The real test of Abram s historical explanations is of course whether or not they work whether, when we apply the criteria of correspondence and coherence (Just as in interpreting a poem), they make sense out of the particulars at hand and produce useful generalizations even in the face of competing historical interpretations. Abrams work continues to hold up. Jack Stillinger"

First published over fifty years ago, A GLOSSARY OF LITERARY TERMS remains an essential resource for all serious students of literature. Now fully updated to reflect the latest scholarship on recent and rapidly evolving critical theories, the new contains a complete glossary of essential literary terms presented as a series of engaging, beautifully crafted, essays that explore the terms, place them in context, and suggest related entries and additional reading. This indispensable, authoritative, and highly affordable reference covers terms useful in discussing literature and literary history, theory, and criticism. Perfect as a core text for introductory literary theory or as a supplement to any literature course, this classic work is an invaluable reference that you can use throughout your academic and professional careers.

There are no fewer than seventeen manuscripts of The Prelude in the Wordsworth library at Grasmere. Working with these materials, the editors have prepared an accurate reading version of 1799 and have newly edited from manuscripts the texts of 1805 and 1850 thus freeing the latter poem from the unwarranted alterations made by Wordsworth's literary executors. The editors also provide a text of MS. JJ (Wordsworth's earliest drafts for parts of The Prelude) as well as transcriptions of other important passages in manuscript which Wordsworth failed to include in any fair copy of his poem. The texts are fully annotated, and the notes for all three versions of The Prelude are arranged so that each version may be read independently. The editors provide a concise history of the texts and describe the principles by which each has been transcribed from the manuscripts. There are many other aids for a thorough study of The Prelude and its background. A chronological table enables the reader to contextualize the biographical and historical allusions in the texts and footnotes. "References to The Prelude in Process" presents the relevant allusions to the poem, by Wordsworth and by members of his circle, from 1799 to 1850. Another section, "Early Reception," reprints significant comments on the published version of 1850 by readers and reviewers. Finally, there are seven critical essays by Jonathan Wordsworth, M. H. Abrams, Geoffrey H. Hartman, Richard J. Onorato, William Empson, Herbert Lindenberger, and W. B. Gallie."

Compiles critical essays on the Romantic Age and the individual works of Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats.

Additional Editor Is William M. Sale, Jr.

"The first modern study of the Romantic achievement, its origins and evolution both in theory and practice."—Stuart M. Sperry, Jr., Indiana Unviersity

In this remarkable new book, M. H. abrams definitively studies the Romantic Age (1789–1835)—the age in which Shelley claimed that "the literature of England has arisen as it were from a new birth." Abrams shows that the major poets of the age had in common important themes, modes of expression, and ways of feeling and imagining; that the writings of these poets were an integral part of a comprehensive intellectual tendency which manifested itself in philosophy as well as poetry, in England and in Germany; and that this tendency was causally related to drastic political and social changes of the age.

But Abrams offers more than a work of scholarship, for he ranges before and after, to place the age in Western culture. he reveals what is traditional and what is revolutionary in the period, providing insights into those same two forces in the ideas of today. He shows that central Romantic ideas and forms of imagination were secularized versions of traditional theological concepts, imagery, and design, and that modern literature participates in the same process. Our comprehension of this age and of our own time is deepened by a work astonishing in its learning, vision, and humane understanding.

with this book, M.H. Abrams has given us a remarkable study, admirably conceived and executed, a book of quite exceptional and no doubt lasting significance for a number of fields- for the history of ideas and comparative literature as well as for English literary history, criticism and anesthetics.'

In the year of his one-hundredth birthday, preeminent literary critic, scholar, and teacher M. H. Abrams brings us a collection of nine new and recent essays that challenge the reader to think about poetry in new ways. In these essays, three of them never before published, Abrams engages afresh with pivotal figures in intellectual and literary history, among them Kant, Keats, and Hazlitt. The centerpiece of the volume is Abrams's eloquent and incisive essay "The Fourth Dimension of a Poem" on the pleasure of reading poems aloud, accompanied by online recordings of Abrams's revelatory readings of poems such as William Wordsworth's "Surprised by Joy," Alfred Tennyson's "Here Sleeps the Crimson Petal," and Ernest Dowson's "Cynara." The collection begins with a foreword by Abrams's former student Harold Bloom.

This volume brings together for the first time influential essays and reviews by one of our most important literary critics. Spanning three decades, the essays concern themselves with the most central development themes in recent criticism, from the New Criticism to the much-debated “Newreading� and “New Historicism.� Two other essays discuss the emergence of the remarkably influential modern view that a work in the fine arts is an autonomous object, and another offers an extraordinary overview of the history of criticism from Plato and Aristotle to Jacques Derrida and Paul de Man.

One of the deans of literary criticism in America, M. H. Abrams is Class of 1916 Professor of English at Cornell University. He is the author of two landmark books, The Mirror and the Lamp and Natural Supernaturalism, and general editor of the Norton Anthology of English Literature. This volume collects the essays, written over three decades, which-together with his books-testify to his preeminence. The essays examine Wordsworth's and Coleridge's innovations in their theories about the language of poetry; the prevalence, sources, and significance of a key Romantic image, the "correspondent breeze"; the pervasive revolutionary spirit of Romanticism; the defining characteristics and chief exemplars of the most distinctive poetic genre of the age, the "greater Romantic lyric"; the relation of Coleridge and Wordsworth to modernist poetics and literature; the philosophic and scientific backgrounds of Coleridge's thinking; and the numerous manifestations of apocalypticism in the Romantic period.

The text of the work remains that of Wollstonecraft's second edition of 1792, for scholarship has vindicated that choice. The annotations have been greatly expanded. Backgrounds documents more fully the early concern for women's education, with important extracts from the relevant works of John Locke and Mary Astell, as well as three more of Catherine Macaulay's influential "Letters on Education." A new section, The Wollstonecraft Debate, provides a wide spectrum of opinions about the woman herself, from the nastiness of Richard Polwhele to the adulation of William Blake, balanced by the cool intelligence of George Eliot and Virginia Woolf. Criticism contains essays by Emma Rauschenbusch-Clough, Carolyn W. Korsmeyer, R. M. Janes, Elissa S. Guralnick, Moira Ferguson and Janet Todd, Mitzi Myers, and Mary Poovey. A Chronology of Wollstonecraft's life and a Selected Bibliography are also included.