By Stephen C. Behrendt
This compelling examine recovers the misplaced lives and poems of British girls poets of the Romantic period. Stephen C. Behrendt finds the diversity and variety in their writings, providing new views at the paintings of dozens of girls whose poetry has lengthy been overlooked or marginalized in conventional literary background.
British Romanticism used to be considered a cultural flow outlined through a small team of male poets. This booklet gives you girls poets their right position within the literary culture of the time. Behrendt first methods the topic thematically, exploring the ways that the poems addressed either public issues and personal studies. He subsequent examines using specific genres, together with the sonnet and numerous different lengthy and brief varieties. within the concluding chapters, Behrendt explores the impression of nationwide id, supplying the 1st wide research of Romantic-era poetry by way of ladies from Scotland and eire.
In convalescing the lives and paintings of those girls, Behrendt finds their lively participation in the wealthy cultural neighborhood of writers and readers through the British Isles. This examine may be a key source for students, academics, and scholars in British literary reviews, women’s experiences, and cultural history.
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Extra info for British women poets and the romantic writing community
Considering poetry of the period within altered and expanded parameters necessarily raises issues of aesthetics and poetics that have themselves gone too long unquestioned in Romantics scholarship, issues with which that scholarship needs to wrestle anew. chapter one Women Writers, Radical Rhetoric, and the Public 1212 Women and the Radical Temper When it appeared in 1979, the volume of the Biographical Dictionary of Modern British Radicals that encompassed the Romantic period listed 214 ﬁgures representing various occupations and avocations.
The edenic valley, “little” and “sheltered,” is replaced during the poet’s absence by the urban excrescence of crowds, noise, and the industrial pollution (“heavy sounds,” “blackened,” “sullied”) that is a metaphor for the spiritual pollution of that fancied past that is irretrievably lost. At the same time, the literature of the British Romantic era reﬂects an intense awareness of the historicality (or historicity) of the contemporary experience. We see it both in the self-reﬂexive monumentality of much of the writing (and the parallel explosion of monumental sculpture in public spaces) and in the expanded cultural consciousness—the increasingly cosmopolitan worldview—which that writing prescribes with increasing urgency to its readers as the key to survival and success in the emerging modern world.
Their works were emulated and contested, too, in the literary productions of their contemporaries, some of whose names and works are already familiar to us and some of whom comprise an as yet relatively undiscovered country. It is possible to give greater form and substance to some of these shadows by revisiting their works, as I do here, making them “visible” again even when it is no longer possible to trace the details of their lives with the certainty we might wish. It hardly needs restating at this late date that for most of the twentieth century literary historians routinely minimized the poetry of Romantic women poets (if they noted it at all), just as they did to a lesser extent that of male poets outside the familiar “Big Five” (or “Big Six”).
British women poets and the romantic writing community by Stephen C. Behrendt
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