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Excerpt from Oxford Lectures on Poetry The words Poetry for poetry's sake' recall the famous phrase 'art for Art.' It is far from my purpose to examine the possible meanings of that phrase, or all the questions it involves. I propose to state briefly what I understand by Poetry for poetry's sake, ' and then, after guarding against one or two misapprehensions of the formula, to consider more fully a single problem connected with it. And I must premise, without attempting to justify them, certain explanations. We are to consider poetry in its essence, and apart from the flaws which in most poems accompany their poetry. We are to include in the_idea of poetry the metrical form, and not to regard this as a mere accident or a mere vehicle. And, finally, poetry being poems, we are to think of a poem as it actually exists; and, without aiming here at accuracy, we may say that an actual poem is the succession of experiences - sounds, images, thoughts, emotions - through which we pass when we are reading as poetically as we can.1 Of course this imaginative experience - if I may use the phrase for brevity - differs with every reader and every time of reading: a poem exists in innumerable degrees. But that insurmountable fact lies in the nature of things and does not concern us now. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from The Poetry of Catullus The favourites of the gods are released from life before they have had time to outstay their youth. The tribute to those who died young is tribute to the youth which they never lived to lose - ih part, no doubt, objective, but in part also subjective, and prompted by the thought expressed in that line of Thackeray: Oh, the brave days, when we were twenty-one! About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The Oxford poetry anthologies ('Oxford Books') are traditionally considered an establishment in attitude. They have been edited by well-known poets and distinguished academics. In the perspective of canon-formation, they have been retrospective and well-researched. Table of Contents: The Oxford Book of Latin Verse: Nvma Pompilivs The Arval Brotherhood Anonymous CN. Naevivs T. Maccivs Plavtvs Marcivs Vates Q. Ennivs M. Pacvvivs L. Accivs Pompilivs Valerivs Aeditvvs Q. Lvtativs Catvlvs Porcivs Licinvs Laevivs M. Fvrivs Bibacvlvs Oracvlvm M. Tvllivs Cicero C. Helvivs Cinna M. Tvllivs Lavrea Q. Tvllivs Cicero C. Ivlivs Caesar C. Licinivs Macer Calvvs T. Lvcretivs Carvs C. Valerivs Catvllvs L. Varivs C. Cilnivs Maecenas P. Vergilivs Maro Q. Horativs Flaccvs Albivs Tibvllvs Domitivs Marsvs Sextvs Propertivs Lygdamvs Svlpicia Panegyristae Messallae Cornelivs Severvs M. Manilivs Albinovanvs Pedo P. Ovidivs Naso... The Oxford Book of English Verse: Robert Mannyng of Brunne John Barbour Geoffrey Chaucer Thomas Hoccleve John Lydgate King James I of Scotland Robert Henryson William Dunbar Anonymous John Skelton Stephen Hawes Sir Thomas Wyatt Henry Howard, Earl of Surrey Nicholas Grimald Alexander Scott Robert Wever Richard Edwardes George Gascoigne... The Oxford Book of Ballads: Thomas the Rhymer Tam Lin Sir Cawline Sir Aldingar Cospatrick Willy's Lady The Queen of Elfland's Nourice Lady Isabel and the Elf-Knight The Riddling Knight May Colvin The Wee Wee Man Alison Gross Kemp Owyne The Laily Worm and the Machrel of the Sea King Orfeo King Henry The Boy and the Mantle King Arthur and King Cornwall The Marriage of Sir Gawain... Modern Oxford Poetry: Oxford Poetry 1917 Oxford Poetry 1919 Oxford Poetry 1920 Oxford Poetry 1921 Oxford Lectures on Poetry: Poetry for Poetry's Sake The Sublime Hegel's Theory of Tragedy Wordsworth Shelley's View of Poetry The Long Poem in the Age of Wordsworth The Letters of Keats The Rejection of Falstaff Shakespeare's 'Antony and Cleopatra' Shakespeare the Man Shakespeare's Theatre and Audience
This unique collection of lectures honors the pioneering work in Byron studies of Leslie Alexis Marchand, who has had an enduring influence on the appreciation and study of Lord Byron for sixty years. Generations of readers and writers have come to Byron through his biographies and his edition of the poet’s letters and journals. All admirers of Byron respond to the verve, dash, and immediacy of his correspondence, which lies at the heart of Marchand’s biographies and offers us a portrait based on the poet’s views of himself and his times. No one has so powerfully and judiciously allowed Byron’s life to emerge from the testimony of his letters. Many readers, from his contemporaries to our day, have refused to separate the poet from his troubled dark heroes, and see little but strands of autobiography in the poems. But the letters and journals reveal him in a very different light. Leslie Marchand provided these documents for the first time in their unexpurgated and authoritative form. This collection pays tribute to Marchand’s careful scholarship and scrupulous attention to the limits of interpretation. Marchand’s continued relevance to Byron studies derives in part from the work undertaken by those inspired by his labors as editor and interpreter; many of whom are represented in this collection. Three opening essays bear personal witness to his fervent support for young scholars, his depth of expertise and appeal as a teacher, and his commitment to encouraging others to join him on his Byron pilgrimage. The lectures themselves represent such diverse disciplines as literary theory, psychiatry, publishing history, comparative literature, drama, political history, revolutionary politics in literature and music, literary criticism, textual editing and selection, and literary influence. A chronology and a bibliography provide an overview of his life and scholarship.
A reference guide to the work of 115 modern British and American critics.
The presentation of poetry to auditor and reader from the sixteenth to the twentieth centuries.
The Oxford History of Classical Reception (OHCREL) is designed to offer a comprehensive investigation of the numerous and diverse ways in which literary texts of the classical world have stimulated responses and refashioning by English writers. Covering the full range of English literature from the early Middle Ages to the present day, OHCREL both synthesizes existing scholarship and presents cutting-edge new research, employing an international team of expert contributors for each of the five volumes. OHCREL endeavours to interrogate, rather than inertly reiterate, conventional assumptions about literary 'periods', the processes of canon-formation, and the relations between literary and non-literary discourse. It conceives of 'reception' as a complex process of dialogic exchange and, rather than offering large cultural generalizations, it engages in close critical analysis of literary texts. It explores in detail the ways in which English writers' engagement with classical literature casts as much light on the classical originals as it does on the English writers' own cultural context. This fourth volume, and second to appear in the series, covers the years 1790-1880 and explores romantic and Victorian receptions of the classics. Noting the changing fortunes of particular classical authors and the influence of developments in archaeology, aesthetics and education, it traces the interplay between classical and nineteenth-century perceptions of gender, class, religion, and the politics of republic and empire in chapters engaging with many of the major writers of this period.
A collage of water stories from the Odyssey, reconstructed as a mesmeric and hallucinatory book-length poem by acclaimed poet Alice Oswald. In Memorial, her unforgettable transformation of the Iliad, Alice Oswald breathed new life into myth. In Nobody, she returns to Homer, this time fixing her gaze on a minor character in the Odyssey—a poet abandoned on a stony island—and the sea that surrounds him. Familiar voices drift in and out of the poem; though there are no proper names, we recognize Helios, Icarus, Alcyone, Philoctetes, Calypso, Clytemnestra, Orpheus, Poseidon, Hermes, and the presiding spirit of Proteus, the shape-shifting sea-god. As with all of Oswald’s work, this is poetry that is made for the human voice, but here the language takes on the qualities of another element: dense, muscular, and liquid. Reading Nobody is like watching the ocean; we slip our earthly moorings and follow the circling shoal of sea voices into a mesh of sound and light and water—fluid, abstract, and moving with the wash of waves.