By identifying a pervasive cultivation of attention as a perceptual and cognitive state in eighteenth-century poetry, this book explores overt themes of attention and demonstrate techniques of readerly attention.

This book deals with some (fragmentary) poems of Alcaeus, Archilochus, Hipponax and Stesichorus. The choice of the poems was determined by external factors: all of them are written on papyrus and were first published during the last few decades. After the first edition the fragments were discussed by many scholars, mainly in periodicals. The authors of this volume have assembled the results of this scholarly work and used it as a foundation for a carefully contituted text and an extensive overall commentary. In this way the poems will be more easily accessible than they were hitherto.

The sense of touch had a deeply uncertain status in the sixteenth and seventeenth centuries. It had long been seen as the most certain and reliable of the senses, and also as biologically necessary: each of the other senses could be relinquished, but to lose touch was to lose life itself. Alternatively, touch was seen as dangerously bodily, and too fully involved in sensual and sexual pleasures, to be of true worth. Feeling Pleasures argues that this tension came to the fore during the English Renaissance, and allowed some of the central debates of this period-surrounding the nature of human experience, of the material world, and of the relationship between the human and the divine-to proceed through discussions of touch. It also argues that the unstable status of touch was of particular import to the poetry of this period. By bringing touch to the fore in a period usually associated with the dominance of vision and optics, Joe Moshenska offers reconsiderations of major English poets, especially Edmund Spenser and John Milton, while exploring a range of spheres in which touch assumed new significance. These include theological debates surrounding relics and the Eucharist in the work of Erasmus, Thomas Cranmer and Lancelot Andrewes; the philosophical history of tickling; the touching of paintings and sculptures in a European context; faith healing and experimental science; and the early reception of Chinese medicine in England.

This volume explores 'the labyrinth of what we call Coleridge' (Virginia Woolf): his poems and prose, their sources, interpretation and reception; his life, troubled marriage and fatherhood, conversation, changing intellectual contexts and legacy. Major entries cover such canonical works as The Rime of the Ancient Mariner, Christabel, 'Kubla Khan', the 'conversation poems' and Biographia Literaria. But a fuller understanding of Coleridge must embrace many lesser-known poems - lyrics, satire, comical squibs. The prose - critical, philosophical, political, religious - ranges from his early radical writings to the more conservative On the Constitution of the Church and State, his influential Shakespeare lectures, and the vast resource of the notebooks. Coleridge read widely throughout his life and engaged extensively with the work of, among many others, Milton, Fielding, Berkeley, Priestley, Kant, Schelling. One of his most important relationships was with William Wordsworth. Another was with Sara Hutchinson. Entries trace Coleridge's changing reputation, from brilliant young activist to the 'Sage of Highgate' to the later apostle of the theories of the imagination and of Practical Criticism. Other topics covered include opium, plagiarism, the French Revolution, Pantisocracy, Unitarianism, and the Salutation and Cat tavern.

The romance or chivalric epic was the most popular form of literature in Renaissance Italy. This book shows how it owed its appeal to a successful fusion of traditional, medieval tales of Charlemagne and Arthur with the newer cultural themes developed by the revival of interest in classical antiquity which constitutes the key to Renaissance culture.

The force of example was a distinctive determiner of Roman identity. However, examples always rely upon the response of an audience, and are dependent upon context. Even where the example presented is positive, we cannot always suppress any negative associations it may also carry. In this study of the representation of certain central characters in Silius Italicus' Punica, Ben Tipping considers the virtues and vices they embody, their status as exemplars, and the process by which Silius as epic poet heroizes, demonizes, and establishes models. Tipping argues that example is a vital source of significance within the Punica, but also an inherently unstable mode, the lability of which affects both Silius' epic heroes and his villainous Hannibal.

By bringing together Milton specialists with other innovative early modern scholars, the collection aims to embrace and encourage a methodologically adventurous study of Milton's works, analyzing them both in relation to their own moment and their many ensuing contexts.

Coleridge and Contemplation is a multi-disciplinary volume on Samuel Taylor Coleridge, founding poet of British Romanticism, critic, and author of philosophical, political, and theological works. In his philosophical writings, Coleridge developed his thinking about the symbolizing imagination, a precursor to contemplation, into a theory of contemplation itself, which for him occurs in its purest form as a manifestation of 'Reason'. Coleridge is a particularly challenging figure because he was a thinker in process, and something of an omnimath, a Renaissance man of the Romantic era. The dynamic quality of his thinking, the 'dark fluxion' pursued but ultimately 'unfixable by thought', and his extensive range of interests make a philosophical yet also multi-disciplinary approach to Coleridge essential. This book is the first collection to feature philosophers and intellectual historians writing on Coleridge's philosophy. This volume opens up a neglected aspect of the work of Britain's greatest philosopher-poet - his analysis of contemplation, which he considered the highest of human mental powers. Philosophers including Roger Scruton, David E. Cooper, Michael McGhee, Andy Hamilton, and Peter Cheyne contribute original essays on the philosophical, literary, and political implications of Coleridge's views. The volume is edited and introduced by Peter Cheyne, and Baroness Mary Warnock contributes a foreword. The chapters by philosophers are supported by new developments in philosophically minded criticism from leading Coleridge scholars in English departments, including Jim Mays, Kathleen Wheeler, and James Engell. They approach Coleridge as an energetic yet contemplative thinker concerned with the intuition of ideas and the processes of cultivation in self and society. Other chapters, from intellectual historians and theologians, including Douglas Hedley clarify the historical background, and 'religious musings', of Coleridge's thought regarding contemplation.

This collation from Samuel T. Coleridge's contributions to the theory of language presents an imposing revision of the enlightenment approach to language. Selections from his verse, notebooks, journalism and ephemera are arranged under headings including the language of politics; language and culture; the language of poetry; theory of language; words and things; organ of language; and the language of religion. The editor's introduction situates Coleridge's thinking in its period, and with modern theory in mind.

Perhaps the most powerful feature of the Romantic imagination is its ability to dissolve existing form and order and create it anew. The Romantic investigation of the functions of the imagination also leads to important insights concerning its problems and dangers. Because it separates the person experiencing it from others around him, the imagination introduces ways of seeing which cannot be assumed to be simply communicable or easily shared, and which have as their objects different forms or 'things'. These forms, or figures, risk becoming for their originators both vehicles of power, in so far as they do convince others of their reality, and limiting constructs of prefigured order, inhibiting their users from the perception of new relations and alternative meanings. When the figured becomes the real, there thus arise difficulties in both individual and social perceptions. Arguing from the stance that all perception takes place by a creative (and hence potentially divisive) assembly of images or qualities into things, David Simpson shows that the analysis of figurative representation in Wordsworth's writing is of central importance to his idea of the human mind, and the way in which it is affected or allowed to function by its environment, both human and physical. In this way Wordsworth's ideas about the function of literature in society are seen to be more fully worked out than readers have often assumed them to be. Simpson pays particular attention to the ethical consequences of different ways of figuring the real, offering an explanation of Wordsworth's distinction between life in the town and life among the mountains and lakes of north-west England. In relating Wordsworth's poetry to important contemporary debates in political economy such as those concerning the division of labour and the evaluation of the advantages and disadvantages of commerce and luxury, he suggests that Wordsworth is a notable precursor of that nineteenth-century tradition which sees the mind as open to critical determination by social and environmental factors.

After its publication in 1667, John Milton's Paradise Lost was celebrated throughout Europe as a supreme achievement of the human spirit.

Now it is little read. To bring readers back to Milton's masterpiece, John Carey has shortened it to a third of its original length. In this fascinating reinterpretation, Carey reveals new insights about Milton's sources of inspiration, while exploring divided readings of the work's key characters.

The Essential Paradise Lost presents the epic's greatest poetry, with linking passages that preserve its cosmic sweep - from the superhuman defiance of a ruined archangel to a pair of tragic lovers, bewildered to find themselves responsible for the fate of the whole human race.

The poet as an inheritor of an Emersonian tradition, and Paterson as an ethical autobiography in progress. William Carlos Williams (1883-1963) is the most influential figure in the development of American poetry in the twentieth century and into the twenty-first. His simple language and focus on the familiar objects and voices of everyday life pulled poetry out of the past and restored its ability to express contemporary experience. Williams believed passionately in poetry's usefulness, abhorring its perception as an esoteric pursuit and insisting on the impact it could have on the life of a reader if only made relevant to his or her experience. Examining the sources of this belief, Ian Copestake breaks new ground by tracing the enduring impact of Williams's youthful experience of Unitarianism on his poetry and arguing that Williams is a poet in an Emersonian tradition. Two chapters focus on Williams's long poem Paterson, arguing that its long gestation -- from 1927 to 1951 -- reflects its role asan ethical autobiography in progress. Copestake investigates sources that point to the ethical heart of Williams's poetry and to his lifelong belief that "It is difficult / to get the news from poems / yet men die miserably every day / for lack / of what is found there." Ian D. Copestake is a Lecturer at the University of Bamberg, Germany and editor of the William Carlos Williams Review.

The New Woman sought vast improvements in Victorian culture that would enlarge educational, professional, and domestic opportunities. Although New Women resist ready classification or appraisal as a monolithic body, they tended to share many of the same beliefs and objectives aimed at improving female conditions. While novels about the iconoclastic New Woman have garnered much interest in recent decades, poetry from the cultural and literary figure has received considerably less attention. Yet the very issues that propelled New Woman fiction are integral to the poetry of the fin de siecle. This book - the first in-depth account on the subject - enriches our knowledge of exceptionally gifted writers, including Mathilde Blind, M. E. Coleridge, Olive Custance, and Edith Nesbit. It focuses on their long-neglected British verse, analyzing its treatment of crucial matters on both the personal and public level to provide the attention the poetry so richly deserves.

A study of tragedies, comedies, romances, and histories, this book examines the dynamic interplay of three concepts--gender, text, and habitat--as metaphors for cross-cultural definition. The book focuses on the cross-cultural experience, arguing that Shakespeare reinterprets, refashions, and reinscribes stage aliens such as Jews, Moors, Amazons and gypsies and thus interrogates a Eurocentric perspective and the caricatures that cultures create of one another. Writing in an accessible, compelling style, de Sousa recovers a wealth of information on race and gender relations in early modern Europe.

In the midst of an age of prejudice, John Selden's immense, neglected rabbinical works contain magnificent Hebrew scholarship that respects, to an extent remarkable for the times, the self-understanding of Judaism. Scholars celebrated for their own broad and deep learning gladly conceded Selden's superiority and conferred on him titles such as "the glory of the English nation" (Hugo Grotius), "Monarch in letters" (Ben Jonson), "the chief of learned men reputed in this land" (John Milton). Although scholars have examined Selden (1584-1654) as a political theorist, legal and constitutional historian, and parliamentarian, Renaissance England's Chief Rabbi is the first book-length study of his rabbinic and especially talmudic publications, which take up most of the six folio volumes of his complete works and constitute his most mature scholarship. It traces the cultural influence of these works on some early modern British poets and intellectuals, including Jonson, Milton, Andrew Marvell, James Harrington, Henry Stubbe, Nathanael Culverwel, Thomas Hobbes, and Isaac Newton. It also explores some of the post-biblical Hebraic ideas that served as the foundation of Selden's own thought, including his identification of natural law with a set of universal divine laws of perpetual obligation pronounced by God to our first parents in paradise and after the flood to the children of Noah. Selden's discovery in the Talmud and in Maimonides' Mishneh Torah of shared moral rules in the natural, pre-civil state of humankind provides a basis for relationships among human beings anywhere in the world. The history of the religious toleration of Jews in England is incomplete without acknowledgment of theimpact of Selden's uncommonly generous Hebrew scholarship.

Ideas about the human mind are culturally specific and over time vary in form and prominence. The Life of the Mind in Old English Poetry presents the first extensive exploration of Anglo-Saxon beliefs about the mind and how these views informed Old English poetry. It identifies in this poetry a particular cultural focus on the mental world and formulates a multivalent model of the mind behind it, as the seat of emotions, the site of temptation, the container of knowledge, and a heroic weapon. The Life of the Mind in Old English Poetry treats a wide range of Old English literary genres (in the context of their Latin sources and analogues where applicable) in order to discover how ideas about the mind shape the narrative, didactic, and linguistic design of poetic discourse. Particular attention is paid to the rich and slippery vernacular vocabulary for the mind which suggests a special interest in the subject in Old English poetry. The book argues that Anglo-Saxon poets were acutely conscious of mental functions and perceived the psychological basis not only of the cognitive world, but also of the emotions and of the spiritual life.

In the past century, scholars have observed a veritable full cast of characters from Roman comedy in the poetry of Catullus. Despite this growing recognition of comedy's allusive presence in Catullus' work, there has never been an extended analysis of how he engaged with this foundational Roman genre. This book sketches a more coherent picture of Catullus' use of Roman comedy and shows that individual points of contact with the theatre in his corpus are part of a larger, more sustained poetic program than has been recognized. Roman comedy, it argues, offered Catullus a common cultural vocabulary, drawn from the public stage and shared with his audience, with which to explore and convey private ideas about love, friendship, and social rivalry. It also demonstrates that Roman comedy continued to present writers after the second century BCE with a meaningful source of social, cultural, and artistic value.

Of unknown authorship, Beowulf is an Old English epic poem which incites contentious debate and has been endlessly interpreted over the centuries. This Reader's Guide provides a much-needed overview of the large body of Beowulf criticism, moving from eighteenth-century reactions to twenty-first-century responses. Jodi-Ann George: * charts the changes in critical trends and theoretical approaches applied to the poem * includes discussion of J. R. R. Tolkein's pioneering 1936 lecture on Beowulf , and Seamus Heaney's recent translation * analyses Beowulf in popular culture, addressing the poem's life in film versions, graphic novels, music and comics. Clear and engaging, this is an indispensable introductory guide to a widely-studied and enigmatic work which continues to fascinate readers everywhere.

In this sequel to his Romantic Consciousness, John Beer discusses further questionings of human consciousness: both the degree to which Dickens's conscious dramatizing differs from the subconscious workings of his psyche and the exploration of subliminal consciousness by nineteenth-century psychical researchers. Discussions of questions of "Being" by thinkers such as Heidegger, Sartre and Havel are accompanied by the assertion that creative writers such as Woolf and Lawrence, followed by Hughes and Plath, showed a deeper debt than philosophical contemporaries to their Romantic predecessors.

This book presents fifty-one didactic and devotional Sufi poems (with English translations) composed by the ulama of Brava, on Somalia's Benadir coast, in Chimiini, a Bantu language related to Swahili and unique to the town. Because the six ulama-poets, among whom two women, guided local believers towards correct beliefs and behaviours in reference to specific authoritative religious texts, the poems allow insight into their authors' religious education, affiliations, in which the Qadiriyyah and Ahmadiyyah took pride of place, and regional connections. Because the poems refer to local people, places, events, and livelihoods, they also bring into view the uniquely local dimension of Islam in this small East African port city in this time-period.

Silius Italicus' Punica, a Latin epic poem on the second Punic war written at the end of the first century CE, is one of the few Roman historical epics to survive from antiquity. This volume represents the first full-length scholarly commentary in any language on Book 2 of the seventeen-book epic and accompanies a recent resurgence in scholarly interest in the Punica. It includes an extensive introduction to the poem's historical and literary contexts, along with the full Latin text and apparatus criticus, English translation, and detailed line-by-line commentary. The introduction situates Silius in historiographical and literary tradition, while the commentary addresses a broad range of textual, linguistic, literary, and cultural topics. Discussion of intertextuality focuses especially on the poem's adaptation of earlier epic tradition, including the poems of Homer, Virgil, Ovid, Lucan, Valerius Flaccus, and Statius. The text and apparatus criticus have been updated since the publication of Josef Delz's Teubner edition of the Punica in 1987 to include a much more comprehensive account of emendation history. The result is a keenly focused and cutting-edge critical edition that will be an invaluable resource for scholars and students of Silius Italicus and the Punica for years to come.

Composed towards the end of the first century CE, Statius' Thebaid relates the myth of the 'Seven against Thebes': the assault of the seven champions of Argos on the ancient city in a bid to oust Eteocles, son of Oedipus, from his throne in favour of his brother, Polynices. Book 2 presents several key events in the build-up to the Theban war: Eteocles' haunting by the ghost of his grandfather Laius, the ill-omened weddings of Polynices and his ally Tydeus to the princesses of Argos, and Tydeus' failed embassy to Eteocles, leading to his famed victory over a Theban ambush. This volume represents the first full-length scholarly commentary in English on Book 2 of the twelve-book Latin epic, greatly expanding on and updating Mulder's 1954 Latin language commentary. An extensive introduction covers the poem's historical, textual, and literary contexts, with particular attention to Statius' adaptation of prior literary tradition and especially the epics of Homer, Virgil, Ovid, Lucan, Valerius Flaccus, and Silius Italicus. The Latin text, accompanied by a clear translation and apparatus criticus, is newly edited to take advantage of the recent detailed editorial work on the poem by Hall, Ritchie, and Edwards and is supplemented by a comprehensive and incisive line-by-line commentary which addresses a range of textual, linguistic, and literary topics. The result is a keenly focused yet accessible critical edition that will be of interest both to specialist scholars of Latin poetry and to advanced graduate students studying Flavian epic.