When the 363s brought an emphasis on art being viewed as unspiritual, unpoetical, socioeconomic evidence, the perspective on Cole changed.
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It does no harm from its relish of the dark > side of things any more than from its taste for the bright one; because they > both end in speculation. A Poet is the most unpoetical of any thing in > existence; because he has no Identity – he is continually in for – and > filling some other Body – The Sun, the Moon, the Sea and Men and Women who > are creatures of impulse are poetical and have about them an unchangeable > attribute – the poet has none; no identity – he is certainly the most > unpoetical of all God's Creatures. He used the term negative capability to discuss the state in which we are "capable of being in uncertainties, Mysteries, doubts without any irritable reaching after fact & reason ...[Being] content with half knowledge" where one trusts in the heart's perceptions.Wu, Duncan (2005) Romanticism: an anthology: Edition: 3, illustrated.
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Sauti recites the slokas of the Mahabharata. The text was described by some early 20th-century Indologists as unstructured and chaotic. Hermann Oldenberg supposed that the original poem must once have carried an immense "tragic force" but dismissed the full text as a "horrible chaos."Hermann Oldenberg, Das Mahabharata: seine Entstehung, sein Inhalt, seine Form, Göttingen, 1922, Moritz Winternitz (Geschichte der indischen Literatur 1909) considered that "only unpoetical theologists and clumsy scribes" could have lumped the parts of disparate origin into an unordered whole.
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The novel fragments Heinrich von Ofterdingen and Die Lehrlinge zu Sais (The Novices of Sais) reflect the idea of describing a universal world harmony with the help of poetry. The novel 'Heinrich von Ofterdingen' contains the "blue flower", a symbol that became an emblem for the whole of German Romanticism. Originally the novel was supposed to be an answer to Goethe’s Wilhelm Meister, a work that Novalis had read with enthusiasm but later on judged as being highly unpoetical. He disliked the victory of the economical over the poetic.
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In 1919 Velarde published Zozobra, considered by the majority of critics to be his major work. It was heavily ironic and drew both from his provincial upbringing and his recent experiences in the city. The influence of Lugones was evident in the book's tendency to avoid common settings, the employment of vocabulary then considered unpoetical, of unusual adjectives and unexpected metaphors, the use of word games, the frequency of proparoxytones, and the humorous use of rhyme. In this sense, the work also resembled that of the Uruguayan poet Julio Herrera y Reissig.
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It was published anonymously in 1757, ostensibly at London to avoid censorship, but really at Paris. The English original was given on parallel pages, with William Hogarth's engravings reproduced, Towneley wrote a preface, while Needham appended explanatory notes. Towneley felt he did not have the ability to give the spirit and humour of the original. The translation has been praised by Horace Walpole, and Henry Hart Milman, but others such as Jean- Baptiste-Antoine Suard, in the Biographie Universelle, though acknowledging its fidelity, called the diction poor and the verses unpoetical, "the work of a foreigner familiar with French but unable to write it with elegance".
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At the centre of the canto there is a passage on monopolies that draws on the lives and writings of Thales of Miletus, the emperor Antoninus Pius and St. Ambrose, amongst others. Canto LXXXIX continues with Benton and also draws on Alexander del Mar's A History of Money Systems. The same examples of good rule are drawn on, with the addition of the Emperor Aurelian. Possibly in defence of his focus on so much "unpoetical" material, Pound quotes Rodolphus Agricola to the effect that one writes "to move, to teach or to delight" (ut moveat, ut doceat, ut delectet), with the implication that the present cantos are designed to teach.
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" A character in Anthony Trollope's Barchester Towers mentions Imogen: "Imogen was true, but how was she rewarded? Her lord believed her to be the paramour of the first he who came near her in his absence." John Keats, a great admirer of Shakespeare, in a famous letter to Richard Woodhouse, contrasts Imogen to one of Shakespeare's most notoriously immoral characters, Iago, in order to describe the character of the poet: "The poetical character has no self—it is everything and nothing—it has no character and enjoys light and shade; it lives in gusto, be it foul or fair, high or low, rich or poor, mean or elevated—it has as much delight in conceiving an Iago as an Imogen. What shocks the virtuous philosopher delights the chameleon poet... A poet is the most unpoetical of anything in existence because he has no identity, he is continually filling some other body.
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The style of Phylarchus is strongly censured by Polybius, who blames him for writing history for the purpose of effect, and for seeking to harrow up the feelings of his readers by the narrative of deeds of violence and horror. This charge is to some extent supported by the fragments of his work; but whether he deserves all the reprehension which Polybius has bestowed upon him may well be questioned, since the unpoetical character of this great historian's mind would not enable him to feel much sympathy with a writer like Phylarchus, who seems to have possessed no small share of imagination and fancy. It would appear that the style of Phylarchus was too ambitious; it was oratorical, and perhaps declamatory; but at the same time it was lively and attractive, and brought the events of the history vividly before the reader's mind. He was, however, very negligent in the arrangement of his words, as Dionysius has remarked.
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In favor of the authorship of Lucilius are the facts that he was a friend of Seneca and acquainted with his writings; that he had for some time held the office of imperial procurator of Sicily, and was thus familiar with the locality; and that he was the author of a poem on Sicilian subjects. It is objected that in the 79th letter of Seneca,Seneca, Epistles, which is the chief authority on the question, he apparently asks that Lucilius should introduce the hackneyed theme of Aetna merely as an episode in his contemplated poem, not make it the subject of separate treatment. The sources of the Aetna are Posidonius of Apamea, and perhaps the pseudo-Aristotelian De Mundo, while there are many reminiscences of Lucretius. It has come down in a very corrupt state, and its difficulties are increased by the unpoetical nature of the subject, the straining after conciseness, and the obtrusive use of metaphor.
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