Robert Lowell


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Related to Robert Lowell: Elizabeth Bishop
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Synonyms for Robert Lowell

United States poet (1917-1977)

References in periodicals archive ?
Martin," "The Bells," and "The Double Image," written after Sexton read work by Robert Lowell and W.D.
Auden, Robert Lowell, Robin Fulton, and Boris Pasternak.
Finally, the newer, more open poetry received a gigantic boost when <IR> ROBERT LOWELL </IR> , already celebrated as a poet in the Eliot mold, moved in the midst of Life Studies (1959) to a poetic practice inspired in large part by his reading of Paterson.
Others in the good graces of the poet include Robert Lowell, C.
One of <IR> ROBERT LOWELL </IR> 's most striking poems, After the Surprising Conversions (in Lord Weary's Castle, 1946), is based on Edward's document.
Among Barfoot's texts here are "Wordsworth Today," "Dante and Thomas Hardy," and "Pound and Thomas Hardy." Part 3 offers six essays, five by Singh (on Eliot, Luzi, Leavis, Gargiulo, and Solmi) plus Barfoot's analysis of "Pound's conception of a literary review." The fourth section has four texts by Singh (on Eliot and Bertrand Russell, on Montale and "the revolution of the word," on Tagore, on Philip Larkin) and four by Barfoot (devoted to Wordsworth, to translations of Leopardi by Pound and Robert Lowell, and to Stephen Spender).
The New Criticism--with its emphasis on the necessary distance between the actual poet and the "speaker" in the poem--had created among university-trained poets a vogue of self-consciously symbolic, impersonal poems, against which autobiographical poetry seemed both shocking and, as <IR> ROBERT LOWELL </IR> (1917-1977) put it, a "breakthrough back into life."
Cummings and MacLeish belong to the "second Imagist generation." Symbolists, like Wallace Stevens and Hart Crane, in an age of skepticism, attempted to revive a poetry that would be "an expression of hope." Robert Lowell, 'prophetic and demonic," is, for Pratt, "the last major modern poet." The concluding essay ruefully suggests that Pasternak's Doctor Zhivago, with "the poet as tragic hero," marks the end of "modernism" and may be "the last great masterpiece of a period of decline," a period which began as "a major age of poetry." Now, at the end of the century, the poet may seem fated to remain "singing in the chaos."
He also mentioned Robert Lowell (1917-1977) who used techniques such as enjambment to enhance the effect of poetic content.
The publishing world part is described through the person of Robert Giroux, who had the great good luck to encounter O'Connor early in his career through the intervention of the poet Robert Lowell, who had met O'Connor at Yaddo, the writers' colony.
When poet Robert Lowell first introduced O'Connor to Giroux in March 1949, she could not have imagined the impact that meeting would have on her life or on the landscape of postwar American literature.
"Onion Skin," along with all its revisions and variants, exemplifies what Steven Axelrod, in his recent essay "The Three Voices of Robert Lowell," calls Lowell's "third" and last significant voice, after the personal and public ones (328).
In the twentieth century, Robert Lowell jettisoned the form's ornate rhyme for his confessional sonnets, while Ted Berrigan turned sonnets into an avant-garde game of cut and paste.