Difference between revisions of "Poetry"

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(Poetry from today's perspective)
(Lyrical vs. Narrative and Dramatic Literature)
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:::"There will also be found in these volumes little of what is usually called poetic diction; I  have taken as much pains to avoid it as others ordinarily take to produce it."
 
:::"There will also be found in these volumes little of what is usually called poetic diction; I  have taken as much pains to avoid it as others ordinarily take to produce it."
  
:::example: [http://www.bartleby.com/145/ww260.html William Wordsworth, @I Wandered Lonely as a Cloud", 1804]
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*One of the most famous examples: [http://www.bartleby.com/145/ww260.html William Wordsworth, @I Wandered Lonely as a Cloud", 1804]
  
 
==1800 as a Watershed for Poetry: Poetics of Imitation vs. Expression and Originality===
 
==1800 as a Watershed for Poetry: Poetics of Imitation vs. Expression and Originality===

Revision as of 11:38, 8 January 2008

Argument 9: The creation of literature turned "poetry" into a field of minor and more intimate genres


WRITTEN TEST and Tutorials

The written test will take place on January 22, 2008, at 14.00 h It will be held in the lecture room next door to ours, in Hörsaal 1 (A14 1-101)

It will include: A question about proper bibliographic forms (according to the style sheet) A number of questions selectively testing knowledge, or asking you to reconstruct important arguments presented in the lecture. A final question asking you to use information and insights form the lecture in order to construct an argument. The question will be published next week (Jan 15, 2008).

The last tutorials will be held this week (Jan 8 and 10)


Poetry from today's perspective

T.S. Eliot reads “The Waste Land”, at Poetry Archive

Lyrical vs. Narrative and Dramatic Literature

  • The poetic is essentially lyrical; there are three main forms of literature: the lyrical, the narrative and the dramatic.
cf. e.g., James Joyce, A Portrait of the Artist as a Young Man', 1916):
The lyrical form is in fact the simplest verbal vesture of an instant of emotion, a rhythmical cry such as ages ago cheered on the man who pulled at the oar or dragged stones up a slope. … The simplest epical form is seen emerging out of lyrical literature when the artist prolongs and broods upon himself as the centre of an epical event and this form progresses till the centre of emotional gravity is equidistant from the artist himself and from others. The narrative is no longer purely personal. The personality of the artist passes into the narration itself, flowing round and round the persons and the action like a vital sea. … The dramatic form is reached when the … personality of the artist, at first a cry or a cadence or a mood and then a fluid and lambent narrative, finally refines itself out of existence, impersonalizes itself, so to speak.
( source: James Joyce, A Portrait of the Artist as a Young Man, 1916, University of Adelaide Library Electronic Texts Collection )
"... poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquillity ..."
"the Poet is chiefly distinguished from other men by a greater promptness to think and feel without immediate external excitement, and a greater power in expressing such thoughts and feelings as are produced in him in that manner"
"The principal object ... which I proposed to myself in these Poems was to chuse incidents and situations from common life, and to relate or describe them, throughout, as far as was possible, in a selection of language really used by men; and, at the same time, to throw over them a certain colouring of imagination, whereby ordinary things should be presented to the mind in an unusual way ..."
"There will also be found in these volumes little of what is usually called poetic diction; I have taken as much pains to avoid it as others ordinarily take to produce it."

1800 as a Watershed for Poetry: Poetics of Imitation vs. Expression and Originality=

(cf. M. H. Abrams, The Mirror and the Lamp: Romantic Theory and the Critical Tradition. 1953.)
  • An important change happened around 1800: the shift from imitation to a poetics of expression and originality


Poetry before 1800 did not aim to be original or to express the writer's feelings


Each period has typical forms of poetry,

Elizabethan age: The sonnet, the sonnet cycle – an Elizabethan fashion, imported from Italy (Petrarchism, a male speaker, in love with a woman far beyond his reach) Sir Philip Sidney,l Astrophel and Stella (1590) Edmund Spenser, Amoretti (1595) William Shakespeare, Sonnets (1609) Lady Mary Wroth, Pamphilia to Amphilanthus (1621) [1]


17c: anti-Petrarchism with emphasis on erotic elements, turn towards religion as a topic. John Donne, Holy Sonnets (1631) George Herbert, The Temple (1632) John Milton, Paradise Lost (1667 / 1674)

Restoration and 18c: classicism, long poems, satires, classical models, didactic poetry John Dryden, Alexander Pope, Jonathan Swift Thomas Gray

Late 18c, Romanticism: William Blake William Wordsworth Samuel Taylor Coleridge Lord Byron John Keats P. B. Shelley

William Blake, 'Jerusalem', from "Milton"

Late 18c. Revival of the sonnet,

Victorian poetry – Rediscovery of medieval forms, and Elizabethan forms, Long, torn between rationality and song. Alfred Tennyson, Robert Browning, Algernon Charles Swinburne, Dante Gabriel Rossetti Christian Rossetti


– why is the sonnet revived, why do the Victorian poets revive medieval and renaissance forms : the reorganisation of the corpus of poetry, national, chronological

not daring, but pre/Raphaelites, musical, submerged-erotic America: epics of nationhood, Longfellow etc.

Modernism: condensation, fragmentation, expressive of modernity, political vs. pure poetry, Free verse, T.S. Eliot, William Butler Yeats, Wallace Stephens

Postmodern??? Philip Larkin, Stevie Smith Incidental, ironic, understating, personal…

[2]

Problems: our notion of poetry does not fit all the poetry, hard to draw the line.

The lyrical has come to be identified with the poetic.

Dramatic poetry, epic poetry ….

BUT The field of poetry is wider than this.

Public status of poets in England Special conditions exist in England: • Example: Milton’s changes of roles: • 1630s: an isolated and ambitious poet • 1640s and 1650s: a public propagandist for the republican government, justifying the execution of King Charles I. across Europe • 1660s and 70s: living in obscurity and poverty, working on his epic poems • 18th century: institution as a national poet, “mute inglorious Milton” (Th. Gray, “Elegy written in a Country Churchyard”)

Paradise Lost, 1674. http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=12156434&SEARCHCONFIG=config.cfg&HIGHLIGHT_KEYWORD=param(HIGHLIGHT_KEYWORD)


theatrum poetarum http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=12283212&FILE=../session/1199780670_5802&SEARCHSCREEN=CITATIONS&SEARCHCONFIG=var_spell.cfg&DISPLAY=ALPHA

a collection of information on poets, divided up into Ancient Poets and Modern Poets, and arranged alphabetically.




Among the Romanes a Poet was called Vates, which is as much as a diviner, foreseer, or Prophet [...]

[...] In Turkey, besides their lawgiving devines, they have no other writers but Poets. In our neighbor Countrey Ireland, where truly learning goes verie bare, yet are their Poets held in a devout reverence. Even among the most barbarous and simple Indians, where no writing is, yet they have their Poets who make & sing songs which they call Arentos, both of their Auncestors deeds, and praises of their Gods. [...]

(From Sir Philip Sidney, Defence of Poesie (1595), quoted after: University of Oregon: Renascence Editions, R. S. Bear, March 1995, <http://darkwing.uoregon.edu/~rbear/defence.html> [26.11.2006])

The Poet is made by Miracle in his Mother’s Womb, each Man bringing with him an Innate Property thereto at the time of his Birth. Hence Tully [i.e. Cicero] is said to be long ere he could be delivered of a few (and those but poor) Verses, whilst Ovid was so backward in Prose, that he could almost speak nothing but Verse. (Henry Curzon, Universal Library or Compleat Summary of Science, London: George Sawbridge, 1712, p. 68.)


Shelley [3]

Definitions of poetry c. 1500-1750 – poetry is all language in verse 1700 – 1900 poetry is all beautiful language, whether in verse or in prose After 1900 – A particularly skilful use of language.

Poetry is divided into epic, dramatic (comedy, tragedy) and many smaller poetic genres

Around 1700 includes opera.

18c shift from poetry to literature (belles letters): opera excluded, novel included

Poetry now becomes reduced to the smaller shorter and more intimate genres.



  • Not all poetry is poetic, but the poetic is also found outside poetry.


• Since the 17th century, poets had been divided into the ancients (Greek and Latin) and the moderns (Italian, French, English…). • After the mid-eighteenth century, there is a new mode of arrangement which is national and chronological. Thearum poetarum 1675 Percys relics Warton 1774

This chronological rearrangement also changes the conditions under which new poets are writing. • Poets now aim for a place in this chronology. • Critics are monitoring the progress of the nation’s poets. • Poets can form groups / schools / movements which (may claim to) represent new tendencies and can attract critical controversy.

First example: the debate about the “modern school of English poetry”, later renamed the Romantic movement.

• Poems have entered the school syllabus (as national heritage, as a medium for developing one’s personality). • Poets possess a public presence as a characteristically private, but representative voice. • Institutions that maintain the precarious position of the poet: --Prizes and Awards --Poetry readings --Poets in residence --Creative writing programmes at universities


The discussion of the Belles Lettres is mainly organised around issues of taste (elegance, being polished vs. being rude) The discussion of poetry turns the question of taste into an interesting problem: What makes a poem / a poet great? • Conformity to a particular taste? • Adherence to poetic rules? • The genius of the poet? (e.g. Shakespeare)

The questions of rules, taste or genius combine a popular appeal with an openness to academic / scientific discussion: • Poetic Rules (Rhetoric, Linguistics, History and Theory of Genres) • Taste (Cultural History) • Genius (Psychology, Sociology, History)

4.3 The scholarly occupation with poetry feeds back into poetic production • That which provokes the greatest amount of interpretation will make it into the canon. • Poets provide materials for this scholarly interest (manuscripts, interviews, autobiographical statements, …) • Poets write to be interpreted (e.g. at school, cf. Hunter)


Received Notions on transition around 1800: from 'classicist poetics' to greater formal liberty from 'imitation of models' to 'originality' from poetic diction to intimate personal expression continuities: poet as exceptional individual and representative voice (public status, bard) beautiful, artful language [edit] Second Thoughts it is not enough to represent pre 1800 poetry as 'the opposite' of post-1800 poetry. There was a completely different setting. 1. we know by now that poetry was originally the entire corpus of epic, dramatic and lyrical poetry. all artfully composed language language in verse 1. poetry or poesy was not an exclusive practice but one in which scholars, theologians, political pamphleteers, practiced.

[edit] More complex or differentiated perspectives a system of genres divided into higher and lower (prose is only allowed in lower), and into epic, dramatic, lyrical. The formation of literature has major consequences for the concept of poetry: 1. literature implies the exclusion of some genres which used to be part of poetry (notably the central areas of opera and song) 2. literature includes new genres which were not originally part of poetry (the novel) 3. the term poetry itself was increasingly reduced in scope (only rarely used for dramatic or narrative texts), limited to a set of smaller poetic forms which had previously not been specifially labeled as a group. changes in the public status of the poet


poetry and power


[edit] What do we do with a poem? do a routine check: • who is speaking, to whom, when, where? (what is the communicative situation) • what is being spoken about? • what are the special charactistics of language (figurative, metre etc.) • what is the "external communicative situation": (form of publication or circulation) • employing linguistic / poetic / aesthetic conventions or transgressing against them. look especially for genre characteristics [edit] perspectives beyond the present lecture the poet / the author as eccentric extraordinary individual