Comparison of Pride and Prejudice with Sense and Sensibility

The poem multi-coloured Beauty was written by Hopkins in 1877 and the Ode to dusk was penned d ingest by Keats in 1820. These poems appreciate all the aspects and diversity of Nature positively leading to the praise of God. In Pied Beauty, this praise of the Creator is shiny and app atomic number 18nt as the poet magnanimously assertsHe fathers-forth whose beauty is past changePraise him.However, in Ode to drop the praise is subtly highlighted through the description of exuberant bounties of Autumn.The overarching theme of beauty beyond appearance is witnessed in both the poetic works mentioned above. In Pied Beauty this theme encapsulates the idea that perfection of things lies rear end their appearance. The poet accentuates the fact that the spirit and energy beyond the appearance is to be appreciated. Thereby, a meta visible streak echoes throughout, emphasize the true essence of the word, beauty. Similarly, this theme is observed in Ode to Autumn connoting that the season Autumn has its own beauty like other seasons. Generally, Autumn is associated with old age or the end of life save Keats has creatively portrayed it as a season of mellow fruitfulness, thus, denoting the beauty of Autumn afar from its appearance. He has artistically projected an implied meaning to the poem by illustrating that autumn is the time of life where everything in the end leads to its completion or to have acquired the ultimate motive of life.The crux of Ode to Autumn is to symbolize the uncertainties of life the initiation is so prone. However, in Pied Beauty, a synonymous thought is presented in the subtle descriptions of Nature that put the opposites to underline the notion that life is unpredictable , non-static and full of ambiguities. Hopkins assertsAnd all the trades,their gear &tackle &trim.Whatever is ficke, freckled,(who knows how?)With swift, belatedly sweet, souradazzle,dimHe fathers-forth whose beauty is past change here, the poet stresses on the diverse n ature of the life on Universe that everything is in a flux. The only thing constant is change and therefore, in Ode to Autumn we label that autumn has arrived and we should appreciate the various shades of Nature it glumers because they are momentary. Consequently, the beauty and speciality of everything present should be appreciated. It is because every atom and molecule on earth gifts us with some meaning and purpose in life.Another eminent theme is of Nature. In Pied Beauty numerous aspects of Nature are delineated using compound linguistic process. Hopkins appreciates that Glory be to God for dappled things, skies of couple-colours the rose-moles on the trout, the Fresh-firecoal chestnut-falls finches wings and similarly the Landscape plotted and pieced -fold,fallow &plough. The poet is praisng God for everything that he has created and similarly for the sublime energies that Nature encapsulates beyond its physical appearance. Furthermore, this theme of Nature is also evide nt in Ode to Autumn. This ode is pregnant with admiration for diverse activities that dispatch place in autumn. Keats enumerates that it is a season of mists and mellow fruitfulness, load and bless with fruits the vines that round the thatch-eves imbibe, fill all fruits with ripeness to the core, swell the gourd and plump the hazel shells with sweet kernel, disallow clouds bloom the soft-dying solar day, lambs loud bleat from hilly bourn and the Hedge-cricket sing. All these descriptions stimulate our senses and leave a beautiful cinematographic element to the poem.Analogous to Hopkins, Keats also implies the stylistic device of compound words. However, the contrast lies in the fact that Keats uses compound words to make his meter sensual whereas, Hopkins employs compound words to give different things a set shape and pattern. This is called instress and inscape technique that Hopkins uses. For example, he says For skies of couple-colour as a brinded cow. Here he is characteri zing the skys colour and accentuating the inter relation and harmony of Nature. Like the brinded cow the sky is also spotted and patchy as the blue sky and white clouds are coupled together. The creative unification of sky with creations on earth reflects the poets love of nature to a commendable degree. On the contrary, Keats utilizes compound words to give a corporeal effect. For instance, he calls autum the bosom-friend of the maturing Sun and also he asserts half-reapd furrow, bloom the soft-dying day and full-grown lambs. All these examples stir the senses.Animal and bird imagery have also been incorporated in these poems. Hopkins uses the image of the brinded cow to make the colour and pattern of the sky tangible, and also uses the image of a trout with rose-moles and the finches wings to signify the variety and diversity of Nature. Nonetheless, Keats uses the images of the swallow singing, lambs bleating , hedge-cricket singing and the red-breast,garden-crofet whistling to i ndicate that autumn has a life and activity of its own which must be appreciated instead waiting for other seasons to come. initial rhyme in the Pied Beauty is used to heighten the auditory effect of the poem. It is said about Hopkins that his poetry should not be read with eyes but ears (Bridges). The alliteartion used in the compound word couple-clouds empahsizes on making the sky tangible whereas Fresh-firecoal denotes a paradox to enhance the colour of the chestnut that is falling off the tree and fold, fallow these descriptions of the landscape suggest the multiplicity of lands created by God. On the other hand, in Ode to Autumn the alliterations winnowing wind, dying day and lambs loud all of these are stressing upon the activities that take place in autumn. Thus, signifying that autumn is also lively and is not about the end of life rather it announces a recent happy beginning that follows.Nonetheless, apart from a few stylistic contrasts, both poets share a crude natural g round of ideas, that is , the love and intense adulation of nature. The imagery that these poets employ is far-fetched and typical of the Romantic rail of thought.