By Charles Mahoney (ed.)
Via a chain of 34 essays via best and rising students, A better half to Romantic Poetry finds the wealthy range of Romantic poetry and indicates why it keeps to carry this kind of very important and fundamental position within the historical past of English literature.
- Breaking unfastened from the bounds 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 day
- Emphasizes poetic shape and approach instead of a biographical strategy
- Features essays on creation 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 entire and compelling choice of essays on British Romantic poetry at the moment 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 now not 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 big name, 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 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 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 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 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 info for A Companion to Romantic Poetry
C. Lenhardt. London: Routledge & Kegan Paul. Beddoes, Thomas Lovell (1950). Thomas Lovell Beddoes: Plays and Poems, ed. H. W. Donner. London: Routledge & Kegan Paul. Beer, John (1998). Providence and Love: Studies in Wordsworth, Channing, Myers, George Eliot, and Ruskin. Oxford: Oxford University Press. Blake, William (1988). The Complete Poetry and Prose of William Blake, commentary Harold Bloom; ed. David V. Erdman. Newly rev. edn. New York: Anchor. Byron, Lord (2000). Lord Byron: The Major Works, ed.
Arguably it is among those moments of “grammatical freedom” (see Hopps) that allow Byron to say a number of things: that each lover was only half broken-hearted; that their half broken-heartedness turned into whole broken-heartedness as they severed for years, as though severing were itself an ironic version of living, growing’s shadow. The feelings of coldness and chill experienced by the lovers seem to come less from brokenheartedness than from a foreboding sense that the future would twist the emotional knife in some as yet unformulated way.
IV Great Romantic short lyrics have something in common with the caricaturist’s eye for the telling detail (this is the age of Gillray, after all), but they turn away from savage critique toward an empathy with pain. In “When we two parted,” it is as though Byron were rehearsing for an audience his need to keep feeling from the prying eyes of a public. The poem’s mingled feelings correspond to its metrical cunning. Clipped yet lilting in its rhythm, the poem employs a cunning blend of two- and three-syllable feet to convey both a driving forward to emotional finalities and a circling back to memories impossible to forego.