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Robert Pack - Affirming limits: essays on mortality, choice, and poetic form

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title Affirming Limits Essays On Mortality Choice and Poetic Form - photo 1

title:Affirming Limits : Essays On Mortality, Choice, and Poetic Form
author:Pack, Robert.
publisher:University of Massachusetts Press
isbn10 | asin:0870234838
print isbn13:9780870234835
ebook isbn13:9780585212586
language:English
subjectLiterature, Poetry, English poetry--History and criticism.
publication date:1985
lcc:PN45.P26 1985eb
ddc:809.1
subject:Literature, Poetry, English poetry--History and criticism.
Page iii
Affirming Limits
Essays on Mortality, Choice, and Poetic Form
Robert Pack
The University of Massachusetts Press
Amherst, 1985
Page iv
Copyright (c) 1985 by The University of Massachusetts Press All rights reserved Printed in the United States of America LC 85-2768 ISBN 0-87023-483-8 Designed by Barbara Werden Set in Linoterm Trump at the University of Massachusetts Press Printed and bound by Edwards Brothers
Library of Congress Cataloging in Publication Data
Pack, Robert, 1929
Affirming limits.
Includes index.
1. LiteratureAddresses, essays, lectures.
2. Poetry-Addresses, essays, lectures. 3. English
poetry-History and criticism-Addresses, essays,
lectures. I. Title.
PN45.P26 1985 809.1 85-2768
ISBN 0-87023-483-8
Some of the chapters of this book were first published in the following: Robert Frost: Lectures on the Centennial of His Birth, Library of Congress, Washington, 1975; Middlebury Alumni Magazine; Southern Review; New England Review; Kenyon Review; Hudson Review; Yale Preview; Tendril Magazine; Denver Quarterly; Selected Letters of John Keats, edited by Robert Pack, New American Library.
Acknowledgments for permission to reprint material under copyright appear on the last printed page of this book.
Page v
CONTENTS
Preface
vii
I
One
Art and Unhappiness
3
Two
Lyric Narration: The Chameleon Poet
23
Three
Silences, Sighs, Caesuras, Ellipses, Ohs and Ahs
41
II
Four
Macbeth: The Anatomy of Loss
67
Five
Wordsworth and the Voice of Silence
84
Six
Wordsworth and Stevens: Endurance and Sympathy
102
Seven
Keats's Letters: Laughter as Autobiography
131
Eight
Yeats as Spectator to Death
151
Nine
Frost's Enigmatical Reserve: The Poet as Teacher and Preacher
174
Ten
Steven's Sufficient Muse
189
III
Eleven
Separation and Fatal Desire
209
Twelve
The Tears of Art
236
Index
261

Page vii
PREFACE
Each chapter of this book was written to be an essay complete unto itself, and so the reader is invited to skip around if he or she so pleases. Yet, I have always had in mind the themes of how the idea of death is related to the idea of literary art, and, more generally, how human beings resist or accommodate themselves to their own mortality. These central themes have provided the book with its unity and structure which the reader may wish to consider.
A serious artist can hope for nothing more than to be read with care for detail and nuance, as well as for the sweep of passion and psychological or philosophical meaning. This book is my partial attempt to give thanks to the master artists whose work is here examined by reading them with sustained attention. I take their works to be their best inheritance. What I have learned about the demanding craft of poetry over the years, I have learned mainly from them; and what I have taken to heart about cherishing the little life we are given to live, that, too, has been their gift. As Stevens said: "In the last analysis, [poetry has] something to do with our self-preservation." The pleasure that poetry offers, I believe, must augment our troubled will to survive.
Page viii
For the convenience of my readers, I have included within my own text the poems that are being discussedwhen they are relatively short. It is assumed that the reader will have access to such longer works as King Lear, Paradise Lost, and The Prelude even in a time in America of the dominance of television and popular culture. I trust that this always will be so.
I wish to record my gratitude to Harold Bloom, John Elder, Paul Mariani, Gary Margolis, John Bertolini, Syd Lea, and Jay Parinifor their insights which have helped me test my own, for their detailed editorial suggestions, and, especially, for their friendship. Patty, my wife, listened and advised from beginning to end. Above all, I have tried for clarity and directness, assuming my reader to be a companion in the fellowship of art.
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