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Eternity in British Romantic Poetry explores the representation of
the relationship between eternity and the mortal world in the
poetry of the period. It offers an original approach to Romanticism
that demonstrates, against the grain, the dominant intellectual
preoccupation of the era: the relationship between the mortal and
the eternal. The project's scope is two-fold: firstly, it analyses
the prevalence and range of images of eternity (from apocalypse and
afterlife to transcendence) in Romantic poetry; secondly, it opens
up a new and more nuanced focus on how Romantic poets imagined and
interacted with the idea of eternity. Every poet featured in the
book seeks and finds their uniqueness in their apprehension of
eternity. From Blake's assertion of the Eternal Now to Keats's
defiance of eternity, Wordsworth's 'two consciousnesses' versus
Coleridge's capacious poetry, Byron's swithering between versions
of eternity compared to Shelleyan yearning, and Hemans's
superlative account of everlasting female suffering, each poet
finds new versions of eternity to explore or reject. This monograph
sets out a paradigm-shifting approach to the aesthetic and
philosophical power of eternity in Romantic poetry.
This study of the poetry and drama of Percy Bysshe Shelley reads
the letters and their biographical contexts to shed light on the
poetry, tracing the ambiguous and shifting relationship between the
poet's art and life. For Shelley, both life and art are
transfigured by their relationship with one another where the 'poet
participates in the eternal, the infinite, and the one' but is
equally bound up with and formed by the society in which he lives
and the past that he inherits. Callaghan shows that the
distinctiveness of Shelley's work comes to rest on its
wrong-footing of any neat division of life and art. The dazzling
intensity of Shelley's poetry and drama lies in its refusal to
separate the twain as Shelley explores and finally explodes the
boundaries between what is personal and what is poetic. Arguing
that the critic, like the artist, cannot ignore the conditions of
the poet's life, Callaghan reveals how Shelley's artistry
reconfigures and redraws the actual in his poetry. The book shows
how Shelley's poetic daring lies in troubling the distinction
between poetry as aesthetic work hermetically sealed against life,
and poetry as a record of the emotional life of the poet.
This study of the poetry and drama of Percy Bysshe Shelley reads
the letters and their biographical contexts to shed light on the
poetry, tracing the ambiguous and shifting relationship between the
poet's art and life. For Shelley, both life and art are
transfigured by their relationship with one another where the 'poet
participates in the eternal, the infinite, and the one' but is
equally bound up with and formed by the society in which he lives
and the past that he inherits. Callaghan shows that the
distinctiveness of Shelley's work comes to rest on its
wrong-footing of any neat division of life and art. The dazzling
intensity of Shelley's poetry and drama lies in its refusal to
separate the twain as Shelley explores and finally explodes the
boundaries between what is personal and what is poetic. Arguing
that the critic, like the artist, cannot ignore the conditions of
the poet's life, Callaghan reveals how Shelley's artistry
reconfigures and redraws the actual in his poetry. The book shows
how Shelley's poetic daring lies in troubling the distinction
between poetry as aesthetic work hermetically sealed against life,
and poetry as a record of the emotional life of the poet.
Romanticism and the Letter is a collection of essays that explore
various aspects of letter writing in the Romantic period of British
Literature. Although the correspondence of the Romantics
constitutes a major literary achievement in its own right, it has
received relatively little critical attention. Essays focus on the
letters of major poets, including Wordsworth, Byron, Shelley and
Keats; novelists and prose writers, including Jane Austen, Leigh
Hunt and Charles Lamb; and lesser-known writers such as Melesina
Trench and Mary Leadbeater. Moving from theories of letter writing,
through the period's diverse epistolary culture, to essays on
individual writers, the collection opens new perspectives for
students and scholars of the Romantic period.
Romanticism and the Letter is a collection of essays that explore
various aspects of letter writing in the Romantic period of British
Literature. Although the correspondence of the Romantics
constitutes a major literary achievement in its own right, it has
received relatively little critical attention. Essays focus on the
letters of major poets, including Wordsworth, Byron, Shelley and
Keats; novelists and prose writers, including Jane Austen, Leigh
Hunt and Charles Lamb; and lesser-known writers such as Melesina
Trench and Mary Leadbeater. Moving from theories of letter writing,
through the period's diverse epistolary culture, to essays on
individual writers, the collection opens new perspectives for
students and scholars of the Romantic period.
The Oxford Handbook of Percy Bysshe Shelley takes stock of current
developments in the study of a major Romantic poet and
prose-writer, and seeks to advance Shelley studies in new
directions. It consists of forty-two chapters written by an
international cast of established and emerging scholar-critics.
This Handbook is divided into five thematic sections: Biography and
Relationships; Prose; Poetry; Cultures, Traditions, Influences; and
Afterlives. The first section reappraises Shelley's life and
relationships, including those with his publishers through whom he
sought to reach an audience for the 'Ashes and sparks' of his
thought, and with women, creative collaborators as well as
muse-figures. The second section gives his under-investigated prose
works detailed attention, bringing multiple perspectives to bear on
his conceptual positions, and demonstrating the range of his
achievement in prose works from novels to political and poetic
treatises. The third section explores Shelley's creativity and gift
as a poet, emphasizing his capacity to excel in many different
poetic genres. The fourth section looks at Shelley's response to
past and present literary cultures, both English and international,
and at his immersion in science, music, theatre, the visual arts,
and travel. The fifth section concludes the volume by analysing
Shelley's literary and cultural afterlife, from his influence on
Victorians and Moderns, to his status as the exemplary poet for
Deconstruction. Packed with stimulating insights and readings, The
Oxford Handbook of Percy Bysshe Shelley brings out the relevance to
Shelley's own work of his dictum that 'All high poetry is infinite'
.
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