Drawn from Shelley's Prometheus Unbound, the title of this book
suggests the cultural and literary persistence of the Romantic in
the work of many British, American, and Irish poets since 1900.
Allowing for and celebrating the multiple, even fractured nature of
Romantic legacies, Michael O'Neill focuses on the creative impact
of Romantic poetry on twentieth- and twenty-first century poetry.
Individual chapters embrace numerous authors and texts, and span
different cultures; the intention is not the forlorn hope of
completeness, but the wish to open up possibilities and
intersections, and there is a strong sense throughout of poetry
serving as a subtle and profound form of literary criticism. A
wide-ranging introduction analyses the persistence of the Romantic
in poets such as Ted Hughes, Wilfred Owen, Robert Frost, Denise
Levertov, Robert Lowell, and others, and sets the scene for
subsequent discussions. Chapter 1 dwells on images of 'air', using
these to understand the efforts of a number of twentieth-century
poets to 'sustain' Romanticism, or forms of it. Chapters 2 and 3
focus on Yeats and Eliot, respectively, the latter apparently
shunning the Romantic, the former seeming to embrace it, but both
responding with subtlety and individuality to the Romantic bequest.
Chapter 4 argues that Wallace Stevens's 'Esthetique du Mal' should
be read as a work that illuminates the writings of the major
Romantics, especially about evil and suffering. Chapter 5 discusses
the work of W. H. Auden and Stephen Spender, exploring the complex
response of both poets to the Romantic, Auden complicated in his
post-Romantic attitudes, Spender daring in his attempts to renew a
Romantic lyricism in a post-Romantic age. Chapter 6 returns to a
broader sweep as it investigates the response of a range of
contemporary poets from Northern Ireland, including Heaney,
Kavanagh, Mahon, and Carson, to Romantic poetry. Chapter 7 sustains
the Irish connection, discussing Paul Muldoon's dealings with Byron
and other Romantics, especially in Madoc. And Chapter 8 focuses on
Geoffrey's Hill's tense and tensed relations with Romantic poetry,
and on Roy Fisher's sense of being a 'gutted Romantic', in order to
illustrate two diverse ways of being post-Romantic in contemporary
culture.
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