In this closely argued book Dr Ball is concerned to analyse the
imaginative process of self-understanding which emerged as a
characteristic feature of English Romantic poetry and, acquiring
fresh creative force in the Victorian period, has been transmitted
to our own times as a determining principle of the contemporary
imagination. Dr Ball relates her discussion to the distinction
between the poet speaking directly in his own voice and the impulse
to dramatised utterance - the two modes of poetic expression
conveniently summed up in Keats's contrasting terms 'egotistical
sublime' and 'chameleon'. She shows how these 'polar' tendencies
co-exist fruitfully in the work of Wordsworth, Coleridge, Byron,
Shelley and Keats and from this standpoint supplies a coherent
appreciation of the little-regarded plays written by these poets.
Turning to Victorian critics and poets Dr Ball considers how the
Romantic inheritance fared at their hands. She sees in the poets,
notably Tennyson, Arnold, Browning, and Hopkins, a vital link by
which the Romantic commitment to the agency of self-consciousness
has been carried forward to the twentieth century and concludes
with a brief sketch of the creative role of self-exploration in T.
S. Eliot and W. B. Yeats.
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