Nine renowned sinologists present a range of studies that display the riches of medieval Chinese verse in varied guises. All major verse-forms, including shi, fu, and ci, are examined, with a special focus on poetry's negotiation with tradition and historical context. Dozens of previously untranslated works are here rendered in English for the first time, and readers will enter a literary culture that was deeply infused with imperatives of wit, learning, and empathy. Among the diverse topics met with in this volume are metaphysical poetry as a medium of social exchange, the place of ruins in Chinese poetry, the reality and imaginary of frontier borderlands, the enigma of misattribution, and how a 19th-century Frenchwoman discovered Tang poetry for the Western world. Contributors include Timothy Wai Keung Chan, Robert Joe Cutter, Ronald Egan, David R. Knechtges, Paul W. Kroll, Stephen Owen, Wendy Swartz, Ding Xiang Warner, and Pauline Yu.

The Letters of Robert Burns is a complete revision of the earlier text established by J. De Lancey Ferguson. A number of new letters have been added and completed from manuscripts that have come to light since the Ferguson edition--there are letters to twenty-five new correspondents--and footnotes have been expanded to indicate the source of all Burns's quotations where these can be identified. The endnotes have been expanded to indicate letters to which Burns's are answers as well as answers received by Burns to the letters he sent. An appendix contains Currie's List of Letters to Burns, a document of major importance as it represents a selection of letters that were in the poet's possession at the time of his death.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1951.

Ranging from soldiers reading newspapers at the front to authors' responses to the war, this book sheds new light on the reading habits and preferences of men and women, combatants and civilians, during the First World War. This is the first study of the conflict from the perspective of readers.

This title studies how poets from two postcolonial countries, Ireland and Poland, refuse the consolations of roots and belonging, and search for non-traditional modes of exploring identity. Are we allowed to choose where we belong? What pressures make us feel that we should belong somewhere? This book brings together four major poets - Heaney, Mahon, Zagajewski, and Hartwig - who ask themselves these questions throughout their lives. They start by assuming that we can choose not to belong, but know this is easier said than done. Something in them is awry, leading them to travel, emigrate, and return dissatisfied with all forms of belonging. Writer after writer has suggested that Polish and Irish literature bear some uncanny similarities, particularly in the twentieth century, but few have explored these similarities in depth. Ireland and Poland, with their tangled histories of colonization, place a large premium upon knowing one's place. What happens, though, when a poet makes a career out of refusing to know her place in the way her culture expects? This book explores the consequences of this refusal, allowing these poets to answer such questions through their own poems, leading to surprising conclusions about the connection of knowledge and belonging, roots and identity.

Epic and tragedy, from Homer's Achilles and Euripides' Pentheus to Marlowe's Tamburlaine and Milton's Satan, are filled with characters challenging and warring against the gods. Nowhere is the theme of theomachy more frequently and powerfully represented, however, than in the poetry of early imperial Rome, from Ovid's Metamorphoses at the beginning of the first century AD to Statius' Thebaid near its end. This book - the first full-length study of human-divine conflict in Roman literature - asks why the war against god was so important to the poets of the time and how this understudied period of literary history influenced a larger tradition in Western literature. Drawing on a variety of contexts - politics, religion, philosophy, and aesthetics - Pramit Chaudhuri argues for the fundamental importance of battles between humans and gods in representing the Roman world. A cast of tyrants, emperors, rebels, iconoclasts, philosophers, and ambitious poets brings to life some of the most extraordinary artistic products of classical antiquity. Based on close readings of the major extant epics and selected tragedies, the book replaces a traditionally Virgiliocentric view of imperial epic with a richer dialogue between Greek and Roman texts, contemporary authors, and diverse genres. The renewed sense of a tradition reveals how the conflicts these works represent constitute a distinctive theology informed by other discourses yet peculiar to epic and tragedy. Beginning with the Greek background and ending by looking ahead to developments in the Renaissance, this book charts the history of a theme that would find its richest expression in a time when men became gods and impiety threatened the very order of the world. Covering a wide range of literary and historical topics - from metapoetics to the sublime, from divination to Epicureanism, and from madness to apotheosis - the book will appeal to all readers interested in Latin literature, Roman cultural history, poetic theology, and the epic and tragic traditions from antiquity to modernity.

The Poet's Mind is a major study of how Victorian poets thought and wrote about the human mind. It argues that Victorian poets, inheriting from their Romantic forerunners the belief that subjective thoughts and feelings were the most important materials for poetry, used their writing both to give expression to mental processes and to scrutinise and analyse those processes. In this volume Gregory Tate considers why and how psychological analysis became an increasingly important element of poetic theory and practice in the mid-nineteenth century, a time when the discipline of psychology was emerging alongside the growing recognition that the workings of the mind might be understood using the analytical methods of science. The writings of Victorian poets often show an awareness of this psychology, but, at the same time, the language and tone of their psychological verse, and especially their ambivalent use of terms such as 'brain', 'mind', and 'soul', voice an unresolved tension, felt throughout Victorian culture, between scientific theories of psychology and metaphysical or religious accounts of selfhood. The Poet's Mind considers the poetry of Browning, Tennyson, Arnold, Clough, and George Eliot, offering detailed readings of several major Victorian poems, and presenting new evidence of their authors' interest in contemporary psychological theory. Ranging across lyric verse, epic poetry, and the dramatic monologue, the book explores the ways in which poetry simultaneously drew on, resisted, and contributed to the spread of scientific theories of mind in Victorian Britain.

There is poetry to be found in anything if you look hard enough.

You Took the Last Bus Home is a collection of ingenious, hilarious and touching poems from Brian Bilston, one of Britain’s funniest and best-loved poets.

With endless wit, wisdom and delightful wordplay, Bilston's first collection of poetry offers profound insights into the common joys and sorrows of modern life. Exploring themes as diverse as love, death, and the unbearable torment of forgetting to put the rubbish out, all of Bilston’s poems are alive to the improbable nuances of the English language.

Constantly experimenting with poetic forms – from Venn diagrams to Scrabble tiles – this irresistibly charming collection of poems will make you ponder the very essence of the human condition in the twenty-first century.

If the urban imagination has been traditionally masculine, this book shifts attention to the role of the city and its processes of mutual transformation in poetry by women writers. By turns challenging, rebellious, utopian and sceptical, some of the most richly experimental poetry is currently being written by women. This book offers readings of their work informed by theorizations of the city, as well as looking at how their innovations in language and form enable new visions of urban space. It addresses key issues in the imagining of the contemporary city and its global relationships, including changing understandings of the body and embodied space in technologized urban environments and the role of cohabiting languages in creating new forms of polis.

This important new verse translation (with introduction and commentary) of the third-century BC poet Callimachus will be indispensable to the serious student, and to all who want to understand why he was rated by the ancients as second to none but Homer.

Edgar Allen Poe's influence on the twentieth century French writer Paul Valery was profound, much more so than on Baudelaire and Mallarme. This book is the first comprehensive study of Poe's influence of Valery and is based on Valery's own concept of literary influence. Valery discovered in Poe's tales and literary essays a Drama of the intellect that was to inspire his Evening with Monsieur teste, Agathe, and Introduction to the method of Leonardo Da Vinci. Valery's poetics and approach to literary criticism have direct connections to Poe's Philosophy of Composition and Poetic Principle. Valery's only essay devoted to his American mentor, On Poe's Eureka, recognizes the importance of the cosmological poem in Valery's intellectual development. Eureka awakened in him an interest in science and mathematics that lasted a lifetime and inspired him to apply scientific analysis to literary genius, the first writer to place creative work on an analytical basis and explore the psychological aspects of literature.

Sir Philip Sidney and the Circulation of Manuscripts, 1558-1640 is the first modern study of the production and circulation of manuscripts during the English Renaissance. H. R. Woudhuysen examines the relationship between manuscript and print, looks at people who lived by their pens, and surveys authorial and scribal manuscripts, paying particular attention to the copying of verse, plays, and scholarly works by hand. He investigates the professional production of manuscripts for sale by scribes such as Ralph Crane and Richard Robinson. The second part of the book examines Sir Philip Sidney's works in the context of Woudhuysen's research, discussing all Sidney's important manuscripts, and seeks to assess his part in the circulation of his works and his role in the promotion of a scribal culture. A detailed examination of the manuscripts and early prints of his poems, of his Arcadias, and of Astrophil and Stella sheds new light on their composition, evolution, and dissemination, as well as on Sidney's friends and admirers. Based on the examination of hundreds of manuscripts, this book presents much new material describing manuscript production in the fields of literature, politics, the law, and historical, scientific, and antiquarian studies.

Order and Disorder, the first epic poem by an Englishwoman, has never before been available in its entirety. The first five cantos were printed anonymously in 1679, but fifteen further cantos remained in manuscript, probably because they were so politically sensitive. David Norbrook, widely recognized as a leading authority on Renaissance literature and politics, has now attributed the work to the republican, Lucy Hutchison. In this prestigious scholarly volume, he provides a wealth of editorial matter, along with the first full version of Order and Disorder ever to be published. Order and Disorder shares much in common with 'Paradise Lost'. Both poems use the Christian myth of man's fall as an analogy for troubled times. Writing in similar circumstances to Milton, as a republican whose hopes were shattered by the return of the monarchy in 1660, Lucy Hutchinson also turned to the Book of Genesis as the ultimate creation story. Vivid passages portraying the fall of Babel, the Flood and the destruction of Sodom are edged with hostility towards the Restoration political regime. The stories of Adam and Eve, Abraham and Sarah, Isaac and Rebecca, Jacob and Rachel are interspersed with eloquent personal meditations on divine and human justice, the natural world, and women's role. Lucy Hutchinson is one of the most important women writers of the seventeenth century; her other works include a classic political biography, 'Memoirs of the Life of Colonel John Hutchinson', and the first English translation of Lucretius's materialist epic, The Nature of the Universe. Order and Disorder will be of particular interest to scholars, students and general readers of seventeenth-century poetry in general, of Milton in particular, of Early Modern women's writing, and of Biblical narrative.

In these odes Horace creates lyric poetry in Latin which stands comparison with anything written by his brilliant predecessors in Greek. Of the three books published together in 23 BC the second is in many ways the most rewarding. The first ode, for instance, looks back at the civil wars fought by Caesar and Pompey, and by Octavian and Antony, from the point of view of Horace and his friend Pollio who both took part in them. There are also poems of friendship which give insight into the social and intellectual tone of the age of the first Roman emperor Augustus, and Horace's unique, elusive sense of humour is in evidence throughout. This book contains the Latin text (from the Oxford Classical Text), a translation which attempts to be close to the Latin while catching as much as possible of the flavour of the original, and a commentary which tries to suggest how these poems work as poetry.

This is the first commentary on Lucretius' theory of atomic motion, one of the most difficult and technical parts of De rerum natura. The late Don Fowler sets new standards for Lucretian studies in his awesome command both of the ancient literary, philological, and philosophical background to this Latin Epicurean poem, and of the relevant modern scholarship.

"This dictionary brings together in one volume information on Byron's work, life and times. Areas covered include his poetry and prose; authors and works known to him; genres, forms, styles; his life, biographers and incarnations on stage and screen; manuscripts and editions; historical, social and cultural contexts; and his influence on other art"--Provided by publisher.

The Oxford poets of the 1930s--W. H. Auden, C. Day Lewis, Stephen Spender, and Louis MacNeice--represented the first concerted British challenge to the domination of twentieth-century poetry by the innovations of American modernists such as Ezra Pound and William Carlos Williams. Known for their radical politics and aesthetic conservatism, the "Auden Generation" has come to loom large in our map of twentieth century literary history. Yet Auden's voluble domination of the group in its brief period of association, and Auden's sway with critics ever since, has made it difficult to hear the others on their own terms and in their own distinct voices.
Here, rendered in eloquent prose by one of our most distinguished critics of modern poetry, is the first full-length study of the poetry of C. Day Lewis, a book that introduces the reader to a profoundly revealing and beautifully wrought record of his poetry against the cultural and literary ferment of this century. Albert Gelpi explores in three expansive sections the major periods of the poet's development, beginning with the emergence of Day Lewis in the thirties as the most radical of the Oxford poets. An artist who sought through poetry a way of "living in time" without traditional religious assurances, Day Lewis went further than his friends in seeking to forge a revolutionary poetry out of his commitment to Marxism. When Stalinism led to his resignation from the Communist Party, Day Lewis in the forties went on to shape a rich, fiercely perceptive poetry out of the convergence of the wartime crisis with the explosive events of his own inner life, intensified by the erotics of a decade-long affair. Returning to his Irish roots and meditating on the persistent tension between agnosticism and faith in the work of his third and final period, Day Lewis wrote some of the most moving poems in the language about mortality and dying, the limits and possibilities of human striving.
Through the traumatic changes of his life C. Day Lewis came increasingly to depend on the intricacies of poetry itself as a way of living in time. His abiding belief in the psychological and moral functions of poetry impelled him in his critical writings and in his own poetic practice to delineate a modern poetics that presents an effective alternative to the elitist experimentation associated with Modernism. This vital revisionist reading of Day Lewis demonstrates that much of his best work was written after the thirties and establishes him as one of the most significant and accomplished British poets of the modern period.

The essays in Yeats Annual No 7 are dedicated to the memory of Richard Ellmann, one of the great pioneer critics of W.B.Yeats. They have been contributed by distinguished colleagues and friends of Richard Ellmann, chosen on his advice. The volume also contains much new material by Yeats himself - a new and virtually complete early draft of his novel The Speckled Bird, here entitled 'The Lilies of the Lord' and two new poems from The Flame of the Spirit manuscript book, given to Maud Gonne in 1981.

For over seven centuries, Dante and his masterpiece, "The Divine Comedy," have held a special place in Western culture. The poem is at once a vivid journey through hell to heaven, a poignant love story, and a picture of humanity's relationship to God. It is so richly imaginative that a first reading can be bewildering. In response, Peter Hawkins has written an inspiring introduction to the poet, his greatest work, and its abiding influence. His knowledge of Dante and enthusiasm for his vision make him an expert guide for the willing reader.

First published in 1979, this is a very welcome reissue of Kathleen Raine's seminal study of William Blake - England's only prophet. He challenged with extraordinary vigour the premises which now underline much of Western civilization, hitting hard at the ideas of a naive materialist philosophy which, even in his own day, was already eating at the roots of English national life. In his insistence that ?mental things are alone real?, Blake was ahead of his time. Materialist views are now challenged from various quarters; the depth psychologies of Freud and Jung, the study of Far Easter religion and philosophy, the reappraisal of myth and folk lore, the wealth of psychical research have all prepared the way for an understanding of Blake's thought. We are ready to acknowledge that in attacking ?the sickness of Albion? Blake penetrated to the inner worlds of man and explored them in a way that is quite unique.

Dr Raine, who has made a long study of Blake's sources, presents him as a lonely powerful genius who stands within the spiritual tradition of Sophia Perennis, ?the Everlasting Gospel?. From the standpoint of this great human Norm, our immediate past described by W.B. Yeats as ?the three provincial centuries?, is a tragic deviation; catastrophic, as Blake believed, in its spiritual and material consequences. Only now do we possess the necessary knowledge to understand William Blake and the ever-growing number of people who turn to him surely justifies his faith in the eternal truths he strove to communicate.

This book offers a comprehensive interpretation of the entire range of Tennyson's poetry, with emphasis on the great period up to and including In Memoriam, but also with chapters on Maud, the Idylls of the King, and the best of the later poems. Taking the view that every poem contains its own literary history, Dwight Culler traces Tennyson's evolving image of himself as a poet and the relation of this image to changing literary structures. He particularly emphasizes the "frame" device by which Tennyson first mediated between himself and the world and then, inverting it, placed himself in the world. He also explores the longer "composted" poem by which Tennyson declared himself a Victorian Alexandrian. Eschewing the autobiographical emphasis of recent years, Culler provides readings of Maud, Locksley Hall, The Palace of Art, Tithonus, and the Idylls of the King that depart significantly from previous interpretations. His sympathy for the Victorian element in Tennyson also recovers for modern taste several neglected areas of the poetry: the English Idylls, the civic poem, and the poems of social converse. Culler sees Tennyson's faith in the magical power of the word as the source of his gift and, when he loses that faith, the reason for its decline.

From British attempts on the stage and page to reinvent the world order with their island at the center to the Jesuit Athanasius Kircher's museum that strove to make the invisible visible, the early modern period was rife with attempts to reimagine the world and the human place within it. This volume looks at natural philosophers, playwrights, historians, and other figures in the period 1500-1700 as a means of accessing the plethora of world models that circulated in Europe during this era. Contributors to this volume ask what motivated institutions and individuals to engage in world-building, examining its cultural utility and the reception these new worlds received. Close textual and visual analysis provide the foundation for the book, and the array of sources illustrates the rich tapestry of ideas, anxieties, and enthusiasms that served as the basis for world-building. Only through investigating imagined worlds as closely as scholars have examined "real" Renaissance landscapes can we hope to understand the intellectual and cultural reassessments that characterized this period, and the critical importance of imagination and belief in its intellectual landscape.