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Literary background ordinarily locates the first move towards poetic innovation in twentieth-century modernism, an impulse performed opposed to a supposedly enervated “late-Romantic” poetry of the 19th century. the unique essays in lively Romanticism problem this interpretation via tracing the elemental continuities among Romanticism’s poetic and political radicalism and the experimental hobbies in poetry from the late-nineteenth-century to the current day.

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

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P. 13 I n the sec­ond line of the note read stand up in-­ stead of hang down. In the last line of the advertisement put a comma  after the word leizure. (184) A tribute to the fallibility and unendingness of textual production, The Botanic Garden begins and ends in error, diversion, and disclosure. To enter or leave the text is to pass through several portals that turn the reader around and disorient the mind in ways that facilitate the reception of what follows. The poem makes its own “virtual” world.

One poem might suffice to show the nature of the experiment, though no single method typifies the work. deep within I turned from reading the day outside the page a sort of rainbow seemed to obscure it through which the birds flitted with a sort of sleepy heaviness their bright bodies interwoven with it some ashy light in my eyes forced me to put down my book and my ambitions therein my eyes both night and day and my comfort if comfort it was 42 Dan Beachy-Quick I saw in the pages that closing narrowed the whole day into a minute quantity of light as if through a crack and I had no way to speak of it and then it was done (21) The italicized lines are taken from Milton’s letter describing the onset of his blind­ness, a letter quoted in its entirety earlier in the poem.

I cannot help but hear, in the tense lyre-­string of my own mind, Keats’s lines “but here there is no light, / Save what from heaven is with the breezes blown” (Rothenberg and Robinson 308–11), in which the wind carries light from an upper realm to a lower realm, a light that is not wholly light, interweaving the latticework of one world into that of another, claiming inside music, vision. In complete darkness, the nightingale singing ever farther away, Keats names every flower whose scent he can smell, brought to him on this heaven-­blown breeze.

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