By Michael O'Neill
Drawn from Shelley's Prometheus Unbound, the identify of this booklet indicates the cultural and literary patience of the Romantic within the paintings of many British, American, and Irish poets when you consider that 1900. taking into account and celebrating the a number of, even fractured nature of Romantic legacies, Michael O'Neill specializes in the artistic influence of Romantic poetry on 20th- and twenty-first century poetry. person chapters include quite a few authors and texts, and span diversified cultures; the goal isn't the forlorn wish of completeness, however the desire to open up percentages and intersections, and there's a robust feel all through of poetry serving as a sophisticated and profound type of literary feedback. A wide-ranging creation analyses the endurance of the Romantic in poets similar to Ted Hughes, Wilfred Owen, Robert Frost, Denise Levertov, Robert Lowell, and others, and units the scene for next discussions. bankruptcy 1 dwells on photographs of 'air', utilizing those to appreciate the efforts of a couple of twentieth-century poets to 'sustain' Romanticism, or sorts of it. Chapters 2 and three concentrate on Yeats and Eliot, respectively, the latter it seems that shunning the Romantic, the previous seeming to include it, yet either responding with acute subtlety and individuality to the Romantic bequest. bankruptcy four argues that Wallace Stevens's 'Esthétique du Mal' could be learn as a piece that illuminates the writings of the foremost Romantics, specially approximately evil and soreness. bankruptcy five discusses the paintings of W. H. Auden and Stephen Spender, exploring the complicated reaction of either poets to the Romantic, Auden advanced in his post-Romantic, Spender bold in his makes an attempt to resume a Romantic lyricism in a post-Romantic age. bankruptcy 6 returns to a broader sweep because it investigates the reaction of quite a number modern poets from Northern eire, together with Heaney, Kavanagh, Mahon, and Carson, to Romantic poetry. bankruptcy 7 sustains the Irish connection, discussing Paul Muldoon's dealings with Byron and different Romantics, in particular in Madoc. And bankruptcy eight makes a speciality of Geoffrey's Hill's stressful and tensed relatives with Romantic poetry, and on Roy Fisher's experience of being a 'gutted Romantic', with a view to illustrate various methods of being post-Romantic in modern tradition.
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Additional resources for The All-Sustaining Air: Romantic Legacies and Renewals in British, American, and Irish Poetry since 1900
Here the air is full of a pyrotechnical display at the centre of which is the fragmented body of the son: ‘The boy—oh! where was he? —’(34–6). Bishop’s ‘Casabianca’ is responsive to the duality of feeling in Hemans’s poem. There is an element of parody as Hemans’s heroics appear to be reduced to an elocution lesson: there may even be in the opening the suggestion that ‘Love’ is inevitably part of a linguistic system, as it haplessly attempts to recite words mimetic of its condition. But the conclusion, associating all those involved in the scenario of the original, suggests love’s width of significance, while the conclusion,‘And love’s the burning boy’, rewrites Hemans’s lines to create a sense that love exists in the midst of passion’s flames.
Yet the phrasing endows the dispelled gods with a presence even as it repudiates the idea of such presence. ‘The god approached dissolves into the air’ is William Empson’s equivalent in ‘Doctrinal Point’, where ‘dissolves’ works to establish air as the illusory token as well as destroyer of deity in a piece that finishes with a dark, ebullient flurry of rhymes on ‘air’, the poem’s last word, and comprises a sardonic reworking of Shelley’s dome image in Adonais: That over-all that Solomon should wear Gives these no cope who cannot know of care.
See Emma Mason, ‘ “Love’s the burning boy”: Hemans’s Critical Legacy’ in The Monstrous Debt, ed. Davies and Turley, for a discussion of the way in which ‘Bishop seems to be deliberately draining Hemans’s poem of its emotion in order to lay bare the loss such an action effects’ (p. 219). ³⁸ This judgement is alert to Plath’s mimicry of self-unwrapping, the poem’s textualized ‘big striptease’, in which the ‘artiste’ plays her role ‘exceptionally well’; the poem, its eye firmly on its beholder, deftly interweaves a show of ‘lyric inwardness’ with a mocking imitation of ‘ “true confession” ’.