Journal articles: 'Lyrical Ballads'

1

Camarda, Julie. "Lyrical Ballads, Balladic Lyrics: The Case of Wordsworth’s “The Thorn”." Wordsworth Circle 52, no. 2 (March 1, 2021): 217–37. http://dx.doi.org/10.1086/713530.

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2

Wordsworth, William. "Preface toThe Lyrical Ballads." Arts Education Policy Review 105, no. 2 (November 2003): 33–36. http://dx.doi.org/10.1080/10632910309603461.

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3

O'Brien, Lee. "Emily Brontë's Lyrical Ballads." Victorian Poetry 57, no. 4 (2019): 511–32. http://dx.doi.org/10.1353/vp.2019.0030.

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4

Elena Yu., Kulikova. "“And Again, the Skald Will Add Someone Else’s Song”: “Marine”, “Scottish”, “May” and Other Ballad Stylizations by Georgy Ivanov." Humanitarian Vector 15, no. 5 (October 2020): 16–27. http://dx.doi.org/10.21209/1996-7853-2020-15-5-16-27.

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The thematic justification involves demand for detecting and identifying patterns of transformation and modification of ballads by poets of the Silver Age. The twentieth century loved poetry experiments, a game with form, and there are a variety of genres: sonnets, rondos, gazella, pantoons, ballads in the works of symbolists and especially those of the Acmeists. Acmeist ballads reveal a part of the early twentieth century poetic world and contain both the traditional elements of the genre and the features of modernism. The works by Georgy Ivanov, the so-called “youngest acmeist”, who was a member of the Petrograd “Workshop of poets”, presents a variety of lyrical genres. The purpose of our study is to consider the ballads and ballad stylization of G. Ivanov. The purpose of the work determines its methodological basis, which includes the historical and literary, phenomenological, typological and comparative approaches. The stylization which is inherent in all of Ivanov’s ballads (“Song of the Pirate Ola”, “May Ballad”, “Scottish Ballad”, “Ballad about the Publisher”) and his ballad poems, allows to see the genre in a new aspect. The poet observes ballad rules – a tragic plot, romantic “vagueness” of narration, ballad motifs (ominous raven, night stories, turning into the past, etc.). However, these rules are distorted and stylized. Traditional ballad plots are so intensified that forcing the features creates a comic or ironic effect, the combination of motives turns out to be multilayer. G. Ivanov creates a parody in some cases and in some cases, a stylized ballad. The game and the love of stylization which characterize G. Ivanov throughout his creative life open up a new genre that he practically created by himself. Keywords: ballad genre, G. Ivanov, stylization, parody, motive, lyrical plot

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5

Liugaitė-Černiauskienė, Modesta. "Folk Ballad beyond the Genre Definition." Tautosakos darbai 63 (July 20, 2022): 123–37. http://dx.doi.org/10.51554/td.22.63.06.

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The ballad has long existed in the periphery of the Lithuanian folkloristics. In this article, the folk ballad’s role and place in the Lithuanian folksong tradition is explored discussing two classical works of the Lithuanian folklore research characterized by their rather diverse theoretical assumptions. Both works were published in the end of the 1960s. The first one is the study on the Lithuanian folk ballads by Pranė Jokimaitienė (1968), and the second one is the monograph by Donatas Sauka discussing the uniqueness and value of folklore (1970). The author of the article suggests examining the folk ballad not only in terms of the genre, but also from the broader interdisciplinary perspective, thus combining both above-mentioned points of view by Jokimaitienė and Sauka. Such approach is strengthened by the research history of the ballad – a very complex and complicated phenomenon. Limiting the ballad analysis exclusively by the Lithuanian material on the one hand, and by the pure folklore on the other, hinders us from adequately placing the ballad in the Lithuanian folklore system. Therefore, the author suggests renouncing the narrow concept of the ballad as a text, at the same time regarding it beyond the definition of the genre and taking into account its social, cultural, historical and anthropological contexts. The article aims at discussing the peculiarities of the ballads’ existence in the Lithuanian environment in terms of development of the Lithuanian folkloristics. Notably, ballads have always found themselves at the outskirts of the idealizing template of the research in Lithuanian folksong. Various nations have seen very diverse adaptations of the ballad plots, and this international diversity of folk ballads along with their dissemination across other genres opposes making clear decisions regarding their identity, even when the general definition is applied. Giving in to the temptation of submitting the generic definition, the folklorist adopts the views of a literary scholar: the definition might look essentially correct (the ballad is “a lyric-epic composition characterized by dramatic features” or “a narrative folksong with lyrical and dramatic character”, etc.), but will hardly be of use. Compositions with similar plots might be attributed to different genres in various national folklores, which works according to their own folklore systems. Besides, even variants of the same type might embrace a rather broad scope: from the stylistically pure ballads to the lyric transformations with ballad motives. This complicates the wish to combine all compositions and types into a single generic group. Here, one must bear in mind the already established tradition of folklore research. In Lithuania, development of folkloristics has shaped a general image of the folklore universe, which has in turn dictated how the whole folksong corpus is ordered and systematized. Finally, the author draws the readers’ attention to the fact that ballads – the folksong layer of foreign origins and abounding in signs of “otherness” – have become unique compositions in Lithuania, not similar either to European samples nor to the authentic canonic Lithuanian folksongs. Having appropriated a topic or some wandering story line, Lithuanians frequently do their own transformations in terms of content and form. It is concluded that the Lithuanian ballads have sprung from interactions between the local folksong tradition and the balladic expression, thus acquiring an additional meaning and value.

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6

WU, D. "LYRICAL BALLADS(1798): THE BEDDOES COPY." Library s6-15, no. 4 (December 1, 1993): 332–35. http://dx.doi.org/10.1093/library/s6-15.4.332.

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7

Thomas, Gordon K. "The "Lyrical Ballads" Ode: "Dialogized Heteroglossia"." Wordsworth Circle 20, no. 2 (March 1989): 102–6. http://dx.doi.org/10.1086/twc24042844.

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8

Larkin, Peter. "Lyrical Ballads: Wordsworth's Book of Questions." Wordsworth Circle 20, no. 2 (March 1989): 106–12. http://dx.doi.org/10.1086/twc24042845.

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9

Martin, Philip W., and Richard Cronin. "1798: The Year of the Lyrical Ballads." Modern Language Review 96, no. 2 (April 2001): 472. http://dx.doi.org/10.2307/3737368.

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10

Graver, Bruce, and Ronald Tetreault. "Editing Lyrical Ballads for the Electronic Environment." Romanticism on the Net, no. 9 (1998): 0. http://dx.doi.org/10.7202/005783ar.

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11

Hyeuk Kyu Joo. "Travel Literature and Lyrical Ballads of 1798." English21 28, no. 4 (December 2015): 207–28. http://dx.doi.org/10.35771/engdoi.2015.28.4.010.

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12

Porée, Marc. "Les Lyrical Ballads au risque de l'arithmétique." Études anglaises 64, no. 3 (2011): 273. http://dx.doi.org/10.3917/etan.643.0273.

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13

LYTLE, ALAN. "Integrated Lyrical Writing: Addressing Writing via Ballads." TESOL Journal 2, no. 1 (March 2011): 103–12. http://dx.doi.org/10.5054/tj.2011.244133.

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14

Gael, Patricia. ""Lyrical Ballads" in British Periodicals, 1798-1800." Wordsworth Circle 44, no. 1 (January 2013): 61–67. http://dx.doi.org/10.1086/twc24045879.

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15

Newman, Ian. "Moderation in the Lyrical Ballads: Wordsworth and the Ballad Debates of the 1790s." Studies in Romanticism 55, no. 2 (2016): 185–210. http://dx.doi.org/10.1353/srm.2016.0020.

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16

Smith, Christopher. "Robert Southey and the Emergence of Lyrical Ballads." Romanticism on the Net, no. 9 (1998): 0. http://dx.doi.org/10.7202/005792ar.

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17

Pinch, Adela. "Female Chatter: Meter, Masochism, and the Lyrical Ballads." ELH 55, no. 4 (1988): 835. http://dx.doi.org/10.2307/2873138.

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18

Liu, Yu. "Revaluating Revolution and Radicalness in the Lyrical Ballads." Studies in English Literature, 1500-1900 36, no. 4 (1996): 747. http://dx.doi.org/10.2307/450974.

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19

Bentley, P. "The Ancient Mariner, Superstition and the Lyrical Ballads." English 56, no. 214 (March 1, 2007): 17–28. http://dx.doi.org/10.1093/english/56.214.17.

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20

Wood, Gillen D'Arcy. "Crying Game: Operatic Strains In Wordsworth's Lyrical Ballads." ELH 71, no. 4 (2004): 969–1000. http://dx.doi.org/10.1353/elh.2004.0053.

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21

Manning, Peter J. "Troubling the Borders: "Lyrical Ballads" 1798 and 1998." Wordsworth Circle 30, no. 1 (January 1999): 22–27. http://dx.doi.org/10.1086/twc24044095.

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22

Sun, Shuting. "Wordsworth against the Capitalist Ideology of Labor in “The Last of the Flock” and “Simon Lee”." English Language and Literature Studies 7, no. 2 (May 30, 2017): 132. http://dx.doi.org/10.5539/ells.v7n2p132.

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In several places in the Lyrical Ballads William Wordsworth challenges the capitalist ideology of labor. In Wordsworth’s view one of the key weaknesses the way this ideology manifests itself in economic thought is the way it generalizes about different people and their situations. The result of such generalizations is that they miss out the different meanings people give to their economic activity and applies to them a crude classification of either rational or irrational. Wordsworth believed that this erroneous economic thinking had infected moral theory. In the Lyrical Ballads Wordsworth investigates specific instances of people for whom capitalist economic imperatives no longer make sense. The implication of these instances is that these people are being marginalized by their failure to be assimilated to alienated labor. They either fail to adapt to alienated labor or adapt to it for motives other than those prescribed by the capitalist ideology of labor. This article will show how “The Last of the Flock” gives an instance of the former kind and “Simon Lee” gives an instance of the latter. In the Lyrical Ballads morality critiques economic thought. Wordsworth uses poetry to reaffirm the authority of moral thought to inform economic thought. This is an act of rebellion against the tendency he saw in his times of economic thought to stand above moral thought.

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23

Larrissy, Edward, and Heather Glen. "Vision and Disenchantment: Blake's 'Songs' and Wordsworth's 'Lyrical Ballads'." Yearbook of English Studies 17 (1987): 305. http://dx.doi.org/10.2307/3507715.

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24

McEathron, Scott. "Wordsworth, Lyrical Ballads, and the Problem of Peasant Poetry." Nineteenth-Century Literature 54, no. 1 (June 1, 1999): 1–26. http://dx.doi.org/10.2307/2902995.

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Wordsworth's account in the "Preface" to Lyrical Ballads of the groundbreaking nature of his rustic poetics has long served as foundational to our understanding of Romanticism. Yet his representation of "the public taste in this country" in 1800 elided the presence of a decades-long tradition of "peasant" and "working-class" poetry in Britain. Figures like Stephen Duck ("The Thresher Poet"), Robert Burns, and Ann Yearsley ("The Bristol Milkwoman") had been the focus of fashionable critical interest because they were seen as embodying the very values of simplicity and rustic authenticity that Wordsworth claimed were absent from the contemporary scene. Though a review of this context exposes Wordsworth to charges of solipsism and historical repression, it also helps us to imagine how the pervasiveness of peasant verse complicated his efforts to establish himself as a legitimate conduit for rusticism and "the real language of men." While Wordsworth did not have to create a taste for rural subjects and pseudo-humble diction, he faced the more difficult task of creating a vital rustic verse that was distinct from peasant poetry. In staging confrontations between educated narrators and uneducated subjects, several poems of the 1798 Lyrical Ballads, including "The Thorn" and "Simon Lee," dramatize Wordsworth's historical dilemma as a gentlemanly chronicler of "low and rustic life." Through these experiments in narratorial perspective, class identification, and social sympathy, Wordsworth establishes both the contemporaneity and the innovation of his poetic project.

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25

Pellicer, Juan Christian. "How Revolutionary Was Lyrical Ballads (1798-1800)?" Nordic Journal of English Studies 3, no. 3 (September 1, 2004): 221. http://dx.doi.org/10.35360/njes.64.

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26

McEathron, Scott. "Wordsworth, Lyrical Ballads, and the Problem of Peasant Poetry." Nineteenth-Century Literature 54, no. 1 (June 1999): 1–26. http://dx.doi.org/10.1525/ncl.1999.54.1.01p0003v.

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27

Tetreault, Ronald. "Editing in an Electronic World: The Lyrical Ballads Project." ESC: English Studies in Canada 27, no. 1-2 (2001): 67–98. http://dx.doi.org/10.1353/esc.2001.0005.

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28

Broadhead, Alex. "Framing dialect in the 1800 Lyrical Ballads: Wordsworth, regionalisms and footnotes." Language and Literature: International Journal of Stylistics 19, no. 3 (August 2010): 249–63. http://dx.doi.org/10.1177/0963947010370187.

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This article addresses one of the most theoretically and linguistically vexing issues in the history of English poetic language: stylistic variation in Wordsworth and Coleridge’s Lyrical Ballads. It suggests that two footnotes, added to the 1800 edition, offer a new perspective on a question which has prompted debate since its publication: specifically, what is the relationship between Wordsworth’s use of dialect and the language of ‘low and rustic life’ promised by the 1800 Preface to Lyrical Ballads? In sections 1 and 2 the article expands on the importance of the footnotes in relation to the discussion surrounding Wordsworth’s language. Section 3 examines the departure of Lyrical Ballads from 18th-century conventions regarding the glossing of non-standard language in poetry, while section 4 explores the function of the unfootnoted and unframed regionalisms that can be found throughout the collection. Sections 5 and 6 discuss the content of the two footnotes in relation to Wordsworth’s blurring of the roles of poet and glosser, and suggest that this conflation of roles is connected to Wordsworth’s implicit blurring of Standard English and dialect in his definition of ‘low and rustic life’ (a definition explored in greater detail in section 7). The conclusion suggests that the lack of specificity in Wordsworth’s Preface and his approach to framing dialect were part of a single strategy to integrate Standard English and dialect in a more organic manner than was typical of 18th-century writing.

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29

Nicholson, M. ""Rural Architecture": Local Lyric and Cumbrian Culture in William Wordsworth's Lyrical Ballads (1800)." Genre 48, no. 3 (January 1, 2015): 405–33. http://dx.doi.org/10.1215/00166928-3160508.

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30

Cross, Ashley J. "From "Lyrical Ballads" to "Lyrical Tales": Mary Robinson's Reputation and the Problem of Literary Debt." Studies in Romanticism 40, no. 4 (2001): 571. http://dx.doi.org/10.2307/25601532.

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31

Ercüment Yaşar. "William Wordsworth’s Theoretical Contribution to Canon of Literary Criticism in Light of Preface to Lyrical Ballads." Technium Social Sciences Journal 8 (May 14, 2020): 664–69. http://dx.doi.org/10.47577/tssj.v8i1.590.

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Wordsworth’s Preface to Lyrical Ballads, with Pastoral and Other Poems (1802) is both a revolutionary manifesto and a kind of foundational text in the context of the canon of Romantic poetry because of its normative analysis on the nature of poetry and its basic constituent parts although when compared to the systematic approaches in the twentieth century literary theory, Wordsworth does not present an autonomous critical method capable of providing universally valid principles in evaluation of the text. This paper mainly aims to discuss Wordsworth’s contribution to canon of literary criticism on the theoretical level by giving concrete examples from Preface to Lyrical Ballads, with Pastoral and Other Poems (1802) as well as scrutinizing Wordsworth’s definition of poetry and the poet, his ideas on the origin of poetry, the subject matter of poetry, and the language of poetry respectively in order to show that it is revolutionary in terms of prescribing some principles in evaluation of a literary work.

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32

David McAllister. "LIVING WITH THE DEAD IN WORDSWORTH'S LYRICAL BALLADS." Modern Language Review 108, no. 2 (2013): 416. http://dx.doi.org/10.5699/modelangrevi.108.2.0416.

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33

Roberts, Daniel Sanjiv. "De Quincey's Discovery of "Lyrical Ballads": The Politics of Reading." Studies in Romanticism 36, no. 4 (1997): 511. http://dx.doi.org/10.2307/25601253.

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34

Bate, Jonathan, James Butler, Karen Green, and William Wordsworth. "'Lyrical Ballads' and Other Poems, 1797-1800 by William Wordsworth." Yearbook of English Studies 25 (1995): 302. http://dx.doi.org/10.2307/3508889.

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35

Wolfson, Susan J. "The Year of the Lyrical Ballads. Edited by Richard Cronin." Wordsworth Circle 30, no. 4 (September 1999): 180–82. http://dx.doi.org/10.1086/twc24044144.

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36

Sharp, Michele Turner. "Wordsworth's Poetics of Speech and Language Acquisition in "Lyrical Ballads"." Wordsworth Circle 33, no. 1 (January 2002): 14–17. http://dx.doi.org/10.1086/twc24045015.

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37

FOAKES, R. A. "Beyond the Visible World: Wordsworth and Coleridge in Lyrical Ballads." Romanticism 5, no. 1 (April 1999): 58–69. http://dx.doi.org/10.3366/rom.1999.5.1.58.

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38

Priydarshi, Ashok Kumar. "John Keats as a Critic: A New Approach." Journal of Advanced Research in English and Education 06, no. 04 (December 8, 2021): 5–6. http://dx.doi.org/10.24321/2456.4370.202107.

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Romantic literary criticism in English literature is basically associated with and dominated by the writings of William Wordsworth in his ‘Preface to Lyrical Ballads’ (1800) and Coleridge in his ‘Biographia Literaria’. Apart from them, PB Shelly, Hazlitt, De Quincy and John Keats also contributed to the development of criticism in the Romantic period.

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39

Priydarshi, Ashok Kumar. "John Keats as a Critic: A New Approach." Journal of Advanced Research in English and Education 06, no. 04 (December 8, 2021): 5–6. http://dx.doi.org/10.24321/2456.4370.202107.

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Romantic literary criticism in English literature is basically associated with and dominated by the writings of William Wordsworth in his ‘Preface to Lyrical Ballads’ (1800) and Coleridge in his ‘Biographia Literaria’. Apart from them, PB Shelly, Hazlitt, De Quincy and John Keats also contributed to the development of criticism in the Romantic period.

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40

Chandler, David. "Who Was Papinian?: the Meaning(s) of the Lyrical Ballads Epigraph." English Language Notes 39, no. 3 (March 1, 2002): 31–41. http://dx.doi.org/10.1215/00138282-39.3.31.

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41

Friedman, Michael H. "Vision and Disenchantment: Blake's Songs and Wordsworth's Lyrical Ballads. Heather Glen." Wordsworth Circle 16, no. 4 (September 1985): 160–63. http://dx.doi.org/10.1086/twc24041245.

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42

Mulvihill, James. "George Campbell's Philosophy of Rhetoric and Wordsworth's ‘Preface’ to Lyrical Ballads." Notes and Queries 53, no. 3 (September 1, 2006): 315–16. http://dx.doi.org/10.1093/notesj/gjl081.

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43

Trott, Nicola, and Seamus Perry. "Lyrical Ballads, 1798-1998 - A Special Issue of Romanticism On the Net." Romanticism on the Net, no. 9 (1998): 0. http://dx.doi.org/10.7202/005784ar.

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44

Treadwell, James. "Innovation and Strangeness; or, Dialogue and Monologue in the 1798 Lyrical Ballads." Romanticism on the Net, no. 9 (1998): 0. http://dx.doi.org/10.7202/005785ar.

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45

Stillinger, Jack. "Wordsworth, Coleridge, and the Shaggy Dog: The Novelty of "Lyrical Ballads" (1798)." Wordsworth Circle 31, no. 2 (March 2000): 70–76. http://dx.doi.org/10.1086/twc24044179.

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46

Metzl, Jonathan M. "Medical Humanities Do Not Humanize Doctors: The Trouble with Trying to Soften Hard Science." PMLA/Publications of the Modern Language Association of America 124, no. 3 (May 2009): 951–53. http://dx.doi.org/10.1632/s0030812900109587.

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“Poetry is the breath and finer spirit of all knowledge,” William Wordsworth famously wrote in the Preface to the 1802 version of Lyrical Ballads. “[I]t is the impassioned expression which is in the countenance of all Science. Emphatically it may be said of the Poet, as Shakespeare hath said of man, ‘that he looks before and after.‘ He is the rock of defence of human nature; an upholder and preserver, carrying every where with him relationship and love” (xxxvii).

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47

Hessell, Nikki. "The Opposite of News: Rethinking the 1800 "Lyrical Ballads" and the Mass Media." Studies in Romanticism 45, no. 3 (2006): 331. http://dx.doi.org/10.2307/25602056.

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48

Boehm, Alan D. "The 1798 Lyrical Ballads and the Poetics of Late Eighteenth-Century Book Production." ELH 63, no. 2 (1996): 453–87. http://dx.doi.org/10.1353/elh.1996.0013.

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49

Efendić, Nirha. "Three Versions of the Ballad from Bosnia's North about Pledging a Son for a Brother." Društvene i humanističke studije (Online) 7, no. 3(20) (October 30, 2022): 27–36. http://dx.doi.org/10.51558/2490-3647.2022.7.3.27.

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Approximately sixty lyrical songs were inscribed into the Folklore Archive of the National Museum during the field research in Brcko conducted by Bosnian writer and folklorist Alija Nametak as an employee of the Institute for Folklore Research in 1956, including a ballad about a mother who sacrificed her son to save her brother's life. This moving ballad has been inscribed at least twice more in Bosnia's north, and two variants of this song were recorded in Derventa - they are included in a large collection made by Smajl Bradaric and kept in the National Museum of BiH's Folklore Archive. The National Museum and the BiH Slavic Committee collaborated to publish this collection (Bradari 2018). The mentioned ballad was also discussed in Munib Maglajlic's 1985 study "Muslim Oral Ballads," in the section entitled Conflict in the Family, indicating its importance, but also a solid number of variants throughout Bosnia (Maglajlić 2018). The variants presented here, however, were not the subjects of Maglajlić's analyses, even though he found as many as nine versions of this ballad from various sources for his study. This paper will use the method of three-variant ballad promotion to see the oral poet from Bosnia's north in action. It will try to show and highlight the poetic achievements of the "northern" variants. The poetic shaping of key motifs will be considered in each recorded variant, and the difference between them will be established. Methods of interpretation and analysis will be used.

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50

Maver, Igor. "From Albion's shore: Lord Byron' poetry in Slovene translations until 1945." Acta Neophilologica 22 (December 15, 1989): 51–59. http://dx.doi.org/10.4312/an.22.0.51-59.

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The publication in 1830 of the early poems of the doyen of Slovene poetry - Dr France Prešeren in Kranjska čbelica (The Carniola Bee) - marks the beginning of Slovene Romanticism, which ends in 1848, -with the last of his poems published in the fifth volume of the same literary magazine. The period from 1830 to the »revolutionary« year of 1848 is thus committed to Romanticism as the leading movement of Slovene literature, artfully embodied in Prešeren's fine lyrical poetry that aimed at and considerably contributed to national unification and identification, as well as in the Europe-oriented literary criticism of Matija čop. Comparing the trends of the English and Slovene Romantic Revival, we can readily establish that the emergence of Romantic tenets expressed in poetry was somewhat late on Slovene ground. In England, of course, the crucial years are1789, when Lyrical Ballads were published by Wordsworth and Coleridge, and the year 1832, which marks the death of Sir Walter Scott.

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Journal articles on the topic 'Lyrical Ballads'

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