Classic poetry / poems

Book SynopsisHorace’s second book of Satires, mostly written in the newly-adopted dialogue form, displays great literary and intellectual sophistication. This edition includes a wealth of background information, exploring the social context, the history of satire in Rome and the ethical-philosophical content. Text with translation, introduction and commentary.Table of Contents PrefaceBibliographyIntroduction 1.Horace in the late 30s B.C. 2. Satire — an anti-genre? 3. The satiric self-portrait 4. ‘Diatribe’, dialogue and philosophy 5. The structural patterns of Book 2 6. The focus on food 7. Text and manuscripts 8. Notes on references and abbreviationsChronological TableHorace: Satires Book II - Parallel Latin Text and English TranslationCommentaryIndex

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Book SynopsisOvid’s masterpiece, Metamorphoses, is a treasure-house of mythology. The complete work has been edited in four volumes by D. E. Hill. Each volume stands alone, offering the Latin text with facing prose translation and notes tracing Ovid’s sources and his influence on literature and art. This volume, the third of four, contains Books IX–XII.Table of ContentsPrefaceIntroductionMetamorphoses - Latin Text and Parallel Translation Book IX Book X Book XI Book XIICommentary Notes on Book IX Notes on Book X Notes on Book XI Notes on Book XIIBibliographyIndex

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Book SynopsisAlthough Catullus is one of the best known Roman poets, it is his shorter poems that are more familiar. This is the first edition of the long poems of Catullus in a single volume which, with John Godwin’s companion edition of the shorter poems, completes all Catullus' surviving work. Latin text with facing translation, introduction and commentary.Trade Review‘This is an extremely useful edition of Catullus which would be helpful to teachers and sixth form students. [...] The commentary on the text is very helpful both to student and teacher and includes a summary of the main points contained within each poem as well as more detailed comments on style.’ JACT‘Godwin’s Catullus is an admirable example of the series at its best: the commentary is clear, helpful and undogmatic [...] the introduction helpfully sets Catullus’ poetry in its historical and literary context.’ Greece and RomeTable of ContentsPrefaceIntroductionText and TranslationCommentaryAppendix (Callimachus Fragment 110) Glossary of Literary TermsBibliography

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Book SynopsisThis volume completes Godwin’s edition of all the surviving poetry of Catullus, aiming to bring the literary history of this poet to new readers. It describes and discusses recent scholarship on the poems, seeing them in their context as fully as possible. Latin text with facing-page English translation, introduction and detailed commentary.Trade Review‘Catullus would have been delighted with Godwin’s edition of his shorter poems [...] It is attractively produced [...] This is a work of tremendous scholarship [...] His introduction is particularly good [...] for all teachers of classics and for university students this is an edition much to be recommended, as it adds many new ideas to the body of scholarship on Catullus.’ The Classical Review‘Godwin’s Catullus is an admirable example of the series at its best: the commentary is clear, helpful and undogmatic [...] the introduction helpfully sets Catullus’ poetry in its historical and literary context.’ Greece and Rome‘This is an extremely useful edition of Catullus which would be helpful to teachers and sixth form students. [...] The commentary on the text is very helpful both to student and teacher and includes a summary of the main points contained within each poem as well as more detailed comments on style.’ JACTTable of ContentsPreface Introduction: Catullus' Life and Times Poetry and Performance Neoteric Poetry Interpretative Strategies The Metres The Transmission of the Text Sigla Text and Translation Commentary

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Book SynopsisIncorporating advances in historical linguistics but aimed at teachers and students of poetry, Chaucer's Verse Art in its European Context argues that between 1378 and 1400 Geoffrey Chaucer used his knowledge of how poets versified in other languages to devise a meter that would be a perfect fit for the newly respectable English. While Chaucer and Gower are largely responsible for the last stage of this evolution in Middle English and Anglo-Norman, Chaucer's risk in composing in English paid off and iambic pentameter and tetrameter endured to become the staples of English verse, while Gower's French stress-syllabic meters died with the Anglo-Norman dialect.

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Book SynopsisAs both layman and Franciscan friar, the Catalan writer known asFrancescMoner(ca14631495) is one of the leading exponents of the bilingual (Catalan-Castilian) culture that flourished in Barcelona in the late 1400s. In his approach toSepulturad'amor(Burial of Love),Moner'slongest poem,PeterCocozzellafocuses on the author's ingenious version of a kind of parody that desacralizes but does not desecrate the celebration of the funeral Mass. Cocozzella discovers the aspects ofMoner'sunconventional idea of a theater based on the dramatics of the monologue and on the transformation of the divine ritual into a human analogue of transubstantiation. This allegorical pattern validates the profile of the masterpiece in question as one of the earliest manifestations of the auto sacramental, the distinctive theatrical genre scripted in the language of Castile. The book includesthetextofSepulturaand its translation.Table of ContentsList of IllustrationsAcknowledgmentsPrefaceIntroductionChapter I: The Cancionero BackgroundChapter II: A Spectacle on DisplayChapter III: The Gestation of Dramatic ModesChapter IV: The Dramatization of the MonologueChapter V: The Sermon in Dramatic EffectsChapter VI: Parody as DesacralizationChapter VII: Dramatization on the Way to PerformanceChapter VIII: Embryonic and Full-Fledged TheatricalityChapter IX: Stage-Worthy Action: Extrinsic and Intrinsic DimensionsChapter X: Visualizing the StageChapter XI: Configuring the Actual Stage: The Pragmatics of the Mise en ScèneChapter XII: A Religious Theater Newly Fashioned: Semiotic FunctionsConclusionAppendicesIllustrationsBibliographyIndex

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Book SynopsisThe author has attempted to cover the vocabulary of the whole corpus of Anglo-Saxon verse and make the word-list as broadly useful as possible for the general student of Anglo-Saxon literature.

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Book SynopsisTrade ReviewNeidorf (Nanjing Univ., China) offers a refreshingly original approach to the Old English epic poem Beowulf. The author is convincing and thorough in making his arguments, which he presents in three concise chapters. In the first chapter, he contextualizes Beowulf within the larger tradition of Scandinavian and Germanic literature and explores marked departures that distinguish it. * Choice *Table of ContentsIntroduction 1. Kin-Slaying and Oath-Breaking 2. Courtesy and Courtliness 3. Monotheism and Monstrosity Conclusion

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Book SynopsisWilliam Gilbert, poet, theosophist and astrologer, published The Hurricane: A Theosophical and Western Eclogue in Bristol in 1796, while he was on intimate terms with key members of Bristol literary culture: Coleridge published an extract from The Hurricane in his radical periodical The Watchman; Robert Southey wrote of the poem’s ‘passages of exquisite Beauty’; and William Wordsworth praised and quoted a long passage from Gilbert’s poem in The Excursion. The Hurricane is a copiously annotated 450 line blank verse visionary poem set on the island of Antigua where, in 1763, Gilbert was born into a slave-owning Methodist family. The poem can be grouped with other apocalyptic poems of the 1790s—Blake’s Continental Prophecies, Coleridge's Religious Musings, Southey's Joan of Arc—all of which gave a spiritual interpretation to the dramatic political upheavals of their time. William Gilbert and Esoteric Romanticism presents the untold story of Gilbert’s progress from the radical occultist circles of 1790s London to his engagement with the first generation Romantics in Bristol. At the heart of the book is the first modern edition of The Hurricane, fully annotated to reveal the esoteric metaphysics at its core, followed by close interpretative analysis of this strange elusive poem.Trade Review'Paul Cheshire is unquestionably the world authority on William Gilbert and The Hurricane. Based on extensive original research, this ground-breaking study will return Gilbert to the forefront of critical attention, locating him in relation to more famous contemporaries and setting-out for the first time his esoteric brand of Romanticism and its many affinities with more familiar Romantic authors and texts, ideas and concepts. Presenting its key text—The Hurricane—in full at its centre, the book fills a conspicuous gap in current understandings and opens numerous new avenues for further research.'Nicholas Roe, Wardlaw Professor of English Literature, University of St Andrews 'This is an unusual book about an unusual man. In his engagingly written, intensively researched study of the life and work of William Gilbert, Paul Cheshire illuminates the hermetic vision underpinning Gilbert’s allegorical poem The Hurricane, and widens its scope to explore the influence of western esoteric thought on the imagination of the Romantic poets in a manner which touches on issues still alive and vital in our own transitional times.'Lindsay Clarke, Whitbread Prize-winning author of The Chymical Wedding and The Water Theatre'William Gilbert was a leading member of the utopian, apocalyptic and artistic movement of the 1790s, a remarkable period in British – and European – history. He was a major influence on the Romantic poets, and his presence is felt in Coleridge’s masterpiece, Kubla Khan. Paul Cheshire’s remarkable biography brings this forgotten genius to life, restoring him to his proper place in our artistic and radical history.' Nicholas Campion, Associate Professor in Cosmology and Culture, University of Wales Trinity Saint David'Other scholars have worked on The Hurricane and William Gilbert; Cheshire’s account draws on their work and goes a considerable way beyond it (not least in considering the horrors of slavery in this context). The fascination of this neglected figure is made plain, as are the critical implications of a work with both esoteric roots and Romantic repercussions.' Michael Caines, Times Literary Supplement ‘Cheshire makes an admirable case for remembering Gilbert… [a] tantalizing study.’ Christy Edwall, The Wordsworth Circle'Paul Cheshire has done us a service in providing here not only a book that places the poem [The Hurricane] in its cultural and historical milieu but a fully annotated scholarly edition of the poem itself. It is an important new contribution to the expanding literature on Romanticism in Bristol and comes highly recommended. For both its language and its themes, The Hurricane is a poem well worth revisiting.' Steve Poole, The Regional Historian'A provocative and illuminating study of William Gilbert… We may hope that Cheshire’s indefatigable and imaginative research will continue to help us rediscover the eccentric and fearless genius who proudly declared: “I am not understood. ’Tis well. / I understand myself. It is better.”' Marsha Keith Schuchard, Common Knowledge'William Gilbert and Esoteric Romanticism provides an excellent basis for further scholarly work, both on Gilbert, and on the esoteric in Romantic culture more generally.'Jacob Lloyd, The BARS Review‘Cheshire’s readings transform Gilbert’s poem from something inscrutable to something deeply interesting… Cheshire makes a compelling case that “esoterism” is important but overlooked in all the Romantics, expanding how they may be read. The book further expands the geographies of Romanticism through its attention to the sea and Antigua as crucial sites for revolutionary thinking.’ Lawrence Evalyn, Eighteenth-Century FictionTable of ContentsAcknowledgementsAbbreviationsIntroductionPart One: William Gilbert in Romantic Culture1. A Magus of the 1790s: William Gilbert in Bristol and London2. Bristol and the First Romantics3. ‘With no unholy madness’: Gilbert and Coleridge4. ‘My astrological friend’: Gilbert and Southey5. The Calenture: Gilbert and WordsworthPart Two: The HurricaneThe Hurricane a Theosophical and Western Eclogue. To which is subjoined, A Solitary Effusion in a Summer’s Evening. 6. The Hurricane and Hermetic Geography7. Decoding the Allegory of the ‘Theosophical and Western Eclogue’8. Son of a Saintly Slave OwnerPart Three: Conclusion 9. Esoteric RomanticismBibliographyIndex

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Book SynopsisFor the modern world Greek tragedy is represented almost entirely by those plays of Aeschylus, Sophocles and Euripides whose texts have been preserved since they were first produced in the fifth century BC. From that period and the next two hundred years more than eighty other tragic poets are known from biographical and production data, play-titles, mythical subject-matter, and remnants of their works quoted by other ancient writers or rediscovered in papyrus texts. This edition includes all the remnants of tragedies that can be identified with these other poets, with English translations, related historical information, detailed explanatory notes and bibliographies. Volume 1 includes some twenty 5th-century poets, notably Phrynichus, Aristarchus, Ion, Achaeus, Sophocles’ son Iophon, Agathon and the doubtful cases of Neophron (author of a Medea supposedly imitated by Euripides) and Critias (possibly author of three other tragedies attributed to Euripides). Volume 2 will include the 4th- and 3rd-century tragedians and some anonymous material derived from ancient sources or rediscovered papyrus texts.Remnants of these poets’ satyr-plays are included in a separate Aris & Phillips Classical Texts volume, Euripides Cyclops and Major Fragments of Greek Satyric Drama, edited by Patrick O’Sullivan and Christopher Collard (2013).Trade Review‘The most valuable element of the volume is the introductory discussions for each author and for each title, as well as the commentary notes to the testimonies and fragments.' Felice Stama, Bryn Mawr Classical Review ‘Our general opinion on Cropp's work is highly positive: well documented, scientifically up-to-date and rigorous, but at the same time easy to consult.’ Paolo B. Cipolla, Exemplaria Classica (translated from Italian).‘The clear translations, appropriately designed commentaries, and especially the excellent introductions to the individual poets and plays, in which Cropp includes both older and recent interpretations, while frequently adding his own thought-provoking suggestions, will find a grateful readership.’ Hauke Schneider, Gymnasium (translated from German)Table of ContentsPrefaceIntroductionTragedy in the fifth century: a sketchSourcesThis editionTexts, Translations and NotesThespis (TrGF 1) Choerilus (TrGF 2) Phrynichus (TrGF 3) Pratinas (TrGF 4) Polyphrasmon (TrGF 7) Aristias (TrGF 9) Euphorion, Euaeon (TrGF 12, 13) Aristarchus (TrGF 14) Neophron (TrGF 15) Euripides I, II (TrGF 16, 17) Ion (TrGF 19) Achaeus (TrGF 20) Iophon (TrGF 22)Philocles I (TrGF 24) Xenocles I (TrGF 33) Agathon (TrGF 39) Critias? (TrGF 43) Diogenes of Athens (TrGF 45) Abbreviations and references Indexes (Poets; Titles; Sources; General)

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Book SynopsisWilliam Gilbert, poet, theosophist and astrologer, published The Hurricane: A Theosophical and Western Eclogue in Bristol in 1796, while he was on intimate terms with key members of Bristol literary culture: Coleridge published an extract from The Hurricane in his radical periodical The Watchman; Robert Southey wrote of the poem’s ‘passages of exquisite Beauty’; and William Wordsworth praised and quoted a long passage from Gilbert’s poem in The Excursion. The Hurricane is a copiously annotated 450 line blank verse visionary poem set on the island of Antigua where, in 1763, Gilbert was born into a slave-owning Methodist family. The poem can be grouped with other apocalyptic poems of the 1790s—Blake’s Continental Prophecies, Coleridge's Religious Musings, Southey's Joan of Arc—all of which gave a spiritual interpretation to the dramatic political upheavals of their time. William Gilbert and Esoteric Romanticism presents the untold story of Gilbert’s progress from the radical occultist circles of 1790s London to his engagement with the first generation Romantics in Bristol. At the heart of the book is the first modern edition of The Hurricane, fully annotated to reveal the esoteric metaphysics at its core, followed by close interpretative analysis of this strange elusive poem.Trade Review'Paul Cheshire is unquestionably the world authority on William Gilbert and The Hurricane. Based on extensive original research, this ground-breaking study will return Gilbert to the forefront of critical attention, locating him in relation to more famous contemporaries and setting-out for the first time his esoteric brand of Romanticism and its many affinities with more familiar Romantic authors and texts, ideas and concepts. Presenting its key text—The Hurricane—in full at its centre, the book fills a conspicuous gap in current understandings and opens numerous new avenues for further research.'Nicholas Roe, Wardlaw Professor of English Literature, University of St Andrews 'This is an unusual book about an unusual man. In his engagingly written, intensively researched study of the life and work of William Gilbert, Paul Cheshire illuminates the hermetic vision underpinning Gilbert’s allegorical poem The Hurricane, and widens its scope to explore the influence of western esoteric thought on the imagination of the Romantic poets in a manner which touches on issues still alive and vital in our own transitional times.'Lindsay Clarke, Whitbread Prize-winning author of The Chymical Wedding and The Water Theatre'William Gilbert was a leading member of the utopian, apocalyptic and artistic movement of the 1790s, a remarkable period in British – and European – history. He was a major influence on the Romantic poets, and his presence is felt in Coleridge’s masterpiece, Kubla Khan. Paul Cheshire’s remarkable biography brings this forgotten genius to life, restoring him to his proper place in our artistic and radical history.' Nicholas Campion, Associate Professor in Cosmology and Culture, University of Wales Trinity Saint David'Other scholars have worked on The Hurricane and William Gilbert; Cheshire’s account draws on their work and goes a considerable way beyond it (not least in considering the horrors of slavery in this context). The fascination of this neglected figure is made plain, as are the critical implications of a work with both esoteric roots and Romantic repercussions.' Michael Caines, Times Literary Supplement ‘Cheshire makes an admirable case for remembering Gilbert… [a] tantalizing study.’ Christy Edwall, The Wordsworth Circle'Paul Cheshire has done us a service in providing here not only a book that places the poem [The Hurricane] in its cultural and historical milieu but a fully annotated scholarly edition of the poem itself. It is an important new contribution to the expanding literature on Romanticism in Bristol and comes highly recommended. For both its language and its themes, The Hurricane is a poem well worth revisiting.' Steve Poole, The Regional Historian'A provocative and illuminating study of William Gilbert… We may hope that Cheshire’s indefatigable and imaginative research will continue to help us rediscover the eccentric and fearless genius who proudly declared: “I am not understood. ’Tis well. / I understand myself. It is better.”' Marsha Keith Schuchard, Common Knowledge'William Gilbert and Esoteric Romanticism provides an excellent basis for further scholarly work, both on Gilbert, and on the esoteric in Romantic culture more generally.'Jacob Lloyd, The BARS Review‘Cheshire’s readings transform Gilbert’s poem from something inscrutable to something deeply interesting… Cheshire makes a compelling case that “esoterism” is important but overlooked in all the Romantics, expanding how they may be read. The book further expands the geographies of Romanticism through its attention to the sea and Antigua as crucial sites for revolutionary thinking.’ Lawrence Evalyn, Eighteenth-Century FictionTable of ContentsAcknowledgementsAbbreviationsIntroductionPart One: William Gilbert in Romantic Culture1. A Magus of the 1790s: William Gilbert in Bristol and London2. Bristol and the First Romantics3. ‘With no unholy madness’: Gilbert and Coleridge4. ‘My astrological friend’: Gilbert and Southey5. The Calenture: Gilbert and WordsworthPart Two: The HurricaneThe Hurricane a Theosophical and Western Eclogue. To which is subjoined, A Solitary Effusion in a Summer’s Evening. 6. The Hurricane and Hermetic Geography7. Decoding the Allegory of the ‘Theosophical and Western Eclogue’8. Son of a Saintly Slave OwnerPart Three: Conclusion 9. Esoteric RomanticismBibliographyIndex

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Book SynopsisThe ‘Percy Folio’ (BL MS Add. 27879), a seventeenth-century miscellany of ballads, romances and songs is a highly significant document in English poetry. It was crucial to the success and credibility of Bishop Thomas Percy’s Reliques of Ancient English Poetry (1765). A best-seller that inspired many including Wordsworth and Sir Walter Scott, the Reliques made ballads a subject worthy of study and respect, in no small part due to the supposed antiquity of the Folio’s contents, Percy even claiming that one Arthurian piece was known to Chaucer. For the first time ever this volume publishes critical editions of all eleven Arthurian texts in the Percy Folio, with transcriptions taken directly from BL MS Add. 27879. The book opens with a discussion of the manuscript’s history and ownership, the place of these Arthurian texts within a ballad tradition, attitudes to King Arthur up to the early eighteenth century, and Percy’s interest in and knowledge of Arthurian legend. A particular focus has been the role played by performance in the evolution of the Arthurian material. Each text is prefaced by a Headnote with endnotes, references to previous editions, and suggestions for further reading. The texts themselves are complemented by Explanatory Notes for the reader, and Textual Notes which include transcripts of Percy’s own annotations. The book concludes with a comprehensive bibliography. Contributors: John Withrington, Gillian Rogers, Elizabeth Darovic, Maldwyn Mills, Raluca Radulescu, Diane Speed, Marion Trudgill and Elizabeth Williams.Table of ContentsINTRODUCTION The Manuscript Discovery of the Manuscript Contents and Date The Scribe/Compiler at work The Scribe/Compiler: background and identity The Scribe/Compiler: sources and composition Percy’s Annotations The Arthurian texts in the Percy Folio Assembling the Reliques ‘This vague and indiscriminating name’ A Matter of Taste ‘This Tale Grew in the Telling’ Conclusion The Arthurian background King Arthur as an Historical Figure Enlisting the Arthurian Legend The Arthurian Legend in Literature and Prophecy Percy and the Arthurian Legend Previous editions and methodology adopted for this edition Appendix and Endnotes THE TEXTS King Arthur and King Cornwall Sir Lancelott of Dulake The Turke & Gowin The Marriage of Sir Gawaine Sir Lambewell Merline Kinge Arthurs Death The Grene Knyght Boy and Mantle Libius Disconius Carle off Carlile Bibliography

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Book SynopsisText and facing English translation of a version of the Tristan story from north-east Italy. The Tristano Corsiniano is preserved in a unique manuscript of the Biblioteca Corsiniana housed at the Accademia Nazionale dei Lincei in Rome (MS 55.K.5; formerly Rossi 2593). Written in a mixture of northeastern Italian dialects, the manuscript was probably copied in the third quarter of the fourteenth century. The contents are a much abbreviated descendent of the noted French prose Roman de Tristan; opening with Dinadan's amusing discoursesand misadventures, the majority of the story concerns the famous three-day Tournament at Loverzep, and concludes with King Arthur and Lancelot visiting Tristan, Yseut and their companions. The manuscript, although not luxurious,is heavily decorated with designs that perfectly reflect the vigorous and spirited narrative style. This volume presents a new edition of the text, accompanied by the first ever translation into English, thereby making this important version of the Tristan story available more widely. It also includes an introduction, listing of illuminations, bibliography and explanatory notes. Gloria Allaire is Assistant Professor of Italian at theUniversity of Kentucky.Trade ReviewIn the translation of the manuscript, Allaire finds a felicitous balance between being faithful to the original Italian text with its own repetitions and inconsistencies while also making the English narrative readable and enjoyable. * ARTHURIANA *Table of ContentsIntroduction Text and Translation Appendix: Typology of Illuminations Bibliography Index of Proper Names

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Book SynopsisFirst English translation of an important twelfth-century romance, giving an account of the Trojan war and its consequences. Benoît de Sainte-Maure's Roman de Troie, dating to around 1165, is, along with the Roman de Thèbes and the Roman d'Eneas, one of the three "romances of antiquity" (romans d'antiquité). These romances launched the plots, themes and structures of the genre, then blossoming in the hands of authors such as Chrétien de Troyes. As an account of the Trojan War, Benoît's work is of necessity a poem about war and its causes, how it was fought and what its consequences were for the combatants. But the author's choice of the octosyllabic rhyming couplet, his fondness for description, his ability to recount the intensity of personal struggles, and above all his fascination with the trials and tribulations of Love, which affect some of the work's most prominent warriors (among them Paris and his love for Helen, and Troilus and his love for Briseida), all combine to fashion this romance - in which events from long ago are presented as a reflection of the poet's own feudal and courtly worlds. This translation, the first into English, aims to bring the poem and the author to a wider audience. It is accompanied by an introduction and notes.Trade ReviewWinner of the 2018 CHOICE Outstanding Academic Title Award * . *[A] clear and accessible translation of Benoît's twelfth-century Roman de Troie that will serve as the standard English-language version of the medieval French text for the foreseeable future. * THE MEDIEVAL REVIEW *The translators, eminent medievalists both, have crafted a compelling narrative that is scrupulously faithful to the original and perhaps even more vivid and powerful . . . The translators' expertise is evident in every component of the book-not only their translation, but also the dense introduction. Essential. * CHOICE *

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Book SynopsisEdition and translation of this important genre of Old Welsh poetry. The "Stanzas of the Graves" or "Graves of the Warriors of the Island of Britain", attributed to the legendary poet Taliesin, describe ancient heroes' burial places. Like the "Triads of the Island of Britain", they are an indispensable key to the narrative literature of medieval Wales. The heroes come from the whole of Britain, including Mercia and present-day Scotland, as well as many from Wales and a few from Ireland. Many characters known from the Mabinogion appear, often with additional information, as do some from romance and early Welsh saga, such as Arthur, Bedwyr, Gawain, Owain son of Urien, Merlin, and Vortigern. The seventh-century grave of Penda of Mercia, beneath the river Winwæd in Yorkshire, is the latest grave to be included. The poems testify to the interest aroused by megaliths, tumuli, and other apparently man-made monuments, some of which can be identified with known prehistoric remains. This volume offers a full edition and translation of the poems, mapped with reference to all the manuscripts, starting with the Black Book of Carmarthen, the oldest extant book of Welsh poetry. There is also a detailed commentary on their linguistic, literary, historical, and archaeological aspects.Table of ContentsPart I Study INTRODUCTION 1. SERIES I, SERIES III, AND THE SO-CALLED 'SERIES II' AND 'SERIES IV' 2. DATING ENGLYNION Y BEDDAU 3. THE GROWTH, RELATIONSHIP, AND TRANSMISSION OF THE TEXTS 4. THE REDISCOVERY AND STUDY OF ENGLYNION Y BEDDAU 5. EDWARD LHWYD'S INDEX TO ENGLYNION Y BEDDAU 6. METRICS Part II Editions, Translations, and Commentary List of the Englynion 7. SERIES I 8. SERIES III

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Book SynopsisAn epic poem is a performance. The telling of Beowulf carries something of the days of its pre-literary composition, as it evolved as something memorised, half spoken and half sung, over many generations. The single manuscript we have, from about 1000 AD, is the end result of a great chain of poetic adaptation. Of all new versions Seamus Heaneys (1999) has made the most striking impact, in part for his willingness to experiment, to be a new scop or oral poet, to depart at times from the exact text and join the tradition when there was no such thing. The licence such an approach adopts can make for a riveting poem in itself, a work of wonder. But there is a different route to the flame of the original. J.D. Winters rendering of the Beowulf song accepts the text as historical fact, and by a gradual revelation of its deeper music, discovers an illumination from within. The voice is less his and more nearly of the time and world of the poem itself. But this is without recourse to an archaic register. It is the modern language and yet not the modern man speaking. The phrases of the text, like phrases of music with their crescendos and diminuendos, steadily and unhurriedly move towards the culmination of a powerfully fulfilling symphony. It is the expression of a simpler time than ours, and perhaps a more plain-speaking one. Yet its art was at least as sophisticated as the modern worlds. The clarity and concentration of meaning in the brilliantly alliterated half-lines can never be properly reconstructed. But a suggestion of that force and beauty, together with an underlying sense of the inexorable, may always be rediscovered. In the knock and flow of the lines, too, one can sense the poetry of a sea-faring nation. The nation is not England or Sweden or Denmark. It is an intermingled part of Northern Europe using the West Saxon dialect of the language in England to convey a mix of Scandinavian history and Teutonic legend. In this evocative transcreation the reader may come, no doubt as did the early listeners, to a simple truth behind the medley of international borders: the inevitable journey of the universal human.

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Book SynopsisThis unparalleled exploration reveals how understandings of sound shifted and multiplied in late eighteenth- and early nineteenth-century Britain. Drawing on literary studies, musicology and history, and interrogating how writers of this period thought with and through sound, this book opens up a new chapter in the history of the senses.Table of Contents1. William Hogarth: looking and listening for a painting Lydia Goehr; 2. Collecting ballads, historicizing sounds: appropriating Scottish national music in the eighteenth century Maria Semi; 3. Realising The Enraged Musician Oskar Cox Jensen; 4. 'A strange jingle of sounds': scenes of aural recognition in early nineteenth-century English literature Josephine McDonagh; 5. The sound of news: affective rhythm, rupture, and nostalgia William Tullett; 6. The resounding fame of Fingal's Cave Jonathan Hicks; 7. Echoing sounds: what was poetry for Gilbert White? Courtney Weiss Smith; 8. Mary Somerville's sound accomplishments: scientific writing and the sonorous sublime Katherine Fry; 9. Organizing modernity: Henry Liston's euharmonic organ and natural tuning in Company India Daniel Walden; 10. Stethoscopic fantasies Melissa Dickson.

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Book Synopsis**New York Magazine's Top 10 Books of 2013****GoodReads Reader’s Choice Award Winner**Some years ago I wrote a book about a boy named Geryon who was red and had wings and fell in love with Herakles. Recently I began to wonder what happened to them in later life. Red Doc> continues their adventures in a very different style and with changed names. To live past the end of your myth is a perilous thing.

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Book SynopsisThe urban and pastoral poetry of the Roman republic, and of the empire that succeeded it, was both the culmination of the magnificent classical tradition of the Mediterranean and the seedbed for almost all the subsequent poetic traditions of Western and Central Europe. The stateliness of Virgil's Eclogues and the grandeur of his epic line, the unsurpassable lyricism - by turns tender, incisive, and scabrous - of Catullus's elegies and satires, the philosophical splendor of Lucretius's meditations, the relentless imaginative energy of Ovid's narratives, and the sonorous beauty of the odes of Horace have been for two millennia a source of endless delight and instruction, and the work of these writers has given to Europe its frames of literary reference and its enduring canons of taste.

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Book Synopsis'Trade Review"By far the best version [of Pindar]-confident, fluent, scholarly, readable, poetic, the translation to recommended to the would-be reader of this intractable poet. Notes and Queries

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Book SynopsisAlso included is a pronunciation glossary and character index.Trade ReviewMcCrorie's new translation can be recommended without reservation to the generations of students to whom it is bound to be assigned and to any reader who'd like to get as close to the original as is possible without reading the original Greek. It is refreshing, accurate, and direct. -- Jay Kenney Bloomsbury Review 2004 Edward McCrorie's translation of the Odyssey into English hexameter has much to recommend it... I have developed an appreciation for the clarity and briskness of McCrorie's verse. -- G.S. Bowe Bryn Mawr Classical Review 2004 A lively and engaging version of Homer's Odyssey that brilliantly blends pleasurable readability with fidelity to the original... McCrorie has simplified the choice of an English Odyssey even in a field of very skillful competitors (Lattimore, Fitzgerald, Mandelbaum, Fagles, Lombardo), providing the best available verse translation of the Odyssey for Greekless readers. Choice 2004 McCrorie has produced an epic with its own rhythms, idioms and developing pleasures. Anglo-Hellenic Review Bold new translation. -- Emily Anhalt Classical Bulletin 2005Table of ContentsTranslator's PrefaceIntroduction, by Richard P. MartinThe ODYSSEY1. Trouble at Home2. A Gathering and a Parting3. In the Great Hall of Nestor4. With Menelaos and Helen5. A Raft on the High Seas6. Laundry Friends7. The Warmest Welcome8. Songs, Challenges, Dances, and Gifts9. A Battle, the Lotos, and a Savage's Cave10. Mad Winds, Laistrugonians, and an Enchantress11. The Land of the Dead12. Evil Song, a Deadly Strait, and Forbidden Herds13. A Strange Arrival Home14. The House of the Swineherd15. Son and Father Converging16. Father and Son Reunite17. Unknown in His Own House18. Fights in the Great Hall19. Memory and Dream in the Palace20. Dawn of the Death-Day21. The Stringing of the Bow22. Revenge in the Great Hall23. Husband and Wife at Last24. Last Tensions and PeaceNotes, by Richard P. MartinNames in the OdysseyBibliography, by Richard P. Martin

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Book SynopsisAnd in a helpful series of notes, he offers background information on the major characters and incidents.Trade ReviewThe fluency, clarity, and immediacy of this translation make it the best available choice for teachers who wish to introduce students to a great but often neglected poet. -- Neil Bernstein Classical Outlook 2005 Readers of Ross' translation in American verse will enjoy the flow of his English. -- Paolo Asso New England Classical Journal 2005Table of ContentsIntroductionThe Thebaid1. Exile2. Ambush3. Omens4. Thirst5. Women of Lemnos6. Funeral Games7. Earth Opens8. Savage Hunter9. Tide and Time10. Sacrifices11. Piety12. ClemencyNotesSelected Proper NamesSelected Annotated BibliographyAcknowledgments

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Book SynopsisAnne Carson’s new work that reconsiders the stories of two iconic women—Marilyn Monroe and Helen of Troy—from their point of view Winner of the Governor General Award in PoetryTrade Review""This little grenade of a book is difficult to categorize. It's a performance piece and a treatise on war and beauty, reality and fakery, bombshell and bombing—with ancient Greek etymology lessons woven in to show us how the small and everyday becomes epic, and vice versa. Marilyn Monroe (neé Norma Jeane Baker) is fused here with Helen of Troy, and elements of both milieus—Homer and Hollywood—populate the narrative. It's easy to imagine the blunt beauty of Carson's language being spoken and sung on stage."" -- Barbara Engel - Booklist"This book fuses poetry, fun Greek history lexicon lessons, Helen, and Marilyn. 'War creates two categories of persons: those who outlive it and those who don't.//Both carry wounds.' Delicious couplets. There are dancers who have internalized the music to such a high vibration that they no longer fit into a strict categorization for what they do. They weave with the music in an ancient alien way. Anne Carson brings intergalactic musical moves to the written page. 'Hermione it’s me, hello hello hello hello hello.' I dare you to get to that line and not ache. How does an artist write this way? Brilliance and cherries light her stage" -- Young Eun Yook - Literati Bookstore""Carson at her best: arresting, exact, at once surprising and unsurprised. She depends on Euripides throughout, but pushes him further than he was prepared to go."" -- Jeff Dolven - Public Books"There’s no other writer that can present such demands on a feather pillow for the reader, fuse erudition with insights so fluidly, and naturalize unorthodoxy in a manner preserving stylistic originality with timeless thought." -- Rain Taxi"There is a stark awareness nowadays that we need new ways of thinking about female icons like Helen or Marilyn Monroe, new ways to revolve the traditional male version of such events 360 degrees and find different, deeper sorrows there." -- Anne Carson"There’s a long tradition of using original epics as the departure point for new texts that foreground minor characters in their antecedents. Carson has been writing into the cracks of the classical corpus her whole career, but in this book she is partially following in the footsteps of HD’s Helen in Egypt, itself a modernist epic poem. Carson places Marilyn Monroe alongside Helen of Troy and investigates the incendiary, nation-shaking potential of sex appeal." -- Stephanie Sy-Quia - The Guardian"There’s a long tradition of using original epics as the departure point for new texts that foreground minor characters in their antecedents. Carson has been writing into the cracks of the classical corpus her whole career, but in this book she is partially following in the footsteps of HD’s Helen in Egypt, itself a modernist epic poem. Carson places Marilyn Monroe alongside Helen of Troy and investigates the incendiary, nation-shaking potential of sex appeal." -- Stephanie Sy-Quia - The Guardian

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Book SynopsisA beautiful Pocket Poet selection of short poems, odes, and epigrams from ancient Greece, translated into English by a wide array of distinguished translators and poetsPoems from Greek Antiquity presents a gloriously compact treasury of the enduring and influential poems of the ancient Greeks. Greek literature abounds in masterpieces, the most famous of which are lengthy epics, but it is also rich in poems of much smaller compass than The Iliad or The Odyssey. The short poems, odes, and epigrams included in this volume span a vast period of more than a thousand years. Included here are selections from the early lyric and elegiac poets, the Alexandrian poets, Alcaeus, Sappho, Pindar, and many more. Here, too, are poems drawn from the celebrated Greek Anthology, and from the Anacreontea, the collection of odes on the pleasures of drink, love, and beauty that have been popular for centuries both in the original Greek and in English. E

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Book SynopsisAn authentic exploration of the real RumiAs one of the world''s most loved poets, Rumi''s poems are celebrated for their message of love and their beauty, but too often they are stripped of their mystical and spiritual meanings. The Gift of Rumi offers a new reading of Rumi, contextualizing his work against the broader backdrop of Islamic mysticism and adding a richness and authenticity that is lacking in many Westernized conceptions of his work. Author Emily Jane O''Dell has studied Sufism both academically, in her work and research at Harvard, Columbia, and the American University of Beirut, and in practice, learning from a Mevlevi master and his whirling dervishes in Istanbul. She weaves this expertise throughout The Gift of Rumi, sharing a new vision of Rumi's classic work.At the heart of Rumi's mystical poetry is the religion of love which transcends all religions. Through his majestic verses of ecstasy and longing, Rumi invites us into the

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Book SynopsisCut These Words into My Stone provides an engaging introduction to this corner of classical literature that continues to speak eloquently in our time.Trade ReviewFor something to read in normal circumstances? Today it's Michael Wolfe's wondrous set of translations of ancient Greek epitaphs, Cut These Words into My Stone. A book Keats would deeply appreciate. A book to keep handy by bed or bath. -- Bill Berkson Harriet Cut These Words into my Stone is not a long book, but its short pages have a great balance between education and emotionally touching poetry. The translator's note, introduction, and chapter introductions are all deeply researched, but still accessible to a lay reader. -- Elizabeth Franklin Portland Book Review This pleasing volume should introduce a new generation of general readers to the important poetic tradition of the ancient Greek grave epigram... No previous English study of quite this scope exist. Choice A wonderful short volume on Greek epitaphs which will appeal both to the general reader and the specialist... I highly recommend this book as a solid introduction to the reading and translating of Greek epigrams, and as a useful reference for illustrating how poetic translations of ancient Greek can be beautifully rendered for the modern audience while still remaining loyal to the ancient Greek use of language -- Philip J. Smith Bryn Mawr Classical Review As you turn the pages of this modest-seeming book you begin to succumb to magic. Each of these epitaphs is a poem that opens a window onto a life in Antiquity... If you wanted to find a single volume that gives a sense of the genius of the ancient Greeks, and reflects their influence on the cultural life of subsequent ages, you would be pushed to find anything better than this. -- Alex Martin The Anglo-Hellenic ReviewTable of ContentsTranslator's NoteForeword, by Richard P. MartinI. Anonymous Epitaphs of No Known DateII. Late Archaic and Classical Periods: 600–350 BCEIII. Hellenistic Period: Age of Alexander, c. 323–100 BCEIV. The Millennium: Pagan Roman Empire, 100 BCE–99 CEV. Late Antiquity: Christian Roman Empire, 200–599 CENotesSelected BibliographyBiographies of the Poets

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Book SynopsisThe poems in Poems on Nature are divided into spring, summer, autumn and winter to reflect in verse the changes of the seasons and the passing of time.Part of the Macmillan Collector’s Library, a series of stunning, clothbound, pocket-sized classics with gold-foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition features an introduction by Helen Macdonald, author of the international bestseller, H is for Hawk.Since poetry began, there have been poems about nature; it’s a complex subject which has inspired some of the most beautiful poetry ever written. Poets from Andrew Marvell to W. B. Yeats to Emily Brontë have sought to describe the natural environment and our relationship with it. There is also a rich tradition of songs and rhymes, such as ’Scarborough Fair’, that hark back to a rural way of life which may now be lost, but is brought back to life in the lyrical verses included in this collection.Table of ContentsIntroduction - i: Introduction Unit - 1: Spring Poem - 1: ‘The year’s at the spring’ - Robert Browning Poem - 2: I so liked Spring - Charlotte Mew Poem - 3: There Will Come Soft Rains - Sara Teasdale Poem - 4: To a Snowdrop - William Wordsworth Poem - 5: February Twilight - Sara Teasdale Poem - 6: Spring - William Blake Poem - 7: Thaw - Edward Thomas Poem - 8: Spring - Christina Rossetti Poem - 9: Her Anxiety - W. B. Yeats Poem - 10: Invitation to the Country - George Meredith Poem - 11: To my Sister - William Wordsworth Poem - 12: ‘Dear March – Come In –’ - Emily Dickinson Poem - 13: The Lamb - William Blake Poem - 14: March - Anon Poem - 15: I Wandered Lonely as a Cloud - William Wordsworth Poem - 16: To Daffodils - Robert Herrick Poem - 17: Mothering Sunday - George Hare Leonard Poem - 18: I Watched a Blackbird - Thomas Hardy Poem - 19: Loveliest of trees - A. E. Houseman Poem - 20: The Cuckoo - Anon Poem - 21: The Cuckoo - Anon Poem - 22: The Woods and Banks - W. H. Davies Poem - 23: Little Trotty Wagtail - John Clare Poem - 24: Home Thoughts from Abroad - Robert Browning Poem - 25: On a Lane in Spring John Clare Poem - 26: Spring - Gerard Manley Hopkins Poem - 27: The Starlight Night - Gerard Manley Hopkins Poem - 28: Tall Nettles - Edward Thomas Poem - 29: ‘When that I was and a little tiny boy’ - William Shakespeare Poem - 30: Sonnet 98 - William Shakespeare Poem - 31: But These Things Also - Edward Thomas Poem - 32: The Argument of His Book Robert Herrick Poem - 33: The Song of Wandering Aengus - W. B. Yeats Poem - 34: A Brilliant Day - Charles Tennyson Turner Unit - 2: Summer Poem - 1: Summer - Christina Rossetti Poem - 2: The Happy Countryman - Nicholas Breton Poem - 3: A Day - Emily Dickinson Poem - 4: My Heart Leaps Up - William Wordsworth Poem - 5: The Merry Month of May - Thomas Dekker Poem - 6: ‘Sumer is icumen in’ - Anon Poem - 7: The Throstle - Alfred, Lord Tennyson Poem - 8: The Landrail - John Clare Poem - 9: The Lake Isle of Innisfree - W. B. Yeats Poem - 10: Seven Times One: Exultation - Jean Ingelow Poem - 11: This Lime-tree Bower my Prison - Samuel Taylor Coleridge Poem - 12: The Cow - Robert Louis Stevenson Poem - 13: The Frog - Anon. Poem - 14: Little Fish - D. H. Lawrence Poem - 15: Heaven - Rupert Brooke Poem - 16: To Make a Prairie - Emily Dickinson Poem - 17: The Unknown Bird - Edward Thomas Poem - 18: To a Skylark - Percy Bysshe Shelley Poem - 19: Trees - Joyce Kilmer Poem - 20: The Sweet o’ the Year - George Meredith Poem - 21: Ladybird! Ladybird! - Emily Brontë Poem - 22: Daisies - Christina Rossetti Poem - 23: Where the Bee Sucks - William Shakespeare Poem - 24: The Gardener - Anon Poem - 25: The Cries of London - Anon Poem - 26: Scarborough Fair - Anon Poem - 27: from A Midsummer Night’s Dream - William Shakespeare Poem - 28: Summer Dawn - William Morris Poem - 29: Careless Rambles - John Clare Poem - 30: A Green Cornfield - Christina Rossetti Poem - 31: The Caterpillar - Christina Rossetti Poem - 32: To a Butterfly - William Wordsworth Poem - 33: Adlestrop - Edward Thomas Poem - 34: Fly Away, Fly Away Over the Sea - Christina Rossetti Poem - 35: Epitaph on a Hare - William Cowper Poem - 36: A London Plane-Tree - Amy Levy Poem - 37: In the Fields - Charlotte Mew Poem - 38: Meeting at Night - Robert Browning Unit - 3: Autumn Poem - 1: To Autumn - John Keats Poem - 2: Leisure - W. H. Davies Poem - 3: from Give me the Splendid, Silent Sun - Walt Whitman Poem - 4: Pied Beauty - Gerard Manley Hopkins Poem - 5: The Glory - Edward Thomas Poem - 6: The Rainy Day - Henry Wadsworth Longfellow Poem - 7: Autumn Rain - D. H. Lawrence Poem - 8: Digging - Edward Thomas Poem - 9: Autumn Fires - Robert Louis Stevenson Poem - 10: Now is the Time for the Burning of the Leaves - Laurence Binyon Poem - 11: Moonlit Apples - John Drinkwater Poem - 12: The Lane - Edward Thomas Poem - 13: The Wild Swans at Coole - W. B. Yeats Poem - 14: ‘Western wind, when wilt thou blow?’ - Anon. Poem - 15: Who Has Seen the Wind? - Christina Rossetti Poem - 16: from The Garden - Andrew Marvell Poem - 17: Autumn Birds - John Clare Poem - 18: The Windhover - Gerard Manley Hopkins Poem - 19: The Owl - Alfred, Lord Tennyson Poem - 20: Sweet Suffolke Owle - Anon Poem - 21: Rural Evening - Lord De Tabley Poem - 22: The Hayloft - Robert Louis Stevenson Poem - 23: The Solitary Reaper - William Wordsworth Poem - 24: To a Squirrel at Kyle-Na-No- W. B. Yeats Poem - 25: The Way through the Woods - Rudyard Kipling Poem - 26: The Fisherman’s Wife - Amy Lowell Poem - 27: Sign of the Times - Paul Laurence Dunbar Poem - 28: Fall, Leaves, Fall - Emily Brontë Poem - 29: Pleasant Sounds - John Clare Poem - 30: A Noiseless, Patient Spider - Walt Whitman Poem - 31: Something Told the Wild Geese - Rachel Field Unit - 4: Winter Poem - 1: To a Mouse - Robert Burns Poem - 2: Spellbound - Emily Brontë Poem - 3: Winter-Time - Robert Louis Stevenson Poem - 4: Winter - Gerard Manley Hopkins Poem - 5: A Winter Night - William Barnes Poem - 6: Snow Storm - John Clare Poem - 7: No! - Thomas Hood Poem - 8: Sheep in Winter - John Clare Poem - 9: Snow - Edward Thomas Poem - 10: Out in the Dark - Edward Thomas Poem - 11: The Fallow Deer at the Lonely House - Thomas Hardy Poem - 12: from As You Like It - William Shakespeare Poem - 13: A Winter Bluejay - Sara Teasdale Poem - 14: Birds at Winter Nightfall - Thomas Hardy Poem - 15: The Darkling Thrush - Thomas Hardy Poem - 16: Little Robin Redbreast - Anon. Poem - 17: Frost at Midnight - Samuel Taylor Coleridge Poem - 18: Up in the Morning Early - Robert Burns Poem - 19: In Tenebris - Ford Madox Ford Poem - 20: The Holly and the Ivy - Anon. Poem - 21: The First Tree in the Greenwood - Anon. Poem - 22: The Oxen - Thomas Hardy Index - ii: Index of Poets Index - iii: Index of Titles Index - iv: Index of First Lines

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Book SynopsisPoetry is the perfect medium to capture the elusive nature of happiness and this beautiful anthology explores happiness in all its forms – whether it be a fleeting moment, the promise of freedom and adventure, surviving adversity or the comfort of nature. Part of the Macmillan Collector’s Library, a series of stunning, clothbound, pocket-sized classics with gold-foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition features an introduction by writer, broadcaster and parish priest, The Reverend Richard Coles.Poems for Happiness is an inspiring and life-affirming collection that features writing by some of our greatest poets whose work is still widely read today. It includes famous poems such as ‘How Do I Love Thee?’ by Elizabeth Barrett Browning, ‘If’ by Rudyard Kipling, ‘My Heart Leaps Up’ by William Wordsworth and ‘Invictus’ by W. E. Henley. In addition to these well-known verses, this beautiful volume includes lesser-known poems to discover and enjoy.Table of ContentsIntroduction - i: Introduction Unit - 1: Happy Thought Poem - 1: Happy Thought - Robert Louis Stevenson Poem - 2: Happy the Man - John Dryden Poem - 3: New Sights - Anon Poem - 4: On a Quiet Conscience - Charles I Poem - 5: Leisure - W.H. Davies Poem - 6: High Flights - John Gillespie Magee Jr. Poem - 7: May the Road Rise Up to Meet You - Anon. Poem - 8: If - Rudyard Kipling Poem - 9: Now May Every Living Thing - Anon. Poem - 10: Hurt No Living Thing - Christina Rossetti Poem - 11: from Auguries of Innocence - William Blake Poem - 12: To Every Thing There Is a Season - Book of Ecclesiastes Poem - 13: from Endymion - John Keats Poem - 14: Shining Things - Elizabeth Gould Poem - 15: The Quiet Life - Alexander Pope Poem - 16: Song of Apollo - Percy Bysshe Shelley Poem - 17: My Mind to Me a Kingdom Is - Sir Edward Dyer Poem - 18: On First Looking into Chapman’s Homer - John Keats Poem - 19: Eternity - William Blake Poem - 20: A Farewell - Charles Kingsley Poem - 21: A Vision - Henry Vaughan Poem - 22: Gratefulnesse - George Herbert Poem - 23: Thanks in Old Age - Walt Whitman Poem - 24: A Little Health - Anon. Unit - 2: Glory Be To God For Dappled Things Poem - 1: Pied Beauty - Gerard Manley Hopkins Poem - 2: Amazing Grace - John Newton Poem - 3: God Be In My Head - Sarum Missal Poem - 4: ‘Lord, make me an instrument of Thy peace’ - St Francis of Assisi Poem - 5: Miracles - Walt Whitman Poem - 6: Father, We Thank Thee - Ralph Waldo Emerson Poem - 7: African Canticle - Anon Poem - 8: The Thanksgivings - Iroquois, Traditional tr. Harriet Maxwell Converse Poem - 9: Harvest Home - Henry Alford Poem - 10: Swing Low, Sweet Chariot - Wallace Willis Poem - 11: Desiderata - Max Ehrmann Poem - 12: The Iroquois Prayer - Iroquois, Traditional Poem - 13: Jewish Prayer - Service of the Orthodox Synagogue for the Festival of Tabernacles Poem - 14: from His Pilgrimage - Sir Walter Raleigh Poem - 15: When the Heart is Hard - Rabindranath Tagore Poem - 16: The Selkirk Grace - Robert Burns Poem - 17: Epitaph - Winifred Holtby Unit - 3: I Sing of Brooks, of Blossoms, Birds, and Bowers Poem - 1: The Argument of His Book - Robert Herrick Poem - 2: The Song of Wandering Aengus - W. B. Yeats Poem - 3: Spring - William Blake Poem - 4: I Wandered Lonely as a Cloud - William Wordsworth Poem - 5: I’ll Tell You How the Sun Rose - Emily Dickinson Poem - 6: The Happy Child - W. H. Davies Poem - 7: from Pippa Passes - Robert Browning Poem - 8: A Greeting - W. H. Davies Poem - 9: February Twilight - Sara Teasdale Poem - 10: Adoration - Christopher Smart Poem - 11: The Sun Rising - John Donne Poem - 12: Sowing - Edward Thomas Poem - 13: A Dumb Friend - Christina Rossetti Poem - 14: My Heart Leaps Up - William Wordsworth Poem - 15: The Throstle - Alfred, Lord Tennyson Poem - 16: May - Thomas Dekker Poem - 17: Moonlight, Summer Moonlight - Emily Brontë Poem - 18: The Lake Isle of Innisfree - W. B. Yeats Poem - 19: Where the Bee Sucks - William Shakespeare Poem - 20: To Make a Prairie - Emily Dickinson Poem - 21: from A Midsummer Night’s Dream - William Shakespeare Poem - 22: Careless Rambles - John Clare Poem - 23: Magna Est Veritas - Coventry Patmore Poem - 24: Rest and Be Thankful! - William Wordsworth Poem - 24: Composed Upon Westminster Bridge, September 3, 1802 - William Wordsworth Poem - 25: Moonlit Apples - John Drinkwater Poem - 26: Harvest Hymn - John Greenleaf Whittier Poem - 27: To Autumn - John Keats Poem - 28: Pleasant Sounds - John Clare Poem - 29: ‘See yonder leafless trees against the sky’ - Ralph Waldo Emerson Poem - 30: Evening Quatrains - Charles Cotton Poem - 31: Ode - Joseph Addison Poem - 32: ‘It is a beauteous evening, calm and free’ - William Wordsworth Poem - 33: God’s Grandeur - Gerard Manley Hopkins Unit - 4: Say Not the Struggle Nought Availeth Poem - 1: Say Not the Struggle Nought Availeth - Arthur Hugh Clough Poem - 2: Freedom - Olive Runner Poem - 3: New Every Morning - Susan Coolidge Poem - 4: Will - Ella Wheeler Wilcox Poem - 5: Invictus - W. E. Henley Poem - 6: Ain’t I a Woman? - Sojourner Truth and Erlene Stetson Poem - 7: This, Too, Shall Pass Away - Lanta Wilson Smith Poem - 8: ‘Hope’ is the Thing with Feathers - Emily Dickinson Poem - 9: Shut Not Your Doors to Me, Proud Libraries - Walt Whitman Poem - 10: Courage - Amelia Earhart Poem - 11: The Call - Charlotte Mew Poem - 12: A Pebble - James W. Foley Poem - 13: from Henry V - William Shakespeare Poem - 14: The New Colossus - Emma Lazarus Poem - 15: The Gettysburg Address - Abraham Lincoln Poem - 16: The Star-Spangled Banner - Francis Scott Key Poem - 17: I Hear America Singing - Walt Whitman Poem - 18: No Coward Soul Is Mine - Emily Brontë Poem - 19: A Summing Up - Charles Mackay Unit - 5: Friendship is Love Without his Wings Poem - 1: L’Amitié Est L’Amour Sans Ailes - Lord Byron Poem - 2: Outwitted - Edwin Markham Poem - 3: We Two Boys Together Clinging - Walt Whitman Poem - 4: Friendship - Dinah Maria Craik Poem - 5: Forbearance - Ralph Waldo Emerson Poem - 6: Friendship - Aztec, Traditional Poem - 7: Travelling - William Wordsworth Poem - 8: Love and Friendship - Emily Brontë Poem - 9: New Friends and Old Friends - Joseph Parry Unit - 6: He Wishes for the Cloths of Heaven Poem - 1: He Wishes for the Cloths of Heaven - W. B. Yeats Poem - 2: How Do I Love Thee? - Elizabeth Barrett Browning Poem - 3: Sonnet 18 - William Shakespeare Poem - 4: Meeting at Night - Robert Browning Poem - 5: To a Friend - Amy Lowell Poem - 6: A Birthday - Christina Rossetti Poem - 7: Upon Julia’s Clothes - Robert Herrick Poem - 8: Rose- cheeked - Laura Thomas Campion Poem - 9: In an Artist’s Studio - Christina Rossetti Poem - 10: ‘It was a lover and his lass’ - William Shakespeare Poem - 11: Love Lightly Pleased - Robert Herrick Poem - 12: Invitation to Love - Paul Laurence Dunbar Poem - 13: from Paradise Lost - John Milton Poem - 14: Fulfillment - William Cavendish Poem - 15: from Sonnets from the Portuguese - Elizabeth Barrett Browning Poem - 16: Camomile Tea - Katherine Mansfield Poem - 17: When I Heard at the Close of the Day - Walt Whitman Poem - 18: Song - George Peele Poem - 19: To Althea, from Prison - Richard Lovelace Poem - 20: A Decade - Amy Lowell Unit - 7: The Shape of a Good Greyhound Poem - 1: The Shape of a Good Greyhound - Anon Poem - 2: The Lurcher - William Cowper Poem - 3: Dog - Harold Monro Poem - 4: The Windhover - Gerard Manley Hopkins Poem - 5: A Winter Bluejay - Sara Teasdale Poem - 6: from To a Skylark - Percy Bysshe Shelley Poem - 7: ‘Pack, clouds, away, and welcome day’ - Thomas Heywood Poem - 8: from Jubilate Agno - Christopher Smart Poem - 9: Pangur Bán - Anon. tr. Robin Flower Poem - 10: The Owl and the Pussycat - Edward Lear Poem - 11: Seal Lullaby - Rudyard Kipling Index - ii: Index of Poets Index - iii: Index of Titles Index - iv: Index of First Lines

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Book SynopsisSPEAKING ANIMATE: PREVERBS is one of seven preverb complexes comprising the unpublished book Exchanging Intentions, itself one of seven books of preverbs, of which the first to be published was VERBAL PARADISE (Zasterle: 2011). A preverb is like a proverb, a one-line capture of wisdom, but at the raw stage before wisdom. Such an open intentional act of language invites configurative reading as a singular event of variable meaning. An instance of axial poetics, it puts language on its own stepped-up recognizance.

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Book SynopsisMarie Delcourt’s brilliant study of the Oedipus legend, an unjustly neglected monument of twentieth-century classical scholarship published in 1944 and issued here for the first time in English translation, bridges the gap between Carl Robert’s influential Oidipus (1915) and the work of Lowell Edmunds seventy years later.Delcourt studies the legend in its various aspects, six episodes that have equal weight and that stress the same themes: greatness, conquest, domination, the right to rule - all of them bound up with the idea of kingship. Together they form the biography of a Theban hero, the fullest account that has come down to us about the prehistory of sovereign power among the ancient Greeks. Delcourt does not suppose that Oedipus, or indeed any other Greek hero, was a historical figure. The personality familiar to us from the plays of the tragedians of the fifth century - our oldest source, and a very late one - was the result of their extraordinary artistry in linking together themes rooted in very ancient social and religious rites that in the interval had come to describe the feats of Oedipus, then his life, and finally his character. It was in order to explain these rites, whose meaning had ceased to be understood, that myths and legends were invented in the first place., Delcourt argues, is the archetype of all heroes of essentially (if not exclusively) ritual origin, whose acts were prior to their person. This is a very different = and far more complex - Oedipus than the one rather implausibly imagined by Freud. More generally, the origin and transmission of the Oedipus legend tells us a great deal about the strength and persistence of public memories in prehistoric societies.

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Book SynopsisCanticles is a lyric-styled epic. This second testament--Canticles II (MMXIX) and Canticles II (MMXX)--issues re-readings--revisions, rewrites--of scriptures crucial to the emergent (Anglophone) African Diaspora in the Americas. Canticles II (MMXIX) follows Testament I (also issued in two parts--Canticles I (MMXVI) and Canticles I (MMXVII)) whose subject is History, principally, of slavery and imperialism and liberation and independence. Canticles II, the second part of a trilogy, is properly irreverent where necessary, but never blasphemous. It is scripture become what it always is, really, anyway: Poetry.

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Book SynopsisWhen 26-year old Crito Di Volta is released after 10 years of psychiatric institutionalization, he develops and launches Mortarismo—a new socio-political, psycho-spiritual, artistic movement— with the aim of deinstitutionalizing, and eventually reconnecting with, all of humanity. Called a work of genius and a poem that exceeds Allen Ginsberg's Howl in both authenticity and intensity, di Saverio’s epic Crito Di Volta is a strong pronouncement on civil rights, religion and art; and a daring revolt against the platitudes of contemporary Western society.

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Book SynopsisDie Darstellung der eigenen Herrschaft war fër die Kaiser im römischen Prinzipat notwendig, um ihre Macht zu bewahren. Domitian nutzte dafër viele Medien - eines war die Literatur. Jens Leberl vergleicht die Gedichte von Martial und Statius mit Domitians Herrschaftsdarstellung auf Mënzen oder Bildnissen und untersucht, ob und wie die Dichter sich an der kaiserlichen Propaganda beteiligten. Beide hätten gern die Gunst des Kaisers besessen; doch Domitian war nicht interessiert. Fër seinen Machterhalt spielte, anders als noch bei Augustus, das Heer die wichtigste Rolle.

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