Literary historical past regularly locates the first stream towards poetic innovation in twentieth-century modernism, an impulse performed opposed to a supposedly enervated “late-Romantic” poetry of the 19th century. the unique essays in energetic Romanticism problem this interpretation through tracing the basic continuities among Romanticism’s poetic and political radicalism and the experimental events in poetry from the late-nineteenth-century to the current day.
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Extra info for Active Romanticism: The Radical Impulse in Nineteenth-Century and Contemporary Poetic Practice (Modern & Contemporary Poetics)
Such thinking is multiform, and so too is a poem. . coming nearer to the fact” (Emerson 220). ” Genius not only “realizes and adds,” (212), it is the furious repair of the world. 3. It is within this crisis of self, this riddle of I, that Martin Corless-Smith’s work gains one of its radically romantic valences. Corless-Smith is returning to the roots of the Romantic tradition—a poetic gesture not of exhumation, nor of the critic’s effort to classify the previously living strand, but rather a method of digging down to the roots so as to revivify them, to show the vitality never left, and to graft his own experiment onto this previous experiment whose organic life never ceased its living.
It is to hear the report, to hear the news. Not the news as Ezra Pound might have it. ” But the voices speaking in the wires, the humming wires, whose import is not merely the words they carry, but the wind that blows across those tense lines in the air, that epic wind, whose singing fills the gaps, whose song sings of the world’s ceaseless morning ceaselessly, the song that thrills tranquil absence into a humming presence, whose voice can be heard only against the curious fact of our own. On Romanticism as Radical Praxis 41 Notes 1.
Emerson understands that we mar the music we hear by noting it down. That flawed pattern—it is ourselves. It is me. I am the place to be abandoned. III. “Not myself goes home to myself ” Language others us. John Keats, on October 27, 1818, wrote a famous letter in which he describes this primary poetic difficulty: As to the poetical Character itself (I mean that sort of which, if I am any thing, I am a Member; that sort distinguished from the wordsworthian or egotistical sublime; which is a thing per se and stands alone) it is not itself—it has no self—it is every thing and nothing—It has no character—it enjoys light and shade; it lives in gusto, be it foul or fair, high or low, rich or poor, mean or elevated—It has as much delight in conceiving an Iago as an Imogen.
Active Romanticism: The Radical Impulse in Nineteenth-Century and Contemporary Poetic Practice (Modern & Contemporary Poetics)