"Diasporic Avant-Gardes" draws into dialogue twodiffering traditions ofpoetic practice: the diasporic and the avant-garde. This interdisciplinary collectionexamines the unacknowledged affinities (and crucial differences) between avant-garde and diasporic formal strategies and social formations. The essays foreground the creation of experimental forms and investigate the specific contexts of cultural displacement andlanguage use that inform their poetics.

This work explores an aspect of Yeats's writing largely ignored until now: namely, his wide-ranging absorption in S.T. Coleridge. Gibson explores the consistent and densely woven allusions to Coleridge in Yeats's prose and poetry, often in conjunction with other Romantic figures, arguing that the earlier poet provided him with both a model of philosopher - 'the sage' - and an interpretation of metaphysical ideas which were to have a resounding effect on his later poetry, and upon his rewriting of A Vision.

This study explores how poets who espoused republican political ideals sought to embody and advance those principles in their verse. By examining a range of canonical and non-canonical authors-including Blake, Shelley, Cooper, Linton, Landor, Meredith, Thomson and Swinburne, Kuduk Weiner connects the formal strategies of republican poems to the political theory and expressive cultures of republican radicalism. Her new study traces a strain of powerful, complex political poetry that casts new light on the political and literary history of nineteenth-century England.

This exciting collection represents a range of scholarly approaches and include close textual study, comparative readings, and broad cultural analysis. Contributors to this collection include Bernard Beatty, Peter Cochran, Marilyn Gaull, Charles E. Robinson, Andrew Stauffer, and Timothy Webb.

"The Poetics of the American Suburbs" is the first book to consider the rich body of poetry that emerged from and helped to shape the post-war American suburbs. Jo Gill discusses the work of forty or more writers--some well-known, such as Anne Sexton and Langston Hughes, others not primarily known through their poetry such as John Updike, and some who were best-sellers in their own time but have since largely been forgotten such as Phyllis McGinley. Combining detailed textual and archival study with insights drawn from other disciplines, the book offers a new perspective on post-war suburbia and on the broader field of twentieth-century American literature.

John Taylor's brilliant new book examines the work of many of the major poets who have deeply marked modern and contemporary European literature. Venturing far and wide from the France in which he has lived since the late 1970s, the polyglot writer-critic not only delves into the more widely translated literatures of Italy, Greece, Germany, and Austria, but also discovers impressive and overlooked work in Slovenia, Bosnia, Hungary, Finland, Norway, and the Netherlands in this book that ranges over nearly all of Europe, including Russia.

While providing this stimulating and far-ranging critical panorama, Taylor brings to light key themes of European writing: the depth of everyday life, the quest of the thing-in-itself, metaphysical aspiration and anxiety, the dialectics of negativity and affirmation, subjectivity and self-effacement, and uprootedness as a category that is as ontological as it is geographical, historical, political, or cultural. The book pays careful attention to the intersection of writing and history (or politics), as several poets featured here have faced the Second World War, the Holocaust, Communism, the fall of Communism, or the war in the former Yugoslavia.

Taylor gives the work of renowned, upcoming, and still little-known poets a thorough look, all the while scrutinizing recent translations of their verse. He highlights several poets who are also masters of the prose poem. He includes a few novelists who have fashioned a particularly original kind of poetic prose, that stylistic category that has proved so difficult for critics to define. "Into the Heart of European Poetry" should be of immediate interest to any reader curious about the aesthetic and philosophical ideas underlying major trends of contemporary European writing. In a day and age when much too little is translated and thus known about foreign literature, and when Europeans themselves are pondering the common denominators of their own culture, this book is as indispensable as it is engaging.

This volume brings together an impressive range of established and emerging scholars to investigate the meaning of 'life' in Romantic poetry and poetics. This investigation involves sustained attention to a set of challenging questions at the heart of British Romantic poetic practice and theory. Is poetry alive for the Romantic poets? If so, how? Does 'life' always mean 'life'? In a range of essays from a variety of complementary perspectives, a number of major Romantic poets are examined in detail. The fate of Romantic conceptions of 'life' in later poetry also receives attention. Through, for examples, a revision of Blake's relationship to so-called rationalism, a renewed examination of Wordsworth's fascination with country graveyards, an exploration of Shelley's concept of survival, and a discussion of the notions of 'life' in Byron, Kierkegaard, and Mozart, this volume opens up new and exciting terrain in Romantic poetry's relation to literary theory, the history of philosophy, ethics, and aesthetics.

This book proposes the poetic link between Donne and Crashaw during the English Reformation. In the first half of this work, Donne's Songs and Sonets, Verse Letters, religious works and Anniversaries are discussed as they reflect increasingly covert reverence for a holy mother figure. In the second half, Crashaw's juvenile poems and epigrams, verse in honour of the Virgin and Child, and mature contemplative verse are seen to express mystical homage to Mary and growing admiration for feminine powers of faith.

A close examination of an important theme in Machaut's works. A milestone in Machaut studies and in late-medieval French literature in general. Machaut, already considered the seminal figure in late-medieval poetics and music, here comes across in these respects more clearly than ever. Kelly also further contextualises him within what we might call the authorial `apprenticeship tradition' of Boethius, the Roman de la Rose, Dante, and later Gower, Chaucer, and Christine de Pizan. The fruit of one of the field's most distinguished scholars today. Nadia Margolis, Mount Holyoke College. Guillaume de Machaut was celebrated in the later Middle Ages as a supreme poet and composer, and accordingly, his poetry was recommended as amodel for aspiring poets. In his Voir Dit, Toute Belle, a young, aspiring poet, convinces the Machaut figure to mentor her. This volume examines Toute Belle as she masters Machaut's dual arts of poetry and love, focusing onher successful apprenticeship in these arts; it also provides a thorough review of Machaut's art of love and art of poetry in his dits and lyricsm, and the previous scholarship on these topics. It goes on to treat Machaut's legacy among poets who, like Toute Belle, adapted his poetic craft in new and original ways. A concluding analysis of melodie identifies the synaesthetic pleasure that late medieval poets, including Machaut, offer their readers. Douglas Kelly is Professor Emeritus at the University of Wisconsin, Madison.

Packed full of analysis and interpretation, historical background, discussions and commentaries, York Notes will help you get right to the heart of the text you're studying, whether it's poetry, a play or a novel. You'll learn all about the historical context of the piece; find detailed discussions of key passages and characters; learn interesting facts about the text; and discover structures, patterns and themes that you may never have known existed. In the Advanced Notes, specific sections on critical thinking, and advice on how to read critically yourself, enable you to engage with the text in new and different ways. Full glossaries, self-test questions and suggested reading lists will help you fully prepare for your exam, while internet links and references to film, TV, theatre and the arts combine to fully immerse you in your chosen text. York Notes offer an exciting and accessible key to your text, enabling you to develop your ideas and transform your studies!

James Merrill and W.H. Auden offers a substantial analysis of the literary and personal relationship between two major twentieth-century poets. As Gwiazda argues, Auden's prominence in the post-World War II American poetry scene as a homosexual poet and critic makes his impact on Merrill particularly noteworthy. Merrill's imaginary recreation of Auden in his occult verse trilogy The Changing Light at Sandover (1982) offers a powerful statement about the dynamics of poetic influence between gay male poets. Combining archival research, textual analysis, and aspects of queer theory, James Merrill and W.H. Auden examines Sandover's implications to the contentious issues of homosexual identity and self-representation.

James Booth reads Philip Larkin's mature poetry in terms of his ambiguous self-image as lonely, anti-social outsider, plighted to his art, and as nine-to-five librarian, sharing the common plight of humanity. Booth's focus is on Larkin's artistry with words, the 'verbal devices' through which this purest of lyric poets celebrates 'the experience. The beauty.' Featuring discussion for the first time of two recently discovered poems by Larkin, this original and exciting new study will be of interest to all students, scholars and enthusiasts of Larkin.

Latin was Scotland's third language in the early modern period, alongside Scots and Gaelic, and the reign of King James VI and I is considered to be a golden age of Scottish neo-Latin literature. Corona Borealis considers Latin texts by Scottish authors written between James's birth in 1566 and his removal to England in 1603, and highlights the role of Latin in Scottish cultural life. The production of Latin poetry by Scots grew exponentially in the decades immediately following the Protestant Reformation (1560), bolstered by a new focus on renaissance education in Scotland's schools and universities, and Scottish neo-Latinists were part of a European community of humanist scholars fascinated by the Classical past. Verses by George Buchanan, Patrick Adamson, Thomas Craig of Riccarton, Thomas Maitland, Hercules Rollock, Henry Anderson, and Andrew Melville - most of which have never appeared in translation before - are presented with facing English translations. Steven J. Reid and David McOmish provide clear, accessible editions of each text, along with scholarly introductions and detailed linguistic and historical notes.

This Norton Critical Edition includes: Emily Wilson's authoritative translation of Homer's masterpiece, accompanied by her informative introduction, explanatory footnotes and book-by-book summaries. Four maps, created especially for this translation. Contextual materials including sources and analogues by Homer, Sappho, Pindar and others. Also included are carefully chosen passages from (mainly) ancient texts that provide insight into The Odyssey and its reception by Plato, Aristotle, Ovid, Pseudo-Longinus, Lucian, Apollodorus, Heraclitus, Porphyry, Proclus, Hyginus, Dante Alighieri, Alfred Lord Tennyson, C. P. Cavafy, Derek Walcott and Margaret Atwood. Nine critical essays addressing key topics-composition; representation of religion and the gods; class and slavery; gender; colonisation and the meaning of home; trickery, intelligence and lying; and more- essential to the study of The Odyssey. Essays by Robert Fowler, Laurel Fulkerson, Barbara Graziosi, Laura M. Slatkin, Sheila Murnaghan, Patrice Rankine, Helene P. Foley, Egbert J. Bakker and Lillian Eileen Doherty are included. A glossary and a list of suggested further readings. About the Series Read by more than 12 million students over fifty-five years, Norton Critical Editions set the standard for apparatus that is right for undergraduate readers. The three-part format-annotated text, contexts and criticism-helps students to better understand, analyse and appreciate the literature, while opening a wide range of teaching possibilities for instructors. Whether in print or in digital format, Norton Critical Editions provide all the resources students need.

Packed full of analysis and interpretation, historical background, discussions and commentaries, York Notes will help you get right to the heart of the text you're studying, whether it's poetry, a play or a novel. You'll learn all about the historical context of the piece; find detailed discussions of key passages and characters; learn interesting facts about the text; and discover structures, patterns and themes that you may never have known existed. In the Advanced Notes, specific sections on critical thinking, and advice on how to read critically yourself, enable you to engage with the text in new and different ways. Full glossaries, self-test questions and suggested reading lists will help you fully prepare for your exam, while internet links and references to film, TV, theatre and the arts combine to fully immerse you in your chosen text. York Notes offer an exciting and accessible key to your text, enabling you to develop your ideas and transform your studies!

This book explores Roman love elegy from postcolonial perspectives, arguing that the tropes, conventions, and discourses of the Augustan genre serve to reinforce the imperial identity of its elite, metropolitan audience. Love elegy presents the phenomena and discourses of Roman imperialism-in terms of visual spectacle (the military triumph), literary genre (epic in relation to elegy), material culture (art and luxury goods), and geographic space-as intersecting with ancient norms of gender and sexuality in a way that reinforces Rome's dominance in the Mediterranean. The introductory chapter lays out the postcolonial frame, drawing from the work of Edward Said among other theorists, and situates love elegy in relation to Roman Hellenism and the varied Roman responses to Greece and its cultural influences. Four of the six subsequent chapters focus on the rhetorical ambivalence that characterizes love elegy's treatment of Greek influence: the representation of the domina or mistress as simultaneously a figure for 'captive Greece' and a trope for Roman imperialism; the motif of the elegiac triumph, with varying figures playing the triumphator, as suggestive of Greco-Roman cultural rivalry; Rome's competing visions of an Attic and an Asiatic Hellenism. The second and the final chapter focus on the figures of Osiris and Isis, respectively, as emblematic of Rome's colonialist and ambivalent representation of Egypt, with the conclusion offering a deconstructive reading of elegy's rhetoric of orientalism.

The present edition of the first book of the Epistulae ex Ponto gives a revised text with a new translation, an extended introduction, and the first full-scale commentary of this work in English. The commentary pays particular attention to stylistic questions and examines how the Epistulae exPonto differs from the poet's remaining oeuvre. It demonstrates that Ovid generally adopts a more colloquial and prosaic style (as suits the epistolary form) and that he carefully adjusts the stylistic register to the respective addressees of the letters.

Percy Bysshe Shelley (1792-1822) wrote two of the best known shorter poems in English, 'Ode to the West Wind' and 'Ozymandias'; a series of ambitious and challenging long poems including Queen Mab and the 'Lyrical Drama' Prometheus Unbound; A Defence of Poetry and other lucid and provocative political and literary works in prose; sonnets, satires, translations, travel-letters. During and after his lifetime controversy was generated by his poetry, radical politics, atheism, vegetarianism and unorthodox relationships. He was the young Robert Browning's 'Sun-Treader' and Matthew Arnold's 'ineffectual angel'; W.B. Yeats said that Shelley 'shaped my life' and F.R. Leavis discouraged people from reading him. The dictionary covers all these areas of interest, as well as Shelley's travels and homes in Britain and Europe, his important personal and literary relationships with Mary Shelley, Byron, Godwin, Keats, Peacock, Coleridge, Wordsworth, his vast reading, European and American reception, representations in fiction, drama, film and portraits, and the sources, publication history, reviews and illustrations of his work.

This text examines the male Romantics' versions of poetic authority in theory and practice in the context of their involvement in the political debates of Regency Britain and argues that their response to Burke's gendered discourse about power effected radical changes in the definitions of masculinity and femininity. It portrays their influence on each other as a series of unstable struggles and alliances in which the formulation of an authoritative masculinity was a political as well as an aesthetic issue. The author investigates the writers' portrayals of women and their collaborations with women writers and throws new light on their nature poetry by relating it to their reactions to the sexual and political scandals of the Regency.

One of America's most celebrated poets, Emily Dickinson was virtually unpublished in her lifetime. When a slim volume of her poems emerged on the American scene in 1890, her work created shockwaves that have not subsided yet. Famously precise and sparse, Emily Dickinson's poetry is often described as philosophical, both because her poetry grapples with philosophical topics like death, spirituality, and the darkening operations of the mind, and because she approaches those topics in a characteristically philosophical manner: analyzing and extrapolating from close observation, exploring alternatives, and connecting thoughts into cumulative demonstrations. But unlike Lucretius or Pope, she cannot be accused of producing versified treatises. Many of her poems are unsettling in their lack of conclusion; their disparate insights often stand in conflict; and her logic turns crucially on imagery, juxtaposition, assonance, slant rhyme, and punctuation. The six chapters of this volume collectively argue that Dickinson is an epistemically ambitious poet, who explores fundamental questions by advancing arguments that are designed to convince. Dickinson exemplifies abstract ideas in tangible form and habituates readers into productive trains of thought-she doesn't just make philosophical claims, but demonstrates how poetry can make a distinct contribution to philosophy. All essays in this volume, drawn from both philosophers and literary theorists, serve as a counterpoint to recent critical work, which has emphasized Dickinson's anguished uncertainty, her nonconventional style, and the unsettled status of her manuscripts. On the view that emerges here, knowing is like cleaning, mending, and lacemakingL a form of hard, ongoing work, but one for which poetry is a powerful, perhaps indispensable, tool.

A major aim of this study is to make Peter Burger's way of thinking accessible in English by advancing the existing critical discourse that accompanies the poetry of Keats. Applying Burger's aesthetic categories in an interpretation of the poetry permits the claim that Keats is one poet who drives the unique role of poetry to the point of seeing it as an end in itself, but also came to understand the need to break down the distance between poetry and society, art and politics.