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By John Kerrigan

Seventeenth-century 'English Literature' has lengthy been considered in narrowly English phrases. Archipelagic English corrects this through devolving anglophone writing, exhibiting how a lot amazing paintings was once produced in Wales, Scotland, and eire, and the way preoccupied such English authors as Shakespeare, Milton, and Marvell have been with the usually fraught interactions among ethnic, spiritual, and nationwide teams round the British-Irish archipelago. This publication transforms our knowing of canonical texts from Macbeth to Defoe's Colonel Jack, however it additionally indicates the importance of a complete sequence of authors (from William Drummond in Scotland to the Earl of Orrery in County Cork) who have been favorite in the course of their lifetimes yet who've for the reason that develop into ignored simply because they don't healthy the Anglocentric paradigm. With its eu and imperial dimensions, and its shut cognizance to the cultural makeup of early sleek Britain and eire, Archipelagic English authoritatively engages with, questions, and develops the declare now made via historians that the crises of the 17th century stem from the instabilities of a state-system which, among 1603 and 1707, was once a number of, combined, and prone to permit neighborhood quarrels spiral into all-consuming clash. it is a significant, interdisciplinary contribution to literary and ancient scholarship that's additionally set to persuade present-day arguments approximately devolution, unionism, and nationalism in Britain and eire.

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Extra resources for Archipelagic English: Literature, History, and Politics 1603-1707

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It is the domain of reason, thought, and truth, as distinguished from and even opposed to that of imagination, illusion, and fable or myth, that Leopardi considers to be utterly unwholesome for the growth of true poetry. Though his own poetry is seldom free from thought, and sometimes thought at the deepest level, in theory Leopardi is as much in favor of the "life of sensations rather than that of thought" as Keats himself. Even if "logical intuition" and "fabulous prestige," as Lodovico Di Breme put it, are incompatible today, and even though our imagination is weaker than that of the ancients, it does not mean that the essential nature and material of poetry has changed.

Both, besides being models of creative polemics, are also illuminating accounts of what their authors considered to be the essential nature and function of poetry itself, not merely the difference between classical and romantic poetry. In many respects, therefore, this essay adumbrates Leopardi's theory of poetry as such and is an indication of the remarkably parallel or [ 21] Leopardi and the Theory of Poetry allied developments in him both as a poet and as a theorist and critic of poetry. One thing that must be made clear at the very outset is that what Leopardi condemned as romantic has very little to do, in spite of his reference to English and German poetry, with those attitudes, assumptions, and features which characterized English poetry at the beginning of the nineteenth century.

38 Whatever, therefore, be the intrinsic or historical value of Leopardi's juvenile writings of philological character as such, they constitute an indisputable proof of the level of critical awareness that his mind had reached at such an early age, and that governed his whole attitude to all he read or wrote. "39 With such an arduous training and background behind him, whatever Leopardi was going to say henceforward about poetry and literary criticism must at least have one infallible quality about it, that, whether it was basically right or wrong, it was the voice of a man who knew what he was talking about, and whose most casual observation was directly or indirectly the fruit of close study and earnest thought.

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