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Algernon Charles Swinburne's 'Sonnets, and Sonnets on English Dramatic Poets (1590-1650)' is a profound collection of sonnets that pay homage to the great English playwrights of the Renaissance period. Through his exquisite literary style, Swinburne explores themes of love, mortality, and the human experience, drawing inspiration from the works of Shakespeare, Marlowe, and Jonson. The sonnets are intricately crafted with meticulous attention to language and form, showcasing Swinburne's mastery of the poetic medium. This collection serves as a testament to Swinburne's deep appreciation for the literary tradition of the English Renaissance. As a prominent figure in the Victorian literary scene, Swinburne's work reflects his passion for poetry and his extensive knowledge of the classical and Elizabethan literary canon. His exploration of the works of English dramatic poets highlights his desire to preserve and celebrate the rich heritage of English literature. 'Sonnets, and Sonnets on English Dramatic Poets (1590-1650)' is a must-read for poetry enthusiasts, scholars of English literature, and anyone seeking to delve into the beauty of Renaissance poetry.
Sonnets, and Sonnets on English Dramatic Poets (1590-1650) Taken from The Collected Poetical Works of Algernon Charles Swinburne, Vol V. by Algernon Charles Swinburne HOPE AND FEAR Beneath the shadow of dawn's aerial cope, With eyes enkindled as the sun's own sphere, Hope from the front of youth in godlike cheerLooks Godward, past the shades where blind men gropeRound the dark door that prayers nor dreams can ope, And makes for joy the very darkness dearThat gives her wide wings play; nor dreams that fearAt noon may rise and pierce the heart of hope.Then, when the soul leaves off to dream and yearn, May truth first purge her eyesight to discernWhat once being known leaves time no power to appal;Till youth at last, ere yet youth be not, learnThe kind wise word that falls from years that fall-"Hope thou not much, and fear thou not at all." AFTER SUNSET "Si quis piorum Manibus locus." I Straight from the sun's grave in the deep clear westA sweet strong wind blows, glad of life: and I, Under the soft keen stardawn whence the skyTakes life renewed, and all night's godlike breastPalpitates, gradually revealed at restBy growth and change of ardours felt on high, Make onward, till the last flame fall and dieAnd all the world by night's broad hand lie blest.Haply, meseems, as from that edge of death, Whereon the day lies dark, a brightening breathBlows more of benediction than the morn, So from the graves whereon grief gazing saithThat half our heart of life there lies forlornMay light or breath at least of hope be born. II The wind was soft before the sunset fled: Now, while the cloud-enshrouded corpse of dayIs lowered along a red funereal wayDown to the dark that knows not white from red, [229] A clear sheer breeze against the night makes head, Serene, but sure of life as ere a raySprings, or the dusk of dawn knows red from grey, Being as a soul that knows not quick from dead.From far beyond the sunset, far above, Full toward the starry soundless east it blowsBright as a child's breath breathing on a rose, Smooth to the sense as plume of any dove;Till more and more as darkness grows and glowsSilence and night seem likest life and love. III If light of life outlive the set of sunThat men call death and end of all things, thenHow should not that which life held best for menAnd proved most precious, though it seem undoneBy force of death and woful victory won, Be first and surest of revival, whenDeath shall bow down to life arisen again?So shall the soul seen be the self-same oneThat looked and spake with even such lips and eyesAs love shall doubt not then to recognise, And all bright thoughts and smiles of all time pastRevive, transfigured, but in spirit and senseNone other than we knew, for evidenceThat love's last mortal word was not his last. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.
Algernon Charles Swinburne (1837-1909) was a Victorian era English poet. His poetry was highly controversial in its day. He is considered a decadent poet. Many of his early and still admired poems evoke the Victorian fascination with the Middle Ages, and some of them are explicitly medieval in style, tone and construction, including The Leper, Laus Veneris, and St Dorothy. His mastery of vocabulary, rhyme and metre arguably put him among the most talented English language poets in history, although he has also been criticized for his florid style and word choices that only fit the rhyme scheme rather than contributing to the meaning of the piece. After the first Poems and Ballads, Swinburne's later poetry was devoted more to philosophy and politics. He did not stop writing love poetry entirely, but the content was less shocking. Amongst his other works are: A Century of Roundels (1883) and The Age of Shakespeare (1908).
Algernon Charles Swinburne was an English poet, playwright, novelist, and critic. He wrote several novels, and contributed to the famous Eleventh Edition of the Encyclopædia Britannica. He was nominated for the Nobel Prize in Literature in every year from 1903 to 1907 and again in 1909.Swinburne is considered a poet of the decadent school, although he perhaps professed to more vice than he actually indulged in; Oscar Wilde stated that Swinburne was "a braggart in matters of vice, who had done everything he could to convince his fellow citizens of his homosexuality and bestiality without being in the slightest degree a homosexual or a bestialiser."Many critics consider his mastery of vocabulary, rhyme and metre impressive, although he has also been criticised for his florid style and word choices that only fit the rhyme scheme rather than contributing to the meaning of the piece.
Bringing together leading Jonson scholars, Ben Jonson and Posterity provides new insights into this remarkable writer's reception and legacy over four centuries. Jonson was recognised as the outstanding English writer of his day and has had a powerful influence on later generations, yet his reputation is one of the most multifaceted and conflicted for any writer of the early modern period. The volume brings together multiple critical perspectives, addressing book history, the practice of reading, theatrical influence and adaptation, the history of performance, cultural representation in portraiture, film, fiction, and anecdotes to interrogate Jonson's 'myth'. The collection will be of great interest to all Jonson scholars, as well as having a wider appeal among early modern literary scholars, theatre historians, and scholars interested in intertextuality and reception from the Renaissance to the present day.
This is a guide to the main developments in the history of British and Irish literature, charting some of the main features of literary language development and highlighting key language topics.
The Flogging-Block is Victorian poet Algernon Charles Swinburne's mock-heroic tribute to corporal punishment. In a prologue and twelve eclogues, Swinburne describes, with considerable vigour and black humour, the torment, anguish, and delights of the scholastic rod from the perspectives of beaten school boys, despotic masters, and joyous witnesses. It does not contain explicit sexual content. This edition of The Flogging-Block is a page by page transcription of the original manuscript, which is owned by the British Library. It does not reproduce Simeon Solomon's illustrations. A master of lyric, rhythm, and rhyme, Swinburne was one of the most brilliant poets of the Victorian era. He was also a life-long enthusiast of flagellation, weaving flagellant scenes and motifs into his poems, letters, novels, and dramatic works. He composed The Flogging-Block, which remained unpublished until now, between 1862 and 1881.