Written over the last thirty years, this collection of Professor Peter Verdonk's most important work on the stylistics of poetry clearly shows that the stylistics of poetic discourse is a diverse and valuable interdiscipline. Discussing the poetry of Auden, Heaney and Larkin amongst many others, Verdonk covers everything from intrinsic textual meaning and external context in its widest sense to the reader's cognitive and emotive response to poems. The book will appeal to all students on stylistics and literary linguistics courses, especially those focussing on poetry and poetic language.

In Proba the Prophet: The Christian Virgilian Cento of Faltonia Betitia Proba Sigrid Schottenius Cullhed offers an in-depth study and reappraisal of the Cento of Proba and its reception. Proba's poem belongs to the few extant Latin texts from Antiquity penned by a woman writer, and one of the oldest Christian Latin poems. Schottenius Cullhed surveys and challenges common preconceptions and biographical constructions of the poem's author and early readers, and examines their impact on interpretations and evaluations of the text. The author also develops and puts to use an alternative model for understanding the poem and convincingly shows how the Virgilian source texts form a complex net of internal and external biblical typologies within the Cento.

Now available in aperback for the first time, this volume provides a comprehensive guide to one of the most difficult authors of classical antiquity. All the major aspects of Propertius work are dealt with in contributions by renowned specialists. Due space is also given to the reception of the author. At the centre stands an interpretation of the four transmitted books.

Offering the first comprehensive study of Guillaume de Machaut's vast corpus of text and music, the 18 essays in this collection explore the author's engagement with the ethical, political, and aesthetic concerns of his time. Building on interdisciplinary interest in Machaut, this collection broadens discussion of his work by exploring overlapping interests in his poetry and music; addressing lesser-studied writings; offering fresh perspectives on lyric, authorial voice, and performance; and engaging more critically with his reception by medieval bookmakers, modern editors, and the music industry. The result is a promising map for future research in the field that will be of interest to students and specialists alike.

In Jacques Reda: Being There, Almost, Aaron Prevots studies the work of this major contemporary French writer since the 1950s-poetry, novels, literary essays, short prose, jazz histories. He particularly examines Reda's explorations of place, including how the 'world's energy' becomes the ideal dancing partner, poetry incarnate in one's arms. Reda embodies 'being there, almost' because he wanders with great wisdom yet renounces any glory in this metaphorical dance. He aligns us with the outer world's rhythms and time's passage. Fleeting waves of perception create a voluptuous, unified whole. In considering the arc of Reda's works from 1952-2015, Aaron Prevots locates a progression from post-Baudelairean flanerie to commemoration of childhood, classical antiquity, fellow writers, jazz, physics, swing, theology, and trains.

Winner of the Anna Balakian Prize 2016 Is poetry lost in translation, or is it perhaps the other way around? Is it found? Gained? Won? What happens when a poet decides to give his favorite Russian poems a new life in English? Are the new texts shadows, twins or doppelgangers of their originals-or are they something completely different? Does the poet resurrect himself from the death of the author by reinterpreting his own work in another language, or does he turn into a monster: a bilingual, bicultural centaur? Alexandra Berlina, herself a poetry translator and a 2012 Barnstone Translation Prize laureate, addresses these questions in this new study of Joseph Brodsky, whose Nobel-prize-winning work has never yet been discussed from this perspective.

'York Notes Advanced' offer an accessible approach to English Literature. This series has been completely updated to meet the needs of today's A-level and undergraduate students. Written by established literature experts, York Notes Advanced introduce students to more sophisticated analysis, a range of critical perspectives and wider contexts.

Reconsidering Longfellow is the first collection of scholarly essays in several decades devoted entirely to the work and afterlife of the most popular and widely read writer in American literature. The essays, written by a new generation of Longfellow scholars, cover the entire range of Longfellow s work, from the early poetry to the wildly successful epics of his middle period (Evangeline, The Song of Hiawatha) to his Chaucerian collection of stories published after the Civil War, Tales of a Wayside Inn. Separate contributions discuss Longfellow s financial dealings, his preoccupation with his children, and his interest in the visual arts, as well as the tremendous role his poetry did and will once again play in American literature classrooms in the U.S. All essays were written specifically for the volume. Many of them rely on unpublished archival sources from the Longfellow collections at the Longfellow House-George Washington National Historic Site and at Houghton Library in Cambridge, Massachusetts."

"Milton, Evil and Literary History" addresses the ways in which we read literary history according to quite specific images of growth, development, progression, flourishing and succession. Goodness has always been aligned with a life of expansion, creation, production and fruition, while evil is associated with the inert, non-relational, static and stagnant. These associations have also underpinned a distinction between good and evil notions of capitalism, where good exchange enables the agents to enhance their living potential and is contrasted with the evils of a capitalism system that circulates without any reference to life or spirit. Such images of a ghostly and technical economy divorced from animating origin are both central to Milton's theology and poetry and to the theories of literary history through which Milton is read.Regarded as a radical precursor to Romanticism, Milton's poetry supposedly requires the release of his radical spiritual content from the fetters of received orthodoxy. This literary and historical imagery of releasing the radical spirit of a text from the dead weight of received tradition is, this book argues, the dominant doxa of historicism and one which a counter-reading of Milton ought to question.

Building on the formula of York Notes, this Advanced series introduces students to more sophisticated analysis and wider critical perspectives. The notes enable students to appreciate contrasting interpretations of the text and to develop their own critical thinking. Key features include: study methods; an introduction to the text; summaries with critical notes; themes and techniques; textual analysis of key passages; author biography; historical and literary background; modern and historical critical approaches; chronology; and glossary of literary terms.

In recent decades, Latin love poetry has become a significant site for feminist and other literary critics studying conceptions of gender and sexuality in ancient Roman culture.

This new volume, the first to focus specifically on gender dynamics in Latin love poetry, moves beyond the polarized critical positions that argue that this poetry either confirms traditional gender roles or subverts them. Rather, the essays in the collection explore the ways in which Latin erotic texts can have both effects, shifting power back and forth between male and female. If there is one conclusion that emerges, it is that the dynamics of gender in Latin amatory poetry do not map in any single way onto the cultural and historical norms of Roman society. In fact, as several essays show, there is a dialectical relationship between this poetry and Roman cultural practices.

By complicating the views of gender dynamics in Latin love poetry, this exciting new scholarship will stimulate further debates in classical studies and literary criticism with its fresh perspectives.

Henri Michaux is widely recognized as a major twentieth-century French poet and painter. Although his fascination with universal languages has attracted the attention of several of his critics, it has up until now been treated as a marginal concern. Henri Michaux: Poetry, Painting, and the Universal Sign argues that his ideas on what might constitute a universal language are central to an understanding of his works. It suggests that both his ambivalent articulation of his relationship to the languages and literary traditions of his native Belgium and adoptive France, and his efforts simultaneously to exacerbate and subvert the differences between words and images, are rooted in Enlightenment theories of the relationship of the self to nature and its language
Rigaud-Drayton's study makes a substantial and original contribution to the study of this complex artist, exploring the intricate relationships between word and image in his poetry and paintings, and his quest for a single, unifying language or sign.

JOHN KEATS: BRIGHT STAR: SELECTED POEMS

Edited with an introduction by Miriam Chalk

This book gathers the most potent passages from the poetry of John Keats (1795-1821) together, including the famous 'Odes', the sonnets, the luxuriously sensuous 'Eve of St Agnes', the mysterious and atmospheric 'La Belle Dame Sans Merci', and extracts from 'Lamia', 'Endymion' and 'Hyperion'.

This edition has been updated with new poems, new illustrations and a revised text

John Keats is one of the few British poets who is truly ecstatic andwild. Keats is known for his ornate language, memorablephrases ('made sweet moan' in 'La Belle Dame Sans Merci'), Romantic indulgences, and a tendency to gush and exaggerate. Keats is one of a few poets who write in English in a shamanic manner.

John Keats reaches the pinnacle of British poetry, as W. Jackson Bate, typical among critics, says: 'the language of his greatest poetry has always held an attraction; for there we reach, if only for a brief while, a high plateau where in mastery of phrase he has few equals in English poetry, and only one obvious superior.'

Like Arthur Rimbaud, and like the poet he is most compared with, Percy Bysshe Shelley, John Keats burnt fiercely and died young. He is a poet as martyr and hero, a Vincent van Gogh of poesie. He is famous for his sensual odes - 'Ode to a Grecian Urn', 'Ode to Melancholy', 'To Autumn', 'Ode to Psyche' and 'Ode to a Nightingale' - the poems 'Lamia', 'Endymion' and 'Hyperion', the luxuriant 'The Eve of St Agnes', a group of sonnets, and the strange, haunting fairy tale poem 'La Belle Dame Sans Merci'.

John Keats is a typical Romantic poet: he usedpagan imagery; he employs much ancient Greek mythology; he is a shamanic poet, who writes in feverish bouts; he is a 'poet's poet'; he wrote searing short poems, and attempted long, epic sequences; he revered the right authors (John Milton, William Shakespeare, the ancient Greeks); he died young; and he travelled to Italy, the key destination for the authentic Grand Tour experience.

British Poets Series. Illustrated with portraits and paintings based on John Keats' poetry. Bibliography andnotes. ISBN 9781861713759. 136 pages.

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This book is about the idea of space in the first half of the nineteenth century. It uses contemporary poetry, essays, and fiction as well as scientific papers, textbooks, and journalism to give a new account of nineteenth-century literature's relationship with science. In particular it brings the physical sciences--physics and chemistry--more accessibly and fully into the arena of literary criticism than has been the case until now.
Writers whose work is discussed in this book include many who will be familiar to a literary audience (including Wordsworth, Coleridge, and Hazlitt), some well-known in the history of science (including Faraday, Herschel, and Whewell), and a raft of lesser-known figures. Alice Jenkins draws a new map of the interactions between literature and science in the first half of the nineteenth century, showing how both disciplines were wrestling with the same central political and intellectual concerns--regulating access to knowledge, organizing knowledge in productive ways, and formulating the relationships of old and new knowledges.
Space has become a subject of enormous critical interest in literary and cultural studies. Space and the 'March of Mind' gives a wide-ranging account of how early nineteenth-century writers thought about--and thought with--space. Burgeoning mass access to print culture combined with rapid scientific development to create a crisis in managing knowledge. Contemporary writers tried to solve this crisis by rethinking the nature of space. Writers in all genres and disciplines, from all points on the political spectrum, returned again and again to ideas and images of space when they needed to set up or dismantle boundaries in theintellectual realm, and when they wanted to talk about what kinds of knowledge certain groups of readers wanted, needed, or deserved. This book provides a rich new picture of the early nineteenth century's understanding of its own culture.

The Look of Lyric: Greek Song and the Visual addresses the various modes of interaction between ancient Greek lyric poetry and the visual arts as well as more general notions of visuality. It covers diverse poetic genres in a range of contexts radiating outwards from the original performance(s) to encompass their broader cultural settings, the later reception of the poems, and finally also their understanding in modern scholarship. By focusing on the relationship between the visual and the verbal as well as the sensory and the mental, this volume raises a wide range of questions concerning human perception and cultural practices. As this collection of essays shows, Greek lyric poetry played a decisive role in the shaping of both.

Madly after the Muses examines the use of Graeco-Roman samplings in the Bengali works of Michael Madhusudan Datta (1824-1873), the nineteenth-century poet and playwright. His oeuvre, which includes a Bengali play dramatizing a Hindu version of the Judgement of Paris, a retelling of the Sanskrit Ramayana using various Vergilian and Homeric tropes, a Hindu response to Ovid's Heroides, and a Bengali prose version of the first half of Homer's Iliad, utilize the Greek and Roman classics in a surprising and subversive way. Though steeped in contemporary British literary culture, Madhusudan's Bengali works bypassed the literary trends of his British contemporaries and, most strikingly, used the Western classics to defy the hegemonic elite culture of the Hindu pundits. He treated traditional Hindu material with innovations inspired by the literature of the Graeco-Roman world, and provided an Orientalist Indo-European reading of the ancient cultures of India and Europe. By subverting contemporary British constructions of what constituted 'classical', he also highlighted counter-currents within the Western classical discourse. In this volume, Riddiford introduces new texts and contexts to the fields of classical reception and postcolonial scholarship, and includes appendices with translated excerpts from Bengali works not previously translated into English. He also examines the Bengali poet's classical education, drawing on new material from various archives to show that he was given a rigorous British-style classical education, offering a surprising early chapter in the story of the dissemination and reception of the Graeco-Roman classics in India.

For the writers and artists in In-Between Identities: Signs of Islam in Contemporary American Writing, contemporary Muslim American identity is neither singular nor fixed. Rather than dismiss the tradition in favor of more secular approaches, however, all of the figures here discover in Muhammad's revelation resources for affirming such uncertainty. For them, the Qur'anic notion of a divine "sign" validates creation, even that creativity born of contrasting if not competing assumptions about identity. To develop this claim, individual chapters in the book discuss Muslim faith in the work of poets Naomi Shihab Nye, Kazim Ali, Tyson Amir and Amir Sulaiman; novelists Mohja Kahf, Rabih Alameddine, and Willow Wilson; illustrator Sandow Birk; playwright Ayad Akhtar; and the online record of the 30 Mosques in 30 Days project.

ARTHUR RIMBAUD: A SEASON IN HELL

edited and translated by Andrew Jary

A new translation of Arthur Rimbaud's extraordinary poetic statement, written in 1873. The sensual, violent and anguished emotion in Rimbaud's visionary 'alchemy of the word' remains startling, and continues to inspire poets.

Printed with the French text facing the translation.

For a time, when he was a teenager until he was 19, art was crucial for the psychic well-being of the restless Arthur Rimbaud (1854-1891). The young would-be rebel Rimbaud escaped from the bland provincial town of Charleville in Northern France to wander the streets of Paris in poverty. After writing his Illuminations and A Season in Hell, some of the most extraordinary poems of all world literature, Rimbaud renounced it all for a hellish and apparently boring life in Aden. 'Mortel, ange ET demon, autant dire Rimbaud, ' as Rimbaud's lover, Paul Verlaine wrote ('Mortal, angel AND demon, that is to say Rimbaud'.)

Arthur Rimbaud is the tornado of world poetry. He out-blasts just about every other poet. For poets, he is more significant than the so-called 'founding fathers' or influential philosophers of modern times: Marx, Freud, Nietzsche and Einstein. For poets, he is 'everybody's favourite hippy', a Communard, a 'precursor of the current movement of subversion of Western notions of self, society, and discourse', and a savage mystic.

Arthur Rimbaud is one of the most authentically rebellious of modern poets. Other poets have written of rebellion and radical action, but Rimbaud is one of the very few who actually carried it out (and didn't sound like an idiot when he spoke of it). Picture the young poet in his mid-teens, utterly bored by the living deaths of suburban life, aching to run away to Paris. Though he was dragged back a number of times, Rimbaud's life after his early teens was never again centred in his homeland. True, he returned to his mother, family and homeland, but his true heartland, his landscape of the soul, was elsewhere. Rimbaud was ever a poet of elsewhere, the other place, displacement. He was always another person: 'Je est un autre (I is an other).

He rebelled partly for the joy of rebellion. His early poetry is marked by an extraordinary virulence and anger. Illuminations and A Season in Hell, his major works, are also powered by an immense anger - a cosmic anger, a psycho-cultural-spiritual turmoil.

Illustrated, with a newly revised text for this edition. Introduction, bibliography and notes. ISBN 971861713773.

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Retraction Notice: Postscript (March, 2021): The Publisher notifies the readers that Chapter 2 of this volume (Dirk Obbink, "Ten Poems of Sappho: Provenance, Authenticity, and Text of the New Sappho Papyri") has been retracted. For more information please view the statement by the editors in the Retraction Notice in the front matter of this volume and on page 9 of the Introduction. The reasons for this retraction include the serious doubts that have been raised in the years following the publication of this edited volume about the provenance of the newest Sappho papyri (P. Sapph. Obbink and P GC. inv.105). In The Newest Sappho Anton Bierl and Andre Lardinois have edited 21 papers of world-renowned Sappho scholars dealing with the new papyrus fragments of Sappho that were published in 2014. This set of papyrus fragments, the greatest find of Sappho fragments since the beginning of the 20th century, provides significant new readings and additions to five previously known songs of Sappho (frs. 5, 9, 16, 17 and 18), as well as the remains of four previously unknown songs, including the new Brothers Song and the Kypris Song. The contributors discuss the content of these poems as well as the consequence they have for our understanding of Sappho's life and work.

Victorian Poetry and the Culture of the Heart is a significant and timely study of nineteenth-century poetry and poetics. It considers why and how the heart became a vital image in Victorian poetry, and argues that the intense focus on heart imagery in many major Victorian poems highlights anxieties in this period about the ability of poetry to act upon its readers. In the course of the nineteenth century, this study argues, increased doubt about the validity of feeling led to the depiction of the literary heart as alienated, distant, outside the control of mind and will. This coincided with a notable rise in medical literature specifically concerned with the pathological heart, and with the development of new techniques and instruments of investigation such as the stethoscope. As poets feared for the health of their own hearts, their poetry embodies concerns about a widespread culture of heartsickness in both form and content. In addition, concerns about the heart's status and actions reflect upon questions of religious faith and doubt, and feed into issues of gender and nationalism. This book argues that it is vital to understand how this wider culture of the heart informed poetry and was in turn influenced by poetic constructs. Individual chapters on Barrett Browning, Arnold, and Tennyson explore the vital presence of the heart in major works by these poets--including, Aurora Leigh, "Empedocles on Etna," In Memoriam, and Maud--while the wide-ranging opening chapters present an argument for the mutual influence of poetry and physiology in the period and trace the development of new theories of rhythm as organic and affective.

This smart new paperback edition contains the fully-reset text of three medieval English poems, translated by Tolkien for the modern-day reader and containing romance, tragedy, love, sex and honour. It features a beautifully decorated text and includes as a bonus the complete version of Tolkien's acclaimed lecture on Sir Gawain. Sir Gawain and the Green Knight and Pearl are two poems by an unknown author written in about 1400. Sir Gawain is a romance, a fairy-tale for adults, full of life and colour; but it is also much more than this, being at the same time a powerful moral tale which examines religious and social values. Pearl is apparently an elegy on the death of a child, a poem pervaded with a sense of great personal loss: but, like Gawain it is also a sophisticated and moving debate on much less tangible matters. Sir Orfeo is a slighter romance, belonging to an earlier and different tradition. It was a special favourite of Tolkien's. The three translations represent the complete rhyme and alliterative schemes of the originals, and are uniquely accompanied with the complete text of Tolkien's acclaimed 1953 W.P. Ker Memorial Lecture that he delivered on Sir Gawain.