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Zusatztext Romanticism and the Self-Conscious Poem displays a refreshing desire to reassert the value of poetry, a desire to read poetry lovingly as poetry and not simply as another form of discourse caught in the ideological webs. O'Neill broadens the sense of poetry's alertness to itself and to experience. His trust in poetry is affecting, and he communicates that trust feelingly. Embracing poetry rather than debunking it, O'Neill sloughs off the illusion of disillusion and attempts simply to read, to read clearly, and to say what he has read. Informationen zum Autor Michael O'Neill lives on a farm in Sounthern Ontario with his wife and best friend Kerri. A father, farmer, plumber and, now, has turned to his passion as an avid writer. Watch for future works! Klappentext This book explores the "self-conscious poem" - that is! a poem concerned with poetry that displays awareness of itself as poetry - in the work of the major Romantic poets! Blake! Wordsworth! Coleridge! Byron! Shelley! and Keats. Michael O'Neill's readings freshly illuminate the imaginative distinction of many famous and often-studied poems! and revalue less regarded works. An extended coda looks at some post-Romantic poets! particularly Yeats! Stevens! Auden! and Clampitt! in the light of the book's central theme. Zusammenfassung In this wide-ranging study Michael O'Neill examines the phenomenon of the `self-conscious poem' - that is, a poem concerned with poetry or, more centrally if often connectedly, a poem that displays awareness of itself as a poem - in the work of the major Romantic poets: Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats. The book freshly illuminates many famous lyrics and longer poems and revalues less regarded works such as The Excursion.For O'Neill, self-consciousness is allied to the new status granted to poetry by the Romantics. His closely attentive readings suggest that self-consciousness in Romantic poetry often accompanies exploration of, even anxiety about, poetry's significance. Yet his emphasis falls on the imaginatively productive ends to which such exploration and anxiety are put. An extended coda looks at the bequest of Romantic self-consciousness to post-Romantic writers; it offers chapters comparing Yeats and Stevens, discussing later Auden's scepticism about poetry, and exploring the affecting intricacies of Amy Clampitt's `Voyages: A Homage to John Keats'. Throughout, O'Neill challenges recent accounts of Romanticism by placing at the centre of his study poetry's imaginative and aesthetic value. Inhaltsverzeichnis Acknowledgements Note on Texts and Abbreviations Introduction PART I. The First Generation 1.: And I staind the water clear: Blake 2.: The words he uttered . . .: Wordsworth 3.: That done in air: Coleridge PART 2. The Second Generation 4.: A being more intense: Byron 5.: The mind which feeds this verse: Shelley (1) 6.: The sensitive plant: Evaluation and the Self-Conscious Poem: Shelley (2) 7.: The reading of an ever-changing tale: Keats (1) 8.: Writing and History in Hyperion and The Fall of Hyperion: Keats (2) CODA. The Post-Romantic Self-Conscious Poem 9.: Yeats and Stevens: Two Versions of Post-Romantic Self-Consciousness 10.: Making and Faking: W. H. Auden 11.: The knowledge of contrast, feeling for light and shade: Amy Clampitt's Voyages: A Homage to John Keats Biobliography Index ...
