Download e-book for iPad: A Companion to Romantic Poetry by Charles Mahoney (ed.)

By Charles Mahoney (ed.)

ISBN-10: 1405135549

ISBN-13: 9781405135542

ISBN-10: 1444390651

ISBN-13: 9781444390650

Via a sequence of 34 essays by way of major and rising students, A better half to Romantic Poetry unearths the wealthy range of Romantic poetry and exhibits why it maintains to carry this sort of important and imperative position within the historical past of English literature.

  • Breaking loose from the limits of the traditionally-studied authors, the gathering takes a revitalized method of the sphere and brings jointly essentially the most fascinating paintings being performed this day
  • Emphasizes poetic shape and strategy instead of a biographical method
  • Features essays on construction and distribution and the various 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 finished and compelling choice of essays on British Romantic poetry presently on hand

Content:
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, neighborhood: 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 big name, 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 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 consider of to not suppose it,” or the Pleasures of tolerating 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 elegant 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 info for A Companion to Romantic Poetry

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In “The Line too labours, and the Words move slow,” the surprising stresses on “too” and “move” are contained by the surrounding stresses (Pope 1961: 282). They can readily be absorbed, as Derek Attridge suggests (1982), as notionally “demoted” for rhythmic purposes. A much more difficult pattern to assimilate into the metrical base of the heroic line, however, comes when two relatively unstressed syllables are followed by two relatively stressed ones. indd 34 9/24/2010 11:29:08 AM Archaist-Innovators: The Romantic Couplet 35 line”) as “the most dislocated I know in my writing” (Wordsworth and Wordsworth 1967: 434; cf.

Mathias’s Pursuits of Literature was already in its thirteenth edition in 1805. It was also favored by some of those with the strongest literary reputations. When Byron sketched a pyramid of poetical merit in November 1813, second place (just below the very summit, Scott) was awarded to Samuel Rogers, the poet of The Pleasures of Memory (Marchand 1974: 200). Rogers’s work was for a long while more widely read than Wordsworth’s (St Clair 2004: 632, 660–4). Both Mathias and Rogers handled the couplet along lines broadly laid down by Pope’s obsessive sharpening of the verse idiom developed by Waller, Dryden, and others – although, as I shall suggest, the conscious continuators of Pope’s manner were in fact either incapable of reproducing, or unwilling to reproduce, many of the most important brilliances of his idiom.

Like a lost Pleiad seen no more below,” the poem’s epigraph from Byron’s Beppo (l. 112), prepares us for the mingling of tones in Hemans’s poem. Byron is characteristically both mock-elegiac and genuinely affecting in the passage from Beppo. ” (ll. 24–5). The poem’s five-line stanzas, rhyming abbab, all pentameters except the shortened trimeter of the third line, move with a majestic slowness, the triple b rhyme suspending and slowing feeling rather than encouraging forward movement. If read as about sibling rivalry between female and male Romantic poets, the lyric can seem to articulate a muted satisfaction that “thy sisters of the sky / Still hold their place on high” (ll.

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