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This groundbreaking volume not only documents the richness of their literary contributions but changes our thinking about the poetry of the English Romantic period.
For over 2,000 years women have been writing love poetry. Here is the first anthology of love poems written only by women. Poets from all ages and all parts of the world, expressing love not only for their male and female lovers, but for parents, children, friends, for art, God, nature, and homeland, are collected here, and include the works of: Sappho, Emily Dickenson, Ono no Komachi, Shadab Vajdi, Alice Walker, Sor Juana Ines de la Cruz, and many more.
Reinventing Romantic Poetry offers a new look at the Russian literary scene in the nineteenth century. While celebrated poets such as Aleksandr Pushkin worked within a male-centered Romantic aesthetic—the poet as a bard or sexual conqueror; nature as a mother or mistress; the poet’s muse as an idealized woman—Russian women attempting to write Romantic poetry found they had to reinvent poetic conventions of the day to express themselves as women and as poets. Comparing the poetry of fourteen men and fourteen women from this period, Diana Greene revives and redefines the women’s writings and offers a thoughtful examination of the sexual politics of reception and literary reputation. The fourteen women considered wrote poetry in every genre, from visions to verse tales, from love lyrics to metaphysical poetry, as well as prose works and plays. Greene delves into the reasons why their writing was dismissed, focusing in particular on the work of Evdokiia Rostopchina, Nadezhda Khvoshchinskaia, and Karolina Pavlova. Greene also considers class as a factor in literary reputation, comparing canonical male poets with the work of other men whose work, like the women’s, was deemed inferior at the time. The book also features an appendix of significant poems by Russian women discussed in the text. Some, found in archival notebooks, are published here for the first time, and others are reprinted for the first time since the mid-nineteenth century.
One of the most exciting developments in Romantic studies in the past decade has been the rediscovery and repositioning of women poets as vital and influential members of the Romantic literary community. This is the first volume to focus on women poets of this era and to consider how their historical reception challenges current conceptions of Romanticism. With a broad, revisionist view, the essays examine the poetry these women produced, what the poets thought about themselves and their place in the contemporary literary scene, and what the recovery of their works says about current and past theoretical frameworks. The contributors focus their attention on such poets as Felicia Hemans, Letitia Elizabeth Landon, Charlotte Smith, Anna Barbauld, Mary Lamb, and Fanny Kemble and argue for a significant rethinking of Romanticism as an intellectual and cultural phenomenon. Grounding their consideration of the poets in cultural, social, intellectual, and aesthetic concerns, the authors contest the received wisdom about Romantic poetry, its authors, its themes, and its audiences. Some of the essays examine the ways in which many of the poets sought to establish stable positions and identities for themselves, while others address the changing nature over time of the reputations of these women poets.
Wendy Cope's first book of poems and parodies, Making Cocoa for Kingsley Amis, went straight into the bestseller lists. Its successor, Serious Concerns has proved even more popular, addressing such topics as 'Bloody Men', 'Men and Their Boring Arguments', 'Two Cures for Love', 'Kindness to Animals' and 'Tumps' (Typically Useless Male Poets).
The Romanticism that emerged after the American and French revolutions of 1776 and 1789 represented a new flowering of the imagination and the spirit, and a celebration of the soul of humanity with its capacity for love. This extraordinary collection sets the acknowledged genius of poems such as Blake's 'Tyger', Coleridge's 'Khubla Khan' and Shelley's 'Ozymandias' alongside verse from less familiar figures and women poets such as Charlotte Smith and Mary Robinson. We also see familiar poets in an unaccustomed light, as Blake, Wordsworth and Shelley demonstrate their comic skills, while Coleridge, Keats and Clare explore the Gothic and surreal.
For centuries women have written about love with passion, humour, frustration and despair; but never before have their voices come together as in this exhilarating and timeless compendium. Here are love poems in all their true, subversive drama, delicately arranged according to a balance of moods and modes: of argument and lyric, joke and passionate utterance, rejection, rage and ecstacy. Poets, well-known and obscure, ancient and modern - from Sappho to Akhamotova,Patti Smith to Selima Hill, Sylvia Plath to Alice Walker - all challenge the traditional perception of women as muse and object of desire, and magnificently transcend it.
SOUND THE DEEP WATERS is a beautiful anthology of poetry and art by women from the Victorian Age. Divided into four sections: Love's Bitter Sweets, Moments of Delight, Dreams and Realities, and Last Songs, this gift-sized book contains works by poets such as Christina Rossetti, Emily Jane Bronte, and Elizabeth Barrett Browning and is illustrated with Pre-Raphaelite images. Pamela Norris has skillfully selected paintings and poems that put the reader into the heart of the Victorian world, and the result is a lovely selection that can serve as an introduction to Romantic poetry, or as a keepsake for readers who already appreciate the poetry of the era.
Presents over two hundred poems written by American women poets, drawn from a period that ranges from the colonial era through the twentieth century.
With over 650,000 copies in print, Poems That Touch The Heart is America's most popular collection of inspirational verse.