By Charles Mahoney
Via a sequence of 34 essays by means of top 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 fundamental position within the heritage 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 essentially the most interesting paintings being performed at the moment time.
- Emphasizes poetic shape and method instead of a biographical strategy
- positive factors essays on construction and distribution and the various colleges and routine 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 the moment to be had.
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Extra resources for A Companion to Romantic Poetry
For Churchill, excessive preoccupation with melody in verse is the equivalent of operatic castration: Verses must run, to charm a modern ear, From all harsh, rugged interruptions clear: Soft let them breathe, as Zephyr’s balmy breeze; Smooth let their current flow as summer seas; Perfect then only deem’d when they dispense A happy tuneful vacancy of sense. Italian fathers thus, with barb’rous rage, Fit helpless infants for the squeaking stage; Deaf to the calls of pity, Nature wound, And mangle vigour for the sake of sound.
Behold The clear religion of heaven! Fold A rose leaf round thy finger’s taperness And soothe thy lips; hist, when the airy stress Of music’s kiss impregnates the free winds And with a sympathetic touch unbinds Aeolian magic from their lucid wombs – (i. indd 37 9/24/2010 11:29:09 AM 38 Forms and Genres Keats is playing virtuosically with this manner by foregrounding its unusual features, in a way which we hardly find in Chamberlayne. Especially depreciated in the previous century (by Johnson, for example) had been the pause very close to either end of the line, on the grounds that it tended, in a predominantly monosyllabic language such as English, to dissolve the verse character of whatever phrase found itself trapped between pause and line-end.
In Pope, where we find a stress on 3, 5, 7 or 9, this is almost always as part of a sequence of three stressed syllables. In “The Line too labours, and the Words move slow,” the surprising stresses on “too” and “move” are contained by the surrounding stresses (Pope 1961: 282). They can readily be absorbed, as Derek Attridge suggests (1982), as notionally “demoted” for rhythmic purposes. A much more difficult pattern to assimilate into the metrical base of the heroic line, however, comes when two relatively unstressed syllables are followed by two relatively stressed ones.
A Companion to Romantic Poetry by Charles Mahoney