Constantine of Rhodes's tenth-century poem is an account of public monuments in Constantinople and of the Church of the Holy Apostles. In the opening section of the work, Constantine describes columns and sculptures within the city, seven of which he calls 'wonders'. In the second part of the poem, he portrays the Church of the Holy Apostles, offering an account of its architecture and internal decoration, notably the mosaics, seven of which are also depicted as 'wonders'. On one level, the poem offers an account of what was visible, a sense of city topography and, in the case of the Apostoleion, a vital description of a now-lost building. But it cannot be read as a straightforward description. Rather, Constantine's work offers insights into Byzantine perceptions of works of art. The monuments Constantine decided to portray and the ways in which he chose to describe them say as much, if not more, about the social and cultural milieu in which he operated as about the actual physical appearance of the monuments themselves. Further, the poem itself, as it survives in one fifteenth-century manuscript, raises questions: is it, in its current form, a single poem or is it made up of a compilation of Constantine's writings? This book supersedes the two previous editions of the poem, both dating to 1896, and provides the first full translation of the text. It consists of a new Greek edition of Constantine's poem, with an introductory essay, prepared by Ioannis Vassis, and a translation and commentary by a group of scholars headed by Liz James. Liz James also contributes an extensive discussion of the two distinct parts of the poem, the city monuments and the Church of the Holy Apostles.

First published in 1965, this reissue of the second edition of T. R. Henn's seminal study offers an impressive breadth and depth of meditations on the poetry of W. B. Yeats. His life and influences are discussed at length, from the impact of the Irish Rebellion upon his youth, to his training as a painter, to the influence of folklore, occultism and Indian philosophy on his work. Henn seeks out the many elements of Yeats' famously complex personality, as well as analysing the dominant symbols in his poetry and their ramifications.

Winner of the 2016 Goodreads Choice Award, the princess saves herself in this one is a collection of poetry about resilience. It is about writing your own ending. From Amanda Lovelace, a poetry collection in four parts: the princess, the damsel, the queen, and you. The first three sections piece together the life of the author while the final section serves as a note to the reader. This moving book explores love, loss, grief, healing, empowerment, and inspiration. the princess saves herself in this one is the first book in the "women are some kind of magic" series.

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.

First published in 1969, this edition collection brings together a series of essays offering a re-evaluation of Victorian poetry in the light of early 20th Century criticism. The essays in this collection concentrate upon the poets whose reputations suffered from the great redirection of energy in English criticism initiated in this century by Eliot, Richards and Leavis. What theses poets wrote about, the values they expressed, the form of the poems, the language they used, all these were examined and found wanting in some radical way. One of the results of this criticism was the renewal of interest in metaphysical and eighteenth-century poetry and corresponding ebb of enthusiasm for Romantic poetry and for Victorian poetry in particular. Most of the essays in this book take as their starting point questions raised by the debate on Victorian poetry, both earlier in this century and in the more recent past. There are essays on the poetry of Tennyson, Browning and Arnold, on that of Clough, who until recently has been neglected, and Hopkins, because of, rather than in spite of, the fact that he is usually considered to be a modern poet. The volume is especially valuable in that it will give a clearer understanding of the nature of Victorian poetry, concentrating as it does on those areas of a poet's work where critical discussion seems most necessary.

This is a compilation of poetry written by Arabic women poets from pre-Islamic times to the end of the Abbasid caliphate and Andalusia, and offers translations of over 200 poets together with literary commentary on the poets and their poetry. This critical anthology presents the poems of more than 200 Arabic women poets active from the 600s through the 1400s CE. It marks the first appearance in English translation for many of these poems. The volume includes biographical information about the poets, as well as an analysis of the development of women's poetry in classical Arabic literature that places the women and the poems within their cultural context. The book fills a noticeable void in modern English-language scholarship on Arabic women, and has important implications for the fields of world and Arabic literature as well as gender and women's studies. The book will be a fascinating and vital text for students and researchers in the fields of Gender Studies and Middle Eastern studies, as well as scholars and students of translation studies, comparative literature, literary theory, gender studies, Arabic literature, and culture and classics.

This volume provides an in-depth comparative study of translation practices and the role of the poet-translator across different countries and in so doing, demonstrates the need for poetry translation to be extended beyond close reading and situated in context. Drawing on a corpus composed of data from national library catalogues and Worldcat, the book examines translation practices of English-language, French-language, and Italian-language poet-translators through the lens of a broad sociological approach. Chapters 2 through 5 look at national poetic movements, literary markets, and the historical and socio-political contexts of translations, with Chapter 6 offering case studies of prominent and representative poet-translators from each tradition. A comprehensive set of appendices offers readers an opportunity to explore this data in greater detail. Taken together, the volume advocates for the need to study translation data against broader aesthetic, historical, and political trends and will be of particular interest to students and scholars in translation studies and comparative literature.

The Politics and Poetics of Sor Juana Ines de la Cruz examines the role of occasional verse in the works of the celebrated colonial Mexican nun. The poems that Sor Juana wrote for special occasions (birthdays, funerals, religious feasts, coronations, and the like) have been considered inconsequential by literary historians; but from a socio-historical perspective, George Antony Thomas argues they hold a particular interest for scholars of colonial Latin American literature. For Thomas, these compositions establish a particular set of rhetorical strategies, which he labels the author's 'political aesthetics.' He demonstrates how this body of the famous nun's writings, previously overlooked by scholars, sheds new light on Sor Juana's interactions with individuals in colonial society and throughout the Spanish Empire.

The seventeenth edition of the International Who's Who in Poetry is a unique and comprehensive guide to the leading lights and freshest talent in poetry today. Containing biographies of more than 4,000 contemporary poets world-wide, this essential reference work provides truly international coverage. In addition to the well known poets, talented up-and-coming writers are also profiled. Key Features: each entry provides full career history and publication details appendices section lists international prizes, organizations and poetry publications, lists of Poets Laureate.

This is the first title in a new series called Poetry and Song in the Age of Revolution. This series will appeal to those involved in English literary studies, as well as those working in fields of study that cover Enlightenment, Romanticism and Revolution in the last quarter of the eighteenth century.

Originally compiled and published in 1988, this volume contains the text and translation of 'The Pilgrimmage of Charlemagne' and 'Aucassin and Nicolette,' alongisde textual notes and a bibliography for both.

Blake's combination of verse and design invites interdisciplinary study. The essays in this collection approach his work from a variety of perspectives including masculinity, performance, plant biology, empire, politics and sexuality.

This book studies Wallace Stevens and pre-Socratic philosophy, showing how concepts that animate Stevens' poetry parallel concepts and techniques found in the poetic works of Parmenides, Empedocles, and Xenophanes, and in the fragments of Heraclitus. Tompsett traces the transition of pre-Socratic ideas into poetry and philosophy of the post-Kantian period, assessing the impact that the mythologies associated with pre-Socratism have had on structures of metaphysical thought that are still found in poetry and philosophy today. This transition is treated as becoming increasingly important as poetic and philosophic forms have progressively taken on the existential burden of our post-theological age. Tompsett argues that Stevens' poetry attempts to 'play' its audience into an ontological ground in an effort to show that his 'reduction of metaphysics' is not dry philosophical imposition, but is enacted by our encounter with the poems themselves. Through an analysis of the language and form of Stevens' poems, Tompsett uncovers the mythology his poetry shares with certain pre-Socratics and with Greek tragedy. This shows how such mythic rhythms are apparent within the work of Friedrich Nietzsche, Martin Heidegger and Hans-Georg Gadamer, and how these rhythms release a poetic understanding of the violence of a 'reduction of metaphysics.'

The poetry emanating from the bhakti tradition of devotional love in India has been both a religious expression and a form of resistance to hierarchies of caste, gender, and colonialism. Some scholars have read this art form through the lens of resistance and reform, but others have responded that imposing an interpretive framework on these poems fails to appreciate their authentic expressions of devotion. This book argues that these declarations of love and piety can simultaneously represent efforts towards emancipation at the spiritual, political, and social level. This book, through a close study of Nalini (1911), a Malayalam lyric poem, as well as other poems, authored by Mahakavi Kumaran Asan (1873-1924), a low-caste Kerala poet, demonstrates how Asan employed a theme of love among humans during the modern period in Kerala that was grounded in the native South Indian bhakti understanding of love of the deity. Asan believed that personal religious freedom comes from devotion to the deity, and that love for humans must emanate from love of the deity. In showing how devotional religious expression also served as a resistance movement, this study provides new perspective on an understudied area of the colonial period. Bringing to light an under-explored medium, in both religious and artistic terms, this book will be of great interest to scholars of religious studies, Hindu studies, and religion and literature, as well as academics with an interest in Indian culture.

John Keats remains one of the most familiar and beloved of English poets, but has received surprisingly little critical attention in recent years. This study is a fresh contribution to Keats criticism and Romantic scholarship, positioning Keats as a figure of philosophical interest who warrants renewed attention.

Exploring Keats s own Romantic accounts of feeling and thinking, this study draws a connection between poetry and the phenomenological branches of modern philosophy. The study takes Keats s poetic evocation of touching hands, wandering feet, beating hearts and breathing bodies as a descriptive elaboration of consciousness and a phenomenological account of experience. The philosophical terms of analysis adopted here challenge the orthodoxies of Keats scholarship, traditionally characterised by the careful historicisation of a limited canon. The philosophical framework of analysis enhances the readings put forward, while Keats s poems, in turn, serve to give fuller expression of those ideas themselves. Using Keats as a particular case, this book also demonstrates the ways in which theory and philosophy supplement literary scholarship.

This unique essay collection considers the impact of New York on the life and works of Wallace Stevens. Stevens lived in New York from 1900 to 1916, working briefly as a journalist, going to law school, laboriously starting up a career as a lawyer, getting engaged and married, gradually mixing with local avant-garde circles, and eventually emerging as one of the most exciting and surprising voices in modern poetry. Although he then left the city for a job in Hartford, Stevens never saw himself as a Hartford poet and kept gravitating toward New York for nearly all things that mattered to him privately and poetically: visits to galleries and museums, theatrical and musical performances, intellectual and artistic gatherings, shopping sprees and gastronomical indulgences. Recent criticism of the poet has sought to understand how Stevens interacted with the literary, artistic, and cultural forces of his time to forge his inimitable aesthetic, with its peculiar mix of post-romantic responses to nature and a metropolitan cosmopolitanism. This volume deepens our understanding of the multiple ways in which New York and its various aesthetic attractions figured in Stevens' life, both at a biographical and poetic level.

Wordsworth's process of revision, his organization of poetic volumes and his supplementary writings are often seen as distinct from his poetic composition. Bates asserts that an analysis of these supplementary writings and paratexts are necessary to a full understanding of Wordsworth's poetry. He examines Wordsworth's career between 1800 and 1820 to reveal how supplementary prose, promotion and parody were intertwined with debates on the creation of reading publics, the role of the press and the enduring literary character of England.

How four American cities shaped Poe's life and writings Edgar Allan Poe (1809-1849) changed residences about once a year throughout his life. Driven by a desire for literary success and the pressures of supporting his family, Poe sought work in American magazines, living in the cities that produced them. Scott Peeples chronicles Poe's rootless life in the cities, neighborhoods, and rooms where he lived and worked, exploring how each new place left its enduring mark on the writer and his craft. Poe wrote short stories, poems, journalism, and editorials with urban readers in mind. He witnessed urban slavery up close, living and working within a few blocks of slave jails and auction houses in Richmond and among enslaved workers in Baltimore. In Philadelphia, he saw an expanding city struggling to contain its own violent propensities. At a time when suburbs were just beginning to offer an alternative to crowded city dwellings, he tried living cheaply on the then-rural Upper West Side of Manhattan, and later in what is now the Bronx. Poe's urban mysteries and claustrophobic tales of troubled minds and abused bodies reflect his experiences living among the soldiers, slaves, and immigrants of the American city. Featuring evocative photographs by Michelle Van Parys, The Man of the Crowd challenges the popular conception of Poe as an isolated artist living in a world of his own imagination, detached from his physical surroundings. The Poe who emerges here is a man whose outlook and career were shaped by the cities where he lived, longing for a stable home.

Hong Kong without Us is a decentralized book of revolutionary poetry. Drawn directly from the voices of Hong Kong during its anti-extradition protests, the poems consist of submitted testimonies and found materials-and are all anonymous from end to end, from first speech to translated curation. This collected poetic documentation of protest is thus an authorless work that brings together many voices. The editors themselves are anonymous poets acting through the Bauhinia Project, an organization created to bring Hong Kong's struggles to the stage of transnational activism through lyric and language, in the same spirit of leaderlessness as the protests. This book is a glimpse into the movement's lives and voices. The poems here were either submitted as testimonies to the Bauhinia Project at an encrypted email address or collected as "found poems" from testimonies and protest materials on the streets, on social media, and on the news. Each was from an anonymous source in Chinese. They are a people's poetry: nameless, lowbrow, temporally bound, squeezed out from moments of gravity and strife. They are meant to reach out across the silence of oceans, through differences in language and culture.

Concentrating on W. H. Auden's work from the late 1930s, when he seeks to understand the poet's responsibility in the face of a triumphant fascism, to the late 1950s, when he discerns an irreconcilable "divorce" between poetry and history in light of industrialized murder, this startling new study reveals the intensity of the poet's struggles with the meanings of history. Through meticulous readings, significant archival findings, and critical reflection, Susannah Young-ah Gottlieb presents a new image and understanding of Auden's achievement and reveals how his version of modernism illuminates urgent contemporary issues and theoretical paradigms: from the meaning of marriage equality to the persistence of fascism; from critical theory to psychoanalysis; from precarity to postcolonial studies. "The muse does not like being forced to choose between Agit-prop and Mallarme," Auden writes with characteristic lucidity, and this study elucidates the probity, humor, and technical skill with which his responses to historical reality in the mid-twentieth century illuminate our world today.

While recent scholarship has usefully positioned Burns within the context of British Romanticism as a spokesperson of Scottish national identity, Robert Burns and Transatlantic Culture considers Burns's impact in the United States, Canada, and South America, where he has served variously as a site of cultural memory and of creative negotiation. Ambitious in its scope, the volume is divided into five sections that explore: transatlantic concerns in Burns's own work, Burns's early publication in North America, Burns's reception in the Americas, Burns's creation as a site of cultural memory, and extra-literary remediations of Burns, including contemporary digital representations. By tracing the transatlantic modulations of the poet and songwriter and his works, Robert Burns and Transatlantic Culture sheds new light on the circuits connecting Scotland and Britain with the evolving cultures of the Americas from the late eighteenth century to the present.

When H. P. Blavatsky, the controversial head of the turn of the century movement Theosophy, defined "a true Theosophist" in her book The Key to Theosophy, she could have just as easily have been describing W. B. Yeats. Blavatsky writes, "A true Theosophist must put in practice the loftiest moral ideal, must strive to realize his unity with the whole of humanity, and work ceaselessly for others." Although Yeats joined Blavatsky's group in 1887, and subsequently left to help form The Golden Dawn in 1890, Yeats's career as poet and politician were very much in line with the methods set forth by Blavatsky's doctrine. My project explores how Yeats employs this pop-culture occultism in the creation of his own national literary aesthetic. This project not only examines the influence theosophy has on the literary work Yeats produced in the late 1880's and 1890's, but also Yeats's work as literary critic and anthology editor during that time. While Yeats uses theosophy's metaphysical world view to provide an underlying structure for some of his earliest poetry and drama, he uses theosophy's methods of investigation and argument to discover a metaphysical literary tradition which incorporates all of his own literary heroes into an Irish cultural tradition. Theosophy provides a methodology for Yeats to argue that both Shelley and Blake (for example) are part of a tradition that includes himself. Basing his argument in theosophy, Yeats can argue that the Irish people are a distinct race with a culture more "sincere" and "natural" than that of England.

Despite the general scholarly consensus about Lucretius' debt to Empedocles as the father of the genre of cosmological didactic epic, there is a major disagreement regarding Lucretius' applause for his Presocratic predecessor's praeclara reperta (DRN 1.732). In the present study, Garani suggests that by praising Empedocles' discoveries, Lucretius points to his predecessor's epistemological methods of inquiry concerning the unseen, methods upon which he himself draws extensively and creatively enhances. In this way, he successfully penetrates into the invisible natural world, deciphers its secrets, and thus liberates his pupil from superstitious fears about death and physical phenomena. To justify this proposition, Garani undertakes a systematic analysis of Lucretius' integration of Empedocles' methods of creating analogies in the form of literary devices -- personifications, similes, and metaphors -- and demonstrates that his intertextual engagement with Empedocles' philosophical poem is direct and intensive at both the poetic and the philosophical levels.