The Epithet in Spanish Poetry of the Romantic Period

1938 ◽  
Vol 6 (1) ◽  
pp. 88
Author(s):  
Sterling A. Stoudemire ◽  
Graves Baxter Roberts
Keyword(s):  
Spanish Poetry ◽  
Romantic Period

The Epithet in Spanish Poetry of the Romantic Period

Books Abroad ◽  
1937 ◽  
Vol 11 (2) ◽  
pp. 248
Author(s):  
Calvert J. Winter ◽  
Graves Baxter Roberts
Keyword(s):  
Spanish Poetry ◽  
Romantic Period

Seventeenth-Century Spanish Poetry

1993 ◽  
Author(s):  
Arthur Terry
Keyword(s):  
Seventeenth Century ◽  
Spanish Poetry

Religious Melancholy in the Romantic Period: William Cowper as Test Case

Romanticism ◽  
2009 ◽  
Vol 15 (2) ◽  
pp. 144-155 ◽  
Author(s):  
Jane Darcy
Keyword(s):  
Test Case ◽  
Romantic Period ◽  
William Cowper

Murder'd Men: ‘Isabella’ and Goethe's Werther

Romanticism ◽  
2018 ◽  
Vol 24 (1) ◽  
pp. 53-66
Author(s):  
Tom Baynes
Keyword(s):  
English Translation ◽  
Personal Experience ◽  
Direct Influence ◽  
Romantic Period ◽  
Principal Source

The numerous resemblances between ‘Isabella’ (1818) and the first English translation of Werther (1779) can be most plausibly attributed to direct influence. Goethe's novel was extremely popular throughout the Romantic period, and was admired by several of Keats's associates. He himself referred to it in 1819, and it may also have influenced two poems that he wrote around the same time as ‘Isabella’. That piece includes a number of details that have no precedent in its principal source (the Fifth Novel of the Fourth Day of The Decameron), but which can be traced, instead, to Werther. For Keats, the proleptic references to death in the latter stages of Goethe's novel may have held an especial appeal, as they could easily have resonated with his own personal experience. On a more speculative note, it is worth asking whether Werther was in his thoughts once again in 1820–21, as his own death drew ever closer.

Byron and Romantic Concepts of Inspiration

Romanticism ◽  
2019 ◽  
Vol 25 (2) ◽  
pp. 180-189
Author(s):  
Rolf Lessenich
Keyword(s):  
Romantic Period ◽  
Romantic Irony ◽  
Social Distinction ◽  
Ideal World ◽  
The Creation ◽  
The Ideal

Though treated marginally in histories of philosophy and criticism, Byron was deeply involved in Romantic-Period controversies. In that post-Enlightenment, science-orientated age, the Platonic-Romantic concept of inspiration as divine afflatus linking the prophet-priest-poet with the ideal world beyond was no longer tenable without an admixture of doubt that turned religion into myth. As a seriously-minded Romantic sceptic in the Pyrrhonian tradition and commuter between the genres of sensibility and satire, Byron often refers to the prophet-poet concept, acting it out in pre-Decadent poses of inspiration, yet undercutting it with his typical Romantic Irony. In contrast to Goethe, who insisted on an inspired poet's sanity, he saw inspiration both as a social distinction and as a pathological norm deviation. The more imaginative and poetical the creation, the more insane is the poet's mind; the more realistic and prosaic, the more compos it is, though an active poet is never quite sane in the sense of Coleridge's ‘depression’, meaning his non-visitation by his ‘shaping spirit of imagination’.

Recent Trends in Spanish Poetry

1958 ◽  
Vol 14 (2) ◽  
pp. 16-18
Author(s):  
Diego Marin
Keyword(s):  
Spanish Poetry ◽  
Recent Trends

The History of Missed Opportunities

2017 ◽  
Author(s):  
William H. Galperin
Keyword(s):  
Eighteenth Century ◽  
William Wordsworth ◽  
Jane Austen ◽  
Lord Byron ◽  
Missed Opportunities ◽  
Romantic Period ◽  
The Everyday ◽  
Everyday World ◽  
History Of ◽  
Multiple Levels

This study is about the emergence of the everyday as both a concept and a material event and about the practices of retrospection in which it came to awareness in the romantic period in “histories” of the missed, the unappreciated, the overlooked. Prior to this moment everyday life was both unchanging and paradoxically unpredictable. By the late eighteenth century, however, as life became more predictable and change on a technological and political scale more rapid, the present came into unprecedented focus, yielding a world answerable to neither precedent nor futurity. This alternative world soon appears in literature of the period: in the double takes by which the poet William Wordsworth disencumbers history of memory in demonstrating what subjective or “poetic” experience typically overlooks; in Jane Austen, whose practice of revision returns her to a milieu that time and progress have erased and that reemerges, by previous documentation, as something different. It is observable in Lord Byron, thanks to the “history” to which marriage and domesticity are consigned not only in the wake of his separation from Lady Byron but during their earlier epistolary courtship, where the conjugal present came to consciousness (and prestige) as foredoomed but an opportunity nonetheless. The everyday world that history focalizes in the romantic period and the conceptual void it exposes in so doing remains a recovery on multiple levels: the present is both “a retrospect of what might have been” (Austen) and a “sense,” as Wordsworth put it, “of something ever more about to be.”

Poetics of the Pillory

2019 ◽  
Author(s):  
Thomas Keymer
Keyword(s):  
English Literature ◽  
Extended Period ◽  
Government Control ◽  
History And Criticism ◽  
Romantic Period ◽  
Restoration Measure ◽  
History Of ◽  
The Government ◽  
Argument Proceeds ◽  
Prior Restraint

On the lapse of the Licensing Act in 1695, Thomas Macaulay wrote in his History of England, ‘English literature was emancipated, and emancipated for ever, from the control of the government’. It’s certainly true that the system of prior restraint enshrined in this Restoration measure was now at an end, at least for print. Yet the same cannot be said of government control, which came to operate instead by means of post-publication retribution, not pre-publication licensing, notably for the common-law offence of seditious libel. For many of the authors affected, from Defoe to Cobbett, this new regime was a greater constraint on expression than the old, not least for its alarming unpredictability, and for the spectacular punishment—the pillory—that was sometimes entailed. Yet we may also see the constraint as an energizing force. Throughout the eighteenth century and into the Romantic period, writers developed and refined ingenious techniques for communicating dissident or otherwise contentious meanings while rendering the meanings deniable. As a work of both history and criticism, this book traces the rise and fall of seditious libel prosecution, and with it the theatre of the pillory, while arguing that the period’s characteristic forms of literary complexity—ambiguity, ellipsis, indirection, irony—may be traced to the persistence of censorship in the post-licensing world. The argument proceeds through case studies of major poets and prose writers including Dryden, Defoe, Pope, Fielding, Johnson, and Southey, and also calls attention to numerous little-known satires and libels across the extended period.

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