MARC Record from marc_columbia

LEADER: 03110fam a2200361 a 4500
001 1548951
005 20220608185005.0
008 940516t19941994nju b 001 0 eng
010 $a 94020741
020 $a0838635717 (alk. paper)
035 $a(OCoLC)30544280
035 $a(OCoLC)ocm30544280
035 $9AKD1566CU
035 $a(NNC)1548951
035 $a1548951
040 $aDLC$cDLC$dDLC
050 00 $aPR4814$b.E34 1994
082 00 $a821/.7$220
100 1 $aEdgecombe, Rodney Stenning.$0http://id.loc.gov/authorities/names/n85042738
245 10 $aLeigh Hunt and the poetry of fancy /$cRodney Stenning Edgecombe.
260 $aMadison :$bFairleigh Dickinson University Press ;$aLondon ;$aCranbury, NJ :$bAssociated University Presses,$c[1994], ©1994.
300 $a276 pages ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references (p. [259]-270) and index.
505 0 $a1. Fancy and Its Effects -- 2. Narrative Poems: I -- 3. Narrative Poems: II -- 4. Political and Critical Poems -- 5. Miscellaneous Verse.
520 $aLeigh Hunt has long been stigmatized as Keats's evil genius, a superficial and mannered poet whose influence can be observed in such early poems as I Stood Tip-Toe and Sleep and Poetry. His portrayal as Harold Skimpole in Bleak House has also fostered an impression of triviality and selfishness in the minds of those who do not trouble to read him.
520 8 $aLeigh Hunt and the Poetry of Fancy, so far the only book devoted exclusively to his verse, takes issue with these received opinions and argues that, overshadowed by the work of his more gifted contemporaries, Hunt's output has suffered repeatedly from invidious comparisons. Author Rodney Stenning Edgecombe suggests that we need to bring his admittedly minor poetry out of the shadows and, approaching it on its own sunny terms, find a way of enjoying its slightness and delicate charm.
520 8 $aWith this in mind, Edgecombe urges that we approach the poet as a rococo artist, using this aesthetic category to legitimize and focus the decorative impulse that informs his vision, and the escapism that sometimes led him, as a poet, to skirt many of the issues he so bravely fought for through his Radical journalism.
520 8 $aLike Wordsworth, Hunt divided his output into loose generic categories when he began preparing a select edition of his poetry toward the end of his life, categories retained and amplified by H. S. Milford in his 1923 edition. Edgecombe has used these divisions as a way of organizing his study, and also of illustrating the immense range of forms and genres that the poet explored in the course of a long career.
520 8 $aHe furthermore offers close readings of many seminal poems in an effort to show that Hunt, dismissed by Carlyle as a sort of poetic "tinker," was a generally creditable craftsperson, and that when the occasion inspired him, he could write very well indeed.
600 10 $aHunt, Leigh,$d1784-1859$xCriticism and interpretation.
852 00 $bglx$hPR4814$i.E34 1994