By Charles Mahoney (ed.)
Via a sequence of 34 essays through major and rising students, A better half to Romantic Poetry unearths the wealthy range of Romantic poetry and indicates why it maintains to carry this sort of very important and necessary position within the heritage 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 probably the most fascinating paintings being performed today
- Emphasizes poetic shape and strategy instead of a biographical process
- Features essays on construction and distribution and the various faculties 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 accomplished and compelling number of essays on British Romantic poetry at the moment on hand
Chapter 1 Mournful Ditties and Merry Measures: Feeling and shape within the Romantic brief Lyric and tune (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Chapter eight Pastures New and outdated: The Romantic Afterlife of Pastoral Elegy (pages 123–139): Christopher R. Miller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 demise 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, game, 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 believe it,” or the Pleasures of putting up with shape (pages 443–466): Anne?Lise Francois
Chapter 27 Romantic Poetry and Literary idea: 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 chic (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 area with no 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 patience of Romanticism (pages 589–605): Willard Spiegelman
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Extra info for A Companion to Romantic Poetry
IV Keats’s innovation is like opening a bottle by smashing its neck, a comparison I borrow from Charles Rosen (1976: 198) on a very different moment in Mozart. He is not merely willing to accept semantic obscurity, partially archaic lexicon, mingling of registers, and narrative complexity as the price of this new mode but appears, rather, to delight in them. Shelley’s couplet mode is no less unforeseeable and startling than Keats’s; it is also the invention of a wholly unanticipated manner, but one whose intense melody is accompanied by urbane lucidity (Davie 1967: 133–59) rather than by rich impenetrability.
Landon, Letitia Elizabeth (1997). Letitia Elizabeth Landon: Selected Writings, ed. indd 24 and Daniel Riess. Peterborough, ON: Broadview Press. McGann, Jerome (1996). The Poetics of Sensibility: A Revolution in Literary Style. Oxford: Oxford University Press. Milton, John (1966). Milton: Poetical Works, ed. Douglas Bush. Oxford: Oxford University Press. ) (2007). Romantic Poetry: An Annotated Anthology. Malden, MA: Blackwell. Poe, Edgar Allan (1846). The Philosophy of Composition. Graham’s Magazine, 28: 163–7.
It is hard to think of another verse cliché which took so long to die as this one. Eighteenth-century readers seemed literally never to tire of it – or, rather, poets never tired of serving it up. Imitation and parody of this passage persisted late. ”) and to deplore pompous funeral arrangements again a few lines later: (“Dark but not aweful, dismal but yet mean, / With anxious Bustle moves the cumbrous Scene”; Crabbe 1988: 1. 212–80, 225, 262, 278–9). We might conclude, then, that the ubiquity of this allusion might be because it could capture something important to poets and readers alike about couplet-writing.