A Brief History of Poetry
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Zukofsky), 736–37 , 742–43 Asian American Poetry As, 987–88 “ABC” (Justice), 809–11 “Benefi T” Readings, 1137–138 Abolitionism
Cambridge University Press 978-1-107-00336-1 - The Cambridge History of: American Poetry Edited by Alfred Bendixen and Stephen Burt Index More information Index “A” (Zukofsky), 736–37 , 742–43 Asian American poetry as, 987–88 “ABC” (Justice), 809–11 “benefi t” readings, 1137–138 abolitionism. See also slavery multilingual poetry and, 1133–134 in African American poetry, 293–95 , 324 Adam, Helen, 823–24 in Longfellow’s poetry, 241–42 , 249–52 Adams, Charles Follen, 468 in mid-nineteenth-century poetry, Adams, Charles Frances, 468 290–95 Adams, John, 140 , 148–49 in Whittier’s poetry, 261–67 Adams, L é onie, 645 , 1012–1013 in women’s poetry, 185–86 , 290–95 Adcock, Betty, 811–13 , 814 Abraham Lincoln: An Horatian Ode “Address to James Oglethorpe, An” (Stoddard), 405 (Kirkpatrick), 122–23 Abrams, M. H., 1003–1004 , 1098 “Address to Miss Phillis Wheatley, academic verse Ethiopian Poetess, Who Came literary canon and, 2 from Africa at Eight Year of Age, southern poetry and infl uence of, 795–96 and Soon Became Acquainted with Academy for Negro Youth (Baltimore), the Gospel of Jesus Christ, An” 293–95 (Hammon), 138–39 “Academy in Peril: William Carlos “Adieu to Norman, Bonjour to Joan and Williams Meets the MLA, The” Jean-Paul” (O’Hara), 858–60 (Bernstein), 571–72 Admirable Crichton, The (Barrie), Academy of American Poets, 856–64 , 790–91 1135–136 Admonitions (Spicer), 836–37 Bishop’s fellowship from, 775 Adoff , Arnold, 1118 prize to Moss by, 1032 “Adonais” (Shelley), 88–90 Acadians, poetry about, 37–38 , 241–42 , Adorno, Theodor, 863 , 1042–1043 252–54 , 264–65 Adulateur, The (Warren), 134–35 Accent (television show), 1113–115 Adventure (Bryher), 613–14 “Accountability” (Dunbar), 394 Adventures of Daniel Boone, The (Bryan), Ackerman, Diane, 932–33 157–58 Á coma people, in Spanish epic Adventures of Huckleberry Finn (Twain), poetry, 49–50 183–86 Active Anthology (Pound), 679 funeral elegy ridiculed in, 102–04 activist poetry. -
Bibliotheca Sacra
1909. ] Epic mctl Lyric Poetry. 639 ARTICLE IV. EPIC AND LYRIC POETRY. BY REVEREND J AMF.s LINDSAY, D.D., IRVINE, SCOTLAND. A GENEROUS license, in the mode of living, is allowed IJ1 Milton to the lyric poet, but water and a wooden bowl are all he can afford the epic poet - singer of the gods and their descent unto men. No doubt, lyric poetry is, in essence, the expression of individual passion, and, as such, cannot quench love as supreme passion. Only in Alexandrian and later Greek literature did love enter as a main interest or motive into the epic. But in poetry itself, the dividing line between epic and lyric is often dimly drawn, and an epical lyric, as well as a lyrical epic, can be warrantably used of certain com positions. Not even the quaint stateliness of Spenser's epic poetry can hide the lyric spirit that pervades much of it. But, indeed, the epic sums in itself all poetry - not merely epic, but dramatic, idyllic, and elegiac elements as well. For the epic is the most comprehensive of all kinds of poetry. It is inclusive of the romance, as Tasso very clearly perceived. In the" Odyssey" of Homer, we find the epic become the most romantic of all poetry. For it has all experience for its prov ince. With calmness and self-possession the epic poet rep resents his past events as action in progress, so differing from the dramatic poet, who imports immediacy and vehe mence into his representation of events as real and present. -
Poetry's Politics in Archaic Greek Epic and Lyric
Oral Tradition, 28/1 (2013): 143-166 Poetry’s Politics in Archaic Greek Epic and Lyric David F. Elmer In memoriam John Miles Foley1 The Iliad’s Politics of Consensus In a recent book (Elmer 2013) examining the representation of collective decision making in the Iliad, I have advanced two related claims: first, that the Iliad projects consensus as the ideal outcome of collective deliberation; and second, that the privileging of consensus can be meaningfully correlated with the nature of the poem as the product of an oral tradition.2 The Iliad’s politics, I argue, are best understood as a reflection of the dynamics of the tradition out of which the poem as we know it developed. In the course of the present essay, I intend to apply this approach to some of the other texts and traditions that made up the poetic ecology of archaic Greece, in order to illustrate the diversity of this ecology and the contrast between two of its most important “habitats,” or contexts for performance: Panhellenic festivals and the symposium. I will examine representative examples from the lyric and elegiac traditions associated with the poets Alcaeus of Mytilene and Theognis of Megara, respectively, and I will cast a concluding glance over the Odyssey, which sketches an illuminating contrast between festival and symposium. I begin, however, by distilling some of the most important claims from my earlier work in order to establish a framework for my discussion. Scholars have been interested in the politics of the Homeric poems since antiquity. Ancient critics tended to draw from the poems lessons about proper political conduct, in accordance with a general tendency to view Homer as the great primordial educator of the Greeks. -
December 5, 2016 Group TPCASTT Analysis-- Fireside Poets You Will
Due: December 5, 2016 Group TPCASTT Analysis-- Fireside Poets You will work as a team to analyze a poem by one of the great Fireside Poets. 1. Pick a poet (tell Mrs. Peden -- first come, first served) a. Henry Wadsworth Longfellow d. John Greenleaf Whittier b. Oliver Wendell Holmes e. James Russell Lowell c. William Cullen Bryant 2. Pick a poem (minimum of 20 lines) by that poet. 3. Complete the artifacts below Artifacts 1. Complete the TPCASTT as a group via GoogleDocs and share it with me. Make sure EVERYONE’s name is on the document. Answer all questions using complete sentences. 2. Create a slide with poet’s biographical information on it. Include a picture. Share your slide with me. 3. Create an artistic representation of the poem (poster, diorama, model, movie, skit, etc.). It may NOT be submitted on copy paper or notebook paper. Bring your representation on Monday, December 5th. 4. Answer the question: how does your poem reflect the values/characteristics of American Romanticism? Names:____________________________________Group Leader:___________________________ *The artifacts will be submitted TOGETHER using the group leader’s Henry County Gmail account. They must be shared with me BEFORE class starts so as to aid with presentations. Rubric: COLLABORATION (Peer survey).....................................................................____/25 ● Did ALL members of the team work together? COMPLETED TPCASTT (using complete sentences).................................____/25 ● Correctness ● Depth of analysis PRESENTATION………………………………………………………………..____/50 1. Present your biographical information slide to the class. Include pictures, but keep it simple (10 points). a. CITE your sources! b. Is it: Visually appealing? Correct? Informational? 2. -
Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry Emily Rutter
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations 2014 Constructions of the Muse: Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry Emily Rutter Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Rutter, E. (2014). Constructions of the Muse: Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1136 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY A Dissertation Submitted to the McAnulty College of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Emily Ruth Rutter March 2014 Copyright by Emily Ruth Rutter 2014 ii CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY By Emily Ruth Rutter Approved March 12, 2014 ________________________________ ________________________________ Linda A. Kinnahan Kathy L. Glass Professor of English Associate Professor of English (Committee Chair) (Committee Member) ________________________________ ________________________________ Laura Engel Thomas P. Kinnahan Associate Professor of English Assistant Professor of English (Committee Member) (Committee Member) ________________________________ ________________________________ James Swindal Greg Barnhisel Dean, McAnulty College of Liberal Arts Chair, English Department Professor of Philosophy Associate Professor of English iii ABSTRACT CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY By Emily Ruth Rutter March 2014 Dissertation supervised by Professor Linda A. -
James Russell Lowell - Poems
Classic Poetry Series James Russell Lowell - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive James Russell Lowell(22 February 1819 – 12 August 1891) James Russell Lowell was an American Romantic poet, critic, editor, and diplomat. He is associated with the Fireside Poets, a group of New England writers who were among the first American poets who rivaled the popularity of British poets. These poets usually used conventional forms and meters in their poetry, making them suitable for families entertaining at their fireside. Lowell graduated from Harvard College in 1838, despite his reputation as a troublemaker, and went on to earn a law degree from Harvard Law School. He published his first collection of poetry in 1841 and married Maria White in 1844. He and his wife had several children, though only one survived past childhood. The couple soon became involved in the movement to abolish slavery, with Lowell using poetry to express his anti-slavery views and taking a job in Philadelphia, Pennsylvania as the editor of an abolitionist newspaper. After moving back to Cambridge, Lowell was one of the founders of a journal called The Pioneer, which lasted only three issues. He gained notoriety in 1848 with the publication of A Fable for Critics, a book-length poem satirizing contemporary critics and poets. The same year, he published The Biglow Papers, which increased his fame. He would publish several other poetry collections and essay collections throughout his literary career. Maria White died in 1853, and Lowell accepted a professorship of languages at Harvard in 1854. -
Princeton Encyclopedia of Poetry and Poetics
PRINCETON ENCYCLOPEDIA OF POETRY AND POETICS PRINCETON ENCYCLOPEDIA OF POETRY AND POETICS ALEX PREMINGER EDITOR FRANK J. WARNKE AND O. B. HARDISON, JR. ASSOCIATE EDITORS Enlarged Edition M TO AUGUSTA FRIEDMAN PREMINGER © 1965, Enlarged Edition © 1974, Princeton University Press Softcoverreprintof tilehardcover1stedition 1974 All rights reserved. No part of this publication may be reproduced or transmitted, in any form or by any means , without permission . Enlarged Edition Firstpublished in the United States 1975 Firstpublished in the United Kingdom 1975 Published by THE MACMILLAN PRESS LTD London and Basingstoke Associated companies in New York Dublin Melbourne Johannesburg and Madras ISBN 978-0-333-18121-8 ISBN 978-1-349-15617-7 (eBook) DOI 10.1007/978-1-349-15617-7 PREFACE The ENCYCLOPEDIA OF POETRY AND POETICS is the most comprehen sive treatment of its field yet attempted. It consists of about 1,000 individual entries ranging from twenty to more than 20,000 words, dealing with the history, theory, technique, and criticism of poetry from earliest times to the present. The entries are designed to be useful to the general reader, the student, and the professional scholar. They are supplemented by substantial bibliographies and generous cross-references. Articles on individual authors, poems, and allusions have been excluded from the ENCYCLOPEDIA as readily available in other refer ence works. Otherwise, the policy of the editors has been to avoid arbitrary limitations. The danger of too narrow a definition of "poetry" has been recognized, and the reader will find numerous articles dealing with the area between prose and poetry (e.g., VERSE AND PROSE, PROSE POEM, PROSE RHYTHM, FREE VERSE), and topics equally relevant to prose and poetry (e.g., PLOT, MYTH, SYMBOL, IMAGERY). -
Wordsworth & the Sonnet As Epic Prelude
Connotations Vol. 28 (2019) Wordsworth & the Sonnet as Epic Prelude: A Response to Stephen Fallon and Henry Weinfield* BRIAN BATES Stephen Fallon’s “The Equanimity of Influence: Milton and Words- worth” and Henry Weinfield’s “‘When Contemplation like the Night- Calm Felt’: Religious Considerations in Poetic Texts by Shakespeare, Milton, and Wordsworth” appear together in two bibliographic ways: in volume twenty-six of Connotations and in the journal’s debates sec- tion under the title “Between Shakespeare, Milton and Wordsworth” (https://www.connotations.de/debate/between-shakespeare-milton- and-wordsworth/). While Fallon reexamines “how Wordsworth makes his poetry out of Milton’s poetry, and particularly his Prelude out of Paradise Lost” (126), Weinfield plots a Shakespeare-to-Milton sonnet lineage manifested in Book V of Wordsworth’s The Prelude. Each article concerns authorial influence—for Fallon based on “equa- nimity” and for Weinfield involving a potential “threat” (116)—and focuses on beginnings and endings, making and remaking, echoes and allusions, transience and permanence. Fallon argues that Words- worth discovered in Milton’s epic narrator a lyric model for present- ing the growth of the poet’s mind toward equanimity “in the face of sorrows and adversity” (127). Weinfield contends that Milton’s Sonnet *References: Fallon, Stephen. “The Equanimity of Influence: Milton and Words- worth.” Connotations 26 (2016/2017): 126-40. https://www.connotations.de/article/stephen-m-fallon-equanimity-influence- milton-wordsworth/ Weinfield, -
The Novelistic Poem and the Poetical Novel: Towards A
THE NOVELISTIC POEM AND THE POETICAL NOVEL: TOWARDS A THEORY OF GENERIC INTERRELATION IN THE ROMANTIC PERIOD by Nick Bujak A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland July 2014 © 2014 Nick Bujak All Rights Reserved Abstract This dissertation examines the shifting set of formal and conceptual relations that have structured the intertwined development and reception of “the novel” and “poetry” since the Romantic period. In Part One, I focus on the continuing rise of the novel in the age of best-selling poetry, arguing that narrative poetry and the novel participated in a shared history of narrative innovation. I take the popular and formally innovative poems of Walter Scott as a particularly important example of poetry’s contribution to this shared history. Specifically, I argue that Scott’s knowledge of the ballad tradition and his modern experiments with poetry in that mode enabled him to introduce narrative techniques into the novel that prepare the way for the deployment of free indirect discourse in the novels of Jane Austen and her successors. More broadly, I attempt to describe a theory of generic interrelation that is capable of identifying and explaining the interrelated formal development of works written during the Romantic period. In Part Two, I work to recover and analyze the complex history of perceptions about genre from the Romantic period through the twentieth century. Since the Romantic period itself, many thinkers have been interested in identifying what is essentially poetic about poetry, and, as a closely related matter, in determining what can distinguish poetry from prose and the novel. -
Great New Poetry Books for You and Your Book Group
Great New Poetry Books for You and Your Book Group A National Poetry Day selection This list of ten books is perfect for reading groups thinking of dipping into poetry, often edited or written by great names who love poetry so much that they want to share it – Clive James, John Carey, Kate Clanchy, Cerys Matthews and Carol Rumens. It’s not just for book groups, though: whether you are discovering or re-discovering poetry, a well-tuned anthology (The Forward Book of Poetry 2021) or a garlanded best-seller (Roger Robinson’s A Portable Paradise) is always a great place to start. Think about the times and reasons we most often turn to poems – celebration, grief, confusion. And think about what they offer us: different perspectives, fresh hope, the world renewed. Poetry is a generous and open art and doesn’t have to be daunting. We’re recommending ten amazing books that are ideal for book groups. The background and suggestions below should help you pick a book of interest to your group. Try to plan your meeting ahead of time as poetry might require a different format for discussion. If a whole book seems too much to digest, then pick a few poems to focus on instead. We recommend you start your session by taking it in turns to read a poem aloud to the group – time allowing, perhaps each member could pick a favourite and say a little about why they like it. We’ve come up with a few pointers you can use to prepare or initiate conversation if needed, but remember there is no wrong or right way to approach poetry, or to appreciate and discuss it. -
A PHILOSOPHY of POETRY Anna
ABSTRACT Title of Document: MEMORABLE MOMENTS: A PHILOSOPHY OF POETRY Anna Christina Soy Ribeiro, Ph.D., 2006 Directed By: Professor Jerrold Levinson Department of Philosophy In my dissertation I give a philosophical account of poetry from an analytic perspective—one that is also informed by studies in linguistic communication (pragmatics) and cognitive psychology, and that takes into account the many varieties of poetic traditions around the world. In chapter one I argue that philosophically rigorous study of poetry is long overdue, and that it should focus not on what poetry has in common with the other literary arts, but rather on what is distinct to it. In chapter two I give a cross-cultural history of poetry, showing the many types of features that are typical of the art form. From this history it emerges that beneath the variety of poetic traditions all over the globe lies a remarkably consistent set of features—the use of recurrence patterns. In chapter three I argue for an intentional-historical formalist definition of poetry according to which a poem is either (1) a verbal art object relationally or intrinsically intended to belong in the poetic tradition, or (2) a verbal art object intrinsically intended to involve use of repetition schemes (naïve poetry-making). In my fourth chapter I investigate the psychological reasons for poetry to have begun as and remained an art that relies on repetition devices, focusing on two non-literate groups: the illiterate trovadores of Northeastern Brazil, and pre-literate children. Both cases suggest an innate predisposition to attend to and produce linguistic recurrence structures of various, sometimes highly intricate, sorts. -
The-Rape-Of-The-Lock-An-Essay-In-Frivolity.Pdf
Jessica Ready Professor Margaret McDermott March 8, 2008 “The Rape of the Lock”: An Essay in Frivolity Alexander Pope’s “The Rape of the Lock,” is a satirical poem based on true events. Pope’s use of the mock-epic literary style trivializes the incidents in the story by describing them in grandeur fashion. Using epic conventions such as heroes and heroines, battles, the underworld, and sprites, Pope ridicules all involved by treating petty situations with great gravity. He successfully reveals the skewed values of the upper middle class in the 18th century. The word rape in the title is the first example of adding serious moral implications to a superficial situation. The first instance of the mock-epic style also occurs immediately in the first stanza, when the author introduces love, war, and a muse. “What mighty contests rise from trivial things,” (line 2). Pope sets the tone for the piece in this line, diminishing epic conventions by using them ironically to describe trivial grievances. He introduces the reader to the heroine who suffers the insult, in the second stanza, calling her a Goddess. “Say what strange motive, Goddess! could compel/A well-bred lord to assault a gentle belle?” (lines 7-8) Again, Pope exaggerates the incident by comparing the cutting of hair to an assault or rape. Guarding the heroine, Belinda, are sylphs. Sylphs are the spirits of women who were “light Coquettes,” in their lifetime, such as Belinda is. The inclusion of sylphs, gnomes, salamanders and nymphs in the fourth stanza represent the four elements, air, earth, fire and water.