Download A History of American Poetry by Richard Gray PDF

By Richard Gray

A historical past of yankee Poetry provides a finished exploration of the advance of yankee poetic traditions from their pre-Columbian origins to the current day.

- deals a close and available account of the full variety of yank poetry
- Situates the tale of yankee poetry inside of the most important social and old contexts, and locations person poets and poems within the proper intertextual contexts
- Explores and translates American poetry by way of the foreign positioning and multicultural personality of the United States
- offers readers with a method to appreciate the person works and personalities that helped to form the most major our bodies of literature of the previous few centuries

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Emerson and Whitman were far more than just the cultural descendants of Cotton Mather and Benjamin Franklin; so, perhaps even more so, were Frost and Crane. But it would surely be right to suggest that why American thinking and writing, or at least much of it, brings together “gold dust” and “shrewd wit,” dream and fact, the veins of eternity, the crowd and the dentist’s chair, has to do with the mixed heritage of Descartes, John Locke, and the founding fathers of the republic. The other, shaping ideas the Enlightenment offered to forms of American thought and writing were those of Use and Progress.

But structurally, subliminally, there is also a connection, commerce, with the woman usually described as the first published African American poet. ” Forging the Uncreated Conscience of the Nation The initial dialogue in the Hughes poem is, nevertheless, with Whitman – as its title, “I, too, sing America,” clearly intimates. ” For Whitman, as for Emerson and Thoreau, at the core of any plan or desire to sing America were the principles of openness, freedom, and, above all, individualism. The key to American poetry, as he saw it, was a series of paradoxes.

His conservatism, tinged with his professed allegiance to his adoptive Southern homeland, anticipates, among others, such Fugitive poets as John Crowe Ransom and Allen Tate – writers just as obsessed as Poe was with the pressure of the past and an imagined world of aristocratic ease and leisure. ”66 All these, and many other American poets, have been in creative dialogue with Poe. Which is not to deny that they have also been in dialogue with others: Tate with Eliot, for instance, Stevens with Keats and the Symbolistes, Ashbery with Stevens, Plath with Emily Dickinson and Lowell, Crane with Whitman and Melville.

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