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Succinctly called "a book of tales of various kinds, romantic, humorous, ghostly, and gory, written at any time over the past six hundred years" by the compilers, Iona Opie and the late Peter Opie, this universally-appealing collection of 59 poems illuminates the literary tradition of narrative verse from Chaucer to Auden. The anthology includes Pope's "The Rape of the Lock," Coleridge's "The Rime of the Ancient Mariner," Tennyson's "The Lady of Shalott," Poe's "The Raven," and Carroll's "The Hunting of the Snark," along with such twentieth-century narrative classics as G.K. Chesterton's "Lepanto," Robert Frost's "The Code," Marriott Edgar's "The Lion and Albert," and W.H. Auden's "The Ballad of Barnaby." Abridgements and extracts from book-length narratives such as Spenser's The Faerie Queen and Milton's Paradise Lost add to the richness and variety of the collection. The Opies also provide extensive notes which trace the source of the poet's inspiration, whether fact or fiction, and demonstrate how the creative process has transformed that source into a work of art.… (mehr)
waltzmn: What is narrative verse, if it has music? Why, a ballad, of course. And there has never been a collection of ballads such as Francis James Child's. Anyone who studies narrative verse should have Child's master work.
The Opies write in their preface that they have chosen (for the most part) poems that tell a straightforward and complete story. They also "....point out that narrative verse needs a different reading technique from lyric and reflective poetry." Of course! You really have to read it out loud. This selection, running from Chaucer to Auden, should convince the reader of this truth. Personal favourites are Robert Service's The Cremation of Sam Magee, Chesterton's Lepanto (with its stanza-closing motif - Don John of Austria has set his people free!), Browning's Pied Piper, Macaulay's Horatius, Cowper's John Gilpin and, of course, Marriott Edgar's The Lion and Albert (the only one I would venture from memory).
These works have much more to do with ballad than poesy and are a long way from the works of most modern poets who are much more inclined to investigate emotion and intellect than to tell a story. Read them around the fire. ( )
Die Informationen stammen von der englischen "Wissenswertes"-Seite.Ändern, um den Eintrag der eigenen Sprache anzupassen.
(Preface): Geographically this anthology has come back nearly to its starting place.
GEOFFREY CHAUCER c. 1343-1400
The Cock and the Hen
A poore widow, somedeal stape in age,
Was whilom dwelling in a narrow cottáge,
Beside a grové, standing in a dale.
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Die Informationen stammen von der englischen "Wissenswertes"-Seite.Ändern, um den Eintrag der eigenen Sprache anzupassen.
Tragedy, passion, and heroism, the frequent themes of narrative verse, are large themes requiring a large canvas. Humanity seems to want excitement more than it wants security, but often compromises by experiencing it vicariously in comfort.
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Succinctly called "a book of tales of various kinds, romantic, humorous, ghostly, and gory, written at any time over the past six hundred years" by the compilers, Iona Opie and the late Peter Opie, this universally-appealing collection of 59 poems illuminates the literary tradition of narrative verse from Chaucer to Auden. The anthology includes Pope's "The Rape of the Lock," Coleridge's "The Rime of the Ancient Mariner," Tennyson's "The Lady of Shalott," Poe's "The Raven," and Carroll's "The Hunting of the Snark," along with such twentieth-century narrative classics as G.K. Chesterton's "Lepanto," Robert Frost's "The Code," Marriott Edgar's "The Lion and Albert," and W.H. Auden's "The Ballad of Barnaby." Abridgements and extracts from book-length narratives such as Spenser's The Faerie Queen and Milton's Paradise Lost add to the richness and variety of the collection. The Opies also provide extensive notes which trace the source of the poet's inspiration, whether fact or fiction, and demonstrate how the creative process has transformed that source into a work of art.
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These works have much more to do with ballad than poesy and are a long way from the works of most modern poets who are much more inclined to investigate emotion and intellect than to tell a story. Read them around the fire. (