By E. E. Cummings
E.e. cummings is with no query one of many significant poets of this century, and this quantity, first released in 1959, is fundamental for each lover of recent lyrical verse. It comprises 100 of cummings’s wittiest and so much profound poems, harvested from thirty-five of the main notably artistic years in modern American poetry. those poems show the entire awesome lyricism, playfulness, technical ingenuity, and compassion for which cummings is legendary. They show fantastically his extrapolations from conventional poetic buildings and his departures from them, in addition to the original synthesis of lavish imagery and acute creative precision that has gained him the adulation and recognize of critics and poetry fans everywhere.
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In 1695, Pierre Bayle’s Historical and Critical Dictionary standardized several ideas that characterized Northern thinking on the Italian Renaissance. First, Bayle’s claim that the Italian revival began when Greek refugees arrived in Italy after the fall of Constantinople in 1453 created a standard starting point for the renaissance des lettres. Second, Bayle’s claim that the revival of learning was an “enlightened revolt against barbarism” gave Italian classical culture a revolutionary and rationalist intellectual nature (Ferguson 71).
Although the Romantics were attracted to Italy, they tended to ignore the Renaissance and favor the Middle Ages; ultimately, however, they saw all ages as important stages in the development of each nation or race. In general the year 1500 was seen to divide the medieval and modern ages, but a separate period for the Renaissance had not yet been conceptualized. A specific debate arose in early nineteenth-century Romantic historiography about the role of the Medici in Italian national culture. Implicit was a debate about how elitist and democratic political forms shape national culture that influenced later writers such as Burckhardt, EMERGENCE OF THE RENAISSANCE CONCEPT 37 Symonds, and Pound.
According to Saler, “medieval modernists” were influenced more by Ruskin and William Morris and hence had a more communal view of humanity and concern for the English nation. In contrast, Saler suggests formalists such as Fry and Bell were attracted to the Renaissance period and treated art and individuals as if they were autonomous from society and consequently were unconcerned for the nation (vii). In contrast, I see the so-called “formalists” as similarly concerned for art’s role in society.