A Companion to Romantic Poetry by Charles Mahoney (ed.) PDF

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 better half to Romantic Poetry finds the wealthy variety of Romantic poetry and indicates why it maintains to carry this type of important and quintessential position within the heritage 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 one of the most intriguing paintings being performed this day
  • Emphasizes poetic shape and strategy instead of a biographical strategy
  • 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 entire and compelling selection of essays on British Romantic poetry at the moment to be had

Content:
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 star, 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, 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 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 conception: 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 resources for A Companion to Romantic Poetry

Sample text

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. Once again, I cannot attempt to give a reading in full of the poem I am centrally concerned with here, Julian and Maddalo, because I want to get to Shelley’s handling of the couplet mode itself.

Each time some particular constraint is deleted from the repertoire, the result is always a loss as well as a gain. The exhilarating series of possibilities opened up by a shock such as Endymion is intimately connected to what is, taken from another direction, the radical deafening of one part of the nineteenth century’s prosodic ear. The entire series of minute discriminations which had allowed Johnson to find the melody of Pope’s verse overwhelmingly pleasurable was gradually throughout the following century lost, culminating in (for example) Matthew Arnold’s inability to hear that music (Johnson 2006: iv.

Tip-top,” of course, is a word which we have already met in the poem’s first book, to describe the very apex of happiness – as love – and without any sense of bathos whatever on Keats’s part (i. 805). ” Together with the hurry at the beginning of the previous line, where the first two syllables must be crammed into one place (“To their spirit’s …”), 14 and 15 feel as though there is a good deal of rage being pushed into two lines. ” Keats has most likely, consciously or not, learnt this kind of marked play of monosyllables against polysyllables, and of heavy against light pointing, from Pope, in whose mature verse art it is an essential component.

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