By John A. Minaahan, Visit Amazon's John A. Minahan Page, search results, Learn about Author Central, John A. Minahan,
Track was once supremely vital to the Romantic poets, rather to John Keats. during this first book-length examine of the topic, John A. Minahan explores Keats' paintings in terms of the artwork of track. Minahan discusses Keats' significant poems in addition to his letters and minor verse. Writing in a jargon-free variety, he examines the connection among the musical and literary manifestations of Romantic conception, and the relationship among that thought and Keats's paintings. He then deals new insights into Keats' poetry and his period, between them a close rationalization of why the "Great Odes" should be regarded as a unmarried prolonged piece. additionally receiving vast therapy are Wordsworth, Coleridge, Shelley, Haydn, Mozart and Beethoven, whose principles and creations illustrate how track affects each point of Romantic inspiration. In his exploration of the connection among diverse yet comparable arts, Minahan either locates Romanticism in its ancient and aesthetic context and expands the functions of literary feedback. He unearths that song allows Romanticism to voice its primary predicament approximately time and its passage, and indicates us that an figuring out of poetry's relation to tune can increase our appreciation of either arts whereas deepening our personal stories of time. This interdisciplinary research goals to attract readers of poetry and literary feedback and to specialist musicians who search to extend their knowing of an age's paintings, songwriters attracted to word/music family, and poets who crave an in depth dialogue of poetic method and craft that makes use of tune in order to make clear such issues.
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Extra info for Word like a bell: John Keats, music and the romantic poet
It's arguable that the poem's closed couplet form is itself an attempt to recover the past. The act of employing a device belonging in 1816 more to literary history than to contemporary poetry is possibly emblematic of the act of returning, or of trying to return, to those warm and luxurious yet vanished moments spent with Clarke. . The couplets stretch at their own limits; the poet's thoughts run beyond the rhyme boundaries. Tension within the poem results; but out of this tension comes a fresh approach to the closed couplet, whose use had long since grown stale.
Page 9 The distinction between reference and combination corresponds roughly to that between semantics and syntax. 19 The former is shaped by meanings in place prior to any particular context, the latter by meanings that develop within and by virtue of context, interplay, and patterning. To this rather static model (and here we break from structuralist or cognitive models) we can add the element of process. A combination requires timeto be perceived, to unfold its patterns, to form and deform, to build and unbuild.
20 A sense of dynamism and of possibility, a thankfulness, as in Wordsworth's ode on immortality, for misgivings, vanishings, unresolved and unresolvable issues: these help to define Romanticism. I say "help" deliberately. " 21 We'll examine Wordsworth, Coleridge, Shelley, and, of course, Keats in more detail presently. For now, we should note that this attention to and conception of time lines up with much in eighteenth- and nineteenth-century thought. As G. J. Whitrow points out, "Our intuition that time is something universal and absolute" is not necessarily correct.