Literary background typically locates the first circulate towards poetic innovation in twentieth-century modernism, an impulse conducted opposed to a supposedly enervated “late-Romantic” poetry of the 19th century. the unique essays in energetic Romanticism problem this interpretation by means of tracing the basic continuities among Romanticism’s poetic and political radicalism and the experimental hobbies 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)
After a signature of text was printed, the author could review it for errors, but those errors would be corrected not by costly resetting and reprinting but by adding to the next set of pages a list of errors and editorial changes. This conversation between author, printer, and text may be visually peripheral, but it is central to the text’s accuracy and coherence. A poem about typology becomes a poem about typography. Plant reproduction meets textual reproduction; art and science converge. The pleasures of composition are both hidden and evident.
Mr. . . . . ” Yet after this seemingly definitive end, we find a “Supplement,” and on the final page of the four-page supplement is a last instruction to the printer: Please to place the print of Flora & Cupid opposite to the title-page. The two prints of flowers in small compartments facing the last page of the preface. The print of Meadia opposite to page 6. Gloriosa opposite to page 13. Dionoea page 14. Vallisneria page 33. Apocynum page 182. (184) Of course, at the time Darwin’s text was produced, printers set type from handwritten originals.
In his preface to the 1855 Leaves of Grass, Whitman hopes that America’s poems will achieve the status of living, organic, botanical forms; that they will “show the free growth of metrical laws and bud from them as unerringly and loosely as lilacs or roses on a bush, and take shapes as compact as the shapes of chestnuts and oranges and melons and pears, and shed Botanic Garden, Meteoric Flowers, and Leaves of Grass 29 the perfume impalpable to form” (11). What follows this passage is a set of beatitudes that, among other things, claims for poetry the status of scripture and invites the reader to question and investigate—essentially to read and write her world: This is what you shall do: Love the earth and sun and the animals, despise riches, give alms to every one that asks, stand up for the stupid and crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence toward the people, take off your hat to nothing known or unknown or to any man or number of men, go freely with powerful uneducated persons and with the young and with the mothers of families, read these leaves in the open air every season of every year of your life, re-examine all you have been told at school or church or in any book, dismiss whatever insults your own soul, and your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face and between the lashes of your eyes and in every motion and joint of your body.
Active Romanticism: The Radical Impulse in Nineteenth-Century and Contemporary Poetic Practice (Modern & Contemporary Poetics)