
BONI and LIVERIGHT - Publishers New York
Transcriber's Notes: Variations in spelling and hyphenation have been left as in the original except in the Index where the spelling has been changed to match the spelling in the body of the text. Ellipses match the original. A complete list of corrections follows the text. Other notes also follow the text.
THE LITERATURE OF ECSTASY
CHAPTER I - INTRODUCTION
CHAPTER II - THE PSYCHOLOGY OF ECSTASY
CHAPTER III - ECSTASY, NOT RHYTHM, ESSENTIAL TO POETRY
CHAPTER IV - PROSE THE NATURAL LANGUAGE OF THE LITERATURE OF ECSTASY
CHAPTER V - PROSE PRECEDES VERSE HISTORICALLY
CHAPTER VI - BLANK VERSE AND FREE VERSE AS FORMS OF PROSE
CHAPTER VII - MORAL AND PHILOSOPHICAL IDEAS AS POETRY WHEN WRITTEN WITH ECSTASY
At the start of the 20th century a scholar set out to untangle the long‑standing myths that surround poetry. He argues that poems have become cloaked in formal expectations—meter, rhyme, scholarly jargon—while the true heart of poetry is an ecstatic emotional pulse. By tracing how this feeling has guided literature from ancient chants to modern prose, the author invites listeners to hear the same rapture in unexpected places.
The work expands the definition of poetry to include any prose that conveys that intensified feeling—whether it appears in a novel’s passionate passage, a dramatic dialogue, or even a scientific essay charged with feeling. Rather than prescribing strict rules, the author demonstrates how rhythm can be irregular or absent, yet still move a reader to rapture. Listeners will find a compelling case for viewing all emotionally charged writing as part of a broader “literature of ecstasy,” reshaping how they experience both verse and prose.
Language
en
Duration
~7 hours (451K characters)
Publisher of text edition
Project Gutenberg
Credits
Produced by David Edwards, Lisa Reigel, and the Online Distributed Proofreading Team at http://www.pgdp.net (This book was produced from scanned images of public domain material from the Google Print project.)
Release date
2011-02-14
Rights
Public domain in the USA.
1885–1965
A self-taught lawyer who kept his real passion in literature, he spent decades writing criticism, essays, and edited collections that brought writers like Henry James, Guy de Maupassant, and Lafcadio Hearn to new readers. His work moves between serious literary debate and a lively curiosity about what books can do in ordinary life.
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