Differences Between 18th Century Literature And Romantic Poetry Seen Through The
Works From Alexander Pope And John Keats Essay, Research Paper
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 r?sum? 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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