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Quote by Nanette L. Avery

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Nanette L. Avery

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“I have dwelt at length with this poem because it epitomizes and transforms much eighteenth-century criticism of Spenser and because, like any other imitation, it acts as an implicit criticism of the original. The Minstrel takes up major themes in mid-century poetics and criticism - speculative interest in origins, natural descriptions, humble life, the supernatural, education, political corruption - and merges them, awkwardly it must be said - into something recalling a Spenserian romance. The celebrity of Beattie's poem has more to do with its intellectual than its poetic achievements. The Minstrel demonstated that romance could take on the serious social business hitherto treated in epic and georgic, epistle and satire; it proved to an age obsessed with originality that a poet might imitate wihout copying, and emulate Spenser in a way that avoided objections to archaism, allegory, and the use of stanzas in a long poem. Beattie did all these things but did them imperfectly. For the next fifty years, romantic Spenserians would retain beattie's doctrines while refining his poetics.”

PoetryRomanticismEdmund SpenserJames BeattieThe Minstrel1771
Book:Edmund Spenser: A Reception History
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“But first of all he is a woodsman, and you aren't a woodsman unless you have such a feeling for topography that you can look at the earth and see what it would look like without any woods or covering on it. It's something like the gift all men wish for when they or young-- or old-- of being able to look through a woman's clothes and see her body, possibly even a little of her character.”

WomanNudityTopographyWoodsman
Book:Young Men and Fire
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“O río aínda collía uns anacos da lúa vella, de lúa podre, de anaco de cabazo podre que se despenaba, de manteiga amarela, de luz pegañosa, polas restrebas escorrendo a se derreter por embaixo dos piñeiros de Santa Ladaíña a retrincos aínda máis vermellos, como cando vin o ferro vivo na fundición de Malingre ou o ferro na fragua do Catapiro no primeiro instante da auga, agora sen chiar, alumando de preguiza, sen renxer, manseliño polas restrebas; todo tépedo, calado, arrecendendo a río do verán, á espesidume do cheiro do verán, ás pozas mornas do verán, a cabazo podre, a lúa morta aformentada do verán, escorregando até os enchoupos do brión, cos retrincos de luz amarela, morredía, na auga encol dos cachóns múos do verán, e tantas arrás na espesidume do seu canto no cheiro da lama do verán, e a luz vermella nas pozas e limos apegadizos, e nos coiñais dunha soa cor an espesidume do ar do verán e as sombras medrando medrando, afundíndose, estendéndose sen se ver xa a outra beira do río, xa con présa como apagándose todo decontado, e puña medo.”

Topography
Author:Eduardo Blanco Amor
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“A paisaxe non ten o ledo verdor das terras cháns e abertas que Pedro alvistou dende o tren. O coche vai rolando, a tombos, por gándaras ermas e lombos areosos; baixa polas abas dun monte cuberto con herbas do demo, para caer en tremedales de xuncos; gabea por outeiros con alfarrobeiras e corre por chairas tiñosas. Xa decorreron moitas horas de andadura, a rolar por soedades, e no devalo do día, aparece un casal, alá no fondo, á veira dunha lagoa, espello morto de augas salitrosas.”

Topography
Book:Os dous de sempre
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“Souls of poets dead and gone, What Elysium have ye known, Happy field or mossy cavern, Choicer than the Mermaid Tavern? Have ye tippled drink more fine Than mine host's Canary wine?” Sweeter than those dainty pies Of venison? O generous food! Drest though bold Robin Hood Would, wit his maid Marian, Sup and bowse from horn and can “I have heard that on a day Mine host's sign-board flew away, Nobody knew whither, till An astrologer's old quill To a sheepskin gave the story, Said he saw you in your glory, Underneath a new old sign Sipping beverage divine, And pledging with contented smack The Mermaid in the Zodiac.”

SoulsTavernsPoets Writers
Author:John Keats
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“Nearly every writer writes a book with a great amount of attention and intention and hopes and dreams. And it's important to take that effort seriously and to recognize that a book may have taken ten years of a writer's life, that the writer has put heart and soul into it. And it behooves us, as book-review-editors, to treat those books with the care and attention they deserve, and to give the writer that respect." Pamela Paul, New York Times Book Review editor, in a Poets & Writer's interview (something for all reviewers to think about)”

Book ReviewsPoets WritersPamela Paul
Book:Leaving the Hall Light On
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