Jane Draycott's translation of Pearl reissued as a Carcanet Classic. A Poetry Book Society Recommended Translation. In a dream landscape radiant with jewels, a father sees his lost daughter on the far bank of a river: `my pearl, my girl’. One of the great treasures of the British Library, the fourteenth-century poem Pearl is a work of poetic brilliance; its account of loss and consolation has retained its force across six centuries. Jane Draycott in her new translation remakes the imaginative intensity of the original. This is, Bernard O’Donoghue says in his introduction, `an event of great significance and excitement’, an encounter between medieval tradition and an acclaimed modern poet.

Rebecca Elson's A Responsibility to Awe reissued as a Carcanet Classic. A Responsibility to Awe is a contemporary classic, a book of poems and reflections by a scientist for whom poetry was a necessary aspect of research, crucial to understanding the world and her place in it, even as, having contracted terminal cancer, she confronted her early death. Rebecca Elson was an astronomer; her work took her to the boundary of the visible and measurable. `Facts are only as interesting as the possibilities they open up to the imagination,’ she wrote. Her poems, like her researches, build imaginative inferences and speculations, setting out from observation, undeterred by knowing how little we can know.

This book scrutinizes Heaney's language in order to examine his theory of poetry and the writer's responsibility to art and politics. The author, himself a poet, works chronologically through the poetry and discusses it in light of Heaney's writings on the appropriate language of poetry. Chapters also look at Heaney's language and at the government of the tongue.

This book scrutinizes Heaney's language in order to examine his theory of poetry and the writer's responsibility to art and politics. The author, himself a poet, works chronologically through the poetry and discusses it in light of Heaney's writings on the appropriate language of poetry. Chapters also look at Heaney's language and at the government of the tongue.

Shortlisted for the 2016 T. S. Eliot Prize, this new collection of expert lyric poems from Whitbread Poetry Award winner Bernard O'Donoghue movingly animates the scenery and characters of his childhood in County Cork. The mythologies of family are here: the relative who maybe emigrated to America to be 'set upon at his arrival / for the few pounds sewn inside his coat'; the memory of 'Barty, a hopeless speller', caned so hard he dances; the big top come to the town park; the stolen apples raided from the orchard near the old school. Here too are the collective myths, the groundwater of older texts - Virgil's Aeneid, the Riddles of the Exeter Book, Dante's Purgatorio, the lives of the ancients and the gods - all of which in O'Donoghue's dexterous and discerning care reach forward from their long-ago origins to echo down our own lives. Many of these poems speak in elegy: for Connolly's Bookshop - closed down and mourned - or for lost friends; for the nostalgic places to which one cannot return, the field-corners and long roads of the deep past: 'So wistful is the recognition now / of the places that I hardly noted'. The stunning title piece, and the deft and poignant poems that make up this collection, will confirm O'Donoghue's place as one of the most approachable and agile voices in contemporary Irish and British poetry. 'I'm fascinated by O'Donoghue's wry vision, his infinitely gentle manner of displacing our more predictable reactions to things as they are so that we glimpse their underlying tragedy.' Tom Paulin

Winner of the Whitbread Prize for Poetry, Bernard O'Donoghue's poems have long captivated readers with their lyricism, their grace and with what John Burnside has called their 'scrupulous honesty'. This judicious selection, made by the author himself, draws on twenty years of work and presents O'Donoghue at his most mesmeric: often recalling the rural Cork of his upbringing as seen against the exile of his adulthood, ever alive to the desire but impossibility of return.

Seamus Heaney is a unique phenomenon in contemporary literature, as a poet whose individual volumes (such as his Beowulf translation, and individual volumes of poems such as Electric Light and District and Circle) have been high in the bestseller lists for decades. Since winning the Nobel Prize for Literature, he has come to be considered one of the most important English language poets in the world. This Companion gives an up-to-date overview of his career thus far, and of his reception in Ireland, England and around the world. Its distinguished contributors offer detailed readings of all his major publications, in poetry, prose and translation. The essays further explore the central themes of his poetry, his relations with other writers, and his prose writing. Designed for students, this volume will also have much to interest and inform the general reader and admirer of Heaney s unique poetic voice.

Seamus Heaney is a unique phenomenon in contemporary literature, as a poet whose individual volumes (such as his Beowulf translation, and individual volumes of poems such as Electric Light and District and Circle) have been high in the bestseller lists for decades. Since winning the Nobel Prize for Literature, he has come to be considered one of the most important English language poets in the world. This Companion gives an up-to-date overview of his career thus far, and of his reception in Ireland, England and around the world. Its distinguished contributors offer detailed readings of all his major publications, in poetry, prose and translation. The essays further explore the central themes of his poetry, his relations with other writers, and his prose writing. Designed for students, this volume will also have much to interest and inform the general reader and admirer of Heaney s unique poetic voice.

Comprehensive survey of the Middle English lyric, one of the most important forms of medieval literature. Winner of a CHOICE Outstanding Academic Title Award The Middle English lyric occupies a place of considerable importance in the history of English literature. Here, for the first time in English, are found many features of formal and thematic importance: they include rhyme scheme, stanzaic form, the carol genre, love poetry in the manner of the troubadour poets, and devotional poems focusing on the love, suffering and compassion of Christ and theVirgin Mary. The essays in this volume aim to provide both background information on and new assessments of the lyric. By treating Middle English lyrics chapter by chapter according to their kinds - poems dealing with love, with religious devotion, with moral, political and popular themes, and those associated with preaching - it provides the awareness of their characteristic cultural contexts and literary modalities necessary for an informed critical reading. Full account is taken of the scholarship upon which our knowledge of these lyrics rests, especially the outstanding contributions of the last few decades and such recent insights as those of gender criticism. Also included are detailed discussions of the valuable information afforded by the widely varying manuscript contexts in which Middle English lyrics survive and of the diverse issues involved in editing these texts. Separate chapters are devotedto the carol, which came to prominence in the fifteenth century, and to Middle Scots lyrics which, at the end of the Middle English lyric tradition, present some sophisticated productions of an entirely new order. Contributors: Julia Boffey, Thomas G. Duncan, John Scattergood, Vincent Gillespie, Christiania Whitehead, Douglas Gray, Karl Reichl, Thorlac Turville-Petre, Alan J. Fletcher, Bernard O'Donoghue, Sarah Stanbury and Alasdair A. MacDonald. THOMAS G. DUNCAN is Honorary Senior Lecturer, School of English, University of St Andrews

Comprehensive survey of the Middle English lyric, one of the most important forms of medieval literature. Winner of a CHOICE Outstanding Academic Title Award The Middle English lyric occupies a place of considerable importance in the history of English literature. Here, for the first time in English, are found many features of formal and thematic importance: they include rhyme scheme, stanzaic form, the carol genre, love poetry in the manner of the troubadour poets, and devotional poems focusing on the love, suffering and compassion of Christ and theVirgin Mary. The essays in this volume aim to provide both background information on and new assessments of the lyric. By treating Middle English lyrics chapter by chapter according to their kinds - poems dealing with love, with religious devotion, with moral, political and popular themes, and those associated with preaching - it provides the awareness of their characteristic cultural contexts and literary modalities necessary for an informed critical reading. Full account is taken of the scholarship upon which our knowledge of these lyrics rests, especially the outstanding contributions of the last few decades and such recent insights as those of gender criticism. Also included are detailed discussions of the valuable information afforded by the widely varying manuscript contexts in which Middle English lyrics survive and of the diverse issues involved in editing these texts. Separate chapters are devotedto the carol, which came to prominence in the fifteenth century, and to Middle Scots lyrics which, at the end of the Middle English lyric tradition, present some sophisticated productions of an entirely new order. Contributors: Julia Boffey, Thomas G. Duncan, John Scattergood, Vincent Gillespie, Christiania Whitehead, Douglas Gray, Karl Reichl, Thorlac Turville-Petre, Alan J. Fletcher, Bernard O'Donoghue, Sarah Stanbury and Alasdair A. MacDonald. THOMAS G. DUNCAN is Honorary Senior Lecturer, School of English, University of St Andrews.

Geoffrey Chaucer is rightly regarded as the Father of English Literature. His observant wit, his narrative skill and characterization, his linguistic invention, have been a well from which the language's greatest writers have drawn: Shakespeare, Pope, Austen, Dickens among them. A courtier, a trade emissary and diplomat, he fought in the Hundred Years War and was captured and ransomed; his marriage into the family of John of Gaunt ensured his influence in political society. For more than a decade, he was engaged on his most famous work of all, The Canterbury Tales, until his death around 1400; there is no record of the precise date or the circumstances of his demise, despite vivid and colourful speculation. Bernard O'Donoghue is one of the country's leading poets and medievalists. His accessible new selection includes a linking commentary on the chosen texts, together with a comprehensive line-for-line glossary that makes this the most approachable and accessible introduction to Chaucer that readers can buy.

The book brings together subtle and moving meditations on exile and belonging, travel and home, and honours many friends and loved ones along the way. In a series of poems that frequently recall the south-west Ireland of the author's childhood, Farmers Cross shows the author writing at his visionary and lyrical best.

This first collection of Tony Harrison's poetry for the stage compiles his masterly adaptations of various medieval mystery plays. Rendered in highly alliterative verse, Harrison's plays are, as were their medieval counterparts, intended to make colloquial Northern English language and form a vehicle for the profound religious texts that describe the biblical epic of salvation. Original documents from the Middle Ages are the basis for Harrison's three-part cycle: The Nativity encompasses Creation, The Expulsion, The Flood, Abraham and Isaac, and The Birth of Christ; The Passion covers The Life and Crucifixion of Christ; and Doomsday takes in The Harrowing of Hell and The Last Judgment. Traditionally, mystery plays were acted and produced by the trade guilds, and harrison recalls this in his use of props: a forklift transports God, a screwdriver serves as Christ's scepter, and a manhole cover is the mouth of Hell.

Drawing on pre-Renaissance English religious, linguistic, and theatrical tradition, these plays are part of a movement to celebrate English literature as it existed before the widespread cultural influence of continental Europe. In addition, this volume contains an Introduction that places these classic works in the context both of their medieval origins and of Harrison's own poetry.

Poetry, arguably, has a greater range of conceptual meaning than perhaps any other term in English. At the most basic level everyone can recognise it-it is a kind of literature that uses special linguistic devices of organization and expression for aesthetic effect. However, far grander claims have been made for poetry than this-such as Shelley's that the poets 'are the unacknowledged legislators of the world', and that poetry is 'a higher truth'. In this Very Short Introduction, Bernard O'Donoghue provides a fascinating look at the many different forms of writing which have been called 'poetry'-from the Greeks to the present day. As well as questioning what poetry is, he asks what poetry is for, and considers contemporary debates on its value. Is there a universality to poetry? And does it have a duty of public utility and responsibility? ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

One of the greatest works of the Middle Ages, in a marvelous new verse translation
Composed in the fourteenth century, "Sir Gawain and the Green Knight" is as beloved as it is venerable, combining the hallmarks of medieval romance-pageantry, chivalry, and courtly love-with the charm of fairy tales and heroic sagas.
When a mysterious green knight rides on horseback into King Arthur's court, interrupting a New Year's feast, he issues a challenge: if any of King Arthur's men can behead him and he survives, then a year later he is entitled to return the strike. Sir Gawain takes up the challenge and decapitates the green knight, only to see him pick up his severed head and ride away, leaving Gawain to seek him out to fulfill their pact. Blending Celtic myth and Christian faith, "Sir Gawain and the Green Knight" is a Middle English masterpiece of magic, chivalry, and seduction.

This anthology of versions by 16 contemporary poets from around the world of the 33 Cantos of Dante's Purgatorio is published to mark the 700th centenary of Dante's death in 1321. With an absorbing Introduction by Nick Havely tracing Dante's influence on countless poets over the centuries, and detailed explanatory notes, canto by canto, this volume is both an outstanding work of scholarship and, for the poetry lover, a superb way into the world of this extraordinary medieval masterpiece.

C. Day-Lewis was a major figure in British poetry and culture from the 1930s until his death in 1972. The Golden Bridle: Selected Prose takes its title from the myth of Bellerophon and the golden bridle of Pegasus, which Day-Lewis invoked on several occasions as a metaphor for the creative process. Day-Lewis as poet is, then, the organizing idea of this anthology, and the selections indicate the scope and range of his vital engagement with English life and letters. Organised into four parts, the volume illustrates Day-Lewis's reflections on the role and function of poetry in society and culture; the creative process and the workings of the imagination as well as the nature of poetic truth and its relation to science; poets who were of particular importance to Day-Lewis; and the poetic process in relation to the composition of several of his own poems. The notes indicate the particular source, circumstances, and central issues of each piece, to provide a brief intellectual biography and critical account of this eminent poet's development and standing.