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Formal Charges: The Shaping of Poetry in British Romanticism

TLDR
The formings of simile: Coleridge's 'comparing power' 4. Revision as form: Wordsworth's drowned man 5. Teasing form: the crisis of Keats's last lyrics 7. Social form: Shelley and the determination of reading Notes Index.
Abstract
Abbreviations 1. Formal intelligence: formalism, romanticism, and formalist criticism 2. Sketching verbal form: Blake's Political Sketches 3. The formings of simile: Coleridge's 'comparing power' 4. Revision as form: Wordsworth's drowned man 5. Heroic form: couplets, 'self', and Byron's Corsair 6. Teasing form: the crisis of Keats's last lyrics 7. Social form: Shelley and the determination of reading Notes Index.

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Book ChapterDOI

Inventing an Ancestor: The Scholar-Poet and the Sonnet

TL;DR: The increase since the 1990s in book-length sequences of poetry that construct a historical setting within which a central character speaks shows contemporary poets ready to interact productively with two related impulses as mentioned in this paper.
Journal ArticleDOI

Romantic Energy

Anya Taylor
TL;DR: The idea of energy infuses Romantic writing in verse and prose as discussed by the authors . But it is not a purely metaphorical concept, as it is defined by the human body's ability to generate energy, which is referred to as the breath.
Journal ArticleDOI

The Rise and Fall of Meter: Poetry and English National Culture, 1860–1930 by Meredith Martin (review)

Michael D. Hurley
- 01 Jan 2013 - 
TL;DR: LaPorte as discussed by the authors examines The Spanish Gypsy (1864), The Legend of Jubal (1869), The Death of Moses (1874), and O May I Join the Choir Invisible (1879) to show how Eliot appealed to recycled domestic and feminine tropes (such as the grieving mother), biblical themes and passages, and a higher critical understanding of prophecy to further her humanistic moral vision for the betterment of society.
Book ChapterDOI

Wordsworth, Humphry Davy, and the Forms of Nature

TL;DR: The authors argued that at the start of the nineteenth century, William Wordsworth and the chemist Humphry Davy agreed that poetry and chemistry shared a focus on the material things which they termed "the forms of nature" They also agreed, however, in differentiating between the aims of poetry and those of science: while the experimental investigations of chemistry analysed the physical forces and processes that shaped nature's forms, the linguistic forms of poetry revealed and communicated the metaphysical powers hidden within seemingly inert matter.