By Charles Mahoney (ed.)
Via a chain of 34 essays by way of top and rising students, A significant other to Romantic Poetry unearths the wealthy variety of Romantic poetry and exhibits why it keeps to carry this type of important and essential 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 sphere and brings jointly one of the most interesting paintings being performed this day
- Emphasizes poetic shape and method instead of a biographical process
- Features essays on creation and distribution and different colleges and pursuits 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 entire and compelling choice of essays on British Romantic poetry at present to be had
Chapter 1 Mournful Ditties and Merry Measures: Feeling and shape within the Romantic brief Lyric and music (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 previous: 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 famous person, Gender, and the loss of life 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 past due Georgian Poetry (pages 374–392): John Strachan
Chapter 23 “The technology 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 believe of to not think it,” or the Pleasures of putting up with shape (pages 443–466): Anne?Lise Francois
Chapter 27 Romantic Poetry and Literary concept: 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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Additional resources for A Companion to Romantic Poetry
None of this, finally, wants to go along with any reduction of art to craft. indd 27 9/24/2010 11:29:08 AM 28 Forms and Genres verse is a peculiar mode of thinking with its own rubs, botches, and history; that poets think historically through their very immersion in the historically mediated materials of verse; and that, consequently, verse technique is the way in which poets think. I Few, perhaps, would think of English verse from around 1660 onward as especially metapoetical, given over to reflection on poetry itself.
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. The poem as a whole, in fact, concertedly assaults the very framework for discriminating high, middle, and low which the couplet had turned into as Pope’s flexibility, after his death, was made to harden into a series of molds for style.
Still in one key, the Nightingale would teize: Still in one key, not Brent would always please. Here let me bend, great Dryden, at thy shrine, Thou dearest name to all the tuneful nine. What if some dull lines in cold order creep, And with his theme the poet seems to sleep? Still when his subject rises proud to view, With equal strength the poet rises too. With strong invention, noblest vigour fraught, Thought still springs up and rises out of thought; Numbers, ennobling numbers in their course, In varied sweetness flow, in varied force; The pow’rs of Genius and of Judgment join, And the Whole Art of Poetry is Thine.
A Companion to Romantic Poetry by Charles Mahoney (ed.)