By Charles Mahoney
Via a sequence of 34 essays by means of best and rising students, 'A spouse to Romantic Poetry' finds the wealthy variety of Romantic poetry and indicates why it keeps to carry this sort of very important and essential position within the heritage 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 essentially the most interesting paintings being performed at the moment time.
- Emphasizes poetic shape and approach instead of a biographical process
- positive aspects essays on creation and distribution and the several colleges and activities 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 accomplished and compelling number of essays on British Romantic poetry presently on hand.
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Additional info for A Companion to Romantic Poetry
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.
This internal loosening can be compared with the more radical program of loosening developed by a very different poet, Leigh Hunt. Once again, as so often in this period, this is a relaxation one of whose legitimations is an appeal to Dryden over Pope’s head. Hunt found the movement of Pope’s verse “see-saw” (Keats’s “rocking horse”; 1975: 77) because of the supposedly continuous repetition of caesuras in the same place, and was able to support this by selective quotation (Hunt 2003a: 31). Passages at which the caesura falls at the same place in line after line are in fact rare in Pope’s poetry, and thus represent a deliberate act of ornamental incision rather than a default, but Hunt preferred what he took to be Dryden’s greater “variety” (2003a: 32).
Shelley’s “When the lamp is shattered,” paradigmatic lyric of loss though it seems to be, turns into a poem of survival, living on. 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.
A Companion to Romantic Poetry by Charles Mahoney