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Differences between 18th century literature and romantic poetry seen through the

Differences Between 18th Century Literature and Romantic Poetry Seen Through The

Works From Alexander Pope and John Keats

The differences between eighteenth-century literature and romantic poems,

with respect to history is constituted here. This is seen through the

influential works of John Keats and Alexander Pope. These works are

acknowledged as, "The Rape of Lock" and "The Eve of St. Agnes." Alexander Pope

takes his readers on a hatred filled epic. A robust piece of literature and

love induced psychoses in, "The Rape of Lock." On the other hand, "The Eve of

St. Agnes" told a tale of life, love, death, and eternal fate in heaven. These

two brilliant writers have given two magnificent poems. Pope exhibits many

characteristics of a narcissistic human being. His independence in life shows

through his writings in fiction. Which inevitably portray his deeper feelings

of life. Popes' efforts here are of outstanding quality. However, his poem did

fail to convince Arabella to résumé her engagement to Lord Petre. Most of

Pope's efforts here were written with time. Now, Keats has romantically

serenaded his reader with descriptive lust and desire, which can be compared

with popes' efforts by the difference in eighteenth century literature and

romantic poems, their descriptive natures and ideas they portray to the reader

through their writing.

Pope has written an eighteenth-century poem which he calls, "An Hero-

Comical Poem." This poem has exalted an over all sense of worthlessness for

common rules. The mentioning of Achilles and the ever-popular Aeneas, are

symbols of Pope's Gothic style. Pope speaks (almost) G-D like throughout, "The

Rape of Lock." Contrary to Keats, who is more down-to-earth with his sense of

realism in his writings. In the beginning of Keats romantic premise to life in

St. Agnes, all is cold. The opening sequence brings a sense of realism to this

bitter cold scene. Cold owls, rabbit's, and numb fingers on a holy, "Beads

man." The Beads man symbolizes the sense of age and spirit. Much of this poem

is a test of Keats inner soul or spirit. He has lead himself to St. Agnes for

his own personal account of life in a time long gone. Keats' romantic style has

brought visionary raw emotion to the aching hearts of all his readers. Then,

both poems go separate ways in their tales of body and spirit.

Taking account of all differences in these two works, has brought out a

sense of unknown extasy. Pope displays morality with his own twists on fate and

man kind's inability to rationalize right decision making in life. He

complicates this with, "Moral superiority" and his visions of old styles

blended with his attitude for recognition. Pope has indulged the reader in

consistent religious order, and awkward justice for mankind. However, when

viewing Keats poem stanza by stanza, much is revealed. Keats' tale starts as a

direct eagerness for future considerations. His image of love and old age

creates a stifled knot in the stomach of the reader. Enthusiastic resistance is

overcome by Keats smooth flow, and harmonizing beauty in heaven. Angels and

death are brought together like osmosis. His ability to start off in a cold

bitter atmosphere of regret, and then sway the reader's emotion to a peaceful

loving atmosphere is in itself astonishing. Desire brings Keats to the

heightened point of emotional gratification within, "The Eve of St. Agnes." St.

Agnes is such a peaceful age-old memory for Keats. He presents strength when

pain is being inflicted. His early images of purgatory, show Keats in a bind of

human emotion and regret for past sins. However, Pope does this as well

throughout, "The Rape of Lock." Although, Pope is less likely to find a happy

medium in his tale of tolerance. He does manage to relinquish all his desires

for the sake of his own inner strength. This strength is portrayed more

intensely through his soul. Memories are key to the anguish of the poem. In

all of Keats mediocre issues come love and honor. The entire tenth stanza is

caused by the emotions involved with love. However, this must leave some

readers at a loss. Keats doesn't seem to really care whether anybody

understands him. Keats only concern is to repent and achieve harmony in life

with his body and soul. Each of these two poets has signified their lack of

realism with a substantial concern for age-old myth, and undeniable love. The

portrayal of love in each poem has brought most of the emotional satisfaction

from the reader. Hence, having observed these two magnificent artists for their

personal adherence to the reader, it is necessary to delve into the emotional

collaboration of imagery and its effect on the mind, body, and soul of the two

sides involved in each reading.

Imagery can sustain many possible contradictions on the writer's

intentions. For instance, Keats hides his characters(Porphro and Madeline) in

order to present a more lustful in-depth love. Safety is a key to Keats'

prolific attitude on the secrecy of a woman's virginity. A wholesome outlook is

always in the future, it would seem. However, this outlook is never reached

throughout the poem. In comparison with Pope, Keats has distinguished himself

in his writing. Pope relies on old myths and obscure legends in order to

achieve his outcome of clarity. Each writer has their own hero of the day. In

each writer's mind is the idea that one can be g-d through their own scripture.

Each must be excused for not always being able to know what is still real and

what is fiction in life. Their expensive minds have brought their own personal

truth to light. Can they hear the crying of their love sick pasts? In classic

style, Pope has brought dreams to reality. While Keats has more realistically

attended to his personal experiences. In addition to women, love, g-d, sex,

soul, mind, and body, Keats and Pope have taken different outlooks on many

similar issues. Keats has given the reader a more intense feeling of desire and

lust, then Pope. However, when myth and love collide Alexander Pope has

answered with his tale of g-d's, angels and afterlife. As an empirical

narcissistic person, I have romanticized about the romances Keats has described.

His inner thoughts are more clear, then those of Pope. Additionally, Pope is

more morbid and in a way sour about his shortcomings in life. Which are

expressed significantly in many of Pope's images. For instance, "poetic eyes"

is used by Pope on line 124. This image can be expressed as a better way for

the reader to see that life imitates art! Now, viewing both works in detail has

brought out an arousal of insecurity and misunderstood quality. However, each

has distinguished its own identity by its style.

Referring back to the comparison of Pope and Keats styles can be quite

an enhancement upon the cerebral context in each poem. Pope has strictly

concerned himself with literary merit, and ghostly apparitions of old tales that

haunt all writers of the possibility for brilliance. Keats however, has staked

his claim as a romantic idealist of love and thought. Mind, body and soul are

key factors in both of these works. Heaven is portrayed as a savior to man, and

an unforsaken goal for others. Spirituality reigns deep within the hearts of

both Keats and Pope. Consequence is not an issue, but the ability to repent

through words of wisdom is. This is what keeps Keats and Pope sane(As well as

many other writers, including myself). With wisdom comes age, and with desire

comes lust. Therefore, romantic poets need to be preserved for their tremendous

ability to stretch the common ability to comprehend all of life's trials and

tribulations as seen here in all its glory!



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