In two of his most famous plays, Britannicus and Berenice, Racine depicts the tragedies of characters trapped by the ideals, desires, and cruelties of ancient Rome. This international collection of essays deploys cutting-edge research to illuminate the plays and their contexts. For Racine, Rome is more than a location, it is a set of values and traditions, a space of opportunity and oppression. The contributors to this volume examine Racine's stagecraft, his exploration of time and space, sound and silence, and the ways in which he develops his own distinctive understanding of tragedy. The reception of his plays by contemporaries and subsequent generations also features. In Racine's hands, Rome becomes a state of mind, haunted by both past and future. This book's dedicatee, Richard Parish, passed away on January 1st 2022, just before publication. We would like to dedicate this collection of essays to his memory.

This volume completes the five-volume Longman Annotated Poets Edition of the poems of John Dryden, the major poet of Restoration England. It provides a modernized text along with full explanatory annotation. The poems include Dryden's spirited translation from Ovid, Homer, Chaucer, and Boccaccio. This volume presents, in newly-edited texts and with a substantial editorial commentary, the complete non-dramatic poetry of John Dryden's later years. It contains the full text of Dryden's final collection, Fables Ancient and Modern, including its prose Dedication and Preface, together with a number of other poems of the late 1690s, and some posthumously published items.

Paul Hammond explores how sexual relationships between men were represented in English literature during the seventeenth century. Figuring Sex between Men from Shakespeare to Rochester is built around two principal themes: firstly the literary strategies through which writers created imagined spaces for the expression of homosexual desire; and secondly the ways in which such texts were subsequently edited and adapted to remove these references to sex between men. The author begins with a wide-ranging analysis of the forms in which both homosexual desire and homophobic hatred were expressed in the period, focusing on the problems of defining male relationships, the erotic dimension to male friendships, and the uses of classical settings. Subsequent chapters offer four case studies. The first focuses on how Shakespeare adapted his sources to introduce the possibility of sexual relations between male characters, with special attention to Twelfth Night, The Merchant of Venice, and the Sonnets, and shows how these elements were removed in later adaptations of his plays and poems. Subsequent chapters chart the often satirical representation of homosexual rulers from James I to William III; the ambiguous sexuality figured in the poetry of Andrew Marvell; and the libertine homoeroticism of the poetry of the Earl of Rochester. Paul Hammond draws on a wide range of poems, plays, letters, and pamphlets, and discusses a substantial amount of previously unknown material from both printed and manuscript sources.

These first two volumes in a four-volume edition of Dryden's poems are the result of a complete reappraisal of the canon, text and context of his work. The text has been prepared from a fresh examination of the early printed editions, and takes account of the large number of manuscript copies which survive. Two recently discovered poems are included here for the first time. Headnotes to each poem provide details of the poem's date, publication history, sources and contemporary reception. Detailed explanations are given of the controversies addressed in his political poems, and particular attention is paid to Dryden's translations from classical writers including Virgil, Horace, Ovid and Lucretius. Volume I covers the poems of Dryden from 1649 to 1681.

This volume completes the five-volume Longman Annotated Poets Edition of the poems of John Dryden, the major poet of Restoration England. It provides a modernized text along with full explanatory annotation. The poems include Dryden's spirited translation from Ovid, Homer, Chaucer, and Boccaccio. This volume presents, in newly-edited texts and with a substantial editorial commentary, the complete non-dramatic poetry of John Dryden's later years. It contains the full text of Dryden's final collection, Fables Ancient and Modern, including its prose Dedication and Preface, together with a number of other poems of the late 1690s, and some posthumously published items.

Volume II covers the poems of Dryden from 1682 to 1685. Together with volume one, the work forms the first part of the most informative and accessible edition of Dryden's poetry, providing an invaluable resource for students of Restoration culture.

John Dryden was the greatest writer of Restoration England. These volumes are the third and fourth volumes in a five-volume edition of Dryden's poems and result from a complete reappraisal of the canon, text and context of his work. The modernised text has been prepared from a fresh examination of the early printed editions and takes account of the large number of manuscript copies which survived. These volumes cover the poems which Dryden published between 1686-1696. This was a decade which saw the completion of his work of Catholic apologetics, The Hindand the Panther, the major translations from Juvenal and Persius, and his return to the stage after the Revolution of 1688-9 deprived him of the laureateship. Throughout these two new volumes Dryden's language is glossed in unprecedented detail, revealing the poetic precision of his vocabulary. Together with volumes one and two they offer the most informative and accessible edition of Dryden's poetry and provide an invaluable resource for students of Restoratation culture.

Volume Four covers poems published between 1693 and 1696, principally Dryden's translations from Juvenal and Persius, and those from Ovid and Homer included in the miscellany Examen Poeticum (1693). This new edition represents the most informative and accessible edition of Dryden's poetry, incorporating extensive new research and providing an invaluable resource for all those interested in English poetry and Restoration culture.

Dryden: Selected Poems is drawn from Paul Hammond and David Hopkins's remarkable five-volume The Poems of John Dryden, and includes a generous selection of his most important work. The great satires, MacFlecknoe and Absalom and Achitophel, are included in full, as are his religious poemsReligio Laici and The Hind and the Panther, along with a number of Dryden's translations from Horace, Ovid, Homer, and Chaucer. Each poem is accompanied by a headnote, which gives details of composition, publication, and reception. The first-rate annotations provide information on matters of interpretation and give details of allusions that might prove baffling to contemporary readers. Some 300 years after his death, Dryden: Selected Poems will enable new generations of readers to discover the poet of whom Eliot wrote: 'we cannot fully enjoy or rightly estimate a hundred years of English poetry unless we fully enjoy Dryden'.

The ten essays in Literature and the Arts explore the intermedial plenitude of eighteenth-century English culture, honoring the memory of James Anderson Winn, whose work demonstrated how seeing that interplay of the arts and literature was essential to a full understanding of Restoration and eighteenth-century English culture. Scenery, machinery, music, dance, and texts transformed one another, both enriching and complicating generic distinctions. Artists were alive to the power of the arts to reflect and shape reality, and their audience was quick to turn to the arts as performative pleasures and critical lenses through which to understand a changing world. This collection's eminent authors discuss estate design, musicalized theater, the visual spectacle of musical performance, stage machinery and set designs, the social uses of painting and singing, drama’s reflection of a transformed military infrastructure, and the arts of memory and of laughter.

Dryden: Selected Poems is drawn from Paul Hammond and David Hopkins's remarkable five-volume The Poems of John Dryden, and includes a generous selection of his most important work. The great satires, MacFlecknoe and Absalom and Achitophel, are included in full, as are his religious poemsReligio Laici and The Hind and the Panther, along with a number of Dryden's translations from Horace, Ovid, Homer, and Chaucer. Each poem is accompanied by a headnote, which gives details of composition, publication, and reception. The first-rate annotations provide information on matters of interpretation and give details of allusions that might prove baffling to contemporary readers. Some 300 years after his death, Dryden: Selected Poems will enable new generations of readers to discover the poet of whom Eliot wrote: 'we cannot fully enjoy or rightly estimate a hundred years of English poetry unless we fully enjoy Dryden'.

Modern, fully annotated, and covering the period of 1686 through 1693, this is Volume Three of the works of the greatest writer in Restoration England, John Dryden!

• This is the result of a complete reappraisal of the canon, text and context of John Dryden's poetry!
• Features "The Hind and the Panther" and "Discourse Concerning Satire."
• Modernized text, headnotes and extensive annotations make Dryden's poetry more understandable and puts it in contemporary context, explaining motive and style.

Paul Hammond is in the Department of English at the University of Leeds.

David Hopkins is in the Department of English at the University of Bristol.

A survey of Restoration poetry, from the forms in which it was disseminated to studies of important texts. This book explores the complex ways in which authors, publishers, and readers contributed to the making of Restoration poetry. The essays in Part I map some principal aspects of Restoration poetic culture: how poetic canons were established through both print and manuscript; how censorship operated within the manuscript transmission of erotic and politically sensitive poems; the poetic functions of authorial anonymity; the work of allusion and intertextualreference; the translation and adaptation of classical poetry; and the poetic representations of Charles II. Part II turns to individual poets, and charts the making of Dryden's canon; the ways in which Mac Flecknoe operates through intertextual allusions; the relationship of the variant texts of Marvell's "To his Coy Mistress"; and the treatment of Rochester's canon and text by his modern editors. The discussions are complemented by illustrationsdrawn from both printed books and manuscripts. PAUL HAMMOND is Professor of Seventeenth-Century Literature at the University of Leeds.

"Volume II" covers the poems of Dryden from 1682 to 1685. Together with volume one, the work forms the first part of the most informative and accessible edition of Dryden's poetry, providing an invaluable resource for students of Restoration culture.

Volume Four covers poems published between 1693 and 1696, principally Dryden's translations from Juvenal and Persius, and those from Ovid and Homer included in the miscellany "Examen Poeticum "(1693). This new edition represents the most informative and accessible edition of Dryden's poetry, incorporating extensive new research and providing an invaluable resource for all those interested in English poetry and Restoration culture.

These first two volumes in a four-volume edition of Dryden's poems are the result of a complete reappraisal of the canon, text and context of his work. The text has been prepared from a fresh examination of the early printed editions, and takes account of the large number of manuscript copies which survive. Two recently discovered poems are included here for the first time. Headnotes to each poem provide details of the poem's date, publication history, sources and contemporary reception. Detailed explanations are given of the controversies addressed in his political poems, and particular attention is paid to Dryden's translations from classical writers including Virgil, Horace, Ovid and Lucretius. Volume I covers the poems of Dryden from 1649 to 1681.

Here is a classic collection of writings by the Surrealists on their mad love of moviegoing. Forty-odd theoretical, polemical, and poetical essays document Surrealism's scandalous and nonreductive take on film. The essayists include such names as Breton, Aragon, Desnos, Dali, Bunuel, and Man Ray, as well as many of the less famous, though equally fascinating figures of the movement.

Table of Contents: Available light / Paul Hammond

Some surrealist advice / The Surrealist Group
War letter / Jacques Vache
On decor / Louis Aragon
Cinema U.S.A. / Philippe Soupault
Battlegrounds and commonplaces / Rene Crevel
Against commercial cinema / Benjamin Peret
Buster Keaton's College / Luis Bunuel
Abstract of a critical history of the cinema / Salvador Dali

The marvelous is popular / Ado Kyrou

As in a wood / Andre Breton
Picture palaces / Robert Desnos
Plan for a cinema at the bottom of a lake / Bernard Roger
The lights go up / Jacques Brunius
Surrealism and cinema / Jean Goudal
Introduction to black-and-white magic / Albert Valentin
Crossing the bridge / Jacques Brunius
Sorcery and cinema / Antonin Artaud
The screen's prestige / Jacques Brunius
Remarks on cinematic oneirism / Robert Benayoun
The cinema, instrument of poetry / Luis Bunuel
Malombra, aura of absolute love / The Romanian Surrealist Group
Data toward the irrational enlargement of a film: The Shanghai Gesture / The Surrealist Group

The film and I / Ado Kyrou
Cinemage / Man Ray
Another kind of cinema / Marcel Marien
Intention and surprise / Nora Mitrani
The ideal summa / Petr Kral
Turkey broth and unlabeled love potions / Gerard Legrand
The fantastic - the marvelous / Ado Kyrou
Concerning King Kong / Jean Ferry
Larry Semon's message / Petr Kral
Hands off love / The Surrealist Group
Chaplin, the copper's nark / Jean-Louis Bedouin
Manifesto of the Surrealists concerning L'ge d'orr / The Surrealist Group

Zaroff; or, The prosperities of vice / Robert Benayoun
Eroticism / Robert Desnos
Eroticism = love / Ado Kyrou
Au repas des guerrieres / Nelly Kaplan
Female x film =

John Dryden was the leading poet of Restoration England, renowned both as a political writer and as a translator. This book examines the uses Dryden made of allusions to classical Rome, and his translations from Latin poetry. In both the original poems and the translations, Dryden illuminates contemporary England through parallels and contrasts with the world of ancient Rome.

Every major poet or philosopher develops their own distinctive semantic field around those terms which matter most to them, or which contribute most profoundly to the imagined world of a particular work. This book explores the specific meanings which Milton develops around key words in Paradise Lost. Some of these are theological or philosophical terms (e.g. 'evil', 'grace', 'reason'); others are words which shape the imagined world of the poem (e.g. 'dark', 'fall', 'within'); yet others are small words or even prefixes which subtly move the argument in new directions (e.g. 'if', 'not', 're-'). Milton seems to expect his readers to be alert to the special semantic field which he creates around such words, often by infusing them with biblical and literary connotations, and activating their etymological roots; alert also to the patterns created by the repetitions of such words, and particularly to their diverse use (and often their blatant misuse) by different characters. To understand the migrations and malleability of key words is part of the education of Milton's reader.

This volume is designed to celebrate and re-assess the work of John Dryden (1631-1700) in the tercentenary year of his death. It assembles specially-commissioned essays by an international team of scholars who address Dryden's political writing, drama, and translations, his literary collaborations, contemporary reputation, and posthumous reception.

The ten essays in Literature and the Arts explore the intermedial plenitude of eighteenth-century English culture, honoring the memory of James Anderson Winn, whose work demonstrated how seeing that interplay of the arts and literature was essential to a full understanding of Restoration and eighteenth-century English culture. Scenery, machinery, music, dance, and texts transformed one another, both enriching and complicating generic distinctions. Artists were alive to the power of the arts to reflect and shape reality, and their audience was quick to turn to the arts as performative pleasures and critical lenses through which to understand a changing world. This collection's eminent authors discuss estate design, musicalized theater, the visual spectacle of musical performance, stage machinery and set designs, the social uses of painting and singing, drama’s reflection of a transformed military infrastructure, and the arts of memory and of laughter.

One of the greatest collaborations of cinema history, L'Age d'Or(1930) united the geniuses of Luis Bunuel and Salvador Dali in the making of a Surrealist masterpiece - a uniquely savage blend of visual poetry and social criticism. The film was banned and vilified for many years in many countries, becoming justly legendary for its subversive eroticism and its furious dissection of 'civilised' values. In a remarkable, intuitive reading of L'Age d'Or, Paul Hammond interweaves a detailed account of the extraordinary circumstances of its production with a dazzling interpretation of its aesthetic and political nuances. At once authoritative and polemical, this is a study entirely in tune with its subject, a fitting celebration of a major landmark in world cinema.

This book is at once an edition of Shakespeare's Sonnets and a guide to how to read these exquisite and complex poems. It is designed both for readers new to the poems and for those who are familiar with the Sonnets but are ready to engage with them afresh. It is the only current edition which provides an original-spelling text of the poems: that is, it prints the poems as they appeared in the first edition, Shake-speares Sonnets (1609), preserving the spelling, punctuation, italics, and capitalization of the original, with only minor interventions where that edition manifestly needs correction. The advantages (and occasional hazards) of reading an original-spelling text are explained, and detailed help is provided in order to assist readers who may be unfamiliar with the conventions of early-modern spelling and punctuation.

This book reads tragedy as a genre in which the protagonist is estranged from the world around him, and, displaced in time, space, and language, comes to inhabit a milieu which is no longer shared by other characters. This alienation from others also entails a decomposition of the integrity of the individual, which is often seen in tragedy's uncertainty about the protagonists' autonomy: do they act, or do the gods act through them? Where are the boundaries of the self, and the boundaries of the human? After an introductory essay exploring the theatrical and linguistic means by which the protagonist is made to inhabit a strange and singular world, the book devotes essays to plays from classical, renaissance, and neo-classical literature by Aeschylus, Sophocles, Seneca, Shakespeare, and Racine. Close attention is paid to the linguistic strangeness of the texts which is often smoothed over by editors and translators, as it is through the weirdness of tragic language that the deep estrangement of the characters is shown. Accordingly, the Greek, Latin, and French texts are quoted in the originals, with translations added, and attention is paid to textual cruces which illustrate the linguistic and conceptual difficulties of these plays.