs) are deeply rooted in pedagogical purposes. The current investigation, however, uses the Classic and Compleat VPrs to: 1) determine the distribution and content of vocabulary in an English poetry corpus 2) explain differences in the constituents of the vocabulary profile (VP), 3) explore the role of language users in constructing the VP. The corpus includes Extended Corpus (EC: 1.363.225 words), Micro Corpus (MC: 43.200 words) from thirty-six poets, and two poems translated into Arabic. The main results show that Types, Offlist words, Academic and Anglo-Saxon words outline the VP, and that the number of Types and the size of the Individual Mental Lexicon constitute the main features of the translator’s VP. The paper concludes that the poet’s construction of the poetry VP undergoes multilayer interpretation by the reader/analyst and the translator, who utilize their socio-environmental context to pin down the semantic potential of the VP anew.
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Dr. Tanveer Rahman and Dr. Fareed Hussaini,. "Influence Of English Poet’s On Iqbal’s Poetry." Dareecha-e-Tahqeeq 3, no. 3 (2023): 205–14. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.65.
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Allama Iqbal is the great artist of the east. He established himself as prominent poet across the world. His uniqueness, amongst the Urdu and Persian poets, is his vast study. Allama got various ideas and thoughts along with artistic sense from every important literary figure. At Iqbal’s time English Language was one of the main source of acquiring modern know ledges. Allama strengthen his thoughts and artistic technique by English poets too. In this article efforts have been made to point out the impact of British poets on Iqbal poetry.
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Albertson, Nicholas. "Koigoromo (Robe of Love) Part 1: An Introduction and Translation of Yamakawa Tomiko’s “White Lily” / 『恋衣』英訳(１) ：解説、山川登美子の「白百合」". U.S.-Japan Women's Journal 63/64, № 63/64 (2023): 53–97. http://dx.doi.org/10.1353/jwj.2023.a903682.
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Abstract: Robe of Love ( Koigoromo , 1905) is a collection of 393 tanka and six shintaishi (new-style poems) by Yamakawa Tomiko, Masuda Masako, and Yosano Akiko, three of the leading female poets who wrote for the literary magazine Morning Star ( Myōjō ). Part One provides a historical and critical overview of Robe of Love and brief portraits of the three poets, followed by a complete English translation of the 131 tanka in Yamakawa Tomiko’s section “White Lily.” The rest of Robe of Love will appear in subsequent issues of the journal.
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Atkins, Tim. "Seven Types of Translation: Translation Tables." English: Journal of the English Association 69, no. 267 (2020): 379–96. http://dx.doi.org/10.1093/english/efaa029.
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Abstract This article and accompanying table provide an overview and catalogue of a large number of experimental translation methods that have been used by avantgarde poets. Poetic/experimental translation as defined and explored herein is a form of translation in which the aesthetic and execution of the translator is as important as that of the perceived intention of the original writer. The article’s seven-section table gives a definition of each method, and gives examples and expositions of a range of particular poets' work. The table of translation methods recognizes and explores the fact that of all forms of writing, poetry concerns itself with the ‘how it is said’ more than any other. The table outlines many different methods of translation, looking at how meaning, rhyme, sound, form, constraint, or style can be translated by the experimental writer when translating one or more source texts. These individual, intellectual, and aesthetic choices made by a wide range of poets are collated and detailed in seven discrete-yet-overlapping areas.
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Haile, Getatchew. "Amharic Poetry of the Ethiopian Diaspora in America: A Sampler." Diaspora: A Journal of Transnational Studies 15, no. 2-3 (2011): 321–39. http://dx.doi.org/10.3138/diaspora.15.2-3.321.
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This essay offers the first English-language translations of Amharic poetry written by Ethiopian immigrants to the United States. Following an introduction to the Amharic language and the central place of poetry in Ethiopian literature and cultural life, the author discusses the work of four poets. The poems of Tewodros Abebe, Amha Asfaw, Alemayehu Gebrehiwot, and Alemtsehay Wedajo make creative use of Ethiopian verbal constructions reminiscent of traditional war songs and verbal interrogations used in legal contexts. Many of the poems speak eloquently of the personal losses Ethiopians have suffered as a result of their departure from their homeland. The essay includes biographical and ethnographic details about the individual poets and various influences on their compositions. (April 2009)
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Deng, Liang, and Lan Ma. "A Contrastive Study on Translations of Li Qingzhao’s Ru Meng Ling: From the Perspective of Subjectivity and Subjectification." International Journal of English Linguistics 5, no. 6 (2015): 128. http://dx.doi.org/10.5539/ijel.v5n6p128.
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<p>Poetry is quite personal in the sense that it is mainly written for the expression of the poets’ personal emotions, feelings, attitudes, point of views, etc. Therefore, it is endowed with strong subjectivity. Poets resort to different linguistic devices to realize their subjectivity in their poetry, which is termed as subjectification. Consequently, poets’ subjectivity constitutes an essential part of the meaning of their poetry. Thus, in the translation of poetry, it is vital for the translator to reconstruct the poets’ subjectivity. This paper attempts to conduct a contrast of thirteen English versions of <em>Ru Meng Ling </em>by Li Qingzhao from the perspective of subjectivity and subjectification. It will first make an analysis of Li Qingzhao’s subjectivity and subjectification in her <em>Ru Meng Ling</em> from the three dimensions, perspective, affect and epistemic modality. Then, a contrast is provided among the thirteen English versions. It is found that it is difficult to achieve a complete equivalence of subjectification due to the translators’ subjectivity in their translation. However, a good translator attempts to eschew his/her own subjectivity and reconstruct the poet’s subjectivity as much as possible.</p>
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Westwood, Daniel. "‘These Common Woes I Feel’: The Elegist and the Reader in Wordsworth and Shelley." English: Journal of the English Association 69, no. 264 (2019): 45–66. http://dx.doi.org/10.1093/english/efz047.
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Abstract This article argues that Shelley’s approach to the elegy owes a significant debt to Wordsworth’s ‘Lucy’ poems, particularly Wordsworth’s examination of the relationship between the elegist and the reader. While the elegy often extols the value of communal bonds and shared experiences in responding effectively to grief, the ‘Lucy’ poems use reticence and obfuscation to qualify the reader’s engagement with the emotional experiences that constitute an elegy. Through this, Wordsworth questions the possibility of the elegist and the reader experiencing a unified response to loss. Identifying the importance of these techniques to Wordsworthian elegy, Shelley’s sonnet ‘To Wordsworth’ shows him inheriting Wordsworth’s belief that any elegy must negotiate between ‘common woes’ and individual feeling. The later Adonais represents Shelley’s fullest reimagining of Wordsworth’s methods. By presenting the poet as a solitary and inscrutable figure, Shelley highlights a disjunction between the universal resonance of death and the elegist’s irrevocably personal perspective on grief. Magnifying the tensions implicit in all elegies, both poets open up a distance between the elegist and the reader to explore broader distinctions between individual and communal experiences of loss.
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Golkarian, Ghadir. "Nasimi's thought and effect in Comparative Literature in Foreign Resources (Analyzing with Goethe's, S. Remiev’s and Dafydd ap Gwilym)." Revista Amazonia Investiga 9, no. 29 (2020): 264–72. http://dx.doi.org/10.34069/ai/2020.29.05.30.
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Imadeddin Nasimi is one of the mystical poets of the 14th century as a continuation of the Hurufism movement among Turkish poets. From Nasimi's point of view, ontology has been explained based on theological thought that everything is from the first force, which is equivalent to the whole new soul of the Platonists. The first appearance and the highest manifestation is the originality, the "Word" or the "Word of God," which is called the holy word. A similar view of the origins of Plotinus can found in the poems of other talented medieval and contemporary poets. Nasimi appropriately evaluated in both Eastern and Western literature. Therefore, 2019 was declared the year of Nasimi by UNESCO. He tried to understand God, not through fear, but love and conscience. The greatness of the perfect human personality for the progress of societies can be seen in Nasimi's view. In foreign sources, the philosophical aspect of Nasimi's poems is considered more than his ideological approach. But in this article, the aim of the investigation is that the literary, mystical, and worldview aspects of Nasimi and analyzing the effect of his mystical view on other poets' poems. In this context, Goethe, Dafydd ap Gwilym, Remiev's intellectual approaches, and poems would be analyzed. In the philosophy of ontology, the importance of self-knowledge is a priority. Therefore, based on comparative studies between Nasimi's mystical thought and German, Russian, and English poets, it is possible to understand the constituent elements of the commonality between them. This research will lead to the study of philosophical-mystical themes and the similarity of views between Nasimi and other poets. The use of the research method is the analytical-descriptive method, and their poems compared and criticized. The results of the analysis show that the poets of the Western World influenced by the mystical view of the Eastern world, and the approach of literary celebrities in the world is common to the definition of a perfect human being.
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Thomas Baby, Kappalumakkel. "The Skylark: A Symbol of Poetic Inspiration for Generations with Special Reference to Shelley and Hughes." Pertanika Journal of Social Sciences and Humanities 30, no. 2 (2022): 723–42. http://dx.doi.org/10.47836/pjssh.30.2.16.
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The skylark is a tiny brown bird with a small crest on its head. It is slightly larger than a sparrow and is popularly known for its uninterrupted song during its upward flight. The bird is found in most parts of England and many European countries. A closer examination of English poetic tradition reveals that several English poets have anthologised this tiny bird, including famous poets such as Wordsworth, Shelley, Hopkins, Meredith, Rossetti, Rosenberg, and C Day-Lewis. The late poet laureate Ted Hughes also wrote about the skylark in our times. Even Shakespeare and Goethe have eulogised the skylark in their plays. Since Thomas Hardy has written a poem about ‘Shelley’s skylark,’ it is evident that traditionally ‘To a Skylark’ by Shelley is the most popular of all ‘Skylark’ poems. However, Hughes’s poem on skylark merits our attention because it is entirely different from the general trend of all other skylark poems written until his time. Therefore, this study explores how the skylark became a symbol of poetic inspiration for different generations of poets by analysing the two famous poems on skylark written by Shelley (1792–1822) and Hughes (1930–1998). While Shelley depicts the skylark as a pure spirit of joy, Hughes considers it an embodiment of cosmic energy resulting from the bird’s struggle for flight against the earth’s gravitational pull. Therefore, the different perceptions of Shelley and Hughes about the skylark constitute the essence of this discourse.
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Fordoński, Krzysztof. "English 18th-Century Women Poets and Maciej Kazimierz Sarbiewski: Adaptation, Paraphrase, Translation." Terminus 22, no. 4 (57) (2020): 315–31. http://dx.doi.org/10.4467/20843844te.20.017.12537.
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The paper deals with six poems of three 18th-century English women poets—Lady Mary Chudleigh, Mary Masters, and Anne Steele “Theodosia”—inspired by the works of the greatest Polish Neo-Latin poet Maciej Kazimierz Sarbiewski. The aim of the study is to present the three authors, their biographies and literary oeuvres, and to attempt an analysis of the poems in question within this context. The biographies, social position—Chudleigh was the wife a baronet, the two others belonged to the middle class—and education of the three authoresses differ and yet they all shared the limitations resulting from the fact that they were women in 18th-century England, and were therefore denied access to academic education. The analysis of the texts and biographies has proven that it is highly improbable that either of the three women poets could translate the poems from Latin originals. All of their translations are based on earlier renditions; in the case of Chudleigh it is possible to identify the source text, that is the translation by John Norris. Inasmuch as it can be ascertained from the available biographical and critical sources and the results, the attitudes of the three poetesses towards their work varied. Only Masters acknowledged the source material in her publications. Although the current concepts of translation are different, her two poems: On a Fountain. Casimir, Lib. Epod. Ode 2 and Casimir, Lib. I. Ode 2—qualify as translations by the standards of her times. They are analysed here in detail. Neither Chudleigh nor Steele mentioned Sarbiewski in their publications. Their decision can be justified by the fact that their poems, even if clearly (though most likely indirectly) inspired by his lyrics, must be classified as free adaptations or even original poetry influenced by Sarbiewski or earlier translations and adaptations of his works.
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Fordoński, Krzysztof. "English 18th-Century Women Poets and Maciej Kazimierz Sarbiewski: Adaptation, Paraphrase, Translation." Terminus 22, no. 4 (57) (2020): 315–31. http://dx.doi.org/10.4467/20843844te.20.017.12537.
Full textAbstract:
The paper deals with six poems of three 18th-century English women poets—Lady Mary Chudleigh, Mary Masters, and Anne Steele “Theodosia”—inspired by the works of the greatest Polish Neo-Latin poet Maciej Kazimierz Sarbiewski. The aim of the study is to present the three authors, their biographies and literary oeuvres, and to attempt an analysis of the poems in question within this context. The biographies, social position—Chudleigh was the wife a baronet, the two others belonged to the middle class—and education of the three authoresses differ and yet they all shared the limitations resulting from the fact that they were women in 18th-century England, and were therefore denied access to academic education. The analysis of the texts and biographies has proven that it is highly improbable that either of the three women poets could translate the poems from Latin originals. All of their translations are based on earlier renditions; in the case of Chudleigh it is possible to identify the source text, that is the translation by John Norris. Inasmuch as it can be ascertained from the available biographical and critical sources and the results, the attitudes of the three poetesses towards their work varied. Only Masters acknowledged the source material in her publications. Although the current concepts of translation are different, her two poems: On a Fountain. Casimir, Lib. Epod. Ode 2 and Casimir, Lib. I. Ode 2—qualify as translations by the standards of her times. They are analysed here in detail. Neither Chudleigh nor Steele mentioned Sarbiewski in their publications. Their decision can be justified by the fact that their poems, even if clearly (though most likely indirectly) inspired by his lyrics, must be classified as free adaptations or even original poetry influenced by Sarbiewski or earlier translations and adaptations of his works.
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Chandni Rani. "The Influence of Modern English Poets on Nissim Ezekiel: A Study." Creative Launcher 5, no. 4 (2020): 65–71. http://dx.doi.org/10.53032/tcl.2020.5.4.12.
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In the present paper it has been attempted to study the influences on Ezekiel. In his works there is a reflection of modern English Poets’ perspective along with the style of their writing. Through references to various critics, the influences on Nissim Ezekiel and his poetic works have been shown. The modern English Poets like T.S Eliot, W.B. Yeats, Ezra Pound, Philip Larkin etc proved to be influential enough to Ezekiel and this has been shown here in the present paper through various quotes. He seems to be influenced by the great modern English Poets and ultimately emerging as a great modern poet himself left his fellow poets and readers much influenced with the power of his poetic charm.
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Hama, Bakhtiar S. "Imagism and Imagery in the Selected Poems of Major Imagist Poets." Koya University Journal of Humanities and Social Sciences 3, no. 1 (2020): 88–93. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp88-93.
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This paper explores imagism and studies the intrinsic literary features of some poems to show how the authors combine all the elements such as style, sentence structure, figures of speech and poetic diction to paint concrete and abstract images in the mind of the readers. Imagism was an early 20th century literary movement and a reaction against the Romantic and Victorian mainstreams. Imagism is known as an Anglo-American literary movement since it borrows from the English and American verse style of modern poetry. The leaders of the movement set some rules for writing imagist poems. The authors of the group believed that poets are like painters; what the painters can do with brush and dye, poets can do it with language i.e. painting pictures with words. The poems are descriptive; the poets capture the images they experience with one or more of the five senses. They believed that readers could see the realities from their eyes because the texts are like a painting. In this paper, six poems by six prominent leaders of the movement will be scrutinized according to the main principles of the formalistic approach which is the interpretation and analysis of the literary devices pertained to the concrete and abstract images drawn by the poets. The poems are: In a Station of the Metro by Ezra Pound, Autumn by T. E. Hulme, November by Amy Lowell, Oread by Hilda Doolittle (H.D.), and Bombardment by Richard Aldington