please forgive me for staying the distance. So call me a defender, Temp . I am defending an inclusive aesthetic, one that attempts to integrate rather than isolate the rational and irrational dimensions of human experience. I am the one, who sees the poem as activating both the mind and heart . And yet, while the principles you are putting forth are attractively inclusive, your critical judgments of individual poets often seem eccentric and moralistic. But perhaps this perspective has limited the influence of his ideas on contemporary American poetry already.
kotl
NID
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"Is not all life the struggle of experience, naked, unarmed, timid but immortal, against generalised thought?" (W.B.Yeats)
In Antwort auf:But perhaps this perspective has limited the influence of his ideas on contemporary American poetry already.
Thinking, in your view, is something larger than logical argument or discursive rigor. It isn’t tied to any one style or form of writing; it isn’t only or primarily a function of content or theme. Rather, thinking is synonymous with whatever aesthetic intent governs the unfolding shape of an individual poem. A poet’s compositional habits, structural devices, and formal and rhetorical schemes project the energy of a mind at work.
kotc
Temp=)
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ A brave man once requested me to answer questions that are key is it to be or not to be and I replied:"so why ask me?" _______________________________________
Obviously poetry is much more than " a mind at work" . Romanticism belongs to the History of the Western world. Yet reading the Romantics today, reading them as if for the first time, skipping prefaces and other framing critical discourses, with the eyes of a scholar trying honestly to make his own mind about these works of the past: such an experience is bound to come as a surprise. For the dominant impression, soon building up into a conviction, is that what one is reading is different from what one had expected. It is obviously more complex, and truly much more problematic. These poets are still alive and questioning, and their works offer compelling fields of research. It seems that they have acquired a new lisibilité in the second half of the twentieth century, as if what had seemed for a time a stale and has-been period of literature had now started literally making sense again.
The wind may in fact have started turning with The Romantic Agony (1956), when Mario Praz made the innovative critical demonstration that “there is no opposite pole to ‘romantic’,” and that “classicism, then, is by no means alien to the romantic spirit” [14]. This amounted to the realisation that Romanticism is neither a style nor a set of ideas or preferences, but the artistic expression of the openness of intellectual process, the exaltation of “the artist who does not give a material form to his dream.”
kotl
NID
_____________________________________________
"Is not all life the struggle of experience, naked, unarmed, timid but immortal, against generalised thought?" (W.B.Yeats)
This amounted to the realisation that Romanticism is neither a style nor a set of ideas or preferences, but the artistic expression of the openness of intellectual process, the exaltation of “the artist who does not give a material form to his dream.” The Romantic Agony is this essential Angst generated by the fact that Romantic art is a self-conscious illusion, realising itself as illusion. Praz’s discovery was Romantic precisely in as much as it was a liberation from binary thinking. Afaik this critical shift was confirmed and exemplified in the days of Deconstruction...
kotc
Temp=)
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ A brave man once requested me to answer questions that are key is it to be or not to be and I replied:"so why ask me?" _______________________________________
In Antwort auf:Afaik this critical shift was confirmed and exemplified in the days of Deconstruction...
I would subscribe to your point of view . This critical shift was confirmed and exemplified in the days of Deconstruction, with studies like those written by Paul de Man from the 1950s on, that were later gathered in The Rhetoric of Romanticism (1984), which contradicted the approach of so-called New Criticism that tended to see the great romantic texts as eternal monuments that reached to a canonical Empyrean above the historical contingences of their production. Under the pens of these Modern Frankensteins, the texts lived again, sometimes in rather shocking and apparently unnatural ways. Then, while Deconstruction had striven to shake the Romantic poems loose from internal closure, New Historicism restored them to their historical context, yet no longer merely to read them as reflectors of their times, but in ways that showed how they too cast a new light on their historical epochs and perhaps even proved them to have played no negligible part in shaping the History of ideas. One exemplary work among many others in this vein is no doubt Jerome McGann’s The Romantic Ideology (1983), which demonstrates how much twentieth-century academic and critical responses to Romantic poetry is still dominated, more or less consciously, by ideas and beliefs that are the produce or the inheritance of Romanticism.
kotl NID _____________________________________________
"Is not all life the struggle of experience, naked, unarmed, timid but immortal, against generalised thought?" (W.B.Yeats)
Hugh Dixon obtained M.Mus.(hons) from the University of Auckland in 1968, studied science and music at Victoria University of Wellington and music at Canterbury University of Christchurch before moving to Auckland where he has lived most of his life. He obtained a Diploma of Teaching from Wellington Teachers' College (1950). His career has spanned a wide range of music teaching, in particular, brass instruments. It also embraced teaching general science in secondary schools. For a period of 18 years he taught brass instruments and music theory privately.For seven years, Hugh was trumpet player in The Symphonia of Auckland (now Auckland Philharmonia).
It´s a romantic piece of music, Temp - just tried it.
warm regards,
Blue
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The existence of truth only becomes an issue when another sort of truth is in question. (R.Rorty)
In Antwort auf:Obviously poetry is much more than " a mind at work" . Romanticism belongs to the History of the Western world. Yet reading the Romantics today, reading them as if for the first time, skipping prefaces and other framing critical discourses, with the eyes of a scholar trying honestly to make his own mind about these works of the past: such an experience is bound to come as a surprise.
Dear Friends,
Poetry searches for radiance, poetry is the kingly road that leads us farthest. We seek radiance in a gray hour, at noon or in the chimneys of the dawn, even on a bus, in November, while an old priest nods beside us. The waiter in a Chinese restaurant bursts into tears and no one can think why.
Who knows, this may also be a quest, like that moment at the seashore, when a predatory ship appeared on the horizon and stopped short, held still for a long while. And also moments of deep joy and countless moments of anxiety. Let me see, I ask. Let me persist, I say. A cold rain falls at night. In the streets and avenues of my city quiet darkness is hard at work. Poetry searches for radiance.
(Clare Cavanagh)
Con -THE DREAM OF LASTING PEACE, WORLD CITIZENSHIP AND THE RULE OF INTERNATIONAL MORALITY WILL REMAIN NOTHING BUT A FLEETING ILLUSION, TO BE PERSUED BUT NEVER ATTAINED (B.M.)
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. I am defending an inclusive aesthetic, one that attempts to integrate rather than isolate the rational and irrational dimensions of human experience. I am the one, who sees the poem as activating both the mind and heart 
. Romanticism belongs to the History of the Western world. Yet reading the Romantics today, reading them as if for the first time, skipping prefaces and other framing critical discourses, with the eyes of a scholar trying honestly to make his own mind about these works of the past: such an experience is bound to come as a surprise. For the dominant impression, soon building up into a conviction, is that what one is reading is different from what one had expected. It is obviously more complex, and truly much more problematic. These poets are still alive and questioning, and their works offer compelling fields of research. It seems that they have acquired a new lisibilité in the second half of the twentieth century, as if what had seemed for a time a stale and has-been period of literature had now started literally making sense again. 
