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Demonstrating a poet's imaginative ear and a critic's range of concern, John Hollander here writes about the "melodious guile" of poetry, explaining how poems frame parables about themselves. Hollander considers works by Spenser, Milton, Wordsworth, chiefly, plus a range of other poets including Chaucer, Keats, Rossetti, Tennyson, Frost, Stevens, and Auden. He also presents certain poems of his own, showing how they anticipate and exemplify the observations contained in this volume.
Now it is possible for the first time to trace in a systematic way the language patterns of one of the greatest poets who have written in English, W. B. Yeats. Like A Concordance to the Poems of Matthew Arnold, the first of the Cornell Concordances that are under the general editorship of Professor Parrish, this volume was produced on an IBM 704 electronic data-processing machine. Computer technique has so advanced that the Yeats concordance includes punctuation and gives cross references for the second parts of hyphenated words. The frequency of every word in Yeats's poems is given, and an appendix lists all indexed words in order of frequency. The body of this book consists of an index of all significant words in Yeats, each word listed in the line or lines in which it occurs. The concordance is based on the variorum text of Yeats, edited by Alspach and Allt, and includes all variants that occur in printed versions of Yeats's poems.
DIVIn this engaging book David Rosen offers a radically new account of Modern poetry and revises our understanding of its relation to Romanticism. British poets from Wordsworth to Auden attempted to present themselves simultaneously as persons of power and as moral voices in their communities. The modern lyric derives its characteristic complexities—psychological, ethical, formal—from the extraordinary difficulty of this effort. The low register of our language—a register of short, concrete, native words arranged in simple syntax—is deeply implicated in this story. Rosen shows how the peculiar reputation of “plain English” for truthfulness is employed by Modern poets to conceal the rift between their (probably irreconcilable) ambitions for themselves. With a deep appreciation for poetic accomplishment and a wonderful iconoclasm, Rosen sheds new light on the innovative as well as the self-deceptive aspects of Modern poetry. This book alters our understanding of the history of poetry in the English language./div
Now available in paperback for the first time, Jewish Writers of the Twentieth Century is both a comprehensive reference resource and a springboard for further study. This volume: examines canonical Jewish writers, less well-known authors of Yiddish and Hebrew, and emerging Israeli writers includes entries on figures as diverse as Marcel Proust, Franz Kafka, Tristan Tzara, Eugene Ionesco, Harold Pinter, Tom Stoppard, Arthur Miller, Saul Bellow, Nadine Gordimer, and Woody Allen contains introductory essays on Jewish-American writing, Holocaust literature and memoirs, Yiddish writing, and Anglo-Jewish literature provides a chronology of twentieth-century Jewish writers. Compiled by expert contributors, this book contains over 330 entries on individual authors, each consisting of a biography, a list of selected publications, a scholarly essay on their work and suggestions for further reading.
Published in 1783, Poetical Sketches was William Blake's first volume of poetry, and his only published work to appear in letterpress. This "little book" has been relegated by some critics to the periphery of the Blake canon. Yet the book's uniqueness and authorship have drawn scholars to it, resulting in often illuminating criticism. Speak Silence continues in this line and represents the first and only collection of essays devoted solely to exploring Poetical Sketches. Mark Greenberg's critical introduction traces the historical tendency both to denigrate and to praise the Sketches. The other chapters in this collection, written by distinguished scholars Susan J. Wolfson, Stuart Peterfreund, Thomas A. Vogler, Vincent DeLuca, Nelson Hilton, and Robert F. Gleckner analyze traditional elements of poetry as they appear in the Sketches. This analysis reveals how fully Blake, as a young poet, absorbed these elements and how deftly he manipulated and transvalued them in his early, ambitious, and revolutionary experiments with language, voice, and rhetorical form. This volume also focuses on the Sketches' politics, originality, and complex connections with Blake's poetic precursors and with other cultural institutions. What is most compelling about Speak Silence is the way in which the chapters are in dialogue with one another. The collection resembles a conversation between its notable contributors, inviting readers to witness the developmental process of particular ideas about Blake's early art - and its relation to his later work - as they solidify, are transformed, or dissolve.
How rhyme became entangled with debates about the nature of liberty in sixteenth- and seventeenth-century English poetry In his 1668 preface to Paradise Lost, John Milton rejected the use of rhyme, portraying himself as a revolutionary freeing English verse from “the troublesome and modern bondage of Riming.” Despite his claim to be a pioneer, Milton was not initiating a new line of thought—English poets had been debating about rhyme and its connections to liberty, freedom, and constraint since Queen Elizabeth’s reign. The Fetters of Rhyme traces this dynamic history of rhyme from the 1590s through the 1670s. Rebecca Rush uncovers the surprising associations early modern readers attached to rhyming forms like couplets and sonnets, and she shows how reading poetic form from a historical perspective yields fresh insights into verse’s complexities. Rush explores how early modern poets imagined rhyme as a band or fetter, comparing it to the bonds linking individuals to political, social, and religious communities. She considers how Edmund Spenser’s sonnet rhymes stood as emblems of voluntary confinement, how John Donne’s revival of the Chaucerian couplet signaled sexual and political radicalism, and how Ben Jonson’s verse charted a middle way between licentious Elizabethan couplet poets and slavish sonneteers. Rush then looks at why the royalist poets embraced the prerational charms of rhyme, and how Milton spent his career reckoning with rhyme’s allures. Examining a poetic feature that sits between sound and sense, liberty and measure, The Fetters of Rhyme elucidates early modern efforts to negotiate these forces in verse making and reading.
An essential handbook for literary studies The Princeton Handbook of Poetic Terms—drawn from the latest edition of the acclaimed Princeton Encyclopedia of Poetry and Poetics—provides an authoritative guide to the most important terms in the study of poetry and literature. Featuring 226 fully revised and updated entries, including 100 that are new to this edition, the book offers clear and insightful definitions and discussions of critical concepts, genres, forms, movements, and poetic elements, followed by invaluable, up-to-date bibliographies that guide users to further reading and research. Because the entries are carefully selected and adapted from the Princeton Encyclopedia, the Handbook has unrivalled breadth and depth for a book of its kind, in a convenient, portable size. Fully indexed for the first time and complete with an introduction by the editors, this is an essential volume for all literature students, teachers, and researchers, as well as other readers and writers. Drawn from the latest edition of the acclaimed Princeton Encyclopedia of Poetry and Poetics Provides 226 fully updated and authoritative entries, including 100 new to this edition, written by an international team of leading scholars Features entries on critical concepts (canon, mimesis, prosody, syntax); genres, forms, and movements (ballad, blank verse, confessional poetry, ode); and terms (apostrophe, hypotaxis and parataxis, meter, tone) Includes an introduction, bibliographies, cross-references, and a full index

Tumult of Images

International Association for the Study of Anglo-Irish Literature. International Congress

Published: 1995

Total Pages: 262


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By showing that the meaning of the word politicscan be interpreted in various ways, the scope of the articles in Tumult of Images: Essays on W.B. Yeats and Politicsis extensive. Rather than explicitly analysing W.B. Yeats's political views and opinions about social order, several of the authors demonstrate how these ideas have determined the textual strategy behind Yeats's works. Thus we find, for instance, how Yeats's politics of myth subsume the myth of politics, or how his play The Player Queenis an expression of sexual and textual politics. Other essays revaluate Yeats's role in Ireland's Literary Renaissance or argue that his recruitment of Homer throughout his work was politically motivated. The volume also offers an ero-political reading of Yeats's ballads next to an analysis of the strategy behind that apocalyptic idea of gyring history. Tumult of Imagesalso deals with the politics of reception of Yeats's works by showing how the Irish poet has influenced South African poetry of the period of Apartheid, or by presenting the various ways in which the Japanese and the Dutch have become acquainted with the work of Yeats. The title of this volume thus reflects not only the many-sidedness of the discussions offered here but also their common contribution to an analysis of a fascinating aspect of Yeats's life and work.
"Sprawling, uncoordinated, uneven, noisy, and appealing," wrote one reviewer of the first edition of this book, published on 1 January 1980. "The language is in rude health," wrote another. Exactly a decade later, here is the book anew, with the same editors but with fifty fresh contributors writing essays and poems that engage our language today. Imaginative attention is bestowed on the changes of recent years, changes not only in the language but in how language is understood. In the forefront are the relations between British English, American English, and those other Englishes with which they compete or cooperate. The nervous negotiations of gender and feminism. The darkness of AIDS. The bright flicker of the computer. The old smolderings of "standard English" and correctness. The "bad language" that has lately done so well in our society. How all this has been politicized—or is it rather that its inevitably political nature has only now been recognized? Here these and many other facets of the language catch the various light. What has changed is understood in relation to what has not changed, and what has been gained in relation to what has been lost. There is sweep as well as detail, telescope as well as microscope, in this contemplation of the world of our language as it enters the world of the 1990s. The State of the Language has been prepared in cooperation with the English-Speaking Union of San Francisco. Some titles of essays in the book: Whose English? by Sidney Greenbaum Look, Ma, I'm Talking by Sandra Gilbert Fighting Talk by Marina Warner No Opera Please—We're British by Michael Bawtree Changing What We Sing by Margaret Doody On Not Being Milton: Nigger Talk in England Today by David Dabydeen Talking Black by Henry Louis Gates, Jr. Subway Graffiti by Walter J. Ong Doublespeak by William Lutz It's a Myth, Innit? Politeness and the English Tag Question by John Algeo This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1980.
The Collected Works in Verse and Prose of William Butler Yeats, Vol. 1 (of 8) Poems Lyrical and Narrative. William Butler Yeats was an Irish poet and one of the foremost figures of 20th-century literature. A pillar of the Irish literary establishment, he helped to found the Abbey Theatre, and in his later years served two terms as a Senator of the Irish Free State.