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What happens to poetry when it is reframed within a work of prose? This paper analyzes William Hazlitt's prose style, with particular attention to moments in which he reframes poetry by extracting it from the patterns of rhyme and meter and placing it within the rhythms of his essays. In doing so, Hazlitt stylistically challenged the boundaries of genre; simultaneously, the content of his essays defined prose as a hybrid form, built through a process of mining other texts for quotations. This paper also makes an argument for the crucial role material culture played in Hazlitt's writing style. It demonstrates how Hazlitt's participation in friendship albums and commonplace books informed what he called a “familiar style” of writing. Ultimately, this paper sheds light on understudied manuscripts and analyzes their role in shaping the Romantic-essay form. [ABSTRACT FROM PUBLISHER]

The work of Alejandra Pizarnik has been a central part of the questioning of subjectivity in recent literary criticism. Two basic patterns have emerged: one outlines the unification of the poetic persona and the poet's tragic life; another draws attention to the fundamental lack that is presupposed (even in the first case) once subjectivity is understood structurally (i.e., linguistically). While this divide has been posited as the rupture between Romanticism and postmodernism, this paper claims that the basic pattern of subjectivity in question marks a continuity with the Romantic tradition and, furthermore, that this tradition is one that abolishes the singularity of the poem for Pizarnik. A third subjective position then emerges, one that Pizarnik simply terms 'the new voice, unknown'. This third subjective position divides her oeuvre from within and incorporates the other two.El trabajo de Alejandra Pizarnik ha sido importante para el cuestionamiento del concepto de subjetividad en la crítica reciente. Dos patrones se han impuesto: uno propone la unificación del sujeto poético y la figura trágica de Pizarnik la persona; otro hace hincapié en la falta en la que se funda todo sujeto (hasta en el del primer caso) una vez la subjetividad se piensa estructuralmente (es decir, lingüísticamente). Esta división se ha visto a través del lente de la ruptura entre el romanticismo y la posmodernidad. Este ensayo sostiene que en ambos casos el tipo de subjetividad está en continuidad con el sujeto romántico, y, más allá, que, para Pizarnik, esa tradición destruye la singularidad del poema. Un tercer tipo de sujeto surge entonces, al que Pizarnik simplemente llama la 'voz nueva, desconocida', y divide su obra desde el interior a la vez que incorpora los primeros dos. [ABSTRACT FROM AUTHOR]

Intense sensations of not-belonging mark the poetry of the Argentine writer Alejandra Pizarnik (1936-1972). Her early poems propose a poetic subject who is existentially 'exiled' yet engaged in creating a literary genealogy based on Romanticism and Surrealism. Her poems written in Paris examine the split subject of writing, alongside the possibilities of aesthetic rebellion in language. This paper interrogates the political potential of such a notion of poetic belonging, within the dual context of exile in Argentine literature and the perceived split in Argentine poetics of the 1960s between socially and aesthetically committed writing. [ABSTRACT FROM AUTHOR]

The article discusses British criticism of French poetry between 1814 and 1830, in the period of French Romanticism. It comments on the rejection of French neoclassicism and the perceived artificiality of earlier French poetry. The author considers criticism of ancient and modern French poetry, examining the views of British authors and critics Henry Francis Cary and Thomas Colley Grattan. Attitudes toward the work of French poet Jacque Delille are addressed. The idea that French poetry evolved through phases of oppression, revolution, and liberation is also considered.

In this article the author discusses the relevance of prophecy to life in London in the late 18th and early 19th centuries. He argues that Thomas De Quincey foresaw a shift in the division of British culture, in which poetic imagination and redemptive spirituality shifted from the urban to the rural. The author also discusses the Romantic poetry of William Wordsworth and Samuel Taylor Coleridge in relation to the conceptual urban/rural split.

In this article the author analyzes the poem "The Old Cumberland Beggar" by Romantic poet William Wordsworth. He explains how Wordsworth defied the expectations of his upper-class readers by challenging their ability to identify with the character in the poem. The author argues that while conventional humanitarian poems create sympathy for beggar figures, "The Old Cumberland Beggar" intentionally displaces this sympathy and creates a feeling of dislocation.

In this article the author discusses eco-criticism of 18th and 19th century Romantic writers, particularly William Wordsworth and Lord George Gordon Byron. He explains the nature-culture binary observed by eco-critics and argues that Byron challenges this binary by demonstrating the interdependence of nature and culture as two parts of the same whole.

A literary criticism of the book "The Sacred Wood" by T.S. Eliot is presented. It explores Eliot's impressionistic criticism which is presented in the book. It examines the concepts of post-Romantic commentary style of poetry writing as understand and explain in Eliot's poetry. An overview of the book is also given.