Modern American Poetry
(^12) Harold Bloom are attending a “unison and a dance.” This “death’s festival”— memento moriand celebration of the “Undying”—e ...
Introduction 13 you remember, with a grove of gnarled maples centering the bare pasture, sacred, surely—for what reason? William ...
(^14) Harold Bloom Shakespeare himself freed a single word “to be a fact in its own right.” William Carlos Williams was, at his ...
Introduction 15 nowhere near so dubious as it is in the Cantos. Confronted by a past poetic wealth in figuration, Pound tends to ...
(^16) Harold Bloom It was you that broke the new wood, Now is a time for carving. We have one sap and one root— Let there be com ...
Introduction 17 three solemn half notes their white downy chests black-rimmed on the middle wire periplum Pound begins by recall ...
(^18) Harold Bloom Cradle,” with Whitman their brother making a third, utter “three solemn half notes” even as the loneliness of ...
Introduction 19 MARIANNE MOORE For Plato the only reality that mattered is exemplified best for us in the principles of mathemat ...
(^20) Harold Bloom pony), all of La Fontaine’s bestiary, not to mention sea and land unicorns, basilisks, and all the weird fabu ...
Introduction 21 produced an occasional poetic disaster like the patriotic war poems, “In Distrust of Merits,” and “‘Keeping Thei ...
(^22) Harold Bloom virtually enslaved not only by Eliot’s insights but by the entire span of his preferences and prejudices. If ...
Introduction 23 it from Keats and Shelley, who in turn had been instructed by Wordsworth’s crisis lyrics and odes, which go back ...
(^24) Harold Bloom never ceased to share with the elegiac Whitman and the Virgilian Tennyson: “Lilac and brown hair; / Distracti ...
Introduction 25 heart” in the labor of rejoicing, having indeed constructed something upon which to rejoice. That Eliot, in retr ...
(^26) Harold Bloom Under thy shadow by the piers I waited; Only in darkness is thy shadow clear. The City’s fiery parcels all un ...
Introduction 27 moaning for her castaways. But the Orphic Dionysus, rent apart by Titanic forces, dominates the sixth lyric, whi ...
(^28) Harold Bloom seventeen stanzas of Shelley’s Adonais. Crane’s absolute music, like Plato’s, “is then the knowledge of that ...
Introduction 29 visionary history. Crane’s bridge is to Atlantis, in fulfillment of the Platonic quest of Crane’s Columbus. Elio ...
(^30) Harold Bloom half of “Atlantis,” is to start again where Dickinson and Whitman ended, and where Eliot had sought to show n ...
Introduction 31 O Thou steeled Cognizance whose leap commits The agile precincts of the lark’s return, Within whose lariat sweep ...
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