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First published in 2002. Volume 1 of the notes on the Notebooks of Samuel Taylor Coleridge, spanning from 1794 to 1804. The volume is in two parts, text and notes. During his adult life until his death in 1834, Coleridge made entries in more than sixty notebooks. Neither commonplace books nor diaries, but something of both, they contain notes on literary, theological, philosophical, scientific, social and psychological matters, plans for and fragments of works and many other items of great interest. Shortly after World War II, Kathleen Coburn, formerly of Victoria College in Toronto, rediscovered this great collection of unpublished manuscripts. With the support of the Coleridge estate, she embarked on a career of editing and publishing these volumes and was awarded with many honours for her work, including: a Leverhulme Award (1948), a Guggenheim Fellowship (1953), a Fellowship in the Royal Society of Canada (1958), the Order of Canada (1974) and an honorary doctorate from her own university. Originally projected as a five volume set (each volume consisting of a book of text and a book of notes).
Challenging conventional notions that literary allegorism declined precipitously around 1600, Kenneth Borris reassesses the Renaissance relations between allegory and heroic poetry, particularly in the major texts of Sidney, Spenser and Milton. Through wide-ranging consideration of Homeric and Virgilian reception and its influence on both continental and English literary theory, he shows that allegorical epic tended to double for and displace epic throughout the sixteenth and seventeenth centuries. Borris offers a fresh approach to the interaction of allegory with literary genres; focusing on epic, he further analyses the distinctive codes and conventions that constituted the generic repertoire of Renaissance allegorical epic poetry. Whereas standard literary history assumes Sidney opposes allegory, and that Milton minimises or rejects it in following Spenser, Borris's detailed readings demonstrate that Sidney and Milton are also major allegorists, and that Spenser remained so even in the latter books of The Faerie Queene. This book was first published in 2000.