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A vital, engaging, and hugely enjoyable guide to poetry, from ancient times to the present, by one of our greatest champions of literature The Times and Sunday Times, Best Books of 2020 “[A] fizzing, exhilarating book.”—Sebastian Faulks, Sunday Times What is poetry? If music is sound organized in a particular way, poetry is a way of organizing language. It is language made special so that it will be remembered and valued. It does not always work—over the centuries countless thousands of poems have been forgotten. But this Little History is about some that have not. John Carey tells the stories behind the world’s greatest poems, from the oldest surviving one written nearly four thousand years ago to those being written today. Carey looks at poets whose works shape our views of the world, such as Dante, Chaucer, Shakespeare, Whitman, and Yeats. He also looks at more recent poets, like Derek Walcott, Marianne Moore, and Maya Angelou, who have started to question what makes a poem “great” in the first place. For readers both young and old, this little history shines a light for readers on the richness of the world’s poems—and the elusive quality that makes them all the more enticing.
By thoroughly examining T. S. Eliot and Ezra Pound collected and uncollected writings, James Longenbach presents their understandings of the philosophical idea of history and analyzes the strategies of historical interpretation they discussed in their critical prose and embodied in their poems including history." Originally published in 1987. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Of all the writings on theory and aesthetics - ancient, medieval, or modern - the most important is indisputably Aristotle's "Poetics", the first philosophical treatise to propound a theory of literature. The author offers a fresh interpretation of the lost second book of Aristotle's "Poetics".
A History of American Poetry presents a comprehensive exploration of the development of American poetic traditions from their pre-Columbian origins to the present day. Offers a detailed and accessible account of the entire range of American poetry Situates the story of American poetry within crucial social and historical contexts, and places individual poets and poems in the relevant intertextual contexts Explores and interprets American poetry in terms of the international positioning and multicultural character of the United States Provides readers with a means to understand the individual works and personalities that helped to shape one of the most significant bodies of literature of the past few centuries
In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama - comedy, tragedy, and the satyr play - as well as lyric poetry and epic poetry). They are similar in the fact that they are all imitations but different in the three ways that Aristotle describes: 1. Differences in music rhythm, harmony, meter and melody. 2. Difference of goodness in the characters. 3. Difference in how the narrative is presented: telling a story or acting it out. In examining its "first principles," Aristotle finds two: 1) imitation and 2) genres and other concepts by which that of truth is applied/revealed in the poesis. His analysis of tragedy constitutes the core of the discussion. Although Aristotle's Poetics is universally acknowledged in the Western critical tradition, "almost every detail about his seminal work has aroused divergent opinions."
Newly expanded and in full color, this groundbreaking book argues that early American natural historians had a distinctly poetic sensibility, producing work that had a visionary intensity. Covering naturalists from John James Audubon to PT Barnum, it considers not only natural history writing, but also illustrations, photographs, and actual collections of flora and fauna. Photography and all associated expenses made possible by a generous grant from Furthermore: a program of the J. M. Kaplan Fund
This is the first book in English to deal with the twin subjects of Old Norse poetry and the various vernacular treatises on native poetry that were a conspicuous feature of medieval intellectual life in Iceland and the Orkneys from the mid-twelfth to the fourteenth centuries. Its aim is to give a clear description of the rich poetic tradition of early Scandinavia, particularly in Iceland, where it reached its zenith, and to demonstrate the social contexts that favoured poetic composition, from the oral societies of the early Viking Age in Norway and its colonies to the devout compositions of literate Christian clerics in fourteenth-century Iceland. The author analyses the two dominant poetic modes, eddic and skaldic, giving fresh examples of their various styles and subjects; looks at the prose contexts in which most Old Norse poetry has been preserved; and discusses problems of interpretation that arise because of the poetry's mode of transmission. She is concerned throughout to link indigenous theory with practice, beginning with the pre-Christian ideology of poets as favoured by the god ódinn and concluding with the Christian notion that a plain style best conveys the poet's message. Margaret Clunies Ross is McCaughey Professor of English Language and Early English Literature and Director of the Centre for Medieval Studies at the University of Sydney.
Collects more than six hundred letters to and from the editors of "Poetry" that were written about and by such figures as Ezra Pound, T.S. Eliot, Robert Frost, Edna St. Vincent Millay, and Wallace Stevens.
Exploring the boundaries of one of the most contested fields of literary study—a field that in fact shares territory with philology, aesthetics, cultural theory, philosophy, and even cybernetics—this volume gathers a body of critical writings that, taken together, broadly delineate a possible poetics of the contemporary. In these essays, the most interesting and distinguished theorists in the field renegotiate the contours of what might constitute "contemporary poetics," ranging from the historical advent of concrete poetry to the current technopoetics of cyberspace. Concerned with a poetics that extends beyond our own time, as a mere marker of present-day literary activity, their work addresses the limits of a writing "practice"—beginning with Stéphane Mallarmé in the late nineteenth century—that engages concretely with what it means to be contemporary. Charles Bernstein's Swiftian satire of generative poetics and the textual apparatus, together with Marjorie Perloff's critical-historical treatment of "writing after" Bernstein and other proponents of language poetry, provides an itinerary of contemporary poetics in terms of both theory and practice. The other essays consider "precursors," recognizable figures within the histories or prehistories of contemporary poetics, from Kafka and Joyce to Wallace Stevens and Kathy Acker; "conjunctions," in which more strictly theoretical and poetical texts enact a concerted engagement with rhetoric, prosody, and the vicissitudes of "intelligibility"; "cursors," which points to the open possibilities of invention, from Augusto de Campos's "concrete poetics" to the "codework" of Alan Sondheim; and "transpositions," defining the limits of poetic invention by way of technology.