First published in 1980. This title provides a critical and historical account of poetry written between 1780 and 1835. The author has been especially concerned to place the great poems and poets of the age in the context of the conventions and traditions in which they wrote, offering new perspectives on familiar works. Poems still famous are examined often in relation to works of a similar kind fashionable at the time but now neglected, and these unconventional groupings throw fresh light on Romantic poetry as a whole. An appendix is included, designed to be read as a supplement to the main text, serving both as a chronology and as a brief guide to works that do not fall within the scope of the main argument. This title will be of interest to students of literature.
While Poetry Has Been In The Poet'S System Right From Her Childhood, A Continuous Fascination For Certain Depts And Varieties Of Truth Expressed In Creation, Captured The Hearts And Souls Of Other Poets, Also To Express Through Hopeful Pens For Shedding Light On Humanity.Specialising In The Studies Of Great Poets Of Both Romantic Era And Modern Times, The Poet Was Much Enthused To Make A Comparative Study And Felt It Most Essential To Bring Into Focus, Poetry As Life Itself, As More Than Life Itself, Has Its Own Flow, Never Standing Still, But Moving Forward And Backward And Sideways In Rhythm As Would Sea-Waves Carrying Flowing Along Ways And Cross Ways, Waves And Changed Waves, Generations After Generations That Carry Fire, Water And God-Truth; All In One Eternal Roll Being Itself The Eldest, Youngest And ImmortalHence, In Poetry, The System Of Contemporary Element Should Be Shoulder To Shoulder With The Poetic Material To Maintain The Structure Of The Frame Of Reality Which Holds Truth. T.S. Eliot, The Most Distinguished Poet In English Has Achieved This Unique Art Without Disturbing The Essence And Dignity Of Poetry In Each Of His Great Works. This Element Of Masterpiece In Poetry Writing Should Be Observed, Studied And Understood By Students And Readers Of English Literature.T.S. Eliot Is A Poetic Genius Who Bears The Strength Of Carrying Modern Objectives Along With Classic Orthodoxy Of Literature, While Some Of The Famous Romantic Poets In Their Overly Leaning On Chosen Delicacy Of Silky Objectives, Less To Reality Of The Coarser Sides Of Life, Have Failed To Carry The Reality To Hold The Truth Of Poetry Intact.
GERMAN ROMANTIC POETRY By Carol Appleby REVISED AND UPDATED A study of German Romantic poetry, focusing on four of the great poets of the modern era: Johann Wolfgang von Goethe, Friedrich Hplderlin, Heinrich Heine and Novalis. The book includes lengthy extracts from the poetry of German Romanticism, with a selection of poems by Goethe, Novalis, Holderlin and Heine at the back. This new edition (the 4th) has been revised. Illustrated. ISBN 9781861713254. 184 pages. AUTHOR'S NOTE: This book offers an introduction to four of the great German poets of the Romantic era aimed at first-time readers of poetry, students, but also readers familiar with their work. I have concentrated on the poetry, and have included many quotes. Some of the well-known poems by the writers are featured in the second half of the book. EXTRACT FROM THE FRIEDRICH HOLDERLIN CHAPTER Friedrich Holderlin believed in the notion of the poet as shaman, a vates, a prophet. As he wrote in 'An die Deutschen' ('To the Germans'), 'sweet it is to divine, but an affliction too'. And he believed in his poetic world, as poets have to: 'Holderlin's world was one in which he alone believed', wrote Alessandro Pelegrini. His poetry is marked by a movement towards bliss, the ecstasy of the shaman, which Holderlin does not hide. Rather, he cultivates it scrupulously. His lyrics are pure lyrics, set in the Orphic mode, that way of making poetry that comes from Orpheus, the ancient deity of shamanic poetry. Friedrich Holderlin's poetry, especially his early lyrics, is powerfully shamanic; it is full of shamanic imagery, as is the early poetry of Percy Bysshe Shelley or Francesco Petrarch. In Holderlin's art we find images of light, of bliss, of motion, of revelation, all shamanic/ religious motifs. Heinrich Heine's view of the poet as shaman was more political, aware of the role of the poet in societal revolutions: 'Our age is warmed by the idea of human equality, and the poets, who as high priests do homage to this divine sun, can be certain that thousands kneel down beside them, and that thousands weep and rejoice with them'. 'Hyperion's Song of Fate' is one of the best examples of Friedrich Holderlin's lyricism, his Orphic/ shamanic voice, his Hellenism, and his triumphant use of the hymn or ode form: Ihr wandelt droben im Licht Auf weichen Boden, seelige Genien! Glänzende Goantterlüfte Rühren euch leicht, Wie die Finger der Künstlerin Heilige Saiten. Schiksaallos, wie der schlafende Säugling, athmen die Himmlischen; Keusch bewahrt In bescheidener Knospe, Blühet ewig Ihnen der Geist, Und die seeligen Augen Bliken in stiller Ewiger Klarheit. Doch uns ist gegeben, Auf keiner Stätte zu ruhn, Es schwinden, es fallen Die leidenden Menschen Blindlings von einer Stunde zur andern, Wie Wasser von Lippe, Zu Lippe geworfen, Jahr lang ins Ungewisse hinab. [You walk above in the light, weightless tread a soft floor, blessed genii! radiant the gods' mild breezes gently play on you as the girl artist's fingers on holy strings. Fateless the Heavenly breathe like an unweaned infant asleep; chastely preserved in modest bud for ever their minds are in flower and their blissful eyes eternally tranquil glaze, eternally clear. But we are fated to find no foothold, no rest, and suffering mortals dwindle and fall headlong from one hour to the next, hurled like water from ledge to ledge downward for years to the vague abyss.]
This is the first full-length study in English of the Peruvian poet, César Vallejo (1892-1938). Franco explores limitations on the poet's freedom of speech, and goes on to explore Vallejo's later poetry, which gestures towards the tentative nature of humanity and civilisation that gives the poetry its abiding relevance.
On its first appearance English Poetry of the Romantic Period was widely praised as on of the best introductions to the subject. This edition includes updated material in the light of recent work in Romanticism and Romantic poetry. The book discusses the concerns that linked the Romantic poets, from their responses to the political and social upheavals around them to their interest in the poet's visionary and prophetic role. It includes helpful and authoritative discussions of figures such as Blake, Clare, Coleridge, Crabbe, Keats, Scott, Shelley and Wordsworth.
Dmitry Petrovich Svyatopolk-Mirsky (1890-1939) was a Russian political and literary historian who promoted the knowledge and translations of literature between Britain and the Soviet Union. These works range from 1881 to 1925.
For many, William Wordsworth personifies the Age of Romanticism. The Prelude, his masterpiece, is one of the finest poems in the English language, and the Lyrical Ballads, written with his friend and fellow poet Samuel Taylor Coleridge, is a defining text of the Romantic movement. This new selection of his poetry, prepared by his biographer Stephen Gill and the Wordsworth scholar Duncan Wu from Gill's authoritative Oxford Authors edition, offers generous extracts from The Prelude, his work from Lyrical Ballads, as well as many of his fine shorter lyrics. It charts the growth of this great poet's mind from his early radical years as a champion of the French Revolution, to his later years as Poet Laureate and political conservative.