Ballad Collection, Lyric, and the Canon: The Call of the Popular from the Restoration to the New CriticismUniversity of Pennsylvania Press, 2013 M04 23 - 304 pages The humble ballad, defined in 1728 as "a song commonly sung up and down the streets," was widely used in elite literature in the eighteenth century and beyond. Authors ranging from John Gay to William Blake to Felicia Hemans incorporated the seemingly incongruous genre of the ballad into their work. Ballads were central to the Scottish Enlightenment's theorization of culture and nationality, to Shakespeare's canonization in the eighteenth century, and to the New Criticism's most influential work, Understanding Poetry. Just how and why did the ballad appeal to so many authors from the Restoration period to the end of the Romantic era and into the twentieth century? |
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... only if we look earlier and more broadly than the midcentury cult of hard and minstrel that has been the typical starting point for work on the Ballad Revival. Consider Thomas D'Urfey and William Blake. D'Urfey, the 10 Introduction.
... minstrel or bardic past from the public sphere of print culture as it emerges in the eighteenth century. When Coleridge favorably compares the “Agency” of the “little ballad” to that of Alexander the Great, he imagines a public bound ...
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Contents
1 | |
15 | |
Pastoral Progress and the Lyric Split in Allan Ramsay John Home and Robert Burns | 44 |
Collecting Shakespeares SongsShakespeare as Song Collector | 97 |
4 Ballads and the Problem of Lyric Violence in Blake and Wordsworth | 136 |
Child Ballads Childrens Ballads and the New Criticism | 185 |
Notes | 229 |
Bibliography | 263 |
Index | 283 |
Acknowledgments | 293 |
Other editions - View all
Ballad Collection, Lyric, and the Canon: The Call of the Popular from the ... Steve Newman No preview available - 2007 |