Poetry For Poetry S Sake

Andrew Cecil Bradley (1851-1935) was an English literary scholar, best remembered for his work on Shakespeare. The outcome of the five years as Professor of Poetry in Oxford were A. C. Bradley's two major works, Shakespearean Tragedy (1904), and Oxford Lectures on Poetry (1909). All of his published work was delivered earlier as lectures. Bradley's pedagogical manner and his self-confidence made him a real guide for many students to the meaning of Shakespeare. Though Bradley has sometimes been criticised for writing of Shakespeare's characters as though they were real people, his book is probably the most influential single work of Shakespearean criticism ever published. By the midtwentieth century his approach became discredited for many scholars; often it is said to contain anachronistic errors and attempts to apply late 19th century novelistic conceptions of morality and psychology to early 17th century society. Bradley's other works include: Poetry for Poetry's Sake (1901), A Commentary on Tennyson's In Memoriam (1901), and A Miscellany (1929).

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

For Art's Sake opens to a garden of creation, music, sculpture, painting and dance bloom in Curt Curtin's beautifully crafted poems. In "after Auden's 'Musée des Beaux Arts, '" Icarus transforms to Private Icarus "blown skyward by a bomb." In "Shaping," Michelangelo's David, "a stone/with a boy inside" becomes Curtin's "a child with a stone inside" and in "Bach's Magnificat," the canticle sounds from the abandoned interior of Northampton State Hospital while former patients and others listen. For Art's Sake roots us in earth and through art, opens us to joy. -Susan Roney-O'Brien, educator and author of Bone Circle, Legacy of the Last World, and several other poetry collections; convener, Thirsty Lab Poetry Reading, Princeton, MA Profoundly imaginative and subtle, tender, alive with colours and tones, sensitive to mood and nuance, coaxing "unuttering" art to utter-these are marvellous poems. John Carey, Emeritus Merton Professor of English Literature, University of Oxford, literary critic and author of over a dozen books including What Good Are the Arts? The loss of one's sight has for poets, often opened the eyes to, as Milton put it, that inner "second sight" which then discovers new perspectives about our world. So with Curt Curtin who uses his inner sight to illuminate Old Masters of art and music through a far different lens than we sighted ones, such as this excerpt from his poem "Chickadee" "...her quick and undulating flight, so like a line of quarter notes in the sky...." Rodger Martin, author of The Battlefield Guide and two other poetry collections; teacher, editor, journalist; director of Monadnock Pastoral Poets of New Hampshire