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The figure of the singer

Author: Daniel Karlin
Publisher: Oxford : Oxford University Press, 2013.
Edition/Format:   Print book : English : First editionView all editions and formats
Database:WorldCat
Summary:
"Why did poets continue to call themselves singers, and their poems songs, long after the formal link between poetry and music had been severed? Daniel Karlin explores the origin and meaning of the "figure of the singer," tracing its roots in classical mythology and in the Bible, and following its rise from the 'adventurous song' of Milton's Paradise Lost to its apotheosis in the nineteenth century--by which time it  Read more...
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Document Type: Book
All Authors / Contributors: Daniel Karlin
ISBN: 9780199213986 0199213984
OCLC Number: 851154275
Description: xvii, 210 pages, 8 unnumbered pages of plates : illustrations (some color) ; 24 cm
Contents: Introduction: two singers --
Song and power: the bard --
'A sound of the heart's unrest': women poets as singers in the nineteenth century --
Hark! Nineteenth-century poetry and the song of birds --
Songs in books (1): Pippa Passes --
Songs in books (2): The Princess --
Aurora Leigh: expressing the old scripture --
Walt Whitman: song and the making of poems --
Thomas Hardy: bygone occasions --
'Columbia recording artist Bob Dylan'.
Responsibility: Daniel Karlin.
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Abstract:

Why did poets continue to call themselves singers long after the formal link between poetry and music had been severed? Daniel Karlin explores the origin and meaning of the 'figure of the singer',  Read more...

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... he [Karlin] is excellent, as we might expect, on echoes between the Brownings ... in general, this is an intriguing new perspective on an old, ubiquitous metaphor, and at its best, a riverting Read more...

 
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    schema:description ""Why did poets continue to call themselves singers, and their poems songs, long after the formal link between poetry and music had been severed? Daniel Karlin explores the origin and meaning of the "figure of the singer," tracing its roots in classical mythology and in the Bible, and following its rise from the 'adventurous song' of Milton's Paradise Lost to its apotheosis in the nineteenth century--by which time it had also become an oppressive cliche. Poets might embrace, or resist, this dominant figure of their art, but could not ignore it. Shadowing the metaphor is another figure, that of the literal singer, a source of fascination, and rivalry, to poets who are confined to words on the page. The book opens with an emblematic figure of the greatest of all "singers": Homer, playing his lyre, at the center of the frieze of poets on the Albert Memorial in London. Chapters on the tragicomic rise and fall of "the bard," on the link between female song and suffering, and on the metaphor of poetry as birdsong, are followed by detailed readings of poems by Tennyson, Robert Browning, Elizabeth Barrett Browning, Walt Whitman, and Thomas Hardy. The final chapter, on the songs of Bob Dylan, suggests that recording technology has given fresh impetus to the quarrel (which is also a love-affair) between poetic language and song. The Figure of the Singer offers a profound and stimulating analysis of the idea of poetry as song and of the complex, troubled relations between voice and text."--Publisher's website."@en ;
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