A Companion to Romantic Poetry - download pdf or read online

By Charles Mahoney (ed.)

ISBN-10: 1405135549

ISBN-13: 9781405135542

ISBN-10: 1444390651

ISBN-13: 9781444390650

Via a sequence of 34 essays through best and rising students, A spouse to Romantic Poetry finds the wealthy variety of Romantic poetry and exhibits why it keeps to carry one of these important and fundamental position within the background of English literature.

  • Breaking loose from the limits of the traditionally-studied authors, the gathering takes a revitalized method of the sector and brings jointly probably the most intriguing paintings being performed this present day
  • Emphasizes poetic shape and strategy instead of a biographical technique
  • Features essays on construction and distribution and the various colleges and hobbies 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 to be had

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 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 famous person, 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, recreation, and past due 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 thought: 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 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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Sample text

These features, however, despite what Hunt himself says, might be found in many passages of Pope. Much more surprising are those places in which the usual devices for containing a stressed syllable in a surprising place are dropped. In Pope, where we find a stress on 3, 5, 7 or 9, this is almost always as part of a sequence of three stressed syllables. 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).

2–4), for instance. Yet Byron never settles for the obvious or banal. On the one hand, the poem wishes to assert that the former parting served as “the warning / Of what I feel now” (ll. 10–11); on the other hand, the poem is preoccupied with the problem of defining “what I feel now,” the adverb “now” always a tell-tale sign of emotional disturbance and breakthrough in Byron. In fact, the lyric’s dialectical dance between now and then, pointed up by the return at the close to the opening’s “silence and tears” (l.

O’Donnell 1995: 21–47). In 9–10 here, we have a “dislocation” of this sort in each of two successive lines (“–ches of blue hills”; “with its bright green”): And distant snatches of blue hills between; And there the alder was with its bright green, The dislocation is noticeable enough for there to be a temptation, counterphonologically, to stress “its” in line 10, so as to produce a more compliant series of three stresses in place of the awkward two/two pattern. Hunt is introducing tremors and wobbles into a couplet structure which, while it has begun to ramble rather than to march, remains essentially within the framework of English couplet-writing established from Waller onward.

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