First Published in 1966, The Art of Marvell's Poetry presents J.B. Leishman's appreciation of Andrew Marvell's poems by demonstrating a sensitive understanding of attitudes peculiar to the seventeenth century and to Marvell. Leishman calls Marvell an "inveterate imitator and experimenter". His success depended on originality of combination rather than originality of invention. But while such phrases as "Musick, the Mosaique of the Air,'' "Desarts of vast Eternity,"- and "a green Thought in a green shade" were certainly inspired by others, they are distinctively and unquestionably Marvell's own. Marvell's poetry is shown to be the work of a man living at a certain moment in history; it is poetry which could not have been written at any other time, and its affinities to the work of contemporary poets are clearly demonstrated. The Art of Marvell's Poetry is a must read for scholars and researchers of English poetry, English literature, and European literature.

First Published in 1951, The Monarch of Wit presents John Donne's poetry in its proper context. The chief purpose of the book is to enable the reader to approach Donne's poetry without preconceptions of what 'metaphysical' poetry is or ought to be. Some of the questions which the author constantly has in mind are these: What are the main resemblances and differences, on the one hand, between Donne's poetry and Ben Jonson's, and, on the other hand, between Donne's poetry and that of poets who are commonly regarded as his disciples? How much of Donne's poetry may be appropriately described as "metaphysical", as personal or autobiographical, or as the expression of what has been called a "unified sensibility"? This book is a must read for scholars and researchers of English poetry, English literature, and European literature.

This book was the first sign of the gorgeous Indian summer which was to diffuse its golden splendours over the remainder of Alfred Tennyson's career, and to end only with his life.

"Maude" was written when Christina Rossetti was 19 and examines the heroine's struggle to resist the notion that modesty and domesticity constitute the duties of women. "On Sisterhoods" by Dinah Mulock Craik advocates the encouragement of Anglican sisterhoods.

First published in 1980. Paradise Lost was once a favourite text for family reading; today it is confined to the educational system, which treats it as an object to be investigated rather than a subject that demands response. Professor Hunter writes inevitably for an audience of literary students, but he invites them to consider Paradise Lost as a text that must be enjoyed before it can be explained. He understands the need to explain complexities, but is mainly concerned with the onward flow of our engagement with an ancient poem. Milton's narrative technique is explored as a system which both encourages and frustrates our native sense of story. His poetic power is shown to grow from our assent to its brilliant evocation of "as if" fictions. Milton is a master of audience manipulation, of dramatic tension and intellectual paradox. These characteristics are described in the context of the task the poem sets itself to tell the untellable and describe what no man has ever seen. The power of Milton's art is traced through his rehandling of Homer and Virgil and in his daringly individual fidelity to scripture. Professor Hunter does not try to smooth away the contradictions inherent in Milton's ambition to write an English classical Christian epic. He rather stresses the contradictions as cues to a properly alert reading. And this is what the book aims at above all a response to Paradise Lost which is alert to poetry and unintimidated by scholarship.

First published in 1971. The intention of Milton's Creation is to provide the student with a simple and direct entry into Paradise Lost. The author is not concerned with taking sides in critical controversy. His aim is to elucidate Milton's primary meanings; this is a work of exegesis, not of interpretation. In this new book, on arguably the greatest epic in the English language, the central substance of Milton's 'great Argument' is articulated with great clarity. By keeping in mind the epic status and universality common to Paradise Lost and Ulysses, the author introduces a post-Joycean perspective into his vision of Milton's Creation.

This study, first published in 1979, explores the idea that all spheres of action - hell, heaven, and earth - of the classical epic is relevant to all parts of Paradise Lost. The author also examines the structure, style, and the narrator of the text. This title will be of great interest to students of Milton and English Literature.

First published in 1991. These ten essays by the distinguished Milton scholar Edward Le Comte examines the various themes, context and structure of Milton's poetry and prose, including particular focus on both Paradise Lost and Paradise Regained. This title will be of great interest to students of John Milton and English Literature.

First published in 1969. These nine lectures written by the distinguished scholar J. B. Leishman examines the various themes, context and structure of Milton's poetry, with particular focus on L'Allegro, Il Penseroso and Lycidas. This title will be of great interest to students of John Milton and English Literature.

Arthur O'Shaughnessy's career as a natural historian in the British Museum, and his consequent preoccupation with the role of work in his life, provides the context with which to reexamine his contributions to Victorian poetry. O'Shaughnessy's engagement with aestheticism, socialism, and Darwinian theory can be traced to his career as a Junior Assistant at the British Museum, and his perception of the burden of having to earn a living outside of art. Making use of extensive archival research, Jordan Kistler demonstrates that far from being merely a minor poet, O'Shaughnessy was at the forefront of later Victorian avant-garde poetry. Her analyses of published and unpublished writings, including correspondence, poetic manuscripts, and scientific notebooks, demonstrate O'Shaughnessy's importance to the cultural milieu of the 1870s, particularly his contributions to English aestheticism, his role in the importation of decadence from France, and his unique position within contemporary debates on science and literature.

Disciplinary Measures from the Metrical Psalms to Milton studies the relationship between English poetry and church discipline in four carefully chosen bodies of poetry written between the Reformation and the death of John Milton. Its primary goal is to fill a gap in the field of Protestant poetics, which has never produced a study focused on the way in which poetry participates in and reflects on the post-Reformation English Church's attempts to govern conduct. Its secondary goal is to revise the understandings of discipline which social theorists and historians have offered, and which literary critics have largely accepted. It argues that knowledge of the early modern culture of discipline illuminates some important poetic traditions and some major English poets, and it shows that this poetry in turn throws light on verbal and affective aspects of the disciplinary process that prove difficult to access through other sources, challenging assumptions about the means of social control, the structures of authority, and the practical implications of doctrinal change. More specifically, Disciplinary Measures argues that while poetry can help us to understand the oppressive potential of church discipline, it can also help us to recover a more positive sense of discipline as a spiritual cure.

First published in 1894. This Concordance to the Poetical Works of John Milton includes all of Milton's poems, excluding the Psalms and the Translations in the prose works; and all of the words are given with the exception of some of the pronouns, conjunctions, adverbs and prepositions; but any of these used peculiarly are given. It is hoped that the work will be found useful not only by the student of Milton but by the grammarian and the philologist.

The politics of Yeats, Eliot and Pound have long been a source of discomfort and difficulty for literary critics and cultural historians. In The Political Aesthetic of Yeats, Eliot and Pound, Michael North offers a subtle reading of these issues by linking aesthetic modernism with an attempt in all these writers to resolve basic contradictions in modern liberalism. The many contradictions of modernism, which is seen as inwardly personal yet impersonal, subjective and yet beholden to tradition, fragmented and yet whole, mark the reappearance in art of these political contradictions. Though Yeats, Eliot and Pound certainly attempted to resolve in art problems that could not be resolved in actuality, their very attempt resulted in a politicised aesthetic, one that confessed their inability to do so. Yet this aesthetic retained an element of critical power, precisely because it could not cover up the political contradictions that concerned it; the poetry remains a valid criticism of the status quo and even in its failure suggests the beginnings of an alternative.

English metaphysical poetry, from Donne to Marvell, is notoriously witty. A. J. Smith seeks the reason for the central importance of wit in the thinking of the metaphysical poets, and argues that metaphysical wit is essentially different from other modes of wit current in Renaissance Europe. Formal theories and rhetorics of wit are considered both for their theoretical import and their appraisals of wit in practice. Prevailing fashions of witty invention are scrutinised in Italian, French and Spanish writings, so as to bring out the nature and effect of various forms of wit: conceited, hieroglyphic, transformational, and others from which the metaphysical mode is distinguished. He locates the basis of Renaissance wit in the received conception of the created order and a theory of literary innovation inherent in Humanist belief, which led to novel couplings of time and eternity, body and soul, man and God. Yet he finds that metaphysical wit distinctively works to discover a spiritual presence in sensible events; and he traces its demise in the 1660s to changes in the understanding of the natural world associated with the rise of empirical science.

Blake's late prophecies, The Four Zoas, Milton and Jerusalem, feature a conflict between the poet-prophet Los and a Spectre embodying all he most opposes: intellectual scepticism, religious despair and a systematic philosophical logic of contraries, which is for Blake an abstraction from, and negation of, his ideal of 'life'. In this 1991 book, Lorraine Clark traces the analogy between Blake's Spectre and Soren Kierkegaard's concept of 'dread', whose spirit of negation and irony he seeks to conquer, in both its philosophical and aesthetic manifestations. Using Kierkegaard's philosophy to illuminate Blake's prophecies, Lorraine Clark shows these concepts to offer the basis for a profound critique both of romanticism, as it has come to be identified with the spirit of dialectic, and of the postmodern irony which it has spawned. Their attempt to rescue an ideal of life from its abstraction within idealist dialectics is itself deeply romantic, and offers a dramatisation of tensions - between scepticism and affirmation, religion and nihilism, philosophy and poetry - central to our understanding of romanticism.

Originally published in 1992, Turkic Oral Poetry provides an expert introduction to the oral epic traditions of the Turkic peoples of central Asia. The book seeks to remedy the problem of non-specialists' lack of access to information on the Turkic traditions, and in the process, it provides scholars in various disciplines with material for comparative investigation. The book focuses on "central traditions" of this region, specifically those of the Uzbeks, Kazakhs, Karakalpak's, and Kirghiz and looks at the historical and linguistic background to a survey of the earliest documents, portraits of the singers and of performance considerations of genre, story-patterns, and formulaic diction, and discussions of "composition in performance", memory, rhetoric and diffusion.

This book, first published in 1978, treats methods of describing the total and special vocabularies of a given text and demonstrates a procedure of description of the vocabulary of the Sufi Mathnavi poem Tariq-ut-tahqiq, composed in the middle of the fourteenth century. The book gives a complete concordance, also indicating inflexional forms, and a complete frequency word-list of this New Persian text. The word-lists are followed by a statistical survey of the general vocabulary, the Arabic loan-words and the Sufi-religious terminology.

The centenary of Eliot's birth in 1988 provided the salutary occasion for a fresh look at his life and work and a reassessment in light of issues raised by the various critical movements - the new historicism, feminism, reader-reception theory - that have succeeded the New Criticism, loosely subsumable under the rubric post-structuralist. The essays assembled here vary in approach, but they share a commitment to the discipline of history and an awareness that history can function as critique as well as celebration. Several contributors take issue with Eliot's self-presentation and include documents Eliot chose not to emphasise. Others address topics including the business of producing culture in twentieth-century writing, the impact of self-professed masculinist poetry on women readers and modernism's social vouchers.

Mockingbird Wish Me Luck captures glimpses of Charles Bukowski's view on life through his poignant poetry: the pain, the hate, the love, and the beauty. He writes of lechery and pain while finding still being able to find its beauty.

Hermann Fischer's lively and original 1991 study of Romantic verse narrative traces in comprehensive detail the origins and development of this poetic form in the late eighteenth and early nineteenth centuries. It brings together the longer epic verse tales of Scott, Byron and Southey and the more lyrical forms of Romantic narrative poetry, thus presenting familiar poems such as Shelley's 'Alastor' and Keats's 'The Eve of St Agnes' in the revealing but neglected context of the genre and its history. Professor Fischer addresses the question of genre from a viewpoint that is both theoretical and historical, and his study also proves illuminating in many areas of Romantic literature, covering issues such as the role of the medieval revival and the decline of neoclassicism, the relative importance of popular and more literary sources, and questions of changing taste and the reading public. This translation, extensively revised and updated, makes Hermann Fischer's acclaimed study available for the first time in English.

In this challenging 1990 study, Donna Landry shows how an understanding of the remarkable but neglected careers of laboring-class women poets in the eighteenth century provokes a reassessment of our ideas concerning the literature of the period. Poets such as the washerwoman Mary Collier, the milkwoman Ann Yearsley, the domestic servants Mary Leapor and Elizabeth Hands, the dairywoman Janet Little, and the slave Phyllis Wheatley can be seen adapting the conventions of polite verse for the purposes of social criticism. Some of their strategies relate to earlier texts, revealing ideological blind spots in the tropes of male poets. Elsewhere, they made interesting innovations in poetic form. Mary Leapor's 'Crumble Hall', for instance, by attending to sexual politics, extends the critique of aristocratic privilege in the country-house poem beyond that of Pope and Crabbe. In Ann Yearsley's verse, landscape description, historical narrative, and philosophical meditation are infused with political comment. Historically important, technically impressive and often aesthetically innovative, the poetic achievements of these plebeian women writers constitute an exciting literary discovery.

First published in 1970. Few books on Milton have dealt with his poetry as a whole. The present study, a discussion of Milton's major poetry, seeks to examine each of the poems on its own distinctive grounds and also to delineate the pattern of continuity which the poems enter into and sustain. The author shows how each poem creates its own strategy of insight and demonstrates that together they explore and define a centre of recognition more fully than is possible with any single work. The book makes full use of the results of Milton scholarship and will provide a basis for a fresh appreciation of the complexity and unity of Milton's achievement.

Termination of psychoanalysis or psychotherapy is centrally important both to the process of treatment and to the patient's experience of treatment. It is surprising, then, that there has heretofore been no comprehensive study of the subject. This book begins to bridge the gap in this area. It is the first volume devoted entirely to issues surrounding the ending of treatment in analytic and therapeutic work with children and adolescents. Organized into separate clinical and theoretical sections, framed by a preface and sectional introductions, and covering a wide range of psychopathology, this book explores the different ways in which children and adolescents grapple with the experience of separation at the conclusion of treatment. Of special note is the contributors' recognition that the parents of children ending treatment face their own termination experience in relinquishing the support of their child's therapist. The presentations are enriched, as well, by frank discussions of countertransference as it enters into the termination phase of treatment.

First published in 1974, this book provides a helpful overview to the ode. After introducing the reader to classical odes, it goes on to trace the development of two major types: the Pindaric ode and the Horatian ode. The book concludes with a study of odes from the nineteenth and twentieth-centuries. This book will be of particular interest to those studying poetry, verse form and literature more generally.

First published in 1978, this work bridges the gap between the study of poetic form, which tends to isolate form from meaning and structural poetics, which tends to focus on meaning without considering the stanza's impact. Beginning with an examination of the various definitions of the stanza, the book goes on to describe the many forms of the stanza and the different strategies by which poets achieve stanzaic units of meaning. It then evaluates the logical relationships between stanzas, and, finally, assesses their place and function as parts within the poetic whole. This work will be of interest to those studying poetry and literature.