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"Without the advice and stirmulance of Mr. H. leveling, my lec_turer on Comparative Literature, I should not dare to compare the English poet of poets, who is so world--famous and of whose life, poetry and letters is already so much written in all the English speaking countries in the world, with Amir Hamzah the Indonesian Radja Penjair. Though for the Indonesians the last is the king of poets, he is not nearly so well-known, as is also the Indonesi_an language. Keats's last wish is to engrava on his gravestone this epitaph: Here lies one, whose name is writ'in water.A name, _Writ_ in water disappears at the moment it is written. This deep humbleness of Keats has given ne, so to say, permission to write about and compare him as Romantic poet with Amir Hamzah.The water, in which Keats's name is written, has flown to all parts of the world, America, all parts of Europe, Australia, New Zealand, but it flows also to the Orient, to Indonesia, and here it meets Amir Hamzah. I have read and compared Keats's poems and that of Amir Harzah again and again; I have felt that there is so much similarity in their sense of beauty as Romantic poets, the way they look in natural beauty of things in nature, and artistic beauty, of human creations. It is the emotional nature of beauty, as it appeals to our senses, which I mean with the topic of my thesis_"

"The meaning of the term 'Romantic' is vague. People tend to use it as a definition for anything which has to do with indivi_dualism and emotionalism. In the field of literature people ge_nerally use this term to indicate the whole period of the 19th Century as a mere historical label to describe its imaginative literature. Poets of the early part of the 19th Century - early Romantics like Wordsworth, Keats and Shelley - as well as of the later part -- Victorians like Tennyson and Ross etti - are all classified under the term 'Romantics'. It is sigaifi cant that Graham Hough in treating this first group of poets calls his book The Romantic Poets and in treating the second, The Last Ronan-tics, and that Oswald Doughty entitles his critical biography of Rossetti A Victorian Romantic. So, if this loose term is worth using at all, a definition is certainly needed.In fact the term 'Romantic' has more than an historical sig_nificance; it can also denote the kind of work the 19th Century poets produced because they have some things in cocoon which are characteristic of their time. This essay attempts in the first place to define what these things are. I shall then show how this term 'Romantic' applies to Keats as a representative of the early Romantics on one hand, and to Rossetti as a representative of the Victorians on the other. By comparing their poetry I will show what similarities and diffe_rences there are in these two poets: similarities, which will justify the use of the same term 'Romantic', and differences which will indicate the development of Romanticism during the 19th Century.Of course it might be said, that any other two poets could have been chosen as representatives of earlier and later Roman-ticism of the last Century, but in my opinion Keats and Rossetti are the best examples since each is really typical of his own period_"

"Ia Dipancung Pemuda Sosialis Dalam Revolusi Langkat, Setahun Setelah Proklamasi. Penyair Bergelar Pahlawan Nasional Ini Ditengarai Pernah Menjadi Intel Belanda"

"Sesuai dengan tujuan skripsi ini, telah diterapkan unsur-unsur Romantisme terhadap Puisi Robert Frost. Dalam Bab 2 disampaikan perincian Konsep Romantisme yang mendasari penelitian ini. Sedang dalam Bab 3 telah dianalisis sejumlah sajak Robert Frost yang menurut penulis mengandung unsur-unsur yang tercakup dalam Konsep tersebut. Alam yang menjadi ciri utama sajak-sajak Romantik ternyata dominan dalam karya-karya Robert Frost. Sajak Birches yang berlatar tempat alam flora di pedesaan itu mengingatkan penyair akan keindahan dan kesucian masa kanak-kanak. Sedang keindahan dan kesegaran alam sendiri dideskripsikan penyair melalui sajak The Pasture."

"Amir Hamzah merupakan penyair yang sangat menonjol pada zaman Pujangga Baru. Kedua kumpulan sajaknya yang terkenal , Buah Rindu dan Nyanyi Sunyi dapat menampakkan kemampuan Amir Hamzah dalam menciptakan citraan dengan gaya bahasa yang khas, bahasa dengan citraan yang lebih padat. Citraan merupakan unsur penting yang dapat mengungkapkan kemampuan penyair dalam mencipta sajak. Kedua kumpulan sajaknya di atas mengandung berbagai macam citraan yang mencakup citraan lihatan, citraan dengaran, citraan penciuman, dan lain-lain. Amir Hamzah masih mempergunakan juga kata-kata arkais, namun tidak menyebabkan sajaknya mati, karena dipergunakan secara tepat dan lebih padat maknanya. Beberapa sajaknya mengandung citraan yang berkaitan dengan tasawuf. Unsur tasawuf dalam sajak-sajaknya lebih mendalam dan intens dalam Nyanyi Sunyi"