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Mystique of Romance

*Et, O ces voix d’enfants, chantant dans la coupole!*


*the walls*

*Of Magnus Martyr hold*
*Inexplicable splendour of Ionian white and gold.*





*The voice of the hidden waterfallAnd the children in the apple-treeNot
known, because not looked forBut heard, half-heard, in the stillnessBetween
two waves of the sea.  *

*the fire and the rose are one *

CR

On Fri, Dec 1, 2017 at 1:06 PM Chanan Mittal <[log in to unmask]> wrote:

>
>
>
>
> *Dry the pool, dry concrete, brown edged,And the pool was filled with
> water out of sunlight,And the lotos rose, quietly, quietly,The surface
> glittered out of heart of light...Then a cloud passed, and the pool was
> empty.*
>
>
> *Go, go, go, said the bird: human kindCannot bear very much reality.*
>
> This is it.
> CR
>
> On Thu, Nov 30, 2017 at 6:32 PM Chanan Mittal <[log in to unmask]> wrote:
>
>> Classicism of Eliot’s poetry is, in fact, a consummation of Romanticism,
>> not its negation. It’s a triumph of imagination.
>>
>>                                        “Here, said she,
>> Is your card, the drowned Phoenician Sailor,
>> (Those are pearls that were his eyes. Look!)”
>>
>> The personal here acquires a more universal character without ceasing to
>> be personal:
>>
>>                               “I sat upon the shore
>> Fishing, with the arid plain behind me
>> Shall I at least set my lands in order?”
>>
>> And the images soar as much on wings of Romantic poesy:
>>
>> “The river’s tent is broken: the last fingers of leaf
>> Clutch and sink into the wet bank. The wind
>> Crosses the brown land, unheard. The nymphs are departed.”
>>
>> A transformation of Romanticism, if you like. Its spirit vibrant and
>> alive.
>>
>> CR
>>
>> On Mon, Nov 27, 2017 at 8:12 PM Chanan Mittal <[log in to unmask]> wrote:
>>
>>> In point of fact the point I’m making is nothing new. It was raised as
>>> earlier as that. It was made by Grover Smith too (TS Eliot’s Poetry and
>>> Plays: A Study in Sources and Meaning). Eliot, he wrote, was admittedly a
>>> classicist only ‘in tendency.’ Temperamentally a romantic, he abhorred the
>>> gap between the actual and the ideal. All the same Eliot paved the way for
>>> a new idiom of poetry.
>>>
>>> CR
>>>
>>>
>>>
>>> On Mon, Nov 27, 2017 at 6:06 PM Cox, Carrol <[log in to unmask]> wrote:
>>>
>>>>
>>>> The New Poetic: Yeats to Eliot (Classic Criticism) C.K. Stead: Continuum
>>>>
>>>> -------
>>>>
>>>> This alleged "new poetic" is over a century old; in other words,
>>>> critics who treat Pound, Eliot, Yeats etc  as "new" are duplicating the
>>>> critics of 1920 who regarded Wordsworth and Shelley as the cutting edge of
>>>> poetic practice.
>>>>
>>>> Is there anyone on the list deeply familiar with the criticism &
>>>> scholarship of the last 20 hears who can give real information on what
>>>> 'now' is regard as "new"?
>>>>
>>>> At the time when LBJ" rape of democracy in the Dominican Republic
>>>> abruptly shifted my focus of energy, I was reading Merwin, Snodgrass, et al
>>>> as "new," though my personal preferences were Pound & Pope.  And even by
>>>> 1965 the "New" critics were looking a bit moldy alongside Frye, Kenner,
>>>> Davie, & others.
>>>>
>>>> Carrol
>>>>
>>>>
>>>>
>>>>
>>>>