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This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.
Poetry has often been considered an irrational genre, more expressive than logical, more meditative than given to coherent argument. And yet, in each of the four very different poets she considers here, Helen Vendler reveals a style of thinking in operation; although they may prefer different means, she argues, all poets of any value are thinkers. The four poets taken up in this volume--Alexander Pope, Walt Whitman, Emily Dickinson, and William Butler Yeats--come from three centuries and three nations, and their styles of thinking are characteristically idiosyncratic. Vendler shows us Pope performing as a satiric miniaturizer, remaking in verse the form of the essay, Whitman writing as a poet of repetitive insistence for whom thinking must be followed by rethinking, Dickinson experimenting with plot to characterize life's unfolding, and Yeats thinking in images, using montage in lieu of argument. With customary lucidity and spirit, Vendler traces through these poets' lines to find evidence of thought in lyric, the silent stylistic measures representing changes of mind, the condensed power of poetic thinking. Her work argues against the reduction of poetry to its (frequently well-worn) themes and demonstrates, instead, that there is always in admirable poetry a strenuous process of thinking, evident in an evolving style--however ancient the theme--that is powerful and original.
In this study, the author examines the evolution of Byron's poetry from Childe Harold I and II through to the composition of Beppo. Beginning with a close reading of the sustained poetic experimentation that constitutes Childe Harold I and II, he charts the progress of that experimentation in the Tales where Byron's poetry gets entrenched in a tragic idiom. The author then describes Byron's prolonged struggle to break clear of the imaginative limitations imposed by that tragic idiom and to break into a sustainable comic mode: a struggle that drives Childe Harold III, The Prisoner of Chillon, and The Dream only to culminate in success in Childe Harold IV. It is here, as Rawes demonstrates, that the path forward into the comic mode of Beppo and Don Juan is discovered. Byron's Poetic Experimentation also offers a substantial reconsideration of Byron's shifting attitude towards Wordsworthian idealism and a detailed analysis of the structured eclecticism of Manfred.
John Murray I and II -- 'Lord Byron turns pro' -- Janus-Faced: James Cawthorn and English Bards and Scotch Reviews, John Murray and Childe Harold's Pilgrimage -- '... and found myself famous' -- 'I have written too much' -- John Murray and 'the Demon of Silence': Byron in exile -- 'a book without a bookseller'
Webpage containing full text of the poem when we two parted/ by George Gordon Byron, Lord Byron.
Perhaps no great poet, in any language, has suffered more than Byron from being merely read about rather than actually read. As Bernard Beatty remarks in his introduction to this important collection of essays, the popular conception of ‘Byron’ still often approximates to ‘Rupert Everett with a limp’. Reading Byron is the product and summation of nearly sixty years devoted to studying and teaching his poetry. It argues that, far from being ‘mad, bad and dangerous to know’, Byron is serious, ethically orientated and rewarding to read. The book is in three parts: Poems – Life – Politics. Five new essays have been written especially for the first and largest section, which provides fresh perspectives on Byron’s major works. The volume continues with three of Beatty's lively lectures on unappreciated aspects of Byron the man, and three pithy essays on Byron as a complex, if not systematic, political thinker. While Beatty does not question the pre-eminent status of the ‘bright’ Don Juan, devoting a chapter to an unconventional reading of its final cantos, he argues powerfully that nineteenth-century readers, who responded on an unprecedented scale to the forceful poetic structures of the ‘dark’ Byron in Childe Harold's Pilgrimage, The Tales, Manfred, and Cain, were right to do so. Introduced by Jerome McGann (editor of the great Clarendon edition of the poet's works) and concluded in dialogue with Gavin Hopps (co-editor of the forthcoming Longman edition), Reading Byron is itself essential reading for any student or lover of Romantic poetry.
Often seen as the exception to generalisations about Romanticism, Byron's poetry - and its intricate relationship with a brilliant, scandalous life - has remained a source of controversy throughout the twentieth century. This book brings together recent work on Byron by leading British and American scholars and critics, guiding undergraduate students and sixth-form pupils through the different ways in which new literary theory has enriched readings of Byron's work, and showing how his poetry offers a rewarding focus for questions about the relationship between historical contexts and literary form in the Romantic period. Diverse and fresh perspectives on canonical texts such as Don Juan, Childe Harold's Pilgrimage and Manfred are included together with stimulating analyses of less well-known narrative poems, lyrics and dramas. A clearly structured introduction traces key developments in Byron criticism and locates the essays within wider debates in Romantic studies. Detailed headnotes to each essay and a guide to further reading help to orientate the reader and offer pointers for further discussion. The collection will enable students of English literature, Romantic studies and nineteenth-century cultural studies to assess the contribution that different critical methodologies have made to our understanding of individual poems by Byron, as well as concepts like the Byronic hero and evolving definitions of Romanticism.
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.
Examines the Romantic period in poetry that includes the works of Byron, Shelley, Keats and others.
Lord Byron (1788-1824) was a poet and satirist, as famous in his time for his love affairs and questionable morals as he was for his poetry. Looking beyond the scandal, Byron leaves us a body of work that proved crucial to the development of English poetry and provides a fascinating counterpoint to other writings of the Romantic period. This guide to Byron’s sometimes daunting, often extraordinary work offers: an accessible introduction to the contexts and many interpretations of Byron’s texts, from publication to the present an introduction to key critical texts and perspectives on Byron’s life and work, situated in a broader critical history cross-references between sections of the guide, in order to suggest links between texts, contexts and criticism suggestions for further reading. Part of the Routledge Guides to Literature series, this volume is essential reading for all those beginning detailed study of Byron and seeking not only a guide to his works but also a way through the wealth of contextual and critical material that surrounds them.