![]() ![]() These changes in aesthetics led to a reformation of urban London to reconstruct dilapidated, abandoned graveyards into public parks and healthy pastoral spaces within a growing industrial society. ![]() Moreover, it suggests that graveyard poetry was an ideal alternate didactic medium to the declining printed funeral sermon, able to aesthetically facilitate private meditation upon death via affective and subjective response.įirst Paragraph: The aesthetics of death and burial customs between the middle of the eighteenth-century to the middle of the nineteenth-century can be observed by analyzing the changing acceptance of death and in visual descriptions of graves and burial sites in Graveyard Poetry of the 1700s and poems written close to and in the 1800s. This revision reads graveyard poetry alongside changing religious practices that appear to mark discernable shifts from collective to individual modes of religious experience, and from public to private forms of devotion. This essay presents graveyard poetry as a historically embedded poetic mode, and demonstrates how it can be viewed as a specific experimental response to the intersection of evolving reading, religious and poetic practices of the early to mid-eighteenth century. Modern studies of graveyard poetry are restricted to the footnotes of larger traditions, afflicted by a combination of formal and aesthetic codes that fail to fully validate its generic and taxonomic differentiation. ![]() Eighteenth-century “graveyard poetry”, as a literary category, has been a problematic one at best. ![]()
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