In recent years critics of Romantic poetry have divided into two
groups that have little to say to one another. One group, as yet
the most numerous, insists that to study a poem is to investigate
the historical circumstances out of which it was produced; the
other retorts that poetry offers pleasures fully available only to
readers whose attention is focused on their language. This book
attempts to reconcile the two groups by arguing that a poet's most
effective political action is the forging of a new language and
that the political import of a poem is a function of its
style.
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