By Heather Dubrow
Notable educational name, selection magazine
This e-book confronts frequent assumptions approximately lyric as a literary mode, exploring such issues as its courting to its audiences, the impression of fabric stipulations of construction and different cultural pressures, lyric's negotiations of gender, and the interactions and tensions among lyric and narrative.
Offering clean views on significant texts of the period—from Wyatt's "My lute awake" to Milton's Nativity Ode—as good as poems via lesser-known figures, Heather Dubrow extends her serious conclusions to poetry in different ancient sessions and to the connection among artistic writers and critics, recommending new instructions for the research of lyric and style. large in scope, The demanding situations of Orpheus will curiosity scholars and students throughout a variety of old fields.
"Thorough, penetrating, and at the innovative of latest scholarship. Essential."— Choice
"A necessary and specific research. Dubrow is principally solid at analysing the connection among gender and genre."— instances Literary Supplement
"Dubrow accomplishes a lot during this pioneering study."— reports in English Literature
"Her research exemplifies a fantastic of educated and sensible shut interpreting that you could merely desire will end up as infectious as its writer needs it to be."— sleek Language Review
"Represents either a wide-ranging exploration of lyric poetry within the early glossy interval and a plea for students to stress multivalent rules and inclusive taxonomies over hierarchical and sharply argumentative approaches."— Year's paintings in English experiences
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Extra info for The Challenges of Orpheus: Lyric Poetry and Early Modern England
In my third chapter, I turn to a poet whose problem is a specificity bordering on triviality. Whether criticized for his absence of technique and narrow frame of reference, or celebrated for his unadorned inclusion of everyday life, Frank O’Hara’s “I do this, I do that” poems are best known for their loquacious over-particularity. Even loving O’Hara, as so many do, presents at once an aesthetic problem—Why should we care about the expression of such slight catalogues of likes and dislikes? —and an ethical problem—Why should we commit ourselves to a world in which the value of the person seems dependent on the vicissitudes of taste?
The radically different barriers to acceptance or comprehension that these poets present to readers—their moral or conceptual incoherence, their silence, triviality, boredom, or indifference—these are not indicators of incommensurable projects, but rather indexes of their convergence, out of idiosyncrasy, upon a shared account of poetry and of personhood: one that is deliberately hostile not just to “social contingency” and “public reading” but to all contingency and to any reading. Such an account may cross the distinct strands that make up the history of poetry without transcending history itself.
There may be as many kinds of poetry as there are shapes that the living hand can form or modes of reflection that the furnished mind can undertake. But as the case studies that follow will show, reading in the history of the theory of poetry may benefit from a less straitened sense of what counts as a context and a more capacious view of what constitutes a moment. 77 Poetic responses to contingency are influenced by noncontingent entailments of the medium; the fact that a poem is a made thing that is heard, read, or seen motivates its perennial interest in problems of voice and address, substance and its perception.