By Charles Mahoney
Via a chain of 34 essays by means of major and rising students, 'A better half to Romantic Poetry' unearths the wealthy range of Romantic poetry and exhibits why it keeps to carry this type of important and imperative position within the historical past 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 one of the most interesting paintings being performed at this time time.
- Emphasizes poetic shape and process instead of a biographical procedure
- 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
- offers the main accomplished and compelling selection of essays on British Romantic poetry at the moment to be had.
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Additional resources for A Companion to Romantic Poetry
Not only does the poem’s appositional phrasing allow “cradle,” “home,” and “bier” to become one another, but also the word “frailty,” including in its meanings something like untrustworthiness, passes into “the frailest,” meaning the most vulnerable: a slide which shows how Romantic lyrics wring from repeated use of the same words concentrations and duplicities of meaning. Love chooses “the frailest” precisely because frailty is not the name of the frailest: the “frailest” may turn out, in the eyes of some, to be foolishly loyal.
Crabbe’s early verse is not only stiff but also packed, dense with stresses and markings. In falling short of or in relinquishing Pope’s ease and brilliance, it develops other effects of its own. Crabbe’s later verse rarely feels like that which we have just been examining. It exhibits more flexibility at the middles of lines, and develops a more open, as well as, sometimes, a plainer texture – an effect reinforced by Crabbe’s relative paucity of polysyllables when compared with a writer like Pope.
The medial pauses, where they obtain, are varied in just the manner Hunt praises in Dryden, and the proportion of stressed syllables is much lower than in Crabbe’s Village. These features, however, despite what Hunt himself says, might be found in many passages of Pope. Much more surprising are those places in which the usual devices for containing a stressed syllable in a surprising place are dropped. 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.