Assignment 105: Comparative Analysis of Geoffrey Chaucer and Edmund Spenser

Assignment 105: Comparative Analysis of Geoffrey Chaucer and Edmund Spenser.

This blog is part of an assignment for paper 105- The History of English Literature - From 1350 to 1900

Personal Information:-

Name:- Aakash Chavda

Batch:- M.A. Sem 1 (2023-2025)

Enrollment Number:- 5108230011

E-mail Address:- aakashchavda637@gmail.com

Roll Number:- 1

Assignment Details:-

Topic: Comparative Analysis of Geoffrey Chaucer and Edmund Spenser

Paper & subject code:- 105 - History of English Literature - From 1350 to 1900 & 22396.

Submitted to:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar. 

Date of Submission:- 01 December,2023

Abstract:

This comparative analysis encompasses the distinct literary contributions of two prominent figures in English literature, Geoffrey Chaucer and Edmund Spenser. Both writers, though belonging to different periods within the broader framework of medieval and Renaissance literature, have left an invaluable mark on the literary landscape. This study explores their unique styles, thematic concerns, and the socio-cultural contexts that shaped their works. Geoffrey Chaucer, often hailed as the "father of English literature," is celebrated for his "The Canterbury Tales." His innovative use of the vernacular Middle English and his insightful portrayal of diverse characters from various social classes provide a rich tapestry of medieval society. The analysis scrutinizes Chaucer's narrative techniques, such as the frame story structure, and evaluates the satirical elements embedded in his tales, shedding light on his keen observations of human nature and societal norms. In contrast, Edmund Spenser, a key figure of the Elizabethan Age, is renowned for his epic poem "The Faerie Queene." The study investigates Spenser's intricate allegorical framework, exploring the layers of symbolism and allegory that permeate his work. Additionally, attention is given to Spenser's poetic craftsmanship, with a focus on his use of the Spenserian stanza and the influence of classical and Italian literary traditions on his writing. Ultimately, this comparative analysis provides a nuanced understanding of the literary achievements of Geoffrey Chaucer and Edmund Spenser,

Key words

Geoffrey Chaucer, Edmund Spenser, 'The Canterbury Tales', 'The Faerie Queene', English Literature.

Geoffrey Chaucer

              

"The Morning Star of The Renaissance"                       

   "Father of English Poetry and "

 

Geoffrey Chaucer, born in 1342 in London and passing away in 1400, is hailed as the preeminent English poet before Shakespeare, often regarded as "the first finder of our language." It is widely believed that Chaucer played a crucial role in transforming English from a dialect into a standard language by the time of his death. His renowned work, "The Canterbury Tales," stands as one of the greatest poetic achievements in English literature. Beyond his literary contributions, Chaucer served as a courtier, diplomat, and civil servant, earning the trust and support of three successive kings: Edward III, Richard II, and Henry IV. However, his lasting legacy lies in his poetry, characterized by a remarkable diversity in subject matter, genre, tone, and style, exploring complex themes related to the human pursuit of a meaningful existence.

Chaucer's work is distinguished by a pervasive humor coupled with a thoughtful and tolerant examination of profound philosophical questions. His writings portray him as a poet of love, addressing both earthly and divine aspects, ranging from carnal desires to spiritual communion with God. Through his verses, readers are prompted to reflect on humanity's relationships with one another and with the divine, offering entertaining insights into human frailties, follies, and nobility.

By 1366, Chaucer had entered matrimony, likely with Philippa Pan, who had served in the households of the countess of Ulster and later Queen Philippa of Hainaut. Chaucer's marriage appears to have been advantageous, evident in the annuities granted to Philippa Chaucer, affirming that Chaucer had married well.

Chaucer's Works

It divides into three distinct periods

1) French                         2) Italian                         3) English

  

French Period:- 

 He was much influenced by De Lorries and De Meting, translated their legnthy romance "The Romaunt of Rose"

-  Poem "The Book of Duchess" - lengthy allegory on the death of 'Blannche'

-  Poem "The Complaint Unto Pity" - French seven line stanza or 'Rime Royal'

Italian Period:- Influenced by Dante

The "House of Fame" is one of Chaucer's unfinished poems, it has close resemblance to Dante's "Divine Comedy"

                      'writen ful of names

                     Of folk that hadden grete fames.'

-  "The Parliament of Fowls"

-  "Troilus and Criseyde" - borrowed freely from Boccaccio

-  Idea of "Canterbury Tales" Is taken from Boccaccio's "Decamerone"

-  "The Legend of Good Woman" - Heroic Couplet Poem

English Period:- 

"The Canterbury Tales" Is regarded as one Chaucer's best work. 

- "Knight's tale" Is one of the famous tales. 

Chaucer employed three Princelple meters

1) 8 syllabic line rhyming in couplets called 'ottva rhyma'

     Ex. 'The Book of Duchess'

2) 10 syllabic line called 'Heroic couplet', got perfection by the hands of Pope. 

3) 'Rhyma Royal' - 10 syllabic line, 7 line stanza

    Ex. 'Troilus and Cressyde'

Edmund Spencer

Wordsworth praised Spenser as “The embodiment of nobility, purity and sweetness”

Edmund Spenser, born around 1552/53 in London, was an English poet celebrated for "The Faerie Queene," a significant work in the Spenserian stanza. Little is known about his early life, but he attended Merchant Taylors' grammar school and later studied at the University of Cambridge. Despite his family's modest means, Spenser's education exposed him to classical and contemporary literature. In 1569, Spenser showcased his poetic talent with English versions of French and Italian poems. His university years at Cambridge were marked by encounters with Gabriel Harvey, fostering a deep knowledge of various literary traditions. Spenser's religious training influenced his engagement in the religious struggles of the time, though his leanings toward Puritanism are unclear. "The Shepheardes Calender" (1579 or 1580) reflects Spenser's early focus on English church matters. He later served as secretary to Bishop John Young. His poetry draws from classical myths, Christianity, and medieval folklore, shaping his unique compositions. In 1596 Spenser wrote a prose pamphlet “A View of the Present State of Ireland” in the form of a dialogue. The pamphlet argued that Ireland would never be totally ‘pacified’ by the English until its indigenous language and customs had been destroyed, if necessary by violence.

According to Ben Jonson, “Spenser died at the age of 46 – for the want of bread”.A letter written by Spenser to Sir Walter Raleigh in 1590 contains a preface for the Faerie Queene, in which Spenser describes the allegorical presentation of virtues through Arthurian Knights in the mythical faerie land.This letter outlines the plan for 24 books; twelve based on the knights who exemplifies private virtues and twelve public virtues centred on King Arthur. C. S. Lewis said – “Spenser was not one of the great sonneteers”. Dryden remarks that “Shakespeare himself might not have achieved so much, if Spenser had not lived and laboured”. W.B. Yeats called Spenser ‘The first salaried moralist.” Milton in his Aeropagitica called Spenser – “Our sage and serious poet … whom I dare be known to think a better teacher than scouts or Aquinas”. Alexander Pope compared Spenser to “a mistress, whose faults we see, but love her with them all.” In “A View of the Present State of Ireland” Spenser believed that “Ireland is a diseased portion of the state, it must first be cured and reformed before it could be in a position to appreciate the good soundlaws and blessings of the nation”. It is a dialogue between Eudoxus and Irenius. In this book, Spenser categorises the evils of the Irish people into three prominent categories – Laws, customs and religion.

Major Works of Spenser

Faerie Queene:- it is the epic poem of Spenser. It is written in Spenserian stanza (abab bcbc c). All the books are based on ‘King Arthur’. The first three books were published in 1590 and second set of three books were published in 1596. Spenser states that; “the aim behind the Faerie Queene was to- Fashion a gentleman or noble person in virtuous and gentle discipline”. Actually Spenser had planned to write 24 books but it remained unfinished.

The introductory letter of Faerie Queene was written to Walter Raleigh. Dryden commented on it for its ‘Lack of Unity. It is an allegorical epic poem in which we can find the praise of Queen Elizabeth as Gloriana. Each book represents a virtue of a knight. Spenser called this epic as “a dark conceit". The seventh book was incomplete which deals with the subject of mutability represent the virtue of Constancy. The poem is modelled on Orlando’s Furioso and Torquato Tasso’s Jerusalem Delivered.

Another important work of Spencer is "The Shepherd's Calendar" It was Spenser’s first major poetic work, published in 1579, by Hugh Singleton. It is an allegorical poem, in the form of a dialogue. Edmund Spenser dedicates his volume to Sir Philip Sidney and signs himself "Immerito". It is written on imitation of Virgil’s first book The Eclogues and Theocritus’s Idylls.The poem introduces ‘Colin Clout’ a folk character originated by John Skelton and depicts his life as a shepherd, through the twelve months of the year.

Comparison between Chaucer and Spenser

Chaucer casts the longest shadow over a certain aspect of Spenser's art-its affected homeliness, its odd mixture of rusticity and polish. Spenser discovered in Chaucer a way to modulate his tone of voice. using various degrees and sorts of self-advertisement and self-deprecation in order to establish himself as a not too bold national poet. Spenser's exceedingly delicate adoption of the themes of Chaucer's

"marriage group" for his discussion of love and sexuality in The 'Faeri Queene'. He learned his poetic craft from Chaucer. Spenser was melodious and exquisite whereas Chaucer was deliberately blunt and coarse. Spenser too reformed the English language just like his master did. The minor works of

both poets are steeped in the self-deprecation common to much love poetry, poetry of complaint, and dream vision. 

Spenser regarded Chaucer as his master, but their writing styles differ significantly due to the two centuries separating them, both writers were best representative of their respective age. Chaucer, a poet and man of affairs, brought a modern perspective to ancient and medieval themes. He abandoned outdated metrical romance, pioneered narrative storytelling in verse, and portrayed contemporary life with humor and romance. His aim was to entertain himself and readers, mastering diverse and melodious verse. However, as language evolved, his influence waned. Spenser, like Chaucer, was a busy man of affairs but leaned more towards being a poet and scholar. He approached writing as an idealist, depicting people not as they are but as he imagined them to be, devoid of humor and driven by a mission to reform. While Chaucer drew inspiration from present-day conditions, Spenser's work, like his Eclogues, was more artificial than his foreign models. Unlike Chaucer, Spenser's imagination dominated, creating a world of dreams and illusions rooted in the past. His second notable quality was a keen sensitivity to beauty, evident not only in his subject matter but also in the beauty of expression through the exquisite Spenserian stanza and rich melody, making him a model for modern poets.

Conclusion

In essence, Chaucer's humor-infused realism and narrative innovation contrast with Spenser's idealism, rooted in classical influences and a dreamlike realm. Chaucer's impact lies in his keen observation of contemporary life, while Spenser's enduring legacy is marked by his imaginative, beauty-laden verse. Despite their divergent approaches, both poets left an indelible imprint on English literature, shaping its evolution and inspiring generations of writers.

Reference

- Anthony M. Esolen. “The Disingenuous Poet Laureate: Spenser’s Adoption of Chaucer.” Studies in Philology, vol. 87, no. 3, 1990, pp. 285–311. JSTOR, http://www.jstor.org/stable/4174365. Accessed 24 Nov. 2023.

- “Geoffrey Chaucer | Biography, Poems, Canterbury Tales, & Facts.” Britannica, 6 November 2023, https://www.britannica.com/biography/Geoffrey-Chaucer. Accessed 24 November 2023.

- Hieatt, Kent. “Edmund Spenser | English Poet & Renaissance Figure.” Britannica, 5 October 2023, https://www.britannica.com/biography/Edmund-Spenser. Accessed 24 November 2023.

- Long, William J., et al. “English Literature by William J. Long.” Project Gutenberg, https://www.gutenberg.org/ebooks/10609. Accessed 24 November 2023.

 

Word Count (1733)

Images Used (2)

Assignment 102- 'Harmony in Melancholy: Thomas Gray's Mastery of the Pindaric Ode'

This blog is part of an Assignment for Paper 102- The Literature of Neo-classical Period.

Personal Information:-

Name:- Aakash Chavda

Batch:- M.A. Sem 1 (2023-2025)

Enrollment Number:- 5108230011

E-mail Address:- aakashchavda637@gmail.com

Roll Number:- 1

Assignment Details:-

Topic:  'Harmony in Melancholy: Thomas Gray's Mastery of the Pindaric Ode'

Paper & subject code:- 102 - Literature of The Neo-classical Period & 22393

Submitted to:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar. 

Date of Submission:- 01 December,2023

Abstract

This study encompasses Thomas Gray's nuanced mastery of the Pindaric ode, where we can observe interplay of harmony and melancholy emerges as a poetic symphony. This exploration unfolds the structural complexities of Gray's engagement with the classical form of Pindaric ode, unraveling how he seamlessly weaves melancholic themes into the tapestry of his verses. Through a careful analysis of specific odes, discover the delicate balance that Gray strikes between the somber and the harmonious, showcasing a profound understanding of both form and emotion. This abstract sets the stage for a comprehensive journey into Gray's poetic landscape, where melancholy finds its exquisite resonance in the cadence of Pindaric expression.

Keywords: Pindaric ode, harmony and melancholy, classical form

Thomas Gray

 "Poetry is thoughts that breathe and words that burn" 

Thomas Gray, the poet and scholar, was born on December 26, 1716, in London to Philip and Dorothy Gray. Despite Dorothy giving birth to twelve children, Thomas was the sole survivor. In 1725, Dorothy separated from Philip and, using her own funds, sent Thomas to Eton College. Gray credits his education to his mother due to this decision. His time at Eton introduced him to his three closest friends: Richard West, Thomas Ashton, and Horace Walpole. Together, they formed the 'quadruple alliance' and shared nicknames reflecting their common interests in theater and French literature. Gray, passionate about Greek and French literature, was less interested in mathematics and philosophy. At Eton, he immersed himself in subjects like architecture, history, and botany. Gray's love for Virgil and reputation as a Latin verse writer began during this period. In 1734, he left Eton for Cambridge, where he was awarded the Cosin scholarship. However, in October 1736, he left Cambridge without pursuing the BA degree required for law studies at the Inner Temple. (Ferrari et al.)

In 1739, Gray's longtime companion, Horace Walpole, extended an invitation to journey through Europe together, a rare and appreciated opportunity. This not only promised educational benefits but also provided a compelling reason to defer a career in law. Grateful for this chance, Gray accepted Walpole's invitation, and on March 18, 1739, they commenced their travels from Dover to Calais. Their extensive exploration included a two-month stay in Paris, where they visited churches, attended operas and plays, and explored Versailles. They also ventured to Rheims to enhance their French skills and spent time at the monastery of the Grande Chartreuse in Geneva. Crossing the Alps, Gray immersed himself in reading Livy's account of Hannibal's journey through the same mountains they traversed. Additionally, he delved into Silius Italicus's poetic depiction of the mountainous crossing. Their journey took them to various cities such as Turin, Genoa, Piacenza, Parma, Reggio, Modena, and Bologna, eventually leading them to Florence. Choosing to spend the winter there, they delved into Florentine society and explored the art collections of Horace Mann. In March 1740, they headed to Rome with the hope of witnessing a papal election. However, the slow progress of the papal conclave prompted them to continue their travels to Naples, where they marveled at the well-preserved structures in the excavations at Herculaneum.

During this European expedition, Gray stumbled upon a philosophical poem in Latin hexameters titled 'De principiis cogitandi.' Though initially captivated, he abandoned the project after completing the first book, feeling he had achieved his artistic objectives. In 1741, despite a disagreement, Gray and Walpole left Florence for Venice, opting to travel separately thereafter.

In 1742, Thomas Gray and Richard West discussed literature via letters, inspiring Gray's first English poem, "Ode on the Spring." Sadly, West passed away before reading it. Gray, affected by West's death and later his father's, chose a career as a proctor in the Doctors' Commons. Despite finding Cambridge dull, he stayed there until his death in 1771, driven by the opportunity to live as a gentleman on a limited income and pursue his love for learning.

What is Poetic Form

Poetic form can be understood as the physical structure of a poem, which includes, among other things, the length of lines, their rhythms, their system of rhymes and repetition. In this sense, the term poetic form is usually reserved for the type of poem where these features have been shaped into a pattern, especially a familiar pattern.

There are 24 common English poetical form. 

Ode

The word "ode" comes from the Greek aeidein, meaning to sing or chant, and belongs to the long and varied tradition of lyric poetry. Originally accompanied by music and dance, and later reserved by the Romantic poets to convey their strongest sentiments, it can be generalized as a formal address to an event, a person, or a thing not present. For examples, see William Wordsworth's "Ode on Intimations of Immortality From Recollections of Early Childhood" and Percy Shelley's 'Ode to the West Wind'

According to Cambridge Dictionary Ode is "A poem expressing the writer's thoughts and feelings about a particular person or subject, usually written to that person or subject".

'A work of art, piece of writing, speech, etc. That refers to or describes something in a personal and approving way'. 

There are three distinct type of Odes

- Pindaric Ode

- Horatian Ode

-Irregular Ode

Here our concern is with Pindaric Ode, in which our poet Thomas Gray revel. Gray has written two Pindaric Odes "The Bard" And "The Progress of Poesy".

Pindaric Ode

Pindaric ode, ceremonious poem by or in the manner of Pindar, a Greek professional lyrist of the 5th century BC. Pindar employed the triadic structure attributed to Stesichorus (7th and 6th centuries BC), consisting of a strophe (two or more lines repeated as a unit) followed by a metrically harmonious antistrophe, concluding with a summary line (called an epode) in a different metre. These three parts corresponded to the movement of the chorus to one side of the stage, then to the other, and their pause midstage to deliver the epode.Although fragments of Pindar’s poems in all of the Classical choral forms are extant, it is the collection of four books of epinician odes that has influenced poets of the Western world since their publication by Aldus Manutius in 1513. Each of the books is devoted to one of the great series of Greek Classical games: the Olympian, Pythian, Isthmian, and Nemean. Celebrating the victory of a winner with a performance of choral chant and dance, these epinician odes are elaborately complex, rich in metaphor and intensely emotive language. They reveal Pindar’s sense of vocation as a poet dedicated to preserving and interpreting great deeds and their divine values.

The metaphors, myths, and gnomic sayings that ornament the odes are often difficult to grasp because of the rapid shifts of thought and the sacrifice of syntax to achieving uniform poetic colour. For modern readers, another difficulty is the topicality of the works; they were often composed for particular occasions and made reference to events and personal situations that were well-known to the original audience but not necessarily to later readers.

 Examples of Famous Pindaric Odes

•Abraham Cowley's "Pindarique Odes" (1656), John Dryden’s “Alexander’s Feast” (1697), William Wordsworth’s “Ode: Intimations of Immortality from Recollections of Early Childhood,” Percy Bysshe Shelley’s “Ode to the West Wind,” Alfred, Lord Tennyson’s “Ode on the Death of the Duke of Wellington,” and John Keats’s “Ode on a Grecian Urn.” 

Interplay of Harmony and Melancholy in Gray's Odes

"The paths of glory lead but to the grave."

Thomas Gray has always held a peculiar attraction for the classicist. Standing as he does in full passion of the literary legacy of Pope and Dryden, yet with his face turned over so slightly toward the breaking light of the dawn of Romanticism, he embodies within himself, in an exceptionally clear form, the changing tenor of his times and enables one to see perhaps a little more clearly than anywhere else what the classicism of his was and the source whence it sprang. In 1754 gray completed a poem which he said "an ode in Greek manner". It was later called, The Progress of Poesy, its theme the growth and spread of poetry from Greece to Italy, and from Italy to England. In 1757 another Pindaric ode called The Bard together with the Progress of Poesy was printed. In The Bard gray abandoning classical themes entirely, composed on a tradition that Edward 1,after conquering Wales, ordered all the bards of that country to put to death. These two poem were introduced by words from Pindar. These Pindaric odes were the last great poem that Gray ever wrote. Now in them especially in The Bard begun to appear new elements- ideas and subjects strange to the literary lord of his day. Dr. Jonson, calling Grays odes " Wonderful wonder of wonders ".

We all know now just how far Gray was from Romanticism, just how hard for him to understand Shelley and Keats. In spite of his innovations and of the fears of his critics, we know he remained essentially a classicist. He also failed in a certain sense in his Pindaric odes as well.

“Cold is Cadwallo's tongue, / That hush'd the stormy main;"

These lines are from "The Bard". In this line, Gray mourns Cadwallo's silenced voice, finding sadness in its absence. Yet, there's a harmonious beauty in remembering Cadwallo's poetic power to calm storms. The interplay of these emotions creates a bittersweet tone in the verses.

"Yet, ah! why should they know their fate? / Since sorrow never comes too late,"

These lines are from the Pindaric ode "The Progress of Poesy". Gray muses on the connection between knowing one's fate and the arrival of sorrow. The lines suggest a harmonious acceptance of the inevitability of sorrow, expressing a poignant blend of understanding and melancholy.

Conclusion

To wind up, Thomas Gray's "Harmony in Melancholy" showcases his remarkable skill in crafting the Pindaric Ode, and considered to be greatest as Dryden and Pope, despite of his total contribution in poetry is less than thousand lines. He seamlessly blends emotions and intellect, transcending conventional melancholy to create a source of artistic inspiration. Gray's adept navigation of human emotion achieves a subtle harmony that captivates readers across generations, and it is necessary to read him in order to know more about the age he lived in.

References

- Ferrari, Danielle, et al. “Thomas Gray | British Literature Wiki.” WordPress at UD |, https://sites.udel.edu/britlitwiki/thomas-gray/. Accessed 25 November 2023.

- Griffin, M. H. “Thomas Gray, Classical Augustan.” The Classical Journal, vol. 36, no. 8, 1941, pp. 473–82. JSTOR, http://www.jstor.org/stable/3291087. Accessed 26 Nov. 2023.

- van Gogh, Vincent. “Pindaric ode | Ancient Greek Poetry Form.” Britannica, https://www.britannica.com/art/Pindaric-ode. Accessed 26 November 2023.

- Yeats, WB. “Poetic Forms in English Literature.” Owlcation, 24 October 2023, https://owlcation.com/humanities/Poetic-Forms-in-English-Literature. Accessed 26 November 2023.

Word Count (1683)

Images Used (2)

ASSIGNMENT PAPER- 104: War's Echo: Tennyson's resounding 'The Charge of The Light Brigade'

This blog is part of an assignment for paper 104- The Literature of Victorian Periods.

Personal Information

Name: Aakash Chavda

Batch: M.A. Sem-1 (2023-2025) 

Enrollment Number: 5108230011

Email Id: aakashchavda637@gmail.com

Assignment Details

Topic- War's Echo: Tennyson's resounding 'The Charge of The Light Brigade'

Paper & Subject code: 104- Literature of the Victorian Periods & 22395

Submitted to:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar

Date of Submission-  1 December, 2023.

Abstract

In this assignment I will try to explore Tennyson's famous poem, "Charge of the Light Brigade," where we dive into the connection between war and poetry. Tennyson, a master of words, vividly describes both heroism and tragedy in a historical battle. The rhythmic flow of his words and powerful images make the British cavalry's brave charge during the Crimean War come alive.This study aims to uncover Tennyson's writing by looking at how he blends language and emotion to portray the chaos and glory of battle. It goes beyond the battlefield, considering wider thoughts on war and the impact of poetry in shaping history. Important themes include how language shapes views of military actions, the mix of honor and futility in war, and how art influences how we remember events. By analyzing Tennyson's poetry, we hope to understand how literature acts as a tool for seeing and understanding historical moments, especially those filled with the challenges of war and sacrifice.

Key Words: Crimean War, heroism and tragedy, chaos, military actions, honor and futility of war... 

Alfred Tennyson (1809-1892)

Alfred Tennyson was born in 1809 at Somersby, Lincolnshire, the son of the Rector there. He was educated at Louth Grammar School. The Tennysons were a prominent but quarrelsome family, and he grew up in comfortable but not particularly wealthy circumstances. In 1827 he went to Trinity College, Cambridge. By the time he left in 1831, without taking a degree, he had already published his first collection, Poems, Chiefly Lyrical, and formed some very significant friendships. One was with Arthur Henry Hallam, another poet, whose death in 1833 was a huge blow. He was very productive throughout the 1830s and 1840s (after leaving university). It was not until later, however, in 1850, that two highly significant events secured his reputation and his financial security. He published In Memoriam, one of the greatest English poems about grief, loss, and consolation, and he was named Poet Laureate, succeeding Wordsworth. Queen Victoria held him in high regard. He was admitted to the peerage, becoming Baron Tennyson (hence he is often referred to as 'Alfred, Lord Tennyson') in 1883. He died in 1892. In addition to In Memoriam Tennyson wrote fascinating and well-known poems in numerous collections. 'The Lotos-Eaters', 'Maud', 'Enoch Arden', 'Mariana', and 'Tithonus', to name just a few, would offer varied rewards to a reader exploring the range of his work. Another group of poems, telling the stories of King Arthur and his court, would be rewarding to consider. Tennyson's persistent interest in the court of King Arthur manifests itself both in early poems (such as 'The Lady of Shalott', and 'The Morte d'Arthur'), and in the great collection Idylls of the King.

  

"Fear no more the heat o' the sun, 

       Nor the furious winter's rages;

  Thou thy worldy task hast done, 

       Home art gone, and ta'en thy wages."

Crimean War/Battle of Balaklava

Charge of the Light Brigade, (Oct. 25, 1854), disastrous British cavalry charge against heavily defended Russian troops at the Battle of Balaklava (1854) during the Crimean War (1853-56). Military historians and strategists continue to study the attack to diminish the importance of military power, and a clear chain of command and communication.

Battle of Balaklava, also spelled Balaclava, (1854), indecisive military engagement of the Crimean War, best known as the inspiration of the English poet Alfred, Lord Tennyson’s “Charge of the Light Brigade.” In this battle, the Russians failed to capture Balaklava, the Black Sea supply port of the British, French, and Turkish allied forces in the southern Crimea, but the British lost control of their best supply road connecting Balaklava with the heights above Sevastopol, the major Russian naval centre that was under siege by the allies. The three noteworthy engagements of the day were the Thin Red Line, The Charge of the Heavy Brigade, and the infamous and disastrous Charge of the Light Brigade. Tennyson’s “Charge of the Heavy Brigade at Balaclava,” never popular, is little known except to literary scholars. In all, the Battle of Balaklava cost each side some 620 men.

Historical Context

The Crimean War, a 19th-century conflict with a toll of at least 500,000 lives, significantly impacted figures like Florence Nightingale and Leo Tolstoy. It originated in Jerusalem within the Ottoman Empire, where disputes among Orthodox Christian and Catholic monks over holy sites led to violence. In 1852, Czar Nicholas I of Russia, proclaiming himself a defender of Orthodox Christianity, sought protection for millions of Christian subjects in the Ottoman Empire. Rejected, he sent his vast army to occupy Ottoman principalities in Romania, aiming at Constantinople. In response, Britain and France, alarmed by this expansionism, pledged to defend Ottoman sovereignty.

The official outbreak of fighting in October 1853 saw the Russians decimate the Ottoman fleet, but their land forces faced challenges, including a failed siege in Bulgaria. In 1854, Britain and France declared war, bombarding Odessa, and the conflict escalated. The allies targeted the Russian naval base in Sevastopol, leading to a joint force of over 60,000 troops sailing into Kalamita Bay in September 1854. Despite challenges such as stormy weather and a cholera outbreak, the British and French defeated the Russians near the Alma River. The siege of Sevastopol followed, marked by the infamous Battle of Balaclava.

Lord Raglan, the British commander, faced miscommunication and confusion in directing the cavalry, resulting in the tragic charge of the Light Brigade. Despite casualties, the Russians claimed victory, parading captured artillery through Sevastopol. However, a year later, they surrendered, agreeing to concessions for peace. Alfred Tennyson's poem "The Charge of the Light Brigade" immortalized the bravery of the soldiers, overshadowing the less-celebrated role of the Heavy Brigade. The Crimean War left a lasting legacy, impacting geopolitics and inspiring literary works.

Structure of The Poem

The poem consists of six stanzas, each numbered and with varying lengths ranging from six to twelve lines. In terms of meter, each line is composed in dimeter, featuring two stressed syllables. Additionally, there are two unstressed syllables following each stressed syllable, creating a dactylic rhythm. The poem employs a "falling" rhythm, emphasizing stress on the first beat of each metrical unit, followed by a diminishing emphasis for the remainder of the meter. This rhythmic choice aligns with the theme of the poem, which revolves around the tragic descent of the British brigade.

'The Charge of Light Brigade'

I

Half a league, half a league,

Half a league onward,

All in the valley of Death

   Rode the six hundred.

“Forward, the Light Brigade!

Charge for the guns!” he said.

Into the valley of Death

   Rode the six hundred.

II

“Forward, the Light Brigade!”

Was there a man dismayed?

Not though the soldier knew

   Someone had blundered.

   Theirs not to make reply,

   Theirs not to reason why,

   Theirs but to do and die.

   Into the valley of Death

   Rode the six hundred.

III

Cannon to right of them,

Cannon to left of them,

Cannon in front of them

   Volleyed and thundered;

Stormed at with shot and shell,

Boldly they rode and well,

Into the jaws of Death,

Into the mouth of hell

   Rode the six hundred.

IV

Flashed all their sabres bare,

Flashed as they turned in air

Sabring the gunners there,

Charging an army, while

   All the world wondered.

Plunged in the battery-smoke

Right through the line they broke;

Cossack and Russian

Reeled from the sabre stroke

   Shattered and sundered.

Then they rode back, but not

   Not the six hundred.

V

Cannon to right of them,

Cannon to left of them,

Cannon behind them

   Volleyed and thundered;

Stormed at with shot and shell,

While horse and hero fell.

They that had fought so well

Came through the jaws of Death,

Back from the mouth of hell,

All that was left of them,

   Left of six hundred.

VI

When can their glory fade?

O the wild charge they made!

   All the world wondered.

Honour the charge they made!

Honour the Light Brigade,

   Noble six hundred!

War Poetry

'Tennyson's soldiers are bold, heroic, glorious, honourable, noble and dead'.

This poem is just one example of a huge range of poetry, prose and drama concerning war. Some are contemporary, often written by the soldiers themselves, some have been written after the event, with knowledge of opinions that have been expressed over the years. Most of it can be divided into two groups: pro-war sentimentalism or jingoism and anti-war realism.Tennyson's item is a thundering piece of verse. The metre, dactylic diameter, echoes the galloping of the horses. It is rousing and exciting to the ear. It was Wordsworth who indicated that someone reading or listening to a poem might be distracted by its rhyme and rhythm, which almost form a barrier to the words so that the reader does not immediately register their meaning. This appears to be what is happening when one hears this poem. It has an exciting, enjoyable, fun-filled sound, which belies some of its content.

Portrayal of War 

Tennyson's poem was an almost immediate reaction to a Times article by W H Russell, which described the Light Brigade's charge through a valley towards heavily armed Russian troops, with 'cannon to the right of them, cannon to the left of them, cannon to the front of them'. Their commander had mistaken his orders, and his blunder caused them to ride – heroically – to their deaths.With the exception of 'death' itself, Tennyson gives his readers very little overt information on the effects of battle on soldiers. In 'The Charge of the Light Brigade', Tennyson describes battle itself rather than the effects thereof. It gives his 'poetic license' version of real events - where nearly 600 men died. Death or defeat are the only results – or effects – of this skirmish.

However, the reader might conclude that those who died probably suffered and that they may have felt fear and pain as a result of the events surrounding them. One might infer that the survivors may have suffered physical injury as a result of being 'stormed at by shot and shell' or of having horses fall on or under them. Perhaps they were deafened by the cannon that 'volleyed and thundered' or had their eyes and lungs affected by 'the battery smoke'.

Effects on Audience

Tennyson does indicate the effect that this story should have on its audience – the civilians back home. They should 'wonder' at this charge and should 'honour' those taking part. The word 'honour' is emphasized by being used twice in the final verse – once with an exclamation mark – and it is accompanied by the words ‘glory' and 'noble'. There are no horrific descriptions of death and suffering, so the reader is left to revere and respect the six hundred rather than empathising or sympathising with them.When the reader of 'The Charge of the Light Brigade' hears the battle described thus: 'Stormed at with shot and shell, while horse and hero fell', he still envisions the galloping horses, carrying their noble riders. His mind does not immediately register that the shot soldier has fallen. The thundering rhythm has affected the reader's ability to take this in clearly.

The poem describes the fate of six hundred men. The reader learns nothing of them as individuals. A few wounded men survived the charge, but most were killed. We do not know their names or how they felt. 'anonymous victims, .. 'the six hundred'.

For the soldiers of the First World War, 'theirs' was 'not to reason why' any more than it was for the Light Brigade. 'Theirs' was still 'to do and die', following orders, like sheep, without question and without the liberty to question.

Conclusion

In conclusion, Tennyson's "The Charge of The Light Brigade" powerfully illustrates the impact of war, immortalizing the bravery and sacrifice of the British Light Cavalry Brigade. The poem serves as a timeless reflection on the human spirit in the face of conflict, leaving a lasting impression with its evocative language and vivid imagery.

Reference

- Bunting, Tony. “Battle of Balaklava | Crimean War, British-Russian Conflict.” Britannica, https://www.britannica.com/event/Battle-of-Balaklava. Accessed 24 November 2023.

- Crimean War - Summary, Facts & Causes | HISTORY, 5 August 2021, https://www.history.com/topics/european-history/crimean-war. Accessed 24 November 2023.

- Does “the Charge of the Light Brigade” Glorify War? - Owlcation, owlcation.com/humanities/Tennyson-The-Charge-of-the-Light-Brigade-Honour-and-Glory. Accessed 27 Nov. 2023.

- Long, William J., et al. “English Literature by William J. Long.” Project Gutenberg, https://www.gutenberg.org/ebooks/10609. Accessed 24 November 2023.

- “The Charge of the Light Brigade by Alfred, Lord….” Poetry Foundation, https://www.poetryfoundation.org/poems/45319/the-charge-of-the-light-brigade. Accessed 26 November 2023.

- Wallace, William. “Alfred, Lord Tennyson | Victorian Poet & Poetry.” Britannica, 10 October 2023, https://www.britannica.com/biography/Alfred-Lord-Tennyson. Accessed 24 November 2023.

Word Count (1983) 

Images Used (2) 

Assignment 103 - "Keats: Epitome of Romantic Innocence"

Assignment 103: "Keats: Epitome of Romantic Innocence"

This blog is part of an assignment for paper 104- The Literature of Romantic Period.

Personal Information:-

Name:- Aakash Chavda

Batch:- M.A. Sem 1 (2023-2025)

Enrollment Number:- 5108230011

E-mail Address:- aakashchavda637@gmail.com

Roll Number:- 1

Assignment Details:-

Topic: "Keats: Epitome of Romantic Innocence"

Paper & subject code:- 104 - The Literature of Romantic Period & 22394.

Submitted to:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar. 

Date of Submission:- 01 December,2023

Abstract

This paper delves into John Keats as an epitome of romantic innocence, examining the profound influence of his poetry on the Romantic period. Keats is considered as purest and most perfect of the all romantic poets because of his subtle observation of nature and ability to see things closely which other poets are not able to grasp easily. Focusing on Keats's thematic emphasis on beauty, nature, and sensuality, the abstract investigates how his works epitomize the Romantic ideals of emotional intensity and imaginative escape. Through a close analysis of key poems like "Ode to a Nightingale" and "Ode to a Grecian Urn," this study highlights Keats's ability to intertwine vivid imagery with a profound philosophical inquiry into the nature of existence. We'll seeks to highlight Keats's enduring influence as a poet who embodied Romantic innocence, making substantial contributions to the movement's exploration of human emotions and the sublime in literature.

Key words:- Keats, romantic innocence, vivid imagery, nature, beauty. 

Introduction

The name John Keats is one of the most recognized in the Western literary world, especially in the area of lyrical poetry. He remains one of the most broadly anthologized poets of the English Romantic Movement, his accomplishments remain an amazement because he died at such an early age of 25, without leaving a large body of work. Despite his dying so young, he has earned a stellar reputation that has continued to grow throughout the centuries, demonstrating that a high value is placed on his poetry. Keats’ poems continue to provide readers a pleasantly entertaining and enjoyable, as well as insightful, experience.

John Keats

Born in London, October 31, 1795, Keats lost both of his parents while he was still a child: his father Thomas Keats, who was a livery-stable owner, died when John was eight years old, and his mother Frances Jennings Keats died, when he was only fourteen. John’s maternal grandmother turned her grandson’s upbringing over to two London merchants, Richard Abbey and John Rowland Sandell, who then became the boy’s main guardians. Abbey’s business dealt in tea, and it was he who took the greater responsibility in raising the young orphan. Sandell's presence in John’s life remained minor. Until age fifteen, Keats attended the Clarke School at Enfield. Abbey then ended the boy's public schooling but enrolled him in the study of medicine leading to a license as an apothecary. Instead of continuing in the drug profession, however, Keats left that field and took up the writing of poetry.

It was good fortune for Keats that he became acquainted with Leigh Hunt, an influential editor at the weekly newspaper, The Examiner, whose subtitle was "A Sunday paper on politics, domestic economy, and theatricals. Serving as Keats' mentor, Hunt became instrumental in assisting the Romantic Movement in becoming ascendant, and because of the influence of Hunt’s literary influence, Keats gained the ability and wherewithal to publish his book of poems in 1817, at the tender age of 22.

Keats, during his short life span had published many exquisite short and long poems, but the Odes are the center of Keats's great work. Odes such as- 'Ode to Psyche', 'Ode to Autumn', 'Ode to Melancholy' and 'Ode to Nightingale'. These poems remain the heart of a group of his works that have been most widely anthologized.

This collection was received with great praise from the literary critics, including such giants as Charles Lamb and many others. Leigh Hunt and Percy Byshee Shelley, among others, composed glowing, enthusiastic reviews of this Keats collection. Among them Ode to Nightingale is one of the great poem because of its purity of tone and style, it try to say everything that poetry can say. 

 Despite his enduring relationship with Fanny Brawne and warm reviews, Keats faced health challenges that necessitated a move to Rome for a more favorable climate. Accompanied by painter Joseph Severn, Keats succumbed to tuberculosis at the age of 25 on February 23, 1821, leaving an indelible mark on the English Romantic Movement. His final resting place is in Campo Cestio, Rome.

Keats Emphasis on Beauty

The poetry of Keats, from the earliest to the latest, is shot through as by bright and somber threads with two contrasting thoughts: delight in beauty and disappointment with reality. The second on is often overlooked but both are closely connected. According to Keats, poetry is beauty but his concept of beauty was narrow and immature. Keats's disappointment arose from his failure to find in the world of men the beauty that he craved. The fault lay partly in his passionate but immature conception of beauty, which he associated exclusively with youth, nymphs, flowers, poetry, romance, and the ideal. Beauty, in his opinion, is the highest religion and the ultimate goal he has been pursuing throughout his terrible and tragic life. With his solid belief in the concept that "beauty is truth," John Keats unintentionally adopts this fact throughout his verse, which is a testament to his talent as a poet. Beauty, in Keats's view, is the animating spirit of both life and art.

We know that Keats was much influenced by Greek mythology, and that we can see in his poems. One such example is 'Ode to Grecian Urn' in which Keats emphasis on beauty of 'Urn'. 

                  Thou still unravish’d bride of quietness,

                               Thou foster-child of silence and slow time,

                   Sylvan historian, who canst thus express

                                A flowery tale more sweetly than our rhyme:        

                       What leaf-fring’d legend haunts about thy shape

          Of deities or mortals, or of both,

                          In Tempe or the dales of Arcady?                          

                                  What men or gods are these? What maidens loth?                 

             What mad pursuit? What struggle to escape?

                        What pipes and timbrels? What wild ecstasy?

In the very first stanza we can see the poet's admiration towards the Urn. It is there for very long time but no one had appreciated its beauty. Keats refers it as 'Bride of Quietness'. 

      Heard melodies are sweet, but those unheard

      Are sweeter;

These are the famous lines from this ode, which emphasis on the imagination of poet. Poet wants to heard melodies that are unheard because it is more beautiful than those we can heard. 

          “Beauty is truth, truth beauty,- that is all

              Ye know on earth, and all ye need to know."

Connection to Nature

Keats had a masterful simplicity of purpose and control, he is often referred as pure poet, great poet of his age, in fullest sense, Keats was a greatest natural magician. As we know nature had remained the central theme for all the romantic poets so does for Keats as well. He like Wordsworth was closely connected with the nature and often appreciated the beauty of nature in his poems. but one thing to be pointed out that, Keats like Wordsworth dis not spiritualized the nature. Keats believed in 'principle of beauty in all things' -- Art for Art's Sake.

In "Ode to a Nightingale," Keats reflects on the transient nature of joy and laments the loss of innocence with the lines,

  

           My heart aches, and a drowsy numbness pains

           My sense, as though of hemlock I had drunk

In the very first stanza of the poem we can see that speaker is in unbearable pain, and to sooth the pain he drinks alcohol. Speaker soon notice the melodies voice of nightingale that comes from nearby. we can observe the immortality of the nightingale, and its enchanting song, and the speaker's desire to escape the harsh realities of life through a connection with nature.

In the poem 'Ode to Grecian Urn' also there is a lines, which talks about the eternal beauty that beauty is nothing more but truth. Moreover, Urn is becomes a symbol of art and artistic figure, which is yet connected with nature. In fact, whole poem depicts the relationship between art and nature.

"Beauty is truth, truth beauty,—that is all

Ye know on earth, and all ye need to know."

Poetic Philosophy of Keats

Keats's short and tragic life may explain his extraordinary capacity to perceive beauty and art in all he encountered. Beauty, in his opinion, is the highest religion and the ultimate goal he has been pursuing throughout his terrible and tragic life. After delving deeply into Keats' poems, we got to the conclusion that Keats was not afraid of death rather, death itself had become a non-issue. Keats is a lover of nature as well, but he loves it for its own sake rather than for any other reason. He writes poetry purely for the sake of writing it. He believes in the value of art for its own sake. He does not write poetry to promote any tangible design or propaganda. His primary concern is to please others. He is simply interested in the natural world's beauty. Keats, for example, thinks the season of fall, whose beauty has been overlooked by the majority of people, to be a golden season of golden mists and fruitfulness mentioned in his ode to autumn, to provoke a deep aesthetic delight that overwhelms every single sense, Keats appears to love beauty in both his early and mature poetry phases, he worships beauty in both phases.

Keats believed that poetry should explore the beauty in life, acknowledge its temporary nature, and be okay with not having all the answers. He liked the idea of Negative Capability, which means being comfortable with uncertainties and mysteries, that we can see in the description of 'Ode to Autumn'.

In his poems, he aimed to capture the extraordinary moments in life and celebrate the beauty found in both nature and the fleeting aspects of human existence. Keats's poems are exquisite blend of nature, human emotion and arts.

Conclusion

In conclusion, John Keats stands as an epitome of Romantic innocence, embodying the spirit and ideals of the Romantic era. Through his poetic expressions, Keats captured the beauty, wonder, and purity inherent in the natural world, human emotions, and the imagination. Keats was the master of the central experience of his age. His profound honesty, his perfect artistic courage will keep him not only among the master of the English poetry, but among the few heroes of English literature.

References

- Bauri, Madhulina. “AN SUMMARY OF JOHN KEATS'S POETIC PHILOSOPHY ON AESTHETICISM AND DEATH.” International Journal of Research in Social Sciences, vol. 8, no. 1January, 2081, pp. 1418-1423, https://www.ijmra.us/project%20doc/2018/IJRSS_JANUARY2018/IJRSSJan18MadhuGr.pdf.

- Grimes, Linda Sue. “Life Sketch of John Keats.” Owlcation, 2 July 2023, https://owlcation.com/humanities/life-sketch-of-john-keats. Accessed 24 November 2023.

- Keats, John. “Ode to a Nightingale by John Keats.” Poetry Foundation, https://www.poetryfoundation.org/poems/44479/ode-to-a-nightingale. Accessed 26 November 2023.

-Keats, John, and Michael Stuhlbarg. “Ode on a Grecian Urn by John Keats.” Poetry Foundation, https://www.poetryfoundation.org/poems/44477/ode-on-a-grecian-urn. Accessed 26 November 2023.

- Long, William J., et al. “English Literature by William J. Long.” Project Gutenberg, https://www.gutenberg.org/ebooks/10609. Accessed 24 November 2023.

- Read, Herbert. “The True Voice of John Keats.” The Hudson Review, vol. 6, no. 1, 1953, pp. 90–105. JSTOR, https://doi.org/10.2307/3847239. Accessed 24 Nov. 2023.

- Tate, Allen. “A Reading of Keats (I).” The American Scholar, vol. 15, no. 1, 1945, pp. 55–63. JSTOR, http://www.jstor.org/stable/41204757. Accessed 24 Nov. 2023.

Word Count (1688)

Images Used (1)