By Charles Mahoney (ed.)
Via a chain of 34 essays through best and rising students, A spouse to Romantic Poetry unearths the wealthy variety of Romantic poetry and exhibits why it maintains to carry this type of important and critical position within the background of English literature.
- Breaking unfastened from the bounds of the traditionally-studied authors, the gathering takes a revitalized method of the sphere and brings jointly probably the most interesting paintings being performed this present day
- Emphasizes poetic shape and method instead of a biographical technique
- Features essays on construction and distribution and the various faculties and events 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 complete and compelling number 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 music (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Chapter eight Pastures New and outdated: The Romantic Afterlife of Pastoral Elegy (pages 123–139): Christopher R. Miller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, neighborhood: 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 superstar, 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 believe of to not think it,” or the Pleasures of tolerating 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 realm 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 info for A Companion to Romantic Poetry
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.
Sappho, archetypal female poet and lyrical alter ego for poets such as Mary Robinson in her sonnet sequence Sappho and Phaon, speaks with reflexive accents in Landon’s five octosyllabic quatrains. ” (ll. 1–2; line numbers adapted from Wu), settles into a more reflective acceptance: It was my evil star above, Not my sweet lute that wrought me wrong; It was not song that taught me love, But it was love that taught me song. (ll. 9–12) This stanza gets cart and horse in the right order, but trying to ensure that “song” and “wrong” maintain a decorous relationship is, despite the elegant movement of the verse, difficult.
Like a lost Pleiad seen no more below,” the poem’s epigraph from Byron’s Beppo (l. 112), prepares us for the mingling of tones in Hemans’s poem. Byron is characteristically both mock-elegiac and genuinely affecting in the passage from Beppo. ” (ll. 24–5). The poem’s five-line stanzas, rhyming abbab, all pentameters except the shortened trimeter of the third line, move with a majestic slowness, the triple b rhyme suspending and slowing feeling rather than encouraging forward movement. If read as about sibling rivalry between female and male Romantic poets, the lyric can seem to articulate a muted satisfaction that “thy sisters of the sky / Still hold their place on high” (ll.