Active Romanticism: The Radical Impulse in

Literary heritage in most cases locates the first stream 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 lively Romanticism problem this interpretation through tracing the basic continuities among Romanticism’s poetic and political radicalism and the experimental activities in poetry from the late-nineteenth-century to the current day.

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Additional info for Active Romanticism: The Radical Impulse in Nineteenth-Century and Contemporary Poetic Practice (Modern & Contemporary Poetics)

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But as a field (location and practice), it is also a place of dwelling. In the midst of Nota, Corless-­Smith places a book within a book: “A Selection from the Works of Thos. Swan (MS. ) and poems in vari­ous states of vision and re-­vision. The poems bear enough of a lyric sensibility that the reader suspects Corless-­Smith is the poet who wrote them. But the perfection of his mask is its imperfection. For the poems too differ, and one suspects—even as one tries to dismiss—that Swan’s poems are truly written by Swan himself.

The poet is herself one such fact. This is a work the poet does, but also a work done upon the poet. The poet labors so as to be worthy of receiving the gift, be that gift vision, or be it a glimpse into that music that rectifies discord into sudden harmony. The poem conducts within itself a search for the necessity its beauty rests on. 44 Dan Beachy-Quick Its thinking is this search. Such thinking is multiform, and so too is a poem.  . coming nearer to the fact” (Emerson 220). ” Genius not only “realizes and adds,” (212), it is the furious repair of the world.

Such thinking is multiform, and so too is a poem.  . coming nearer to the fact” (Emerson 220). ” Genius not only “realizes and adds,” (212), it is the furious repair of the world. 3. It is within this crisis of self, this riddle of I, that Martin Corless-­Smith’s work gains one of its radically romantic valences. Corless-­Smith is returning to the roots of the Romantic tradition—a poetic gesture not of exhumation, nor of the critic’s effort to classify the previously living strand, but rather a method of digging down to the roots so as to revivify them, to show the vitality never left, and to graft his own experiment onto this previous experiment whose organic life never ceased its living.

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