Chapter 5: The Romantic Poet and the Brotherhood of Genius

This paper is a preliminary survey of the visions of the s e lf in poetry. It is concerned with the transformation of consciousness as depicted by each of the three poets a Romantic, a Modernist and a Postmodernist poet respectively and expressed in specific poems with a cyclical nature. The romantic poet Coleridge's “The Rime of the Ancient Mariner” is taken as the first example. It is found to be an allegory of the metamorphosis of the poet’s temporal subjective consciousness into an ‘eternal ’ subject position in the narrated text. Eliot’s "Four Quartets" exemplifies the Modernist mode of consciousness as an 'anironic vision of unity' achieved by adhering to a religio-aesthetic meta-narrative. Breytenbach (1988:115) calls his volumes of prison poetry "The Undanced Dance". Taken as a whole "The Undanced Dance" has a structure which concurs with what Brodey (1971:4) calls "an Einsteinian time-space form of relations” and lures its readers into the trap of falling into postmodern quantum consciousness.

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Z aktora kapłan. Od „Króla-Ducha” do „słowiańskiego papieża”

Studia Slavica ◽

10.15452/studiaslavica.2021.25.0004 ◽

2021 ◽

Vol XXV (1) ◽

pp. 43-52

Author(s):

Klaudia Jeznach

Keyword(s):

Deep Understanding ◽

Roland Barthes ◽

Divine Love ◽

Friedrich Schlegel ◽

John Paul Ii ◽

Romantic Poetry ◽

Romantic Poet ◽

Relationship Of ◽

The Impact ◽

The Relationship

This article is concerned with the fragmentary nature of Juliusz Słowacki’s poem “Król‑Duch”, its mystical‑Christian dimension and the impact it had on Karol Wojtyła. Openness to infinity and perpetuality of literature is made clear by referring to Friedrich Schlegel and his idea on the endlessness of romantic poetry, as well as to Roland Barthes, who draws attention to the text as a fabric creating a “wonderful image”. “Król‑Duch”, being a work that requires a patient and soulful reader, ready to travel through the labyrinth, is noticed by Karol Wojtyla, who recognizes the poem as a perfect Christian epic. Participation in the Rhapsodic Theater and the change that occurred in the thought of the later pope indicate a deep understanding of the truths hidden in the work. It also proves that a new way of reading – a long conversation with the text, can lead to repentance. The article attempts to prove that literary mysticism, the experience of the relationship of the “I” with God, as well as spiritual activity bring the work of the romantic poet closer to the poetry of Karol Wojtyła, while making John Paul II the next “King‑Spirit”, the Spirit that orients the nation towards the highest levels of Divine Love.

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Refrain, Again: The Return of the Villanelle

10.31237/osf.io/m9kh5 ◽

2017 ◽

Author(s):

Amanda Lowry French

Keyword(s):

Nineteenth Century ◽

Culture Wars ◽

High Modernism ◽

Romantic Poet

Poets and scholars are all wrong about the villanelle. While most reference texts teach that the villanelle’s nineteen-line alternating-refrain form was codified in the Renaissance, the scholar Julie Kane has conclusively shown that Jean Passerat’s “Villanelle” (“J’ay perdu ma Tourterelle”), written in 1574 and first published in 1606, is the only Renaissance example of this form. The nineteenth-century “revival” of the villanelle in fact stems from an 1844 treatise by a little-known French Romantic poet-critic named Wilhelm Ténint. This study traces the villanelle first from its highly mythologized origin in the humanism of Renaissance France to its deployment in French post-Romantic and English Parnassian and Decadent verse, then from its bare survival in the period of high modernism to its minor revival by mid-century modernists, concluding with its prominence in the polyvocal culture wars of Anglophone poetry ever since Elizabeth Bishop’s “One Art” (1976). The villanelle might justly be called the only fixed form of contemporary invention in English; contemporary poets may be attracted to the form because it connotes tradition without bearing the burden of tradition. Poets and scholars have neither wanted nor needed to know that the villanelle is not an archaic, foreign form.

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Esteban Echeverría’s Critique of Universal Suffrage: The Traumatic Development of Democracy in Argentina, 1821–52

Giuseppe Mazzini and the Globalization of Democratic Nationalism, 1830-1920 ◽

10.5871/bacad/9780197264317.003.0015 ◽

2008 ◽

Author(s):

Klaus Gallo

Keyword(s):

Buenos Aires ◽

Literary Culture ◽

Universal Suffrage ◽

Romantic Poet ◽

The Law ◽

The Government

Mazzini's Young Italy had a notable influence on the dissident youth of the River Plate region; one of their intellectual leaders, Esteban Echeverría (1805–51) – Romantic poet, socialist utopian, pioneer of Argentina's ‘Generation of 37’, and author of Dogma socialista – proclaimed a Young Argentina, as he firmly believed that it was necessary to establish Mazzinian-style associations to help reformulate the direction of political and literary culture in both Argentina and Uruguay. Both these nations were in those years suffering the consequences of the dictatorial regimes of Juan Manuel de Rosas and Manuel Oribe, respectively, which would later be confronted by Garibaldi and other European legionaries who had crossed the Atlantic to assist the local adversaries of these two governments. This chapter focuses on certain aspects of Echeverría's democratic thought, and particularly the criticism he directed towards the law of universal male suffrage decreed by the government of Buenos Aires in 1821 when he was a youngster. He claimed that this decree had been largely responsible for the rise to power in Buenos Aires of Rosas (in power 1829–32 and 1835–52), which he and other prominent members of Generation of 37 fiercely opposed.

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Ways of Addressing Nature in a Northern Context: Romantic Poet and Natural Scientist Jónas Hallgrímsson

Conversations With Landscape ◽

10.4324/9781315574172-15 ◽

2016 ◽

pp. 171-186

Keyword(s):

Natural Scientist ◽

Romantic Poet

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Gender, Genre and Nation: Nineteenth-century Swedish Women Writers on Export

Translating the Literatures of Small European Nations ◽

10.3828/liverpool/9781789620528.003.0011 ◽

2020 ◽

pp. 145-164

Author(s):

Gunilla Hermansson ◽

Yvonne Leffler

Keyword(s):

Nineteenth Century ◽

Women Writers ◽

Comparative Study ◽

Key Factors ◽

Romantic Poet ◽

History Of

The chapter centres on a comparative study of the international reception of two Swedish women writers, the Romantic poet, Julia Nyberg, and the best-selling novelist, Emilie Flygare-Carlén, using their examples to highlight the different opportunities for disrupting the balance between small and major, and presenting gender, genre and nationality as key factors in the process of attaining an international readership for not only Swedish, but also writers from other small nations. The chapter concludes by arguing that both writers had the potential to enter the international literary mainstream, but through reception and promotion were progressively removed from the centre into an increasingly gendered context, the ladies’ room in the peripheral history of Swedish literature.

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Late Novels

Penelope Fitzgerald ◽

10.3828/liverpool/9780746312957.003.0005 ◽

2018 ◽

pp. 67-100

Author(s):

Hugh Adlington

Keyword(s):

Eighteenth Century ◽

Historical Fiction ◽

Narrative Form ◽

Blue Flower ◽

The Past ◽

Late Eighteenth Century ◽

Close Analysis ◽

Romantic Poet ◽

Late Eighteenth ◽

Ways Of Thinking

This chapter examines the four ‘late’ novels that are the peak of Penelope Fitzgerald’s achievement as a writer: Innocence, The Beginning of Spring, The Gate of Angels, The Blue Flower. Each novel is, at least superficially, a work of historical fiction in that it is set in the past: in 1950s Italy, in revolutionary Russia, in Edwardian England, and in late-eighteenth-century Germany respectively. But history is decidedly not the defining feature of these novels. Rather, as this chapter shows, all four works are characterized by their bold experimentation with narrative form and style, reflecting an intense concern with profound questions of body, mind and spirit that culminates in Fitzgerald’s haunting masterpiece, the story of the idealized yearning of the German Romantic poet Novalis both for Sophie von Kühn, his ‘heart’s heart’, and for revelation. Through close analysis of Fitzgerald’s methods of research, composition and editing, this chapter proposes fresh ways of thinking about the stylistic means by which these late novels create fictional worlds that expand to fill the reader’s imagination, and even appear to possess an existence independent of the novels themselves.

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