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Browning's most celebrated contribution to the poetic langue is the dramatic monologue, and his development of this form constitutes a literary sub-genre in its own right. It implicitly acknowledges the uneasy relation between the two competing discourses of the novel and the poem. Each first person account differs from the metaphysical or Romantic lyric in its meticulous foregrounding of deictic references, and it would be useful to compare the effects created by these versified short stories with those of a contemporary first person prose narrative Dickens's Great Expectations, for example. In 'My Last Duchess' and 'The Bishop Orders His Tomb' the speakers are figures from the Italian Renaissance, and in each the reader is drawn into the spatio-temporal conditions of the speech act. Compare these poems with those of Donne and Marvell (Chapter 2). In Browning's pieces the poet cautiously avoids any conflict between the poetic-textual function and the imagined situation of the...

By John Raymond Howard

Poetry, says Shelley, is the record of the best and happiest moments of the happiest and best minds. But how can this include that genuine poetic genius, Byron, who gloried in being neither good nor happy Lord Jeffrey, one of the keenest of critics, says that the term may properly be applied to every metrical composition from which we derive pleasure without any laborious exercise of the understanding. In this category, what becomes of Browning, whom Sharp characterizes the most profoundly subtle mind that has exercised itself in poetry since Shakespeare Wordsworth, who has influenced all the poets since his day, declares poetry to be the breath and finer spirit of all knowledge it is the impassioned expression which is the countenance of all science. Matthew Arnold accepts this dictum, and uses it to further his own idea of the great future of poetry as that to which mankind will yet turn, to interpret life for us, to console us, to sustain us, even in place of religion and...

Coolidge Clark 1939 Clark

Poems, such as ounce code orange, which consists of five lines and eight words, show Coolidge's early objectlike language constructs. As Tom Orange writes, the poem illustrates arrangement and density at work the placement of words on the page with attention to their sound and semantic values (54). Coolidge's longer experimental works from the 1970s, including The Maintains (1974) and Polaroid (1975), extend his improvisatory language investigations in a way that Barrett watten has compared to the practice in surrealism of automatic writing.

Questions to Consider

Compare the Shakespearean sonnets discussed in this lecture with the selection (Sonnet 43) from Elizabeth Barrett Browning's Sonnets from the Portuguese (Lecture Eight). What are the differences The similarities In like manner, compare the sonnets in this lecture with Milton's On the Late Massacre in Piedmont (Lecture Ten). What techniques does Milton use to seemingly expand the strictures of the sonnet form (We will look more at Milton as sonneteer in the next lecture.)

London David Nutt 1914

A Boy's Will is composed largely of autobiographical lyrics. The poems contain many features characteristic of late Romantic nineteenth-century poetry formulaic contractions, archaic diction, and sometimes contrived inversions. Some of the poems in North of Boston also have origins in Frost's own life, but the incidents are conceived as dramatic monologues using colloquial diction, in the manner of Browning and Kipling, and with an earlier model in the lyrical ballads of Wordsworth - although Keats and Hardy are also important predecessors. Frost observed of this book that he dropped to an everyday level of diction even Wordsworth kept above. Instead of stiff inversions, the lines in North of Boston catch the speakers' hesitations, repetitions, and second thoughts. In this book, which contains a number of Frost's best-known poems, the style and material that would characterize his poetry for the next 50 years found expression. Frost had been working on his poetry for some 20 years...

Other literary and artistic events

1871 Tennyson, Idylls, third series Browning, Balaustion's Adventure and 1872 Samuel Ferguson, Congal Tennyson, Idylls, fourth series Browning, Fifine at the Fair Christina Rossetti, Sing-Song 1873 Browning, Red-Cotton Night-Cap 1876 Carroll, The Hunting of the Snark Morris, Sigurd the Volsung Browning, Pacchiarotto Swinburne, Erechtheus

Linguistic Convention In Poetry

This specialized poetic usage is only a matter of vocabulary or phraseology. Gulp'h andghyll (the latter 'apparently introduced by Wordsworth')11 are examples of special poetical spellings, by the side of gulf arid gill. Certain syntactic constructions which probably owe their currency to Milton's idiosyncratic influence are also virtually confined to poetry. An example is that of nor following an affirmative clause, in the sense 'and not', as in Browning's 'Flat thus I lie nor flinch' Ivan Iviinovich .

Benet Stephen Vincent 18981943

Webster 1936 ), he remains best known for John Brown's Body (1928), a long narrative poem on the Civil War, whose commercial and literary success brought him to national attention. To open his epic, Benet invoked the strong and diverse heart of America as his muse it became his great lifelong theme. Benet insisted that poetry is meant for everybody, not only for the scholars (34), open to any reader who likes the sound and the swing of rhythm, the color and fire of words (35). This approachability made him the most widely read serious poet of his time (Fenton 80), but his poems have received less subsequent esteem than the more difficult and experimental works of modernism. His influences include Robert Browning and Vachel lindsay.

The reading nation and the writerly nation in 1820

While other poets may not have had the year Wordsworth did (though Crabbe, whose most popular volume, Tales of the Hall, was printed in 1819, saw new editions of The Borough 1810 and Poems, as well as a seven-volume edition of his poetical works), 1820 did see significant activity by writers who remain familiar. The year that saw Keats's last volume saw John Clare's first, as he issued Poems Descriptive of Rural Life and Scenery. Shelley produced three volumes, all reflecting his varied engagement with the drama. Hunt's translation of Tasso's Amyntas was one of several works sent forth by the Cockney School, with Barry Cornwall publishing two volumes, Marcian Colonna and A Sicilian Story, with Diego de Montilla, and Other Poems, John Hamilton Reynolds following up the success of his parody of Peter Bell with The Fancy A Selection of the Poetical Remains of the Late Peter Corcoran, Of Grey's Inn, Student At Law. With a Brief Memoir of His Life, and Cornelius Webb, a minor but infamous...

Denise Levertov 19231997

Levertov was educated mostly at home. Her first published poem, Listening to Distant Guns, somewhat similar in tone to the poems of Hardy, appeared in 1940, and her first book, The Double Image, in 1946. In 1947 she married American writer Mitchell Goodman, who would go on to be a major anti-war activist in the 1960s. In France and Italy in the next few years Levertov began reading Williams and Wallace Stevens, and in 1951, at the instigation of Creeley, who had known Goodman at Harvard, she began a correspondence with Williams. Kenneth Rexroth included six of her poems in his anthology The New British Poets (1949), a volume designed to illustrate the new British Romanticism (with Dylan Thomas as its major figure) that was reacting against the work of Auden and the poets of the 1930s.

Poetry In Performance Poetry in

While this work of the Beats expressed a loosely defined leftist and environmentalist politics, the poetry performances of the Black Arts movement, starting in the mid-1960s, identified social engagement and black power as defining aspects of its performative aesthetic. From such bases as the Black Arts Repertory Theatre and School, founded in Harlem in 1965 by Imamu Amiri BARAKA (LeRoi Jones), the movement was innovative in its use of language (particularly Black English), music, and performance to produce a poetry that emphasized oral-ity and featured a ritual use of call and response between artist and audience coherent in purpose with the community meetings, lectures, and study groups that were held in the same venues as the performances. Fueled by a politically informed anger, Barakas piece, Black Art (1966) suggests the degree to which poetry was conceived by this movement as a gesture of forceful action We want 'poems that kill.' Assassin poems, Poems that shoot guns. Poems...

The Death Of The Ball Turret Gunner

Sitting in an upside-down position in the revolving turret, with his knees drawn up to his chin, the gunner, resembling a fetus in the womb, would operate two machine guns. The bubble's exposed location and relatively flimsy construction made the turret and its operator vulnerable to machine-gun and cannon fire from fighter planes. A gunner also faced danger from flak (exploding shells fired from ground-based antiaircraft artillery) as the last line of Jarrell's poem makes poignantly clear, a direct hit from flak could, quite literally, liquefy an unfortunate gunner When I died they washed me out of the turret with a hose.

Long And Serial Poetry The long

The epic poem remains the classic type and model for the long form in poetry. The modern epic, however, can be distinguished from its predecessors and other types of the 20th-century long poem. The open nonnarra-tive models for the modern epic differentiate it from such earlier works as John Milton's Paradise Lost (1674), William Wordsworth's The Prelude (1850), and Robert Browning's The Ring and the Book (1868-69), which maintain the developmental structure of a narrative (see narrative poetry). Yet the modern epic shares with its predecessors the demand for comprehensiveness not in a narrow sense of a comprehensive treatment of a particular subject, because no epic limits itself to a single thematic concern nor claims to have exhausted a given subject, but rather in the sense of a complete worldview, a breadth of intellectual range. Classical works, such as Lucretius's De Rerum Natura (50 B.C.), on everything from atomism to Zeno, or Ovid's Metamorphoses (a.d. 1), with its...

Amy Lowell and Imagism

Lowell posits three older sisters - Sappho, Dickinson, and Elizabeth Barrett Browning - as important predecessors, but she ultimately decides that none ofthem provides a workable model for a female poet in the modern era. Lowell recognized the double bind in which women writers are placed, between masculine ambitions and feminine selves

Slow Slow Fresh Fount Ben

Interest in Smart was renewed at the end of the 19th century through the efforts of Robert Browning, and by the 20th century Smart received deserved attention. For example, using psychoanalytic criticism, Clement Hawes writes of Jubilate Agno that the horn, a central image in this jubilee poem, reveals Smart's preoccupation with and revision of the concept of cuck-oldry, as the poet believed his wife had been unfaithful to him. Hawes uses this idea to support Smart's inclusion of wordplay that he describes as bawdy in order to reiterate his Smart's reconstructed masculinity. The brief but excellent biography by Neil Curry supplies solid critical consideration of the Jubilate Agno, The Psalms of David, A Song of David, Hymns and Spiritual Songs, and Hymns for the Amusement of Children. The 20th-century composer Benjamin Britten adopted the Jubilate for use in his festival cantata, Rejoice in the Lamb.

William Carlos Williams

Williams was not deterred, however, continuing to write even as he set up his medical practice, married, and began a family. His second volume, The Tempers (1913), was published in London with Pound's assistance. The poems in The Tempers, though generally stronger than those of his first volume, still relied heavily on styles inherited from poets such as Browning, Yeats, and Pound. I should have written about things around me, Williams later commented, but I just didn't know how I knew nothing of language except what I'd heard in Keats and the pre-Raphaelite Brotherhood.

T S Eliot and the wasteland of modernity

Eliot's poem is, as Piers Gray puts it, elegantly unsettling, opening up several layers of uncertainty.4 First of all, the use of pronouns creates an uncertainty about exactly who is speaking and who is being addressed. The first line contains three pronouns - us, you, and I - all referring to people as yet unidentified aside from allusions to Michelangelo, Hamlet, and Lazarus, no proper nouns appear in the poem at all. The speaker is clearly J. Alfred Prufrock, and the poem is his love song, but who is this Prufrock, and what relation does he bear to Eliot himself In contrast to Robert Browning's dramatic monologues, which are uttered by historical

Vision of piers plowman the

VULCAN BEGAT ME Sir Thomas Wyatt (1557) The answer to this translation by Sir Thomas Wyatt of a Latin riddle is handily provided in Tottel's Miscellany, as it bears the legend discripcion of a gonne gun . However, this poem is more than merely descriptive it is also contemplative regarding the explosive nature of firearms and of love.

Forging Romanticism in 1820

The preface to Barrett's epic The Battle of Marathon returns us to the problem of the explosion of verse, as Barrett writes of how As the press pours forth profusion, the literary multitude eagerly receive its lavish offerings.16 Out of this undifferentiated pantheon, what she calls an inferior multitude of the common herd, Barrett identifies three real Poets among her contemporaries Byron, Moore, and Scott. This little, unremembered act of canon formation and of love comes amid other efforts to discover what was truly alive and what would live among the work of the living poets. While most contemporary anthologies featured earlier verse, and while one might uncover other canons being formed in discussions of, say, religious poetry or working-class verse,17 we can already see various moves to celebrate the poets we find central to Romanticism. These efforts to move from pantheon to canon were deeply contested as canons were formed on the mixed grounds of aesthetics, morality,...

Poetry As An Hypersemanticized Version Of Language

Viewing the total significance of a poem in terms of the reader's interpretation, as we have done, disposes of the following fallacy, to which linguists on occasion have seemed to subscribe 'Because poetry consists of language, the linguist, if he had enough leisure, could eventually give a complete explanation of a poem.' To see how wrong this is, we merely have to reflect on how many kinds of knowledge, apart from knowledge of the language, enter into the interpretation of English poetry. Comprehension of practically any poem can be influenced by biographical information, or by experience of other poems by the same writer. For example, a reader well informed on Wordsworth's life and work would be able to guess that the' I' of an unfamiliar Wordsworth poem would be' I, William Wordsworth the poet', rather than the fictional 'I' one would be inclined to expect in a poem by Browning. The work of some poets, such as Dryden, cannot be understood fully without a detailed social and...

Victorian into Modern Interiority and Impersonality

The Victorians, however, provided technical solutions as well as a social and ideological precedent for the later modernists. Robert Browning's penchant in his use of the Above all, the dramatic monologue is distinguished by the 'objective' position of the poet (the term was Browning's own), set apart from the speaker who unravels his her own emotional life to a silent listener in effect the reader, who is therefore drawn into the poem as doctor analyst in a psychological case history. The 'impersonality' of detached scientific observation and the analogous language of precise observation so prized by Eliot, Hulme, Pound and the Imagists was therefore already installed within Victorian poetics. Browning's 'My Last Duchess' and 'Porphyria's Lover', as well as Tennyson's 'Maud' and 'St Simeon Stylites', testify to Victorian poetry's 'modern' fascination with extreme states of mind evidence for Arthur Symons in 1886 of 'this intensely subjective and analytic nineteenth century, with its...

Pile The Bodies High At Austerlitz Is It A Metaphor Or Symbolism

Browning,' Transcendentalism' There was a time, she says, when poets actually played harps, so that this might be an imagined scene literally recounted by Browning. Moreover, the 'brother' might even be a literal brother, a sibling of the poet. But in fact we understand things differently. Browning, we assume, is talking about a brother-poet, viz. Browning himself as a fellow artist. We also take it that the poet's harp is not a literal harp, but his medium of artistic expression - his language. It is not a question of rejecting one interpretation as unacceptable, but rather of preferring one of two acceptable solutions to the other.

Teasdale Sara 18841933 Sara Teas

Dale was an important voice of woman's poetry in the early 20th century (see female voice, female language). Her work, consistently appearing in monthly national magazines in the years before World War II, was well received by the public and critics alike. She identified with and is often compared to the 19th-century poet Elizabeth Barret Browning in theme, but her direct influence was the Victorian Christina Rossetti, about whom she had composed an unfinished biography.

Intrapoetic Relationships

Give one example, as misinterpreters of Keats, in their poems, the Victorian disciples of Keats most notably include Tennyson, Arnold, Hopkins, and Rossetti. That Tennyson triumphed in his long, hidden contest with Keats, no one can assert absolutely, but his clear superiority over Arnold, Hopkins, and Rossetti is due to his relative victory or at least holding of his own in contrast to their partial defeats. Arnold's elegiac poetry uneasily blends Keatsian style with anti-Romantic sentiment, while Hopkins' strained intensities and convolutions of diction and Rossetti's densely inlaid art are also at variance with the burdens they seek to alleviate in their own poetic selves. Similarly, in our time we need to look again at Pound's unending match with Browning, as at Stevens' long and largely hidden civil war with the major poets of English and American Romanticism Wordsworth, Keats, Shelley, Emerson, and Whitman. As with the Victorian Keatsians, these are instances among many, if a...

Eliots Classicist Criticism

Eliot's claim in 'The Metaphysical Poets' is that the dramatists of the sixteenth century (such as George Chapman, Thomas Middleton, John Webster and Cyril Tourneur) and their successors, the poets of the seventeenth century (such as John Donne, George Herbert and Henry King) had a sensibility that could 'devour any kind of experience' and transform it into art. But some time in the seventeenth century, Eliot argues, a dissociation of feeling and thought takes place 'from which we have never recovered'. Thus, by the nineteenth century, poets like Tennyson and Browning 'do not feel their thought as immediately as the odour of a rose', whereas 'a thought to Donne was an experience it modified his sensibility' (1980 287 88). Eliot does, however, think that a unification of sensibility was achieved in the poetry of certain nineteenth-century French poets, the symbolists Tristan Corbi re (1845 1875), Laforgue and Baudelaire he compares the latter to Racine, whom, as we know from Hulme's...

Simon Perril

'Language writing' or 'Language poetry' emerged in the early 1970s with the appearance of magazines such as This, edited by Robert Grenier and Barrett Watten, Hills, edited by Bob Perelman, and L A N G U A G E edited by Bruce Andrews and Charles Bernstein. The latter was a solely critical journal that ran from 1978 to 1981 producing a myriad of poetics essays and 'non-normative' reviews that revealed a body of contributors extremely conversant with Marxist and poststructuralist philosophy.

Victorian poetry

This will be the shortest section of the book more an interchapter than a chapter. The Victorian poets, by which I mean those whose reputations were made and sustained between the 1830s and the 1890s, are often celebrated as the most skilled and meticulous stylists of post-Renaissance English verse, and it is for this reason that their work will be treated more economically than that of their predecessors and successors. The stylistic and formal paradigms that the Victorians inherited from three centuries of writing would be perfected, extended, even challenged, but they would not in any significant way be altered. The term Victorian poetry is a rather vague methodological convenience. Tennyson and Browning (born between 1809-12) and Arnold, Swinburne, Hardy and Hopkins (born 1822-44), are effectively the second and third generations of Romanticism. But they are also, in a less tangible way, the anxious and uneasy final stage in what is variously termed traditionalism or...

Dramatis Personae

While Eliot was thinking through this problem in relation to Elizabethan drama, Pound found inspiration in two quite different locations Japanese Noh drama and the dramatic poetry of Robert Browning. In 1914, at the end of his essay, 'Vorticism', Pound had related that he was 'often asked whether there can be a long imagiste or vorticist poem'. His answer then was that he 'saw nothing against a long vorticist poem', and as evidence he cited the Noh drama he was at that time translating from Ernest Fenollosa's papers 'in the best Noh the whole play may consist of one image. I mean it is gathered about one image' (1970a 94). However, unlike imagism, and the Japanese haiku to which it was indebted, Noh plays were part of a series five plays were typically performed together, and the whole, Pound thought, 'presents, or symbolizes, a complete diagram of life and recurrence' (1970c 222). Indeed, in 1917 Pound compared The Cantos to what has been called the archetypal Noh play, Takasago...