Consuming Keats explores the impact of John Keats on authors and artists, from the poet's death in 1821 to the end of the First World War. The study examines the work of authors including Shelley, Browning, Wilde, Hardy and Thomas Hall Caine, as well as the celebrated artists Holman Hunt, Millais and Rossetti, and other lesser-known figures. The study also includes tributes to Keats by women authors and artists, such as: Christina Rossetti, Alice Meynell and Jessie Marion King. The interdisciplinary approach provides a unique and comprehensive analysis of Keats's cultural heritage.

The Robert Browning volume in the 21st-Century Oxford Authors series is the first one-volume fully annotated edition of Browning to offer a wide selection of work written throughout Browning's career, from the very first poem he published, Pauline, to Asolando, the volume that was published on the day that he died. The text chosen is, wherever possible, the text of the poem as it was first published by Browning himself, and as a consequence the volume also constitutes a kind of biography. It reveals a poet who began as a bold experimentalist, and who continued to experiment throughout a writing career of more than fifty years. Browning is best known for his dramatic monologues, and the dramatic monologues are fully represented in this volume, but he was also a narrative poet, a poet of philosophical reflection, and a poet who fashioned an extraordinary variety of lyric measures. This volume reveals Browning as a far more versatile poet than he is often taken to be. There are two important prose items, an essay on Shelley and a letter to Ruskin which clarify Browning's intellectual stance. The Notes include brief headnotes to each poem followed by detailed annotation. Browning is often a difficult poet, and the notes are designed to assist the reader to arrive at a full understanding of the poems. The volume also includes a general introduction and a detailed chronology of Browning's life and times.

This book examines the influence of American poetry on Seamus Heaney's achievement by close attention to the themes, style, and resonances of his poetry at different stages of his career, including his appointments in Berkeley and Harvard. Beginning with an examination of Heaney's education at Queen's University, this study presents comparative close readings which explore the influence of five American poets he read during this period: Robert Frost, John Crowe Ransom, Theodore Roethke, Robert Lowell, and Elizabeth Bishop. Laverty demonstrates how Heaney returned to several of these poets in response to difficulty and to consolidate later aesthetic developments. Heaney's ambivalent critical treatment of Sylvia Plath is investigated, as is his partial misreading of Bishop, who is understood today more sensitively than in her lifetime. This study also probes the reasons for his elision of other prominent American writers, making this the first comprehensive assessment of American influence on Heaney's poetry.

Meng Haoran (689-740) was one of the most important poets of the "High Tang" period, the greatest age of Chinese poetry. In his own time he was famous for his poetry as well as for his distinctive personality. This is the first complete translation into any language of all his extant poetry. Includes original Chinese texts and English translation on facing pages.

Ted Hughes wrote in a wide range of modes which were informed by an even wider range of contexts to which his lifetime's reading, interests and experience gave him access. The achievement of Ted Hughes as one of the major poets of the twentieth century is complimented by his growing reputation as a writer of letters, plays, literary criticism and translations. In addition, Hughes made important contributions to education, literary history, emergent environmentalism and debates about life writing. Ted Hughes in Context brings together thirty-four contributors who inform new readings of the works, and conceptualize Hughes's work within long-standing critical traditions while acknowledging a new awareness of his future importance. This collection offers consideration not only of the most important aspects of Hughes's work, but also the most neglected.

Conceived in 1976 and published in 1980, LEGEND exemplifies the political and linguistic commitments of then-nascent Language writing. Coauthored by Bruce Andrews, Charles Bernstein, Ray DiPalma, Steve McCaffery, and Ron Silliman, the work was composed on typewriters and developed through the mail. The twenty-six poems of the volume bring together every possible permutation of collaborative authorship in one-, two-, three-, and five-author combinations, revealing the evolution of distinctive styles against and in conversation with others. Along with a complete reproduction of the original text, LEGEND: The Complete Facsimile in Context includes a critical introduction by editors Matthew Hofer and Michael Golston, a generous selection of material from the authors' correspondence, and a new collaborative piece by the authors. This book will be an essential resource to students and scholars in twentieth-century poetry and poetics.

For more than ninety years, eager writers and young poets, even those simply looking for a purpose in life, have embraced the wisdom of Rainer Maria Rilke's Letters to a Young Poet, first published in 1929. Most readers and scholars assumed that the letters from young poet were forever lost to posterity. Yet, shockingly, the letters were recently discovered by Erich Unglaub, a Rilke scholar, and published in German in 2019. The acclaimed translator Damion Searls has now not only retranslated Rilke's original letters but also translated the letters by Franz Xaver Kappus, an Austrian military cadet and aspiring poet. This timeless edition, in addition to joining the two sets of letters together for the first time in English, provides a new window into the workings of Rilke's visionary poetic and philosophical mind, allowing us to re-experience the literary genius of one of the most inspiring works of twentieth-century literature.

The poet of the Odyssey was a seriously flawed genius. He had a wonderfully inventive imagination, a gift for pictorial detail and for introducing naturalistic elements into epic dialogue, and a grand architectural plan for the poem. He was also a slapdash artist, often copying verses from the Iliad or from himself without close attention to their suitability. With various possible ways of telling the story bubbling up in his mind, he creates a narrative marked by constant inconsistency of detail. He is a fluent composer who delights in prolonging his tale with subsidiary episodes, yet his deployment of the epic language is often inept and sometimes simply unintelligible. The Making of the Odyssey is a penetrating study of the background, composition, and artistry of the Homeric Odyssey. Martin West places the poem in its late seventh-century context in relation to the Iliad and other poetry of the time. He also investigates the traditions that lie behind it: the origins of the figure of Odysseus, and folk tales such as those of the One-eyed Ogre and the Husband's Return.

"Historicizing Blake" puts Blake back into the cultural context of his times. These essays by both established and younger scholars re-address Blake's contemporary milieu after the neglect of ten years of post-structuralist, reader-orientated, methodology. By employing notions of history wider than the purely 'literary', and featuring an important new essay by the period's foremost subcultural historian, lain McCalman, "Historicizing Blake" represents a significant contribution towards the re-historicizing of Romanticism.

In the mid-eleventh century, secular Byzantine poetry attained a hitherto unseen degree of wit, vividness, and personal involvement, chiefly exemplified in the poetry of Christophoros Mitylenaios, Ioannes Mauropous, and Michael Psellos. This is the first volume to consider this poetic activity as a whole, critically reconsidering modern assumptions about Byzantine poetry, and focusing on Byzantine conceptions of the role of poetry in society. By providing a detailed account of the various media through which poetry was presented to its readers, and by tracing the initial circulation of poems, this volume takes an interest in the Byzantine reader and his/her reading habits and strategies, allowing aspects of performance and visual representation, rarely addressed, to come to the fore. It also examines the social interests that motivated the composition of poetry, establishing a connection with the extraordinary social mobility of the time. Self-representative strategies are analyzed against the background of an unstable elite struggling to find moral justification, which allows the study to raise the question of patronage, examine the discourse used by poets to secure material rewards, and explain the social dynamics of dedicatory epigrams. Finally, gift exchange is explored as a medium that underlines the value of poetry and confirms the exclusive nature of intellectual friendship.

This edited collection explores the work of highly awarded and twice American Poet Laureate W. S. Merwin. Spanning Merwin's early career, his mid-career success, his Hawaiian epic, his eco-poetry, his lesser-known later poetry and the influence of Buddhism on his work, the volume offers new perspectives on Merwin as a major poet. Exploring his works across the twentieth and twenty-first century, this collection presents Merwin as a necessary and contemporary poet. It emphasizes contemporary readings of Merwin as an environmental advocate, showing how his poetry seeks to help each reader re-establish an intimate relationship with the natural world. It also highlights how Merwin's work presents our place in history as a pivotal moment of transition into a new era of international cooperation. This volume both celebrates his life and writing and takes scholarship on his work forward into the new century.

This anthology is a new reading of the contemporary poetries. The largest challenge facing Liberal Arts and Sciences today is how to deal with the rapidly changing and increasingly complex world that all the phenomena under the label globalization have created. This world is 'multi'- many things: cultural, linguistic, ethnic, racial, etc. Over the last few decades, on a daily basis, some 'we' or another has found itself face to face with not the other but with many others, with not one language practice, but many. Educating for this world is the most pressing challenge we face. The raison d'etre for Poetry and Pedagogy is the belief that poetry is the linguistic laboratory of the times in which one lives. It is the genre in which our habitual language practices are daily stretched, challenged and reconfigured. The collection gathers together the work of a number of scholars, poets, and teachers on the challenges and productive possibilities that arise when teaching contemporary writing.

Pastoralist traditions have long been extraordinarily important to the social, economic, political, and cultural life of the
region of western India called Maharashtra. The Marathi-language oral literature of the Dhangar shepherds of
Maharashtra is not only one of the most important elements of their own traditional cultural life, but also a treasure of
world literature. This volume presents two lively and well-crafted examples of the ovi, a genre typical of the oral literature of Dhangars. The two ovis in the volume narrate the stories of Biroba and Dhuloba, two of the most important gods of Dhangar shepherds. Each of the ovis tells an elaborate story of the birth of the god--a miraculous and complicated process in both cases--and of the struggles each one goes through in order to find and win his bride. The extensive introduction provides a literary analysis of the ovis and discusses what they reveal about the cosmology, geography, society, administrative structures, and economy of their performers' world, and about the performers views of pastoralistsand women.

Yeats's Poetry and Poetics brings together some of the finest Yeats criticism ever published, together with some new pieces specially written for this volume. Spanning the whole of Yeats's career, the essays are organised into three main parts. The first deals with Yeats's concern with the speaking voice and its bearing on public and private readings of his verse; and on hisuse of certain kinds of images in his poetry and plays, from ghosts and fairies, to figures borrowed from painters and sculptors and, extraordinarily, to the actual dancer for whom he makes room in his work. The second section puts Yeats's poetry in context with the work of Synge, D.H. Lawrence, Walter de la Mare and other 'Georgians', and with that of T.S. Eliot and other modernists; assessing the continuities (real and asserted) in Yeats's long poetic career against the revolutions in the poetry of his time. The profound connections between the writings of Yeats and Joyce, including the coupling of Finnegans's Wake and 'The Wanderings of Oisin' are also examined. Rounding off the volume 'Phantasmagoria', explores the implications for his poetics of Yeats's spiritualist philosophy, especially in terms of his co

In Dickinson Unbound, Alexandra Socarides takes readers on a journey through the actual steps and stages of Emily Dickinson's creative process. In chapters that deftly balance attention to manuscripts, readings of poems, and a consideration of literary and material culture, Socarides takes up each of the five major stages of Dickinson's writing career: copying poems onto folded sheets of stationery; inserting and embedding poems into correspondence; sewing sheets together to make fascicles; scattering loose sheets; and copying lines on often torn and discarded pieces of household paper. In so doing, Socarides reveals a Dickinsonian poetics starkly different from those regularly narrated by literary history. Here, Dickinson is transformed from an elusive poetic genius whose poems we have interpreted in a vacuum into an author who employed surprising (and, at times, surprisingly conventional) methods to wholly new effect. Dickinson Unbound gives us a Dickinson at once more accessible and more complex than previously imagined. As the first authoritative study of Dickinson's material and compositional methods, this book not only transforms our ways of reading Dickinson, but advocates for a critical methodology that insists on the study of manuscripts, composition, and material culture for poetry of the nineteenth century and thereafter.

The presentation of Tennyson's personal and poetic development is supplemented by an introduction, brief biographical sketches of more than 30 of his friends, and maps of relevant areas in Lincolnshire and the Isle of Wight.

This intimate portrayal of the friendship between two icons of twentieth-century poetry, Czeslaw Milosz and Joseph Brodsky, highlights the parallel lives of the poets as exiles living in America and Nobel Prize laureates in literature. To create this truly original work, Irena Grudzinska Gross draws from poems, essays, letters, interviews, speeches, lectures, and her own personal memories as a confidant of both Milosz and Brodsky. The dual portrait of these poets and the elucidation of their attitudes toward religion, history, memory, and language throw a new light on the upheavals of the twentieth-century. Gross also incorporates notes on both poets' relationships to other key literary figures, such as W. H. Auden, Susan Sontag, Seamus Heaney, Mark Strand, Robert Haas, and Derek Walcott.

The Work of Form: Poetics and Materiality in Early Modern Culture explores the resurgent interest in literary form and aesthetics in early modern english studies. Essays by leading international scholars reflect on the legacy of historicist approaches and on calls for a renewal of formalist analysis as both a tool and as a defence of our object of study as literary critics. This collection addresses the possibilities as well as the challenges of combining these critical traditions; it tests and reflects on these through practice. It also establishes new lines of enquiry by expanding definitions of form to include the material as well as theoretical implications of the term and explores the early modern roots of these connections. The period's most famous poets such as Sidney, Spenser, Shakespeare, Jonson, and Jonson appear alongside Anne Southwell, Thomas Campion, and many anonymous poets and songwriters. The Work of Form brings together contributors from literary history, historicism, manuscript study, prosodic theory, the history of music, history of the book, as well as print and manuscript culture. It represents avowedly political historical work, alongside aesthetic and theoretical frameworks, work bridging literature and music, and cognitive poetics. In bringing together these diverse commitments, it addresses urgent questions about how we can understand and analyse literary form in a historically-rooted way, and demands rigorous discussion about the status of formal and aesthetic considerations in editing, in literary criticism, and in teaching.

Robert Herrick has long been one of the best loved of English lyric poets. Known through the centuries as the author of 'Gather ye rosebuds', he also wrote, as this new edition shows, hundreds of songs, epigrams and longer poems equally worthy of attention. Volume I of this new edition of Herrick's work contains Hesperides, Herrick's only published collection. As well as the commentary on Hesperides, volume II contains the fifty-nine surviving manuscript poems which can be firmly attributed to Herrick, and on which his reputation was based before 1648. It is an ambitious and original attempt to recover for the first time the history of Herrick's corpus of manuscript poetry, and to identify how his poems circulated, and who his copyists and readers were. By establishing the type of sources to which they had access and the nature and quality of the poems these sources contained, and through the histories of transmission that accompany every poem, this volume offers a significant body of evidence that deepens our critical understanding not only of Herrick's poetry, but of the mechanics of scribal publication and the culture of reading, writing and performing poetry and music in early modern England. Where, as is often the case, a musical setting survives this is also printed, along with a commentary on the setting, in a form which is designed to encourage the performance of the lyrics.

For the first time in scholarship, this essay collection interprets modernity through the literary micro-genres of the aphorism, the epigram, the maxim, and the fragment. Situating Friedrich Nietzsche and Oscar Wilde as forerunners of modern aphoristic culture, the collection analyses the relationship between aphoristic consciousness and literary modernism in the expanded purview of the long twentieth century, through the work of a wide range of authors, including Samuel Beckett, Max Beerbohm, Jorge Luis Borges, Katherine Mansfield, and Stevie Smith. From the romantic fragment to the tweet, Aphoristic Modernity offers a compelling exploration of the short form's pervasive presence both as a standalone artefact and as part of a larger textual and cultural matrix.

The Bible serves Wordsworth as a basis for his poetry and poetics, providing language, images, figures, and importantly, a paradigm of poetic genres. Working from three interrelated critical approaches--intertextuality, poetics, and metaphysics--Deeanne Westbrook first analyzes Wordsworth’s theory and practice as these reflect the New Testament doctrine of the Incarnation. Subsequent chapters consider Wordsworth’s adaptation of biblical narrative forms--etymological tales, parables, and mystical allegories. Closing chapters examine some extraordinary linguistic innovations in Wordsworth’s revisions of biblical apocalypse, techniques that permit the poet to express the ineffable and to reveal nothing.