What “capability’ is Wordsmith talking about, and In what ways is the poet equipped to “produce or enlarge” It? Also, what is special about “the present dare that provokes Wordsmith to say this at the end of the eighteenth century? (10 marks. 500 words) Wordsmith poems are composed with series of incidents and situations from the day to day life with the language familiar to everyone. He believes that the usage of complicated and physiological languages which is done by many poets is perplexing when compared to the simple language that is characterized by regularity and easiness In understanding.
He thinks that there Is no purpose to the poetry if a poet adopts this methodology. Let Is always good to convey the feelings of a poet in simple and subtle language so that they can have a mass reach-so here Wordsmith Is talking about the ability to express the feelings of a poet in a language which majority of the people can understand with ease. More than the poetry style Wordsmith is very keen about expressing it in a form which has got a simple and adoptable language which is used by most of the people.
He further adds that “The Present day” attic practices are no more Influenced heavily by the complicated,fancy and heavy poetic forms unlike the earlier Neoclassical era which now come to an end-CLC Page 1 of 3 Name: K. Sharpies 2. Discuss TTS Elite’s theory of Impersonality. How does this theory have a bearing on Elite’s adolescently between emotions and feelings, and on his concept of the “art emoticon:’ (II marks, words) TTS Elite’s theory of impersonality holds that the poet and the poem are two separate things. He further quotes that the self-driven expressions will be of great interest to he writer himself but not to his readers.
So the poet is expected to have in him a complete different man who is separate from him and creates his own expressions. The poet should always remain unaffected to the things around during his composition. Poet’s greatness never lies in putting his personality into his work. A poet should have open mind to welcome different feelings so that he can arrive at the poetic combinations. Art should never be a victim of personal experiences. To progress as a poet one has to suppress his/her personal limitations and expressions. Eliot expects the poet to be dynamic but not static.
Emotion is an evolution which is built upon the preceding events and further leads to the events in the present. Unlike emotion feeling is not forced it is instantaneous and is not built by upon by any preceding event. He further states that there is a huge difference in the emotions which are present at the beginning of the creative process and after the final work is done. The poet and his personal experience is integral part of creating a literary work but the final reduce will have no traces of them as result of which poetry is a negligible part of man’s personality. . How does Coleridge distinguish between the Primary Imagination, the Secondary Imagination, and Fancy? Marks, 250 words) (5 According to Coleridge,primary imagination is the supreme power and primary agent of the human perception. Let is the basis to the perceive the world around us. According to Coleridge it is the the primary and necessary imagination as it is based on the human will and represent the human awareness. Coleridge states that secondary imagination is “an echo” of the primary. This means, of course, both are quite like each other.
When Coleridge says the secondary co- exists with “the conscious will,” he is saying that it involves our active thinking, and implying that the primary imagination, unlike the secondary, may co-exist with the unconscious mind. When Coleridge says the secondary is “identical with the primary in the kind of its agency, and differing only in degree, and in the mode of its operation,” he may be saying that both sorts of imagination have the same mind for their agency, and that when they operate, one may seem stronger than the other although they operate in different ways. Fancy,” is always employed for tasks that were “passive” and “mechanical”, the accumulation of fact and documentation of what is seen.