Republican, pagan, a sensualist alive to pleasure and to pain, Swinburne flouted the rules of Victorian decorum and morality in his life and work He created a unique means of expression through what Tennyson called his 'wonderful rhythmic invention', and yet his verse was influenced by poets from numerous periods and countries. Many of his poems are opulent hymns to sensual love, in all its aspects, and to death and to the loss of love. Swinburne's verse is immensely diverse in form: together these two works demonstrate its rich complexity and variety. As T. S. Eliot remarked, there is no reason to call his power over words anything but genius.

This Penguin edition contains a preface, a table of dates, a commentary on the poems and two appendices, one of which is a map of the places mentioned in Atalanta in Calydon.

At his death in 2016, Geoffrey Hill left behind The Book of Baruch by the Gnostic Justin, his last work, a sequence of more than 270 poems, to be published posthumously as his final statement. Written in long lines of variable length, with much off-rhyme and internal rhyme, the verse-form of the book stands at the opposite end from the ones developed in the late Daybooks of Broken Hierarchies (2013), where he explored highly taut constructions such as Sapphic meter, figure-poems, fixed rhyming strophes, and others. The looser metrical plan of the new book admits an enormous range of tones of voices. Thematically, the work is a summa of a lifetime's meditation on the nature of poetry. A riot of similes about the poetic art makes a passionate claim for the enduring strangeness of poetry in the midst of its evident helplessness. The relation between art and spirituality is another connecting thread. In antiquity, Justin's gnostic Book of Baruch was identified as the 'worst of heresies,' and the use of it in Hill's poem, as well as the references to alchemy, heterodox theological speculation, and the formal logics of mathematics, music, and philosophy are made coolly, as art and as emblems for our inadequate and perplexed grasp of time, fate, and eternity. A final set of themes is autobiographical, including Hill's childhood, the bombing of London, his late trip to Germany, his alarm and anger at Brexit, and his sense of decline and of death close at hand. It is a great work, and in Hill's oeuvre it is a uniquely welcoming work, open to all comers.

Broken Hierarchies collects twenty books of poems by Geoffrey Hill, written over sixty years, and presents them in their definitive form. Four of these books (Ludo, Expostulations on the Volcano, Liber Illustrium Virorum, and Al Tempo de' Tremuoti) have never before appeared in print, and three of them (Hymns to Our Lady of Chartres, Pindarics, and Clavics) have been greatly revised and expanded.

Broken Hierarchies collects twenty books of poems by Geoffrey Hill, written over sixty years, and presents them in their definitive form. Four of these books (Ludo, Expostulations on the Volcano, Liber Illustrium Virorum, and Al Tempo de' Tremuoti) have never before appeared in print, and three of them (Hymns to Our Lady of Chartres, Pindarics, and Clavics) have been greatly revised and expanded.

Originally published in German under the title Holzwege, this collection of texts is Heidegger's first post-war work and contains some of the major expositions of his later philosophy. Although translations of the essays have appeared individually in a variety of places, this is the first English translation to bring them together as Heidegger intended. It is an invaluable resource for all students of Heidegger, whether they study philosophy, literary theory, religious studies, or intellectual history.

Johann Georg Hamann (1730-1788) is a major figure not only in German philosophy but also in literature and religious history. In his own time he wrote penetrating criticisms of Herder, Kant, Mendelssohn, and other Enlightenment thinkers; after his death he was an important figure for Goethe, Hegel, Kierkegaard, and others. It was only in the twentieth century, however, that the full and radical extent of his 'linguistic' critique of philosophy was recognized. This volume presents a new translation of a wide selection of his essays, including both famous and lesser-known works. Hamann's enigmatic prose-style was deliberately at odds with Enlightenment assumptions about language, and a full apparatus of annotation explains the numerous allusions in his essays. The volume is completed by a historical and philosophical introduction and suggestions for further reading.

Literature in English is hardly ever entirely in English. Contact with other languages takes place, for example, whenever foreign languages are introduced, or if a native style is self-consciously developed, or when aspects of English are remade in the image of another language. Since the Renaissance, Latin and Greek have been an important presence in British poetry and prose. This is partly because of the importance of the ideals and ideologies founded and elaborated on Roman and Greek models. Latin quotations and latinate English have always been ways to represent, scrutinize, or satirize the influential values associated with Rome. The importance of Latin and Greek is also due to the fact that they have helped to form and define a variety of British social groups. Lawyers, Catholics, and British gentlement invested in Latin as one source of their distinction from non-professionals, from Protestants, and from the unleisured. British attitudes toward Greek and Latin have been highly charged because the animus that existed between groups has also been directed toward these languages themselves. English Literature and Ancient Languages is a study of literary uses of language contact, of English literature in conjunction with Latin and Greek. While the book's emphasis is literary, that is formal and verbal, its goal is to discover how social interests and cultural ideas are, and are not, mediated through language.

Johann Georg Hamann (1730-1788) is a major figure not only in German philosophy but also in literature and religious history. In his own time he wrote penetrating criticisms of Herder, Kant, Mendelssohn, and other Enlightenment thinkers; after his death he was an important figure for Goethe, Hegel, Kierkegaard, and others. It was only in the twentieth century, however, that the full and radical extent of his 'linguistic' critique of philosophy was recognized. This volume presents a new translation of a wide selection of his essays, including both famous and lesser-known works. Hamann's enigmatic prose-style was deliberately at odds with Enlightenment assumptions about language, and a full apparatus of annotation explains the numerous allusions in his essays. The volume is completed by a historical and philosophical introduction and suggestions for further reading.

This groundbreaking five-volume history runs from the Middle Ages to the year 2000. It is a critical history, treating translations wherever appropriate as literary works in their own right, and reveals the vital part played by translators and translation in shaping the literary culture of the English-speaking world, both for writers and readers. It thus offers new and often challenging perspectives on the history of literature in English. As well as examining the translations and their wider impact, it explores the processes by which they came into being and were disseminated, and provides extensive bibliographical and biographical reference material.
In the one hundred and ten years covered by volume four of The Oxford History of Literary Translation in English, what characterized translation was above all the move to encompass what Goethe called "world literature." This occurred, paradoxically, at a time when English literature is often seen as increasingly self-sufficient. In Europe, the culture of Germany was a new source of inspiration, as were the medieval literatures and the popular ballads of many lands, from Spain to Serbia. From the mid-century, the other literatures of the North, both ancient and modern, were extensively translated, and the last third of the century saw the beginning of the Russian vogue. Meanwhile, as the British presence in the East was consolidated, translation helped readers to take possession of "exotic" non-European cultures, from Persian and Arabic to Sanskrit and Chinese.
The thirty-five contributors bring an enormous range of expertise to the exploration of these new developments and of the fascinating debates which reopened old questionsabout the translator's task, as the new literalism, whether scholarly or experimental, vied with established modes of translation. The complex story unfolds in Britain and its empire, but also in the United States, involving not just translators, publishers, and readers, but also institutions such as the universities and the periodical press. Nineteenth-century English literature emerges as more open to the foreign than has been recognized before, with far-reaching effects on its orientation.