Charecter sketch of Bluntschli in Shaws 'Arms and the man'.

Real Hero of the play:

       Captain Bluntschli is  the most interesting and impressive character in ‘Arms and the Man’. He  enters the first and  dominates the play throughout to a happy ending with marriage to Raina. He is not only a hero of the play but a mouthpiece of the writer. He is a simple and balanced man who can view and think without prejudice.

         Captain Bluntschli is  the chivalrous and a perfect Gentleman. He has soft corner for Raina, yet he makes an attempt to make compromise between Raina and Sergius. He does not like to take advantage of immature girl, but when he realize that Raina is grown up he comes forward.

Only a realist in the Play:

         Captain Bluntschli is a thirty-four-year-old and of medium height. Though he has no distinguishing features, he is attractive. His quick and clear eyes are indicative of his sharp intelligence. He is good ang gentlemanly manners. He is the only realist who sees through the absurd romanticism of war. Captain Bluntschli is a professional soldier, trained in waging a war in a highly efficient, businesslike manner. These methods allow Sergius to refer to his ability to wage a war as being low-class commercialism, devoid of any honor and nobility. Bluntschli would agree with this appraisal since he sees nothing romantic about the violent and senseless slaughter of human beings, even though it is his profession.

         He never mistakes unreal for real, the shadow for substance, the false for true. He lives in present, He takes the news of his father’s death coolly, he  agrees to merry Raina, he never quarrels with anybody. His love for Raina is different from that of Sergius. Sergius has romantic feeling while Bluntschli has realistic sense of love.

Wise clever and Intelligent:

         When Bluntschli first hears of Sergius' cavalry charge and refuses to view Sergius' actions in any way except as a foolhardy display of false heroics, he reveals his complete practicality and subjects himself to Raina's charge that he is "incapable of appreciating honor and courage." Yet, his questioning of Sergius' actions causes Raina to question Sergius' qualities.

      His appearant lightness covers hie shrewdness. He is wise clever and intelligent. He is full of wisdom and practical sense. He is sincere and modest. He takes fancy for Raina and keeps it up to the end of the play.

Practical Person :

         Being a professional soldier, he adopts a practical and wise view (his name is a combination of Blunt, plus the ending, which in Swiss means "sweet" or "endearing" or "lovable"). Given the choice of being killed or saving his life by climbing up a balcony and into a lady's bedroom, he chooses unheroically not to be killed. Practically, he knows that a dead professional soldier is of no value to anyone; thus, he saves his life by the most expedient method available — he hides in a lady's bedchamber. Likewise, given the choice of killing someone or of not going hungry, he chooses to eat rather than to kill; thus, he carries chocolates rather than cartridges, a highly unromantic but very practical thing to do.

        Thus we can say that he is practical and never annoyed person.  Everybody impressed by his practical out look. He is shrewed judge of man, charcter, situation and things. He is the first person to see through the Raina. He is adventures and romantic. He joins army for his love for romance and adventure, yet his realistic and practical beahviour is such that he hardly seems adventures and romantic.

Well balanced between emotion and reason:

        Bluntschli is unemotional and does not get excited easily. He meets all crisis calmly and philosophically. He is well balanced between emotion and reason, sentiment and thoughts, impulse and determination, intellect abd insight. He is witty and humours, but in reality he is serious. He is a true soldier in battle field. He is An honest and commercial traveler in trade market of human life.

Full of Humor Sense:

          He has wonderful sense of Humor, he laughs at the romanticism of Raina.  We find his sense of humor when he was talkin with Raina. Here are some of them –

“Bless you, dear lady. You can always tell an old soldier by the inside of his holsters and cartridge boxes. The young ones carry pistols and cartridges; the old ones, grub. Thank you.”

…….

“Ugh! Don't do things so suddenly, gracious lady. Don't revenge yourself because I frightened you just now.”

……

“You haven't been under fire for three days as I have. I can stand two days without shewing it much; but no man can stand three days: I'm as nervous as a mouse. (He sits down on the ottoman, and takes his head in his hands.) Would you like to see me cry?”

Conclusion:

       In short we can say that Blintschli is typical Shavian  hero (hero of G B Shaw).  He is Prectical man who has no illution about life and things. He is not affected by the romantic glory of war. He alos believes that love is folly and marriage is biological necessary.

Charecter sketch of Sergius Saranoff in Shaws 'Arms and the man'.

Brave soldier:

       Sergius is brave soldier. In his charge, he wins attack at the battle of Slivnitza. He has romantic view about war. He joined army not to earn livelihood, but to win glory and heroism. He has intelligence and common sense. He is like real rebel. He resigns his post in army, when he realizes injustice with him. 

Intemperate and imbalanced person:

      Sergius is Intemperate and imbalanced person by nature. He is very impatient. His dream was to get military honors, but when he failed to get it he resigns. He is excessive in all aspect of life. He has distorted notions of dignity and prosperity. He thinks that greatness does not lie in apologizing. His vanity is the result of his self conceitedness. He talks higher love; and the same time, he flirts with Looka.

Psychologically Complex Character:

       Sergius is Psychologically Complex Character. His ideas and actions are not reconcilable. He is living anomaly and contradictions in qualities. His power of introspection realizes that he is bundle of contradiction. He is not able to find his real self.

Hollowness of his higher romantic love:

        As we find that Sergius has higher romantic love for Raina, and he worship her as goddess. Addresses her with – “My Queen!”, “My lady! My Saint!”, but behind the back of Raina, he flirts with Looka. He shows that his love to Raina is platonic and sexless, but such love is like the horns of rabbit. He seeks comfort in Looka’s physical love. His romantic love is given away to the realistic love. His love for Looka is based upon passion. He believes that a man tried of a higher love; it must have woman’s heart, as well as her body to fulfill biological needs. This is conquest of passion and reality over romanticism.

Biggest fool in the Play:

       In the whole play Sergius behaves like a fool. Because Shaw believes that every soldiers are stupid. After he returns from the war, his illusion of romanticism about war was broken, as he says to Catherine – “Soldering is the coward's art of attacking mercilessly when you are strong and keeping out of harm's way when you are weak. That is the whole secret of successful fighting.”

His illusion of love still he has, because of his ideas are fanciful and romantic, but he could not digest the higher love of Raina and he finds pleasure in Looka.

Conclusion:

       In Short we can say that, Sergius is an interesting character, and a good subject for analytical study. Shaw has said that his attempt was to create comic Hemlet. Actually Shaw wanted to prick the bubble of Romance of war and marriage. Sergius is molded on Byron’s heroes.

Plato's Charges against Poetry

           Plato was a great critic and a philosopher. He believed in ‘Art for life’s shake’. Plato has given remarkable contribution to the field of literary criticism. According to Plato the ideas are true and real. His views on Poets and Poetry were expressed in ‘The republic’. Plato was basically a philosopher and a moralist. He was worried about the good of individual and the state.  According to Plato – “a poet is an ideal singer of an empty day.” Plato believed that the poet’s activities were harmful to the individual as well as to the society. Plato exposes his views on the poets and poetry because they create only illusions.

Plato puts some charges against poets and poetry. They are as under.

1. Poetry is an imitation of an imitation.

       Plato’s fundamental objection against poetry is that it is an imitation of an imitation. Poetry is twice removed from the reality. To explain it he gives very famous example of carpenter’s chair. In ‘The Republic’ Plato says that “ideas are the ultimate reality”. Carpenter first gets an idea to make a chair, then he shapes a chair (it is imitation of idea), then a painter draws that chair (it is imitation of imitation). So poetry is merely an imitation. And when a poet imitates something then he is not aware from real thing. So poetry becomes trivial and worthless thing. It is only the illusion of the idea.  It does not the real truth. Thus poetry is not good for the individual.

2. Poetry deals with the inferior part of the human nature.

      The charge against poetry is that it deals with the basic aspects of human nature. According to the Plato- 'epics and poetry with cunning and lusty heroes and violent Gods should not be taught.' poetry is more about the inferior part of human nature. The poet is imitative and his poetry is not true or real. It does not create good effect on the soul because it is about some baser passions of human nature.

3. There is no poetic justice on Poetry.

Plato was having high moral values. So obviously he demands righteousness in literature and art According to the Plato – ‘a poet deals with the virtue and vice similarly, because of such dealing there is no poetic justice.’  Plato observed in the Greek literature that many evil persons being happy and good persons unhappy. And he say that -“In literature many evil livers are happy and many righteous men are unhappy ; and wrong doing is often profitable while hones dealing is beneficial to one’s neighbor, but damaging to one’s self.”

              As a firm moralist Plato can’t digest such injustice in literature. According to him poetry feeds, waters and nourishes the lower and unhealthy emotions and passions. To maintain morality in mind one should be stable and rational. And it is true that sentimentality and rationality never walks together.   Thus Plato found injustice in poetry and literature. So he raised a charge against poetry is being without Poetic Justice.

4. Poetry is not safe guide for the human being

The fourth charge against poetry is very serious. According to Plato Poetry is not safe guide for the human being. He believes that poetry appeals emotions rather than a reason. Poetry makes the reason prisoner. Poetry feeds and waters the passions instead of drying them up. Thus poetry is not welcomed in an ideal state. 

    Plato was dreaming for strong and ideal state. For it all citizens should have developed mind and intellect. But poetry makes people emotional and it is harmful for good administration.

5. Poet does not write poetry  in conscious  mind

According to the Plato the poet is between a prophet and a mad man. The poet is not an ordinary human being because he is inspired by the muse. This shows that the poet is like a prophet. A poet writes only when he is inspired. This position is between the prophet and a mad man. Such a person is more harmful and its Activities also.

6. Poetry creats very harmful effect on children’s mind.

Plato wrote in ‘The Republic’ that poetry don’t give any contribution in planting morality in children. Instead of it, it puts evil in children. Poetry does very harmful effect on children’s mind.

  When children read poetry, it is misinterpreted by them the hero or the villain can make any effect upon them. So Plato says that Homer’s epic were part of studies. Hero’s of epic were lusty, cunning and cruel. Even gods were portrayed very badly. Gods were shown fighting among themselves. When we teach a children god’s such stories. They find bad effect in their mind.

            Plato says that we should not tell even a word about war to children. They are having strong impression of their teachers. So in the education if teachers say them about war and violence then they get wrong impression in their mind.

       In Short we can say that Plato was an ideal Person and having high moral values. He wanted to create an Ideal state and thus he favored only ideal Activities only. He was not always against poet and poetry, bet he was against imaginative poet and poetry.          

Aristotle’s Definition of Tragedy and its Elements:

         It is clearly seen that Aristotle was more interested in tragedy rather than comedy or epic. In his Poetics, he compares tragedy to such other metrical forms as comedy and epic. Aristotle identifies tragedy as the most refined version of poetry dealing with lofty matters He traces a brief and speculative history of tragedy as it evolved from dithyrambic hymns in praise of the god Dionysus. He defines tragedy as – 

“Tragedy then is an imitation of an action, that is serious, complete and of a certain magnitude, the language embellished with each kind artistic ornaments, the several kind being found of in separate part of the play, in form of action not narrative, through the pity and fear, effecting a proper purigation of these harmful emotions…”

       Aristotle’s Definition of Tragedy can be divided in to two parts – the first part of the definition deals with the nature of the tragedy which including first three clauses. The first part of the definition discusses the following three aspects:

(i) The Object: The nature of tragedy is defined by what is imitated.

(ii) The Medium: By that in which imitation occurs.

(iii) The manner: How the imitation occurs.

        The second part of the definition describes the function of tragedy. The function of tragedy is ‘Katharsis’ (catharsis), which Aristotle did not care to explain it in detail.

        Aristotle says that tragedy is an imitation of an action. The action of tragedy should be serious and complete and of certain magnitude. The language of tragedy should be embellished (decorated) with the each kind of ornaments. Its various ingredients (components) should be traced separately. The form of tragedy should not be narrative. The tragedy should be presented in such a way that it can arouse pity and fear. It should be capable of effecting proper ‘catharsis’ or a purgation of fear and pity.

        Thus, Aristotle’s definition of tragedy indicated several elements of tragedy. According to him a tragedy consists of six elements. They are as under:

(1) Plot   (2)   Character   (3)   Thought   (4)   Diction   (5) Songs/Melody   (6)   Spectacle

Let’s discuss elements of tragedy in brief:

Plot:

Aristotle has regarded the plot as the most important I tragedy. Plot means the arrangement of the incidents or situation. He says that tragedy is an imitation but not a men but an imitation of action and life, of happiness and misery. And life consists of action, and its end is a mode of activity, not a quality. Without plot there cannot be tragedy.  And so Aristotle says that –

 “Plot is the soul of the tragedy.”

Aristotle goes on to discuss the structure of the ideal tragic plot and spends several chapters on its requirements. He says that the plot must be a complete whole — with a definite beginning, middle, and end — and its length should be such that the spectators can comprehend without difficulty both its separate parts and its overall unity. Moreover, the plot requires a single central theme in which all the elements are logically related to demonstrate the change in the protagonist's fortunes, with emphasis on the dramatic causation and probability of the events. In short plot must contain a powerful appeal to the emotion of pity and fear. The plot is the first principle in tragedy.

Character: 

character determines men's qualities, but it is their action that makes them happy or wretched. The purpose of action in the tragedy, therefore, is not the representation of character: character comes in as contributing to the action. Hence the incidents and the plot are the end of the tragedy; and the end is the chief thing of all. Without action there cannot be a tragedy; there may be one without character. . . . The plot, then, is the first principle, and, as it were, the soul of a tragedy: character holds the second place.

Aristotle has given four types of hero and the characteristics:

 a) A good man-coming to bad end,

 b) A bad man-coming to good end,

 c) A bad man-coming to bad end,

 d) A rather good man-coming to bad end. 

      He gives the idea about error of judgment. Just one weakness in the hero's character makes his downfall. That character's misfortune effects the entire people staying round about him. Aristotle terms it as “Hamartia”. Later A.C. Bradley translates it as “Tragic Flaw”. Thus, the character is second important element of tragedy. The character of tragedy must be good and appropriate; character should be real and they may be like reality in action

Thought:

      Concerning Thought, we may assume what is said in the Rhetoric, to which inquiry the subject more strictly belongs. Under Thought is included every effect which has to be produced by speech, the subdivisions being,--proof and refutation; the excitation of the feelings, such as pity, fear, anger, and the like; the suggestion of importance or its opposite. Now, it is evident that the dramatic incidents must be treated from the same points of view as the dramatic speeches, when the object is to evoke the sense of pity, fear, importance, or probability. The only difference is, that the incidents should speak for themselves without verbal exposition; while the effects aimed at in speech should be produced by the speaker, and as a result of the speech. For what were the business of a speaker, if the Thought were revealed quite apart from what he says?

Diction:

       Next, as regards Diction. One branch of the inquiry treats of the Modes of Utterance. But this province of knowledge belongs to the art of Delivery and to the masters of that science. It includes, for instance,--what is a command, a prayer, a statement, a threat, a question, an answer, and so forth. To know or not to know these things involves no serious censure upon the poet's art. For who can admit the fault imputed to Homer by Protagoras,--that in the words, 'Sing, goddess, of the wrath,' he gives a command under the idea that he utters a prayer? For to tell some one to do a thing or not to do it is, he says, a command. We may, therefore, pass this over as an inquiry that belongs to another art, not to poetry.

Songs/Melody:

       Song is one of these embellishments. Aristotle says that the chorus should have importance like the actor. They should integrate into the play like an actor. It should have contribution to the plot of the play. Its purpose is also to evoke or intensify the emotion of the audience.  It was a necessary part in Greek drama.

Spectacle:

       The spectacle is the pleasure of tragedy. Spectacle is the overall visual appearance of the stage and the actor. ''the production of spectacular effects depends more on the art of the stage machinist than on that of the port.''  It is related with the stage performance. But he also says that those who rely on spectacle create a sense which is not of the terrible, but only of the monstrous effect.

Character Sketch of Mr. Uttersen in 'DR. Jekyll and Mr. Hyde',

             Except for the last two Chapters, most part of the novel is seen through the eyes of Mr. Utterson, In the novel Mr. Uttersen  functions as the "eyes" of "conscience" through which we can evaluate most of the novel.Therefore We can say that - 

              'if Utterson is deceived in his opinion of some event, then the reader is likewise deceived. This is because Utterson is such a fine, objective narrator who represents a highly moral and upright person; thus, we believe all that he says, and since he is a man of such prominence and integrity, we cannot doubt his explanation or his view of any event.'

            Utterson is a strange case of opposites. We first hear that he has a fond of wine but mortifies himself with gin instead. This, at first, sounds weird for a moral narrator, but then we are told that he is not censorious — that is, he is not anxious to judge and condemn his fellow man. This allows many people of differing degrees to come to him to seek advice, and it allows him to be privy to the secrets of the great and the less great. Yet, he also possesses an intense loyalty to his friends and is constantly concerned for their welfare. This attribute allows him to be deeply distressed over Dr. Jekyll's relationship with Mr. Edward Hyde. That is, Utterson is a shrewd judge of character, and he sees in Edward Hyde an immoral and evil person, and he is deeply concerned for his friend's (Dr. Jekyll's) well-being.

       For example, when he is convinced that Edward Hyde has injured Dr. Jekyll, he is quick to take action and break down the door to the laboratory in order to come to his friend's aid.

         Utterson is also the type of person who inspires trust — and deservedly so. When his friend Dr. Lanyon leaves a note not to be opened until Dr. Jekyll's death or disappearance, he is tempted to read it in order to see if there is any information which will assist Dr. Jekyll. Yet his honor forces him to store the document away without reading it.

       Ultimately, we do not know how Utterson is affected by the revelation found in Dr. Lanyon's and Dr. Jekyll's confessions, but from the horror of seeing Dr. Jekyll at the window, when Dr. Jekyll apparently began changing into Hyde, we can assume that Utterson was deeply affected, but due to his objective control over life and its vicissitudes — as a lawyer he has seen all types of criminals — we can assume that, unlike Dr. Lanyon, Utterson was able to survive.

Central Theme and Symbolism in Dr. Jekyll and Mr. Hyde

The Duality of Human Nature

         Dr. Jekyll and Mr. Hyde centers upon a concept of humanity as dual in nature,  we  does not find this theme in the begininig  but, when we read the complete story , at the end of the story  the Jekyll-Hyde relationship is revealed. There the theme of The Duality of Human Nature emerges, We conformely find the theory of a dual human nature explicitly only after having witnessed all of the events of the novel, including Hyde’s crimes and his ultimate eclipsing of Jekyll. The novel is not only the dipiction of  duality of human nature but it also forces uf to think about the hight of this duality.

        Jekyll claims that “man is not truly one, but truly two,” and he imagines the human soul as the battleground for an “angel” and a “demon,” and  they were struggling for mastery. But his potion id different and he try to purify each element, but he  succeeds only in bringing the dark side into being.  Once unleashed, Hyde slowly takes over, until Jekyll ceases to exist. If man is half angel and half demon, one wonders what happens to the “angel” at the end of the novel.

       Perhaps the angel gives way permanently to Jekyll’s devil. Or perhaps Jekyll is simply mistaken: man is not “truly two” but is first and foremost the primitive creature embodied in Hyde, brought under tentative control by civilization, law, and conscience. According to this theory, the potion simply strips away the civilized veneer, exposing man’s essential nature. Certainly, the novel goes out of its way to paint Hyde as animalistic—he is hairy and ugly; he conducts himself according to instinct rather than reason; Utterson describes him as a “troglodyte,” or primitive creature.

       Yet if Hyde were just an animal, we would not expect him to take such delight in crime. Indeed, he seems to commit violent acts against innocents for no reason except the joy of it—something that no animal would do. He appears deliberately and happily immoral rather than amoral; he knows the moral law and basks in his breach of it. For an animalistic creature, furthermore, Hyde seems oddly at home in the urban landscape. All of these observations imply that perhaps civilization, too, has its dark side.

        Ultimately, while Stevenson clearly asserts human nature as possessing two aspects, he leaves open the question of what these aspects constitute. Perhaps they consist of evil and virtue; perhaps they represent one’s inner animal and the veneer that civilization has imposed. Stevenson enhances the richness of the novel by leaving us to look within ourselves to find the answers.

The Importance of Reputation

          For the characters in Dr. Jekyll and Mr. Hyde, preserving one’s reputation emerges as all important. The prevalence of this value system is evident in the way that upright men such as Utterson and Enfield avoid gossip at all costs; they see gossip as a great destroyer of reputation. Similarly, when Utterson suspects Jekyll first of being blackmailed and then of sheltering Hyde from the police, he does not make his suspicions known; part of being Jekyll’s good friend is a willingness to keep his secrets and not ruin his respectability. The importance of reputation in the novel also reflects the importance of appearances, facades, and surfaces, which often hide a sordid underside. In many instances in the novel, Utterson, true to his Victorian society, adamantly wishes not only to preserve Jekyll’s reputation but also to preserve the appearance of order and decorum, even as he senses a vile truth lurking underneath.

SYMBOLISM

      Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.

Jekyll’s House and Laboratory

       Dr. Jekyll lives in a well-appointed home, characterized by Stevenson as having “a great air of wealth and comfort.” His laboratory is described as “a certain sinister block of building … [which] bore in every feature the marks of profound and sordid negligence.” With its decaying facade and air of neglect, the laboratory quite neatly symbolizes the corrupt and perverse Hyde. Correspondingly, the respectable, prosperous-looking main house symbolizes the respectable, upright Jekyll. Moreover, the connection between the buildings similarly corresponds to the connection between the personas they represent. The buildings are adjoined but look out on two different streets. Because of the convoluted layout of the streets in the area, the casual observer cannot detect that the structures are two parts of a whole, just as he or she would be unable to detect the relationship between Jekyll and Hyde.

Hyde’s Physical Appearance

           According to the indefinite remarks made by his overwhelmed observers, Hyde appears repulsively ugly and deformed, small, shrunken, and hairy. His physical ugliness and deformity symbolizes his moral hideousness and warped ethics. Indeed, for the audience of Stevenson’s time, the connection between such ugliness and Hyde’s wickedness might have been seen as more than symbolic. Many people believed in the science of physiognomy, which held that one could identify a criminal by physical appearance. Additionally, Hyde’s small stature may represent the fact that, as Jekyll’s dark side, he has been repressed for years, prevented from growing and flourishing. His hairiness may indicate that he is not so much an evil side of Jekyll as the embodiment of Jekyll’s instincts, the animalistic core beneath Jekyll’s polished exterior.

Characteristics of The Pre Raphaelite Poetry

         The Victorian period is remarkable because of its various trends. The Pre Raphaelite movement was started by D. G. Rossetti in mid ninetieth century. It was originally not a literary but an artistic movement. Rossetti himself was a painter. He felt that contemporary painting has become a formal and unrealistic. He wanted to go back to the realism, sensuousness and devotion to detail. There were features of art of Indian painter before a Raphael. Rossetti and other member of the group were both the poet and painter. Thus the Pre Raphaelite poetry came in to existence in poetry. The movement was against contemporary poetry of Tennyson and others. According to him contemporary poetry is deals with the problems of society. The wanted to write poetry based on aesthetic pleasure.

       Pre Raphaelite poetry was influenced by several poets of thirteenth century of Italy. The group of poet was inspired by Spencer’s symbolism and sensuousness of Keats and mysticism of Shelly in the Pre Raphaelite poetry.

Let us discuss the remarkable feature of the Pre Raphaelite Poetry.

Break With Tradition:

       Pre Raphaelite poetry was revolt against the set tradition of the poet like Tennyson. The Pre Raphaelites opposed the over concern of poets like Tennyson and those poets were depicting contemporary social and political problems. The Pre Raphaelite poets escaped from the realism of such poetry. They took shelter in a dream world of their own.

Medievalism:

        The middle age influenced many poets before Raphael. The Romantic poet like Keats, Coleridge, and Scott under such influenced. D. G. Rossetti and Morris has special urge for medievalism. They were attracted to the Romantic chivalry, mystery and supernaturalism of the Middle Ages. Rossetti’s poem ‘The Blessed Damozel’ and ‘Sister Hallen’ are full of spirit of Middle Ages. Most work of Morris like the ‘Earthly Paradise’ and so connected with the spirit.

Devotion to Detail:

            The Pre Raphaelites were connected more about particular in their painting and in their poetry. The devotion to detail purely visual in both painting and poetry. The detail of poetry was both auditory as well as visual. Every Pre Raphaelite poet had this tendency. D. G. Rossetti’s ‘The Blessed Damozel’ is devoted to detail.

Sensuousness:

           Like Rossetti most Pre Raphaelite poets were painter as well as poet. We find the element of sensuousness in their poetry. The poets of group were more devoted to detail. Whenever he described human body or physical passion, they deal it in detail. The result was the poetry becomes sensuous. The poem ‘Silent Moon’, and ‘The Blessed Damozel’ have a quality. Because of the sensuousness the Poetry of The Pre Raphaelite is also blamed to the flaccid.  

Art for Art’s sake:

           The Pre Raphaelites were the advocate of the theory of art for art’s sake. They aimed to give perfect and finish to their poetry. Like Dryden and Pope the movement was artistic. It revolted against didacticism and philosophy of Tennyson and Morris. Morris himself calls him – ‘an idle singer of an empty day’. He advised to the moral and spiritual issues from the poetry.

Music and Melody:

        The Pre Raphaelite poetry is rich in music. The Pre Raphaelite poet cultivated it with special efforts. The poetry has the quality of the wave of the Melody. The poetry of Swinburne is indeed musical and melodious. His ‘The Garden of Proserpine’ is musical having electoral and rhyme.

Picturesqueness:

        The Pre Raphaelite poetry was strongly pictorial because of those writes who wrote a natural work. They were mostly a painter also. The aim of those poets was to create the landscape painting in poetry. This poetry is notable for its word picture like –

“The blessed damozel leaned out,

From the gold bar of heaven”.

Love of Symbolism:

          Another remarkable characteristic of movement was its love of symbolism. This is Medieval note and Rossetti learnt it from Dante. William Morris and A C Swinburne  also obediently used symbolism.

Kinship with the Romantic Literature:

       The Pre Raphaelite poetry is very close to Romantic Poetry. It has some characteristics which Romanticism have. They derived the love of aesthetic pleasure by Scott, Coleridge and Keats. Pictorial quality and melody by Keats and Coleridge, supernaturalism from Coleridge. Of all Romantic Poets Keats made great input on Pre Raphaelites. Rossetti and Morris called the worshiper of beauty. It was truly called by Rickets. The Pre Raphael movement was the logical development of Romanticism.

Conclusion:

         In short, The Pre Raphaelite movement was entirely a new one. It may be considered to be direct and legitimate development of Romantic Revival in England.