Writing Style and Literary Theory
With his theory connecting musical notation with poetic meter, he developed a unique style of poetry written in logaoedic dactyls, which was strongly influenced by the works of his beloved Anglo-Saxon poets. He wrote several of his greatest poems in this meter, including "Revenge of Hamish" (1878), "The Marshes of Glynn" and "Sunrise". In Lanier's hands, the logaoedic dactylic meter led to a free-form, almost prose-like style of poetry that was greatly admired by Henry Wadsworth Longfellow, Bayard Taylor, Charlotte Cushman, and other leading poets and critics of the day. A similar poetical meter was independently developed by Gerard Manley Hopkins at about the same time (there is no evidence that they knew each other or that either of them had read any of the other's works).
Lanier also published essays on other literary and musical topics and a notable series of four redactions of literary works about knightly combat and chivalry in modernized language more appealing to the boys of his day:
- The Boy's Froissart (1878), a retelling of Jean Froissart's Froissart's Chronicles, which tell of adventure, battle and custom in medieval England, France and Spain
- The Boy's King Arthur (1880), based on Sir Thomas Malory's compilation of the legends of King Arthur and the Knights of the Round Table
- The Boy's Mabinogion (1881), based on the early Welsh legends of King Arthur, as retold in the Red Book of Hergest.
- The Boy's Percy (published posthumously in 1882), consisting of old ballads of war, adventure and love based on Bishop Thomas Percy's Reliques of Ancient English Poetry.
He also wrote two travelogues that were widely read at the time, entitled Florida: Its Scenery, Climate and History (1875) and Sketches of India (1876) (although he never visited India).
Read more about this topic: Sidney Lanier
Famous quotes containing the words literary theory, writing, style, literary and/or theory:
“First literature came to refer only to itself, the literary theory.”
—Mason Cooley (b. 1927)
“The parody is the last refuge of the frustrated writer. Parodies are what you write when you are associate editor of the Harvard Lampoon. The greater the work of literature, the easier the parody. The step up from writing parodies is writing on the wall above the urinal.”
—Ernest Hemingway (1899–1961)
“It is not in our drawing-rooms that we should look to judge of the intrinsic worth of any style of dress. The street-car is a truer crucible of its inherent value.”
—Elizabeth Stuart Phelps (1844–1911)
“We postpone our literary work until we have more ripeness and skill to write, and we one day discover that our literary talent was a youthful effervescence which we have now lost.”
—Ralph Waldo Emerson (1803–1882)
“We commonly say that the rich man can speak the truth, can afford honesty, can afford independence of opinion and action;—and that is the theory of nobility. But it is the rich man in a true sense, that is to say, not the man of large income and large expenditure, but solely the man whose outlay is less than his income and is steadily kept so.”
—Ralph Waldo Emerson (1803–1882)