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Unique Element About the Author / Historical Context A POETRY COLLECTION by HENRY WADSWORTH LONGFELLOW. Ballads and Other Poems by AMERICAN author HENRY WADSWORTH LONGFELLOW (1807-1882) is a collection of poems first published in 1842 in the UNITED STATES. A popular LITERARY classic containing the popular "The Wreck of the Hesperus" and "The Village Blacksmith." Longfellow wrote many lyric poems known for their musicality and often presenting stories of mythology and legend. He became the most popular American poet of his day and had success overseas. Sneak Peak It was the schooner Hesperus, That sailed the wintry sea; And the skipper had taken his little daughtèr, To bear him company. Blue were her eyes as the fairy-flax, Her cheeks like the dawn of day, And her bosom white as the hawthorn buds, That ope in the month of May. Title Details  Originally published in 1842 Poetry collection 5.5 x 8.5 inches
W. H. Auden once defined light verse as the kind that is written by poets who are democratically in tune with their audience and whose language is straightforward and close to general speech. Given that definition, the 123 poems in this collection all qualify; they are as accessible as popular songs yet have the wisdom and profundity of the greatest poetry. As I Walked Out One Evening contains some of Auden's most memorable verse: "Now Through the Night's Caressing Grip," "Lullaby: Lay your Sleeping Head, My Love," "Under Which Lyre," and "Funeral Blues." Alongside them are less familiar poems, including seventeen that have never before appeared in book form. Here, among toasts, ballads, limericks, and even a foxtrot, are "Song: The Chimney Sweepers," a jaunty evocation of love, and the hilarious satire "Letter to Lord Byron." By turns lyrical, tender, sardonic, courtly, and risqué, As I Walked Out One Evening is Auden at his most irresistible and affecting.
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This accessible collection of essays provides an essential introduction to the volume of poetry that defined British Romanticism.
In 1798, William Wordsworth and Samuel Taylor Coleridge were engaged in a top secret experiment. This was not, as many assume, the creation of a book of poetry. A book emerged, to be sure--the landmark Lyrical Ballads. But in Murder Ballads, David John Brennan posits that the two poets were in fact pursuing far different ends: to birth from their poems a singular, idealized Poet. Despite their success, such Frankensteinian pursuits proved rife with consequence for the men. Doubts and questions plagued them: What does it mean to be a poet if your work is not your own? Who is best fit to lay claim to a parcel of poetic property that was collaboratively crafted and bequeathed to a fictitious Poet? How does one kill a Poet born of one's own hand? Blending critical examination with jocular playlets-in-verse featuring the authors of the two books in baffled conversation, Murder Ballads reopens a 200-year-old cold case that never received a proper investigation: Who was the first true Author of Lyrical Ballads, and how exactly did he die?