174. (Lord Byron)

Like many other great works of Romantic literature, Don Juan finds human caring to be a source of life and makes it an object of contemplation; like Blake’s lyrics and visions, like the poetry of Wordsworth’s decade, or Coleridge’s ballad, Byron’s mock-epic cares about caring. Looking for criticism on the topic, I came to Erik Gray’s study of nineteenth-century British poetry, The Poetry of Indifference, but found … Continue reading 174. (Lord Byron)

156. (Hannah Ginsborg)

My limited experience reading contemporary philosophers has convinced me that Wittgenstein, Kant, and Aristotle need to be read alongside one another, and that a tangle or confusion in one of the three is often worked out by the strength of a concept or line of argument in another; that view has itself been shaped and strengthened by the concurrent realization that the contemporary interlocutors and … Continue reading 156. (Hannah Ginsborg)

153. (Charles Sanders Peirce)

He has almost no interest in the field of aesthetics, and though his theory of semiotics might be thought most germane to the study of literature, it is not necessarily most germane to what is most literary in Peirce. I’m hardly an expert on the great American philosopher, but as I read his essays not for the first time, but for what feels like the … Continue reading 153. (Charles Sanders Peirce)

144. (Philip Larkin)

[COMPLETE VERSION.]  A chief complaint against Larkin is the insularity, his reaction to modernism that confuses an affirmation of Hardy’s special and lasting richness with a rejection of the internationalism that characterizes Pound and Eliot. It is the Larkin we see in a conversation with 1964 Ian Hamilton (collected in Further Requirements); asked “Do you read any foreign poetry,” the reply is stodgy and affected: “Foreign … Continue reading 144. (Philip Larkin)

133. (William Wordsworth)

Poetry consoles the feelings of betrayal and disappointment as it does no other feelings because poetry is inherently awakened by anxieties and realities of both: why else deviate into meter, novelties of metaphor, and disorienting patterns of language unless motivated somewhat by the sense that language, as it appears in various other, more normal combinations and arrangements, would betray and disappoint? In the past week, … Continue reading 133. (William Wordsworth)

132. (Alfred Lord Tennyson)

What to do with meter? The question for poets is simple: employ it, reinvent it, or leave it alone. For critics, the question is answered with greater difficulty, though critics might be said to fall into three corresponding camps: employing it (by relating it to the poem’s subject matter, or investing it with political and cultural significance), reinvent it (devising new schemes and notations for … Continue reading 132. (Alfred Lord Tennyson)