By Charles Mahoney (ed.)
Via a chain of 34 essays through top and rising students, A better half to Romantic Poetry finds the wealthy variety of Romantic poetry and indicates why it keeps to carry one of these important and essential 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 interesting paintings being performed today
- Emphasizes poetic shape and process instead of a biographical technique
- Features essays on creation and distribution and different faculties 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 accomplished and compelling selection of essays on British Romantic poetry at present on hand
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 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 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, game, 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 think of to not suppose it,” or the Pleasures of tolerating 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 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 patience of Romanticism (pages 589–605): Willard Spiegelman
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Extra info for A Companion to Romantic Poetry
Instead, I compare sizeable slabs, in emulation of a venerable art-historical method, and in the light of a wider study which I have been undertaking of the handling of the metrico-rhythmic microstructure of the heroic line in this period and earlier. I try to show how handling differs in each case: to specify the particular bolt-hole in which each couplet-writer ends up or the new manner on which he or she might luckily or creditably happen. In order to make space to give a sense of these various textures, I have had to limit myself to those couplet-writers whom I think most important to the mode’s development in this period – so that many perhaps almost equally important figures, such as Clare, Byron, Moore, Rogers, and Barbauld, have had to be left to one side.
Erdman. Newly rev. edn. New York: Anchor. Byron, Lord (2000). Lord Byron: The Major Works, ed. Jerome J. McGann. Oxford: Oxford University Press. Chernaik, Judith (1972). The Lyrics of Shelley. Cleveland: Press of Case Western Reserve University. Coleridge, Samuel Taylor (1997). Samuel Taylor Coleridge: The Complete Poems, ed. William Keach. London: Penguin. Curran, Stuart (1986). Poetic Form and British Romanticism. New York: Oxford University Press. Hemans, Felicia (2002). Felicia Hemans: Selected Poems, Prose, and Letters, ed.
Hollander 1985 on enjambment: 91–116). The medial pauses, where they obtain, are varied in just the manner Hunt praises in Dryden, and the proportion of stressed syllables is much lower than in Crabbe’s Village. 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.
A Companion to Romantic Poetry by Charles Mahoney (ed.)