By Charles Mahoney (ed.)
Via a sequence of 34 essays by way of best and rising students, A spouse to Romantic Poetry finds the wealthy variety of Romantic poetry and indicates why it keeps to carry this type of very important and fundamental position within the background of English literature.
- Breaking unfastened from the limits of the traditionally-studied authors, the gathering takes a revitalized method of the sector and brings jointly essentially the most interesting paintings being performed this present day
- Emphasizes poetic shape and strategy instead of a biographical method
- Features essays on construction and distribution and different colleges and activities of Romantic Poetry
- Introduces modern contexts and views, in addition to the problems and debates that proceed to force scholarship within the box
- Presents the main finished and compelling selection of essays on British Romantic poetry presently to be had
Chapter 1 Mournful Ditties and Merry Measures: Feeling and shape within the Romantic brief Lyric and track (pages 7–24): Michael O'neill
Chapter 2 Archaist?Innovators: The Couplet from Churchill to Browning (pages 25–43): Simon Jarvis
Chapter three the enticements of Tercets (pages 44–61): Charles Mahoney
Chapter four To Scorn or To “Scorn no longer the Sonnet” (pages 62–77): Daniel Robinson
Chapter five Ballad assortment and Lyric Collectives (pages 78–94): Steve Newman
Chapter 6 Satire, Subjectivity, and Acknowledgment (pages 95–106): William Flesch
Chapter 7 “Stirring shades”: The Romantic Ode and Its Afterlives (pages 107–122): Esther Schor
Chapter eight Pastures New and outdated: The Romantic Afterlife of Pastoral Elegy (pages 123–139): Christopher R. Miller
Chapter nine The Romantic Georgic and the paintings of Writing (pages 140–158): Tim Burke
Chapter 10 Shepherding tradition and the Romantic Pastoral (pages 159–175): John Bugg
Chapter eleven Ear and Eye: Counteracting Senses in Loco?descriptive Poetry (pages 176–194): Adam Potkay
Chapter 12 “Other voices speak”: The Poetic Conversations of Byron and Shelley (pages 195–216): Simon Bainbridge
Chapter thirteen The Thrush within the Theater: Keats and Hazlitt on the Surrey establishment (pages 217–233): Sarah M. Zimmerman
Chapter 14 Laboring?Class Poetry within the Romantic period (pages 234–250): Michael Scrivener
Chapter 15 Celtic Romantic Poetry: Scotland, eire, Wales (pages 251–267): Jane Moore
Chapter sixteen Anglo?Jewish Romantic Poetry (pages 268–284): Karen Weisman
Chapter 17 Leigh Hunt's Cockney Canon: Sociability and Subversion from Homer to Hyperion (pages 285–301): Michael Tomko
Chapter 18 Poetry, dialog, group: Annus Mirabilis, 1797–1798 (pages 302–317): Angela Esterhammer
Chapter 19 Spontaneity, Immediacy, and Improvisation in Romantic Poetry (pages 319–336): Angela Esterhammer
Chapter 20 star, Gender, and the dying of the Poet: The secret of Letitia Elizabeth Landon (pages 337–353): Ghislaine McDayter
Chapter 21 Poetry and representation: “Amicable strife” (pages 354–373): Sophie Thomas
Chapter 22 Romanticism, activity, and overdue Georgian Poetry (pages 374–392): John Strachan
Chapter 23 “The technological know-how of Feelings”: Wordsworth's Experimental Poetry (pages 393–411): Ross Hamilton
Chapter 24 Romanticism, Gnosticism, and Neoplatonism (pages 412–424): Laura Quinney
Chapter 25 Milton and the Romantics (pages 425–441): Gordon Teskey
Chapter 26 “The consider of to not consider it,” or the Pleasures of putting up with shape (pages 443–466): Anne?Lise Francois
Chapter 27 Romantic Poetry and Literary conception: The Case of “A shut eye did my Spirit Seal” (pages 467–482): Marc Redfield
Chapter 28 “Strange Utterance”: The (Un)Natural Language of the chic in Wordsworth's Prelude (pages 483–502): Timothy Bahti
Chapter 29 the problem of style within the Romantic elegant (pages 503–520): Ian Balfour
Chapter 30 Sexual Politics and the functionality of Gender in Romantic Poetry (pages 521–537): James Najarian
Chapter 31 Blake's Jerusalem: Friendship with Albion (pages 538–553): Karen Swann
Chapter 32 the realm with out us: Romanticism, Environmentalism, and Imagining Nature (pages 554–571): Bridget Keegan
Chapter 33 moral Supernaturalism: The Romanticism of Wordsworth, Heaney, and Lacan (pages 572–588): Guinn Batten
Chapter 34 The endurance of Romanticism (pages 589–605): Willard Spiegelman
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Extra resources for A Companion to Romantic Poetry
And Keats’s syntax is, in fact, by no means merely propulsive. Because it is so often paratactical, rather than (as Milton’s so generally is) hypotactic, the forward movement which pushes us over line endings is often aggregative rather than logical. ” The lists themselves not only mingle imaginable objects with quite abstract phrases, so that the verse yields no pictorially constructible scene, but, in a passage like this, register itself is also subjected to a series of blurrings and minglings.
Yuri Tynianov, the great master of Russian historical poetics (cf. ” In the event the collection appeared under the more easily digested, but falser, title “Archaists and Innovators” (Jakobson 1981: 136). Study of the development of the couplet in this period of literary history needs to take its cue from Tynianov’s preferred title. That compound term hints at the difficulty of disentangling archaism from innovation in the history of verse thinking. It is not simply that some of the most important innovations in this period proceed, as is well known, by deliberate recourse to archaism, but that conscious attempts at conservatism always also result in innovation too, insofar as it is impossible to replicate any given mode of verse with no differend whatever.
Ll. indd 22 9/27/2010 10:57:09 AM Feeling and Form in the Short Lyric and Song 23 At the other end of the Romantic era, the work of Landon, Beddoes, and Clare reveals a sophistication about song that is inseparable from the implications of preceding decades of practice. The alliance and gap between art and life, “song” and “wrong,” is thematized, for instance, in Landon’s 1824 lyric excerpted from The Improvisatrice as “[Sappho’s Song]” (see Wu 2006). Sappho, archetypal female poet and lyrical alter ego for poets such as Mary Robinson in her sonnet sequence Sappho and Phaon, speaks with reflexive accents in Landon’s five octosyllabic quatrains.