 Welcome back to NPTEL national program on technology enhanced learning a joint venture of Indian institutes of technology and Indian institute of science. As we all know we are in the series lecture series virtual lectures on literature and language and we are today on the second part of the module on literary journals. Let us recap of what we had done in the introductory lecture and this was more on the journals that literature is supposed to be in and it was a base of classification used for works of art, literature, music or other creative pursuits. We have seen how they had been characterized by a particular style, themes, form or content and genres could be divided into seven areas novel, poetry, drama, autobiography, short story, essay, biography even though we had seen last time that when it first originated in the time of the Greeks we found that Aristotle had based it on four areas. So, last time we had done the most important of the literary journals which was on novel and I hope you enjoyed that and specially the diversity and the variety of forms and the way that we can look at the literary form of novels. Well we have seen that form and content design and representation reconciling narrative as a whole conversing on style this was true of novel as such as fiction as such. Let us come today at the most beautiful of these genres and where we will see that what is poetry about the genre of poems of poetry as such. Let us think for a while what could have been literature without poetic writings. In what it would have been without the works of Homer in Virgil, the Ramayana of Tulsidas, the Quitanjali of Tagore, the Psalms of David, the works of Gibran, Omar Khayyam of Sonnets of Shakespeare, Gethe of Byron, Keats and Shelley and the many others ancient and modern. So let us ask what is poetry as such. Many of you who really try to see what is poetry about I think poetry is living in everyday life. You see a tree that is poetry, you see beautiful eyes that is poetry, life is poetry, but then what is so different, what is the difference between the way you write and what you feel. Why sir Samuel Jensen had said it is much easier to say what it is not. We all know what light is, but it is not easy to tell what it is. So it is something elusive you can say it is something mysterious it is something which touches you at the same time it is there and all of a sudden it is gone. If I read a book and it makes my body so cold no fire ever can warm me I know that is poetry this is from Emily Dickinson one of the most well known poets of American literature. French poet had said prose is walking and poetry is dancing. So it has a form which has aesthetics involved in it, it has performance involved in it, it has something to do with sight perception and John Fowles British novelist he said which I had just told you now we all write poems each of us write poems whether mentally or physically or as we go about our daily duties. But it is simply that poets are the ones who write in words. So difference is that poets they put it into words in verse and let us see whether it is the verse which matters or it is the mind which matters. Let me look at the qualities of poetry as such. Coming from the Greeks the word it originally means poises which means making the question of making itself indicates that there is a sort of artistry involved in it, it is a sort of handicraftsmanship which is involved in it. It is not something which is just an overflow of heightened consciousness of fillings. Therefore, it does imply the aesthetics of language and when we talk of aesthetics we know that it is something to do with form, it has something to do with design, it has something to do with color, it has something to do with texture and therefore, meter and rhyme are what are commonly used to distinguish poetry from prose. When we look into what Valerie had said that prose was walking and poetry is dancing then let us see how poetry and prose differs. Because of the pleasure poetry lies in its relation to music this is one distinction that I think we can really distinguish from a poem from a prose work because there is a deliberate rhythm or there is an unconscious rhythm, there is a movement in when you read a poem because a prose a fiction can also become poetry like we had in Virginia old novels or we had some essays which were poetic forms and therefore, how do we distinguish do we call them poems or do we call them prose. So, it awakens in us a fundamental response to rhythmic repetitions of various kinds. The rhythm can be different, it can be rhythm of words, it can be rhythm of images, it can be rhythm in the setting or in the symbols used. They respond to subtle and delicate rhythmic patterns, so therefore, we find that this movement or this system which is there in poetry it follows part of a rule or you can say a part of a patterning which goes into its different rhythms. So, therefore, it is a special combination of musical and linguistic qualities, so when we look at music, when we listen to music, is not it the tone, the texture, the way it is sung, the content of what it is being shown. The same way in poetry also we have the lyrics, we have the music which is supposed to give its distinctive qualities above all of course, poetry is wonderful, it deals with wonder, it deals with imagination poems often make heavy use of imagery. Therefore, imagery is a part of the quality of how we see a poem and word association. To quickly convey emotions articulate varying states of mind, how often we have seen that this is the state of emotion we have come across and how beautifully the poet has been able to express it. As I said earlier it is experience of a poem is an ineffable mystery, something elusive if it is there and at the same time it goes away. Well, so while we are doing this lectures I want to tell you students being from engineering stream and from the technical stream that when you read literature, when you appreciate literature, you appreciate it is not as a form of the way that it has been expressed, but you try to look into the system which goes into the making of that expression. It is almost like in science, you have a methodology of course, the methodology here is not so strict, but you know that it has a different background of the history of ideas and in this history in this patterning of the ideas how we go back to the past and how we remodel yourself, you find that we are awareness of reading a poem or appreciating literature as such becomes more enjoyable. Well, so Wordsworth the romantic poet he said poetry is the spontaneous over flow of powerful fillings. So, if you have the spontaneous over flow of powerful fillings then that is enough Davindranath Tagore Indian Nobel laureate he said it was the surfete of emotions when you express yourself and Taylor Samuel Taylor Coleridge a romantic poet at time of Wordsworth he wrote in biography literature which was one of the first book essays on critical theory about poetry. He said that he learned from his school master that poetry please note here there is a quotation even that of the loftiest and seemingly that of the wildest ones, hydrologic of his own it has its own logic as severe as that of science mark you and more difficult and it is more because because it is more subtle, it is more complex and dependent and more and more fugitive causes the causes may be symbolic ones it may be different causes which are there which are hidden in the truly great poets he would say there is a reason assignable not only for every word, but for the position of every word. So, this is what Coleridge had said about the writing of poetry and which he had learned from his teacher he found that it has a logic of its own it has its own patterning resting upon so many other concepts which are subtle complex may be dealing with myths may be dealing with sociological concerns anthropological concerns whatever. Now let us look into a very well known critic on poetry by John Stuart Mill he had written his thoughts on poetry and its varieties and he had said that one many of the greatest poems are in the form of fictitious narratives this is what I had told you in the beginning of the lecture right and in almost all good serious fiction there is true poetry. So you have to find that sometimes a paragraph is a poem and therefore you have to understand whether this is a poem or not or this is prose, but there is a radical distinction between the interest felt in a story as such and the interest excited by poetry. So, what is this difference then for the one is derived from incident the other is from the representation of feeling. So, now we come into the core of the lecture the meaning of representation of feeling the meaning of how you represent this poetics of feeling right and therefore this is how we can say that we can illustrate what a poem is well the poet T. S. Eliot another novel laureate American Anglo American poet he suggested that part of the difficulty lies in the fact that there is the technical term verse to go with the term poetry the metrical composition the technical part. So, when we want to understand what a poem is about somewhere we have to be quite familiar with the technical term verse to understand poetry. So, what are these technical terms do you think that it follows a methodology does it have a fit vocabulary yes very true the typical structural elements are the line what is the line about what is the syllabic content about what is the repetition about is it a couplet in two lines is it a stanza in four lines is it a strophe is it the inverse paragraph. So, this forms in which the technical structures structural elements are being shown it distinguishes what this poetry about well again Emily Dickinson she says tell all the truth, but tell it slant you can represent reality, but you do it in the variables in alternate ways and when you do it in different ways then it becomes poetry if you express it in simple ways of course, you can do that too that also becomes poetry, but it is very difficult as Wordsworth had found out and even Hemingway when he had used narrotology a new form of narrating in his fiction we had done that last time. So, let us see what is this distinction between verse and poetry well if we go back to the beginnings of verse it begins goes back to oral literature does not it and which with sophisticated techniques for conserving important material like in the epics we had that especially in Indian literature we had the mantras we had the Vedas which was transmitted from one to the other they followed a metrical system and derived from an early ritual tater which worked explicitly with rushers or emotional flavors those who are familiar with the rushers system in the Indian poetics you will find that there were so many rushers which pertain to the expression of poetry. Therefore, poetry resides in poetic language is not it and because of it ordinary speech may be it is ordinary speech, but it is a logical it is not a logical sequence it may be heightened it may be polished it may be slanted or it may be crafted it may be even inverted. So, these are innumerable techniques other than voice structure which deals with sound again the rhetoric of sound then reputation variation in the coplate stanza metaphor similes you say it and you have it all right it is a wide expense of experimentation well so if we go back into the history of English poetry as such we see that it had stretch from the middle of the 7th century to the present day of course, all poetry came from music right and even from folk art from folk culture everyone used to speak I mean sing when they used to transmit something of the of knowledge system or of a belief or of anything which they wanted to transmit epics have been composed in poetic form to aid memorization we had already done that in ancient societies. Therefore, we see that all the poems evolved from folk songs. So, this is connected with nature connected with land with connected with people and oral epics through alliteration though alliteration is now a subsidiary embellishment in prose and poetry alliteration is again a form of composition in which there is the reputation of the consonant sounds like you have break, break, break it was a formal structural principle in ancient Germanic verses alliteration was a formal structure where almost all the Germanic forms like in be old etcetera we used to have the form of alliteration as a very strong base of poetry well. So, while we are doing this we will do the understanding of poetry in mandrum will be shifting from one to the other we are not following in chronological you know sequence what is the history of poetry as such as it is a lecture on poetry let us also we take in the inverted way the reverted way of looking at poetry right and it is not that I am going to condition you into making you aware of what is poet reacting it has to be your own individual awareness your own individual appreciation one poem which I may like it may be that the response might be very cold from you. So, it varies from subject to subject and later we will be going into that ultimately it is the reader who is the poet right it is not the poet, but the reader the shift is from the reader to the from the poet to the reader it is he how he makes it right. So, let us look because we are talking about music let us see that how this rhythm or the lyric came into being because poetry can be divided into roughly you can say it is the narrative the epic the dramatic all right and you can see that the lyric form is the most popular than the narrative which tells about a story right sometimes we have some of the poems of Robert Frost right and we have the dramatic which takes in many of the of the qualities from the drama as well as poetry which also is there in dramas right we will be discussing that later and when we do that let us first see what is the lyric right and when the lyric derives as we know from the Greeks again singing to the liar which is a musical instrument. So, it is a subjective personal point of view yes and the lyric poem dating from the romantic era does have some thematic antecedents in the ancient Greek and Roman verse it does have that, but yet the lyric poetry of Europe by the pioneers of courtly poetry there were people who had practiced it in Europe in the courts and also outside the courts, but mostly the troubadours they wear the wandering minstrels they used to travel from place to place and they used to compose and perform songs we have something like that in Bengal the bals the balsangit and they are like poems they compose they sing the whole life is based on rhythm began to flourish towards the end of the 11th century and were often imitated in successive centuries. So, we see that in France specially the troubadours how they used to go from place to place singing songs and you know wandering minstrels and they used to be a colorful lot lyric poetry therefore, consist of a poem such as a sonnet or an ode. So, if you want to classify under lyrics what are the ways that the forms come into then we can see that we have the sonnet right and the sonnet is of course, originated in Italy the Petrarchan sonnet it is a poem in 14 lines and the ode which keeps had perfected the pinderic ode and that expresses the thoughts and feelings of the poet. Lyric in European literature of the medieval Auranasa period means a poem written so that it could be said to music whether or not it is and lyric was the dominant poetic idiom in the 17th century when we talk about Elizabethan age as such right and many say said that the whole age sang it was the nest of singing birds. So, it was almost lyrical right and it was poetry which was in the air people thought spoke lived poetry right while we are doing lyrics let us see what are the ways that it is being ornamented right by some metaphorical language when we talk of metaphorical language we talk of rhetoric and figures of speech. So, these are forms of persuasion you can call it you can call it as forms of elaborations of ornamentation right and when we look into the prosodic form of it that the rhetoric depends upon figures of similarity figures on difference figures on assimilation so and so forth and these are tools to enhance your expression. Let us look at simile right which is a figure of speech I am just giving you some small examples it would be too broad to explain it in every general just a general viewpoint right. So, writers specially in a poem you will always come across this metaphorical devices like a simile or a metaphor simile this is the easiest form of metaphor it is a figure of comparison and comparison is always with something which is alike like the son to a little boy or something like that or a lion to a person who is very very you know strong. So, this is the easiest form of metaphor to perceive because in it both the images or ideas being joined are stated and explicitly linked by the word as or like or a similar linking word. Let us take this beautiful poem by Robert Burns in 18th century Scottish poet who was known for his intensity by his racy dialogues right and not racy dialogues by his racy line and what we have is a translation of the Scottish poem and the spelling of love is different in Scottish. Let me see the simile here oh my love is like a red red rose. So, the link is between the comparison between how he compares his love to a red red rose that is newly sprung in June oh my love is like the melody that is sweetly played in tune beautiful isn't it. So, this metaphor is another variety of language that is used by the poet the word is both as a general term for all kinds of poetic thinking and images and ideas and we have direct analogy well we will jump to all the other figures of speech which I have already told you the metonymy the irony alright to the conceit which was a form which was used by the 17th century poets right before the lecture I had told you we are not going to follow any chronology of which age followed which poetic form right we are going to do it at random whatever suits us right. So, let us see another poetic form that had really you know been used in the 17th century by the poets what is the conceit now it is a half-edge comparison we were talking of conceits metaphor and simile just now it is a metaphorical figure of speech, but it is more half-edge it is a comparison between the similar things. So, the comparison with will be not between the sun and a small little boy right, but it will be with things which are completely different a comparison between objects which have little in common with each other. So, as Dr. Johnson had when he talked about the conceit the use of the conceit by the metaphysical poets in the 17th century by the likes of Marvel Dunn and etcetera he said that it was the most heterogeneous ideas were yoked by violence together and it was something which gave a shock to the reader that such dissimilar objects can be brought together in such a forceful way. So, the metaphysical poets of the late 16th century and the 17th century specialized in witty conceits. So, it depended mostly naturally on wit with intelligence in how they are going to put it all together well the pioneer is John Dunn I think you will look up John Dunn after this lecture and you will enjoy the way that he had really written poetry of course, later he wrote the Holy Sonnet but the beginnings of his poetry career was with his love poems which are really beautiful. Well John Dunn 1572 16th century his works are noted for the strong central style includes Sonnet's love poetry religious poems all the like it was because of the vibrancy of language and inventiveness of metaphor right. Elliot who was a poet himself modern poet himself as well as a critic he said that poetry English poetry should have stuffed with John Dunn and then with that only we could have taken the strands because it was something so beautiful that he had brought in. And this features along with his frequent dramatic or everyday speech rhythms how he experimented with everyday speech rhythms ok. So, when we are talking of everyday speech rhythms we are talking of rhythm as such aren't we and when we are talking of that we will see that when we are going into modern poetry as such into free verses such into images poetry as such we will find that this question of the colloquial speech being transmitted to modern poetry becomes very very significant right. So, Dunn style is characterized by abrupt openings and various paradoxes based on figures of speech of difference ironies and dislocation everything is different, but he wants to put it together right. Just note this opening of the sun rising busy old fool unruly sun he almost rebukes the sun why does thou does through windows and through curtains call on us and again in another poem air and angels twice or tries had I loved thee before I knew thy face or name ok. These are poems the beginnings which shocks you into awareness then again talking of paradox you will find here how he uses the scintillating use of Elizabethan circle imagery scientific being students of science and engineering you will see how this type of conceits have been developed right. He says the use he uses this how the two centric spheres of the Tormick universe and he argues and gives the proof by analogy in the most famous conceit of the two legs of a compass. If they I am just giving an extract of the whole poem right the whole poem is much longer if they be true they are to show us stiff twin compasses or two how he described the lady love and his beloved. Thy soul the fixed foot makes no sure to move but dot if the other do and though it in the centre sit yet when the other far dot roam it leans and herkins after it and grows erect as that comes home. So, what do you find it ideas of two scientific the concedes have been yoked together to give an impression which shocks the people the other into awareness. Again the same poet had written in his holy sonnets that famous sonnet that be not proud again an extract from it that be not proud though some have called the mighty and dreadful for doword not. So, you find the mellow tone of forgiveness first for a tone of religious redemption comes here for those whom thou thinkest doubt us over through die not poor death nor it comes thou kill me from rest and sleep which but the pictures be. Therefore, we find how from this sonnet divine sonnets we can go again skip to the form of the sonnet yes from the metaphysical poets to the form of the sonnets which was as I told you they were quite age old right. They are 14 line lyric poems again forms under the genre of poetry traditionally written in Iambic pentameter and if you talk about Iambic pentameter this is this are verse three quadrants and a final couplet three quadrants in is quadrants is four lines and a final couplet couplet is two lines. So, we have a rhyme scheme of A B A B which is following the rhyme scheme C D C D E F E F different different rhyme scheme in each quadrain of four line each and then with a rhyming couplet. So, this was a almost a closed form of metrical form of poetry writing which was very popular during the Italian renasa and it was again brought to England and when we talk of poetic forms therefore, we see that mostly in the past we do have a many forms which are called closed forms and when we come into the moderns we have the open form. The meaning of closed form in poetry and open form in poetry is just that basically closed form it pertains to rules to a structure which is laid down by that form. Open form is that you have the freedom to have whatever you write about right. So, you do not have a definite rhyme scheme you do not have a metrical form or you can employ yourself in a free verse in whatever way you have right. So, Shakespeare's sonnets right we are now coming to William Shakespeare in the 17th, 16th centuries are a collection of 154 sonnets most of us know Shakespeare as a dramatist do not we Hamlet, Othello, King Lear, Midsomer's Night Dream is it not, but he is known mostly for his collection of 154 sonnets. Famous sonnets beautiful sonnets dealing with themes such as the passage of time, love, beauty and mortality first published in 1601 right. Yeah I will just give you an example of this sonnet 116 right. Let me note to the marriage of true minds admit impediments this the whole 150 sonnets divided into may be addressed to his lady love, may be addressed to his rival poet, may be addressed to a dark lady right. Many say that the sonnets are that autobiographical expression of his own life right here the sonnet has been remodeled the Petrarchan sonnet has been remodeled in the form in which Shakespeare you know really was was free wheat and this is a beautiful sonnet by Shakespeare. Let me note to the marriage of true minds admit impediments love is not love which alters when it alteration finds or bends with the remover to remove. So, when you read this the entire sonnet what do you get? You get here not only imagery, nature and lyricism and so much of pathos at the same time of imagination. When we talk of Shakespeare sonnet we come again jump into the Victorian era right. From the 17th century we are coming to the to the almost 19th century beginning of 19th century right Elizabeth Barrett Browning wife of Robert Browning her sonnets of the Portuguese were well known it became so proverbial it became so impassioned that it has become some type the emblem representation of every love poem that is famous for. So, this is from sonnets from the Portuguese one of the sonnets. How do I love thee? Let me count the ways I love thee to the depth and breadth and height my soul can reach when filling out of sight for the ends of being an idle grace. I love thee to the level of every day's most quiet need by sun and candlelight. I love thee freely as men strive for right I love thee purely as they turn from praise. So, we find that in this sonnet many people have said that the passionate rendering of love no one has been able to equal that of Elizabeth Barrett well. So, coming now to another text let us see how we look at poetry. M. S. Abraham's The Mirror and the Lamp it is a very well known book in published in 1953 when he talked about romantic theory and the critical tradition and it has been one of the most influential studies in the fields of poetics and theory. He patterns poetry into four coordinates in a patterned model for understanding the whole complex of literary theory and the distinction between the four coordinates right yeah it did not come out yeah universe audience artist and work and he serves to outline the historical evolution of art theory. So, we find that there are these four coordinates where we have the universe we have the artist we have the work and we have the audience and it serves to outline the historical evolution of art theory as such. So, somewhat oversimplified the four political systems means that therefore, because the mirror when you look at the mirror it is sums of reflection it is a form of mimesis or it is a form of imitation which Aristotle had already laid out that all art is a representation of imitation or mimesis. So, this mimetic mimetic means imitation theories are all oriented towards the universe how nature is how man is how phenomena is whereas, the expressive theories are author oriented where you look at yourself when we look considered a title of Abraham's book the mirror and the lamp. So, you see the difference between the mirror which is an imitation a reflection of the world or representation of the world and when we look at the lamp which gives its own light which projects its own perception of the universe right. So, these four big poetics that exist next to each other are the symbolic or the romantic which is the expressive then the realistic is the mimetic almost snapshot imitation of reality and the classicist which is the pragmatic poetics are visualized as vertical pillars in relation to which individual poets are located right. So, the sieves in addition to the mimetic-pragmatic expressive and objective theory do are we being happy with this division no. We will see that the sieves will go to more realistic more classicistic more romantic more symbolic theories to make a distinction between two traditional categories in European poetry the symbolic and the romantic. Now, let us see as Abraham's had seen for the romantic poets that is specially the poets of the romantic era in the 19th century Wordsworth, Kate, Shelley, Byron, Coleridge etcetera we have that the artist of poet does not imitate or passively reflect reality they do not do that that is an inert restrictive art, but the romantic poet he expresses the vision of his mind which sets light upon the world. So, he gives his own idea of how he looks at the world. So, he compared to views of the artist today images of the mirror and the lamp right and this is how we had already discussed that for the romantic artist the poet's mind is like a lamp illuminating a greater spiritual reality maybe there are levels of consciousness levels of perceptions which go into the making of the poem right. So, I will just illustrate from a poem by William Bake who was a pre romantic just before Wordsworth around the beginning of the end of the 18th century and the beginning of 19th century and he was the most important aspect in him was for the first time we have a painter who is also a poet. So, he experimented with the visual language as well as with the verbal language later we will be doing some of this experiment in German poetry and we will see that this is become a sort of interchange between two forms of expression and representation right. Most of you must be familiar with William Bake's famous poem the lamp I am just giving you excerpts from it right not the whole poem little lamp who made the does down know who made the this is from songs of innocence gave the life and with defeat I think this is almost a compulsory poem in almost all school curriculum then we have in reverse we have the other poem the tiger this is from songs of experience by William Blake tiger, tiger burning bright in the forest of the night what immortal hand or eye could frame that fearful symmetry you find that there is as much wonder at the lamp whom who is a creation gentle creation of God at as that of the tiger. So, you find the entire meaning of perception of the visual perception of form takes on different expressions does not it yes going to the romantics again when you read Lucy poems I think most of you are familiar with the Fadils right which is a very well known poem of Wordsworth then he had this Lucy poems about five in order which he wrote around the 19th century beginning of 19th century and he this was a famous poem where he sought to write unaffected English it was pure English that he tried to English language which would be close to the ordinary speech of the unadulterated mind not something which is obeying or artificial or something which is of superfluities. So, there was this experiment with form as well as with language as well as with matter this was one of the first Lucy poems she dwelt among the untrodden ways beside the springs of dove a maid whom there were none to praise and very few to love all throughout while we are doing all these poems going through different genres of poetry as well of different ages of the poetic experiment you must have noted that every poem that we have dealt with had something which was remarkable in it what do you think is that the rhythm is not it rhythm and the composition of words I think this is one of the things that you have to note always the beauty of words when so while we are going into M. H. Abraham's idea of the mirror and the lamp that it can be the mirror it can be the lamp and most often it is the mirror and the lamp together that we see how an expression is poetic expression comes about right. We let us look at influences on poets mostly on English poets right and Harold Blooms the anxiety of influence it is a very well known book right a theory of poetry he argues right that new poems originate mainly from old poems right. So, there cannot be that something which is based on native weight or something which you have taught all of a sudden right and he says that a primary struggle of the young poet is against the old masters and this will be again reiterated by T. S. Eliot in his essay tradition and individual talent right. So, you see the new poet when you see a new poet in the offing that we see him always against the old masters in the prevailing composite scenario of the old masters whether it is a comparison whether it is a influence. So, according to Blooms he says that a poet is the FEB what is he he is the FEB must clear imaginative space for himself through a creative misreading he calls it misreading of the strong poets of the past only strong poets can overcome this anxiety of influence or mis prison he calls it right and lesser rights become derivative laterals and never achieve poetic immortality for themselves. So, a poet who has to be acclimatized, who has to be a familiar it is not that you are a imitator, but then you know about the poetic tradition who has written what and then this misreading of the strong poets of the past and if you are uncooled in this anxiety of influence somehow you will not be able to come out of this anxiety of influence right and only strong poets can overcome this anxiety. So, what does he say now Harold Bloome on this anxiety of influence very interesting easily the struggle between the young poet Defibi and the citizen of poetry as ancient Athenians termed him and his great precursors is more of a psychological a gone where the young poets only weapon against the great is creative mis prison just now I mentioned that a successful misreading of past work allows Defibi room for his own voice to be heard and is spectacularly successful he can do of even the precursor to make us read the precursor in terms of the later poet rather than vice versa right well. So, he covers when we read the book I hope you will read it when you have time covers the last 500 years of western poetry he goes to the influence anxiety of influence right showing a genealogy of giants icons starting from Shakespeare we had just done Shakespeare right as a sonnet form who begat Milton who comes the great epic poet who begat Wordsworth who begat Shelley and kids who begat Browning who begat Yates Irish poet. So, you see that the whole lineology it is working as a sort of genealogy of influence he again traces a similar American line from immersion to Stevens well as Stevens is also treated with tangential reference to figures as diverse as Pindah Homer Virgil Dante Gaethe Wilke and many others from the Germans to the Romans to the Greeks right yeah another book that we will refer to and which will help us in appreciating poetry and our awareness of the patterning of poetry as engineering students. So, let us see what is the system which works when we read a poem and how we interpret a poem last lecture we had done on novel and we have seen that there were so many different methods critical methods in the interpretation of our text right postmodernism structuralism etcetera. But, here specially in poetry we do can apply the same methods here too, but we have seen that the studies have been amazing in the way that all this have been written on the art of representation. So, Client Brooks in the well wrought and he talks about the structure of poetry right that poetic language he says in the first chapter itself that it is the language of paradox we had just seen done haven't we that he had based it on paradox he had based it on irony he had based his structure on dissimilarity same way Client Brooks also gives example from done it is a language in which the connotation play as great a part as the denotations as in science Brooks in his interpretation challenges the conception of done as being an early example of the use of eccentric metaphor he calls it eccentric metaphor anticipating it is an alien right the moderns instead asserting that he is an extreme example of what all good poetry exemplifies namely paradox. Brooks does this by comparing the symbolic imagery of done's verse with that of Shakespeare in Macbeth. So, this imagery that he talks about the symbols that are used in drama of Macbeth to that of the symbolic imagery in done's verse he also gives the application of Keats John Keats romantic poet second generation of romantic poets best known application of this doctrine of dramatic appropriateness in Brooks analysis of Keats owed on a Greshan earned here Keats had written about six oaths and owed on a Greshan he had used this paradox on dissimilarity and I think most of us know that heard melodies are sweet but those unheard are sweeter isn't it truth is beauty beauty truth that is all you know and all you need to know this is something of the immortality of the lute players that he wanted to express the immortality of art and that of inscribed on the ancient way earned well. So, now we come to the last part almost almost the last part of dramatic poetry the regular rhythm form of Shakespeare's blank verse. So, this is most of the blank verse which is almost like colloquial speech and this is the Iambic pentameter is called blank verse. Let us look at the soliloquies of Shakespeare only one from Hamlet I think most of you are familiar with this when he says he talks to himself it is a monologue to be or not to be that is the question whether it is nobler in the mind to suffer the slings and arrows of outrageous fortune or to take up arms against the sea of troubles and by opposing anthem you must have come across this this is from Hamlet and we see that this is a soliloquy which forms as a base of dramatic monologue in Browning later right and even in done we have seen how he had experimented experimented in the 17th century from the soliloquy to the dramatic monologue that is again another form of poetry that is being experimented by poets. So, it is a verse composition right what is a dramatic monologue it does not it is not in a drama like Hamlet's to be or not to be, but it is absolutely separate as a poetic form. Here in a monologue address to the reader or to a presumed listener dramatic monologue in poetry also known as a persona poem shares many characteristics which are with a theatrical monologue everything of the drama it has conflict character persona identity everything you will find in the dramatic monologue. We find the best practitioners in the Victorians Robert Browning Alfred Tennyson's releases this complex relationship is evident in the following excerpt from Robert Browning's My Last Dusses that is My Last Dusses painted on the wall looking as if she were alive this is about the Renasa about a lord how he ultimately murders his wife and about a painting how he talks to an observer about the painting of the last dusses. So, it is a beautiful specimen of the dramatic monologue right all the qualities of the drama use of blank verse is being there now we come to the free verse in the modern's poetry organized to the cadences of speech we are talking of closed form we are talking of open forms right it is free only in a relative sense. So, it is a fixity and flux which is the very life of verse it does not pertain to any rules more to colloquial rhythms of speech sounds words sentences we had talked of Eliot tradition and individual talent he had asserted that tradition is necessary and the poet writing in English may therefore, make his own tradition by using materials from any past period he can, but then he used it and he modifies the past with the present it is not that he imitates right as he had done by using myths so many illusions in the wasteland love song of J. Alfred proof of supposed to be the most modern poem of the age of literature of English literature you just note the title ironic title and such a prosaic title right that itself is a ironic representation of what the poem is going to be here you can see how it begins. Let us go down you and I this is from Eliot's proof of poems when the evening is spread out against the sky like a patient etcherized upon a table you see the imagery it is almost like done right where there is a difference of imagery and very very unlikely imagery has been used here in the abrupt opening well now we will come to the very very close connection between Oriental poetry and that of modern poetry well Ezra found one of the very co poets next to Eliot modern poets in his poem in a station of the metro it is only in two lines the apparition of these faces in the crowd petals on a wet black dow so what do you bow what do you get of it it is a very visual impact two line poem right and he said that what when the sensation came to me it was like a stretch of color as if images had come to me a language in color right this you will be surprised you know has been influenced by the haiku poetry of the Japanese they wear a 17 syllable poem poems and which contains a special season words sometimes it also has many regulations very intricate regulations supposed to be such a short poem of 17 syllables it deals with sound but then the most rules are there the famous frog poem of Basso 10th century Japan old pond leaps flesh a frog this is a famous haiku right and try to understand what this is about so the rules are beautiful all right and very intricate based on riddles myths associations you have to know about so many things to know about this this poem right this poems now we are coming to the last of it the meaning of things in real right and many of you who have known about Reina Maria Rilke 19th century poet modern also one of because of a modernism you find that he experimented with form he experimented with expression especially with painting and sculpture and poetry right and he created object poem his association with painters like Cezanne the impressionist and rather the sculpture French sculpture was proverbial so he concentrated on physical object clarity of physical objects just as a poem should be able to represent that of the of whatever the painter order sculptor is doing famous poem from his thing poems that painter from seeing the boss he is seeing so you can almost feel the physical presence of the object that is being shown the object poems that he called them archaic torso of epilogue again influenced by Roder sculpture. So, in the discussion let us see we have come across so many different forms of poems next time when you read a poem you will be saying that how can poetry be defined is it can it be defined what are the poetic devices to engage readers why is imagery and symbolism as a poetic literary device how have dominant pieces of literature literature been inspired by poets what kinds of comparisons do you use whether metaphor similes what kind of difference does it make when a poem is read aloud this is a big point all right the sound of a poem makes a lot of difference in school before we used to really learn by heart and that is the original way of reading a poem not to be read poems are to be read out loud so that you get the impact of the sound and the rhythm right. So, at the end of it all right every good poem begins as the poets but it ends as the readers does not it thank you references used these are some of the references we have used in the lecture I hope you enjoyed listening to this genre literary genre on poetry next day we will meet talk of another genre in literature thanks