Leigh Hunt and the Poetry of FancyFairleigh Dickinson Univ Press, 1994 - 276 sidor Leigh Hunt has long been stigmatized as Keats's evil genius, a superficial and mannered poet whose influence can be observed in such early poems as I Stood Tip-Toe and Sleep and Poetry. His portrayal as Harold Skimpole in Bleak House has also fostered an impression of triviality and selfishness in the minds of those who do not trouble to read him. Leigh Hunt and the Poetry of Fancy, so far the only book devoted exclusively to his verse, takes issue with these received opinions and argues that, overshadowed by the work of his more gifted contemporaries, Hunt's output has suffered repeatedly from invidious comparisons. Author Rodney Stenning Edgecombe suggests that we need to bring his admittedly minor poetry out of the shadows and, approaching it on its own sunny terms, find a way of enjoying its slightness and delicate charm. With this in mind, Edgecombe urges that we approach the poet as a rococo artist, using this aesthetic category to legitimize and focus the decorative impulse that informs his vision, and the escapism that sometimes led him, as a poet, to skirt many of the issues he so bravely fought for through his Radical journalism. Like Wordsworth, Hunt divided his output into loose generic categories when he began preparing a select edition of his poetry toward the end of his life, categories retained and amplified by H.S. Milford in his 1923 edition. Edgecombe has used these divisions as a way of organizing his study, and also of illustrating the immense range of forms and genres that the poet explored in the course of a long career. He furthermore offers close readings of many seminal poems in an effort to show that Hunt, dismissed by Carlyle as a sort of poetic "tinker," was a generally creditable craftsperson, and that when the occasion inspired him, he could write very well indeed. |
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Sida 11
... seems no point in attempting a chronological history of the poems . I have thus followed the broad generic groupings ... seem a trifle naive , they are serviceable , and altogether less contentious than those applied , say , by ...
... seems no point in attempting a chronological history of the poems . I have thus followed the broad generic groupings ... seem a trifle naive , they are serviceable , and altogether less contentious than those applied , say , by ...
Sida 12
... seem to be . Translations can be assessed only by critics who are thoroughly conversant with the languages involved , for without these comparative poles , one has no means of deciding which ... seems to have 122 PREFACE AND ACKNOWLEDGMENTS.
... seem to be . Translations can be assessed only by critics who are thoroughly conversant with the languages involved , for without these comparative poles , one has no means of deciding which ... seems to have 122 PREFACE AND ACKNOWLEDGMENTS.
Sida 13
Rodney Stenning Edgecombe. denied due process to a poet who seems to have suffered as a result his own generosity and self - effacement . The following pages will attempt to offer some redress . I would like to extend my warm thanks to ...
Rodney Stenning Edgecombe. denied due process to a poet who seems to have suffered as a result his own generosity and self - effacement . The following pages will attempt to offer some redress . I would like to extend my warm thanks to ...
Sida 18
... seem , it has real critical utility— even while Scoggins deplores the " badges of relative merit , " he concedes their usefulness . Lacking the refinements of Coleridge's definition , Hunt's might in- deed seem at first glance to be ...
... seem , it has real critical utility— even while Scoggins deplores the " badges of relative merit , " he concedes their usefulness . Lacking the refinements of Coleridge's definition , Hunt's might in- deed seem at first glance to be ...
Sida 20
... seems to be a clear contradiction between the charge that imagination is too material and that one of its highest privileges is freedom from visibility . " 13 And so it would seem until we turn to Hunt's text : The terms were formerly ...
... seems to be a clear contradiction between the charge that imagination is too material and that one of its highest privileges is freedom from visibility . " 13 And so it would seem until we turn to Hunt's text : The terms were formerly ...
Innehåll
9 | |
17 | |
Narrative Poems I | 51 |
Narrative Poems II | 95 |
Political and Critical Poems | 143 |
Miscellaneous Verse | 182 |
Epilogue | 237 |
Notes | 240 |
Select Bibliography | 259 |
Index | 271 |
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abstract anapestic Ariadne Ballads beauty Blackwood's blank verse Blunden bower Byron canto Captain Sword charm claims Clarendon Press couplet critical decorative Dickens diction edited Edmund Blunden effect English epistle essay eyes fairy fancy Feast feel fête fête champêtre Francesca grace Gray Gray's H. W. Garrod Hampstead hand Hazlitt heart Hero and Leander Horace Houtchens human Hunt seems Hunt's Huntian Ibid idyll imagination impulse Jerome McGann John Keats Keats-Shelley landscape Leigh Hunt London look lovers lyric medieval Methuen Milford mind mode moral Musaeus narrative nature neoclassicism Nymphs o'er once Oxford University Press painting pastiche pastoral Paulo pleasure poem poet poet's poetic poetry political recalls rhyme Rimini rococo romantic Romanticism satire sense Shelley Skimpole sonnet sort spirit sprezzatura Story of Rimini sublime suggests sweet takes Theseus things thought tion Titian turn vision Watteau words Wordsworth writing
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Sida 210 - Catching your heart up at the feel of June, Sole voice that's heard amidst the lazy noon, When even the bees lag at the summoning brass; And you, warm little housekeeper, who class With those who think the candles come too soon, Loving the fire, and with your tricksome tune Nick the glad silent moments as they pass...
Sida 132 - Nay, but to live In the rank sweat of an enseamed bed, Stew'd in corruption, honeying and making love Over the nasty sty, — Queen.
Sida 17 - The fancy is indeed no other than a mode of memory emancipated from the order of time and space...
Sida 72 - Muse to venture down The dark descent, and up to reascend, Though hard and rare...
Sida 189 - We conquer'd France, but felt our captive's charms; Her arts victorious triumph'd o'er our arms: Britain to soft refinements less a foe, Wit grew polite, and numbers learn'd to flow. Waller was smooth; but Dryden taught to join The varying verse, the full-resounding line, The long majestic march and energy divine.
Sida 143 - that the passion of laughter is nothing else but sudden glory arising from some sudden conception of some eminency in ourselves by comparison with the infirmity of others ; or with our own formerly...
Sida 149 - Muse? Night and all her sickly dews, Her spectres wan, and birds of boding cry, He gives to range the dreary sky ; Till down the eastern cliffs afar Hyperion's march they spy, and glittering shafts of war.
Sida 79 - IN Xanadu did Kubla Khan A stately pleasure-dome decree: Where Alph, the sacred river, ran Through caverns measureless to man Down to a sunless sea. So twice five miles of fertile ground With walls and towers were girdled round...
Hänvisningar till den här boken
Leigh Hunt and the London Literary Scene: A Reception History of his Major ... Michael Eberle-Sinatra Ingen förhandsgranskning - 2005 |
Dante on View: The Reception of Dante in the Visual and Performing Arts Antonella Braida,Luisa Calè Begränsad förhandsgranskning - 2007 |