By Charles Mahoney
Via a chain of 34 essays by way of top and rising students, 'A better half to Romantic Poetry' finds the wealthy variety of Romantic poetry and indicates why it maintains to carry this sort of very important and imperative position within the background 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 the most fascinating paintings being performed at the moment time.
- Emphasizes poetic shape and strategy instead of a biographical strategy
- good points essays on creation and distribution and different colleges 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
- provides the main complete and compelling choice of essays on British Romantic poetry at present on hand.
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Additional resources for A Companion to Romantic Poetry
This essay cannot attempt an exhaustive account of its topic in the space available, but it does try to do some work in a somewhat neglected area. There has been a great deal of attention over the years, and now there is again more, to “form” in poetry of this period. But there has been rather less attention, with some shining exceptions, to what might be thought of as the absolutely critical constituent of “form” (if that is the desired rubric) so far as verse is concerned: rhythm and meter. ) “Every poet, then, is a versifier; every fine poet an excellent one,” as Leigh Hunt still understood (Hunt 2003a: 24).
Verse is a repertoire of constraints. These constraints are not only an impediment to thinking, but, also, as is well known, its motor. indd 26 9/24/2010 11:29:08 AM Archaist-Innovators: The Romantic Couplet 27 upon is the corollary. 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.
Ll. ” If anything, it suggests a sublimity of sorrow that transcends mourning. The poem’s reserve betokens respect, as though the addressee has a greatness that forbids elegy: “Bow’d be our hearts to think on what we are, / When from its heights afar / A world sinks thus” (ll. 22–4). ” Shelley’s concluding rhyme in Adonais sets the feeling of being borne “darkly, fearfully, afar” (l. 492) against the knowledge that “The soul of Adonais, like a star, / Beacons from the abode where the Eternal are” (ll.