Peter Doherty is a poet of today whose form of expression is music. Devoting himself to being a “popstar [as well as] performance poet” (Doherty, Books of Albion 9), he is subject to extensive media coverage as a celebrity (cf. 262), on the one hand meticulously vituperated by the tabloid press for his junkie rocker lifestyle (cf. 141; Hannaford 158), on the other hand glorified as “a folk hero” (168), a “legend” (B Libertines 0:09:12) who “has come to epitomise British rock 'n' roll […] as both pariah and idol” (Hannaford 3), “a true romantic with a God-given gift for melody and verse” (Pomphrey qtd. in 258) and even further as “the last of the Rock Romantics” (5).
Peter Doherty certainly shares poetic doctrines with English Romantic poetry. Nonetheless, his public presentation and depiction as a Romantic, be it by himself or by the media, must also be taken into account. It is neither without significance nor reason that he is declared a Romantic on account of his philosophy (cf. Hannaford 229), lifestyle (cf. 231) and “self-destruction” (Anonymous Fan qtd. in 330), just as his own frequent referencing and citing of the Romantic poets (cf. From Albion to Shangri-La 178), the placement of these in relation to Doherty by others (cf. B Libertines 0:08:46-0:09:19) and overall his depiction as well as self-depiction in interviews, books and in his published diaries. The question that therefore evidently arises is: Subjected to a lyric analysis, can Peter Doherty be termed a Romantic poet?
Bearing in mind Pattison's words that “rock has endowed the conventions of Romanticism with popular life” (38) and Hannaford's that Doherty has “revived the notion of the rockstar as intellectual and as romantic troubadour” (227), this bachelor paper will aim to answer this question by firstly providing a definition of English Romantic poetry and a justification as to why popular rock music can be considered heir to Romantic poetry, then by examining the depiction and perception of Doherty as a Romantic public persona and distinguishing this from his poetic doctrines that resemble those of the Romantic poet, Albion and Arcady. These two themes will be examined and put into literary context, whereupon the second part of this paper will comprise the lyric analysis of four of Doherty's songs with regard to the literary attributes that define Romantic poetry. Finally, a conclusion of all that has been found will close the paper, delivering an answer to the stated question.
Inhaltsverzeichnis (Table of Contents)
- Introduction
- The Romantic Poet of Today
- A Definition of English Romantic Poetry
- Popular Rock Music as Heir to Romantic Poetry
- Peter Doherty and his Romantic Public Persona
- Peter Doherty and his Romantic Poetic Doctrines
- Albion
- Arcady
- Lyric Analysis
- Down for the Outing
- The Ballad of Grimaldi
- Albion
- The Good Old Days
- Conclusion
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This bachelor paper aims to answer the question of whether Peter Doherty can be termed a Romantic poet by examining his public persona and poetic doctrines. It will explore his self-depiction and the media's portrayal of him as a Romantic figure, contrasting this with his lyrical themes and their relation to Romantic poetry.
- The influence of English Romantic poetry on contemporary popular music, specifically rock music.
- The concept of "Romantic public persona" and its application to Peter Doherty.
- The themes of Albion and Arcady in Doherty's work and their connection to Romantic ideals.
- The analysis of Doherty's lyrics through the lens of Romantic poetic principles.
- The exploration of Doherty's status as a "Romantic poet" in the context of his music and public image.
Zusammenfassung der Kapitel (Chapter Summaries)
The Introduction sets the stage by introducing Peter Doherty as a contemporary "popstar" and "performance poet" who embodies both the romanticized and vilified aspects of a rock star. It establishes Doherty's interest in themes like "love, England & a quest for depth, grace & charm" and his use of Albion and Arcady as symbolic landscapes. This chapter connects Doherty's work with the Romantic tradition, highlighting its emphasis on aestheticism, feeling, imagination, and nationalism.
Chapter 1, "The Romantic Poet of Today," begins by defining English Romantic poetry and its core elements, including its reaction against neoclassicism, emphasis on imagination and emotion, and celebration of nature and the individual. It then explores the connection between Romantic poetry and popular rock music, arguing that rock music can be seen as a contemporary heir to the Romantic tradition. The chapter further examines Doherty's public persona as a Romantic figure, analyzing his self-depiction and the media's portrayal of him. Finally, it delves into Doherty's poetic doctrines, specifically his use of Albion and Arcady as symbols of a romanticized England and an idealized escape.
Chapter 2, "Lyric Analysis," delves into the analysis of four of Doherty's songs: "Down for the Outing," "The Ballad of Grimaldi," "Albion," and "The Good Old Days." This chapter examines the lyrical content of these songs through the lens of Romantic poetic principles, focusing on themes like nature, imagination, emotion, and the sublime. The analysis aims to demonstrate the presence of Romantic elements in Doherty's lyrics and to further support the claim that his work can be considered Romantic.
Schlüsselwörter (Keywords)
This bachelor paper focuses on the themes of English Romantic poetry, popular rock music, and the figure of Peter Doherty. It examines the intersection of these areas, exploring Doherty's self-depiction as a Romantic poet, his use of Romantic themes in his lyrics, and the media's portrayal of him as a modern-day Romantic. Key terms include: Romanticism, Romantic poetry, Albion, Arcady, lyric analysis, rock music, public persona, and Peter Doherty.
- Arbeit zitieren
- Marc Backhaus (Autor:in), 2015, Sailing the Good Ship Albion on the Way to Arcady. Is Peter Doherty a Romantic Poet?, München, GRIN Verlag, https://www.grin.com/document/300676
