By Charles Mahoney
Via a sequence of 34 essays via top and rising students, 'A spouse to Romantic Poetry' finds the wealthy variety of Romantic poetry and indicates why it keeps to carry this kind of very important and essential position within the historical past of English literature.
Breaking loose from the bounds of the traditionally–studied authors, the gathering takes a revitalized method of the sector and brings jointly one of the most interesting paintings being performed at the moment time.
- Emphasizes poetic shape and process instead of a biographical procedure
- gains 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
- offers the main finished and compelling number of essays on British Romantic poetry at present on hand.
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Extra resources for A Companion to Romantic Poetry
The idea of the “well-built nest” might imply that the padding of egotistical self-concern insulates some people when “cold winds come” (l. 32). ” Subsequent lines illustrate how much work Shelley’s category disruptions can perform: “O Love! ” (ll. 21–4). Here Love is both personification and feeling. Judith Chernaik helpfully comments: “In the voice of reason, the poet questions a perverse and self-destructive deity” (1972: 158). But the “perverse and self-destructive deity” is also a lamenting poet-philosopher, condemned to see that the assonantal link between bewailing and frailty offers an insight into the human condition.
21, 23, 29, 31). indd 21 9/27/2010 10:57:09 AM 22 Forms and Genres Romantic short poems look before and after, their grace both a torch shining into the future and a frail stay against a tide of pressures lapping against their verbal shores. Beguiling us with glad rhythms and a series of “ands” that declare an apparently joyous disregard for causes, the close of Blake’s Introduction to Songs of Innocence is representative: “And I pluck’d a hollow reed” (l. 16), with its hint in “hollow” of something hollowed out in the act of writing, modulates into these lines: “And I made a rural pen, / And I stain’d the water clear, / And I wrote my happy songs / Every child may joy to hear” (ll.
It behaves as though it were describing emotional catastrophe, but we are alerted in various near-subliminal ways, including the alternation of feminine and masculine rhymes, to the fact that not everything is over, even though we appear to be told that it is. The proliferation of analogies implies a brooding obsession and, as is the way with analogies, difference is introduced under the guise of repetition and sameness. Thus, the lines, “When the lute is broken / Sweet tones are remembered not – / When the lips have spoken / Loved accents are soon forgot” (ll.