qMisbehaving Prose: The Poetics of Subversion in the Later Romantic Essay, q examines the relationship between the essays of Charles Lamb, Leigh Hunt, and William Hazlitt, and the poems of the subversive Cockney group, including Byron, Shelley, Hunt, and Keats. Unlike previous critics, I am intervening in a literary history, which has called the essayists minor, and am elevating them to the stature of the poets. I argue that the work of the later Romantic essayists reveals qualities that unmask and criticize the embedded literary, social, and political values of England during the early nineteenth century in terms of what were recognized as the subversive goals of the Cockney School as described by Jeffrey Cox and others. By investigating poetic components of the Romantic essay - narrative stance, sentence and paragraph structure, and tropes - I demonstrate how the essayists use their innovative work to convey their social vision in a way that parallels the innovations in poetics of Byron, Keats, and Shelley. In so doing, I argue that the practices of poets and essayists at this time were not the isolated or idiosyncratic gestures that scholars and anthologies usually represent them to be, but rather work in concert (or perhaps, parallel) toward a new poetics and politics of cultural literacy and form the basis for a modern poetics of social materialism.Silliman quotes ValAury, who contrasts this poetic essence of poetry with that of prose by comparing poetry to dance, which is aa system of actions ... whose end is in themselves. It goes ... First, dancers always embed some meaning and social statement into their choreography. ... for the sake of the walk, ValAurya#39;s assertion misses a really important door into understanding what these essays are doing.
|Title||:||Misbehaving Prose: The Poetics of Subversion in the Later Romantic Essay|
|Publisher||:||ProQuest - 2007|