'Translated Verse': Milton's Latin Poetry in the Long Eighteenth Century

This chapter assesses ways in which the emergence in the long eighteenth century of a cluster of verse translations of Milton’s Poemata engendered an intellectual discourse and debate on translation itself, not dissimilar to the magazine warfare of the day. It argues that poetical renderings of Milton’s Latin verse, and the biographical and literary contexts in which they appeared, facilitated the interrogation of key issues that are still being debated by modern translation theorists: the nature and function of translation; the viability of rendering a source text in a target language that is also in this instance a poetic language; the potential ‘fetters’ which, in Drydenesque terms, might constrain ‘the verbal copier’; or by contrast the quasi-liberating fluency, the ‘fluent strategy’, attendant upon recourse to verse as translational medium; canonicity, amplification and omission; the much-debated issue of authorial equivalence, evinced here, it is suggested, by the editorial showcasing of the translator; and not least, the perennial question of translation as reading and critical interpretation. In short, verse renderings of Milton’s Latin poetry and the debates that they engendered assume a not inconsequential place in the history of translation theory, which, as Venuti notes, is forever concerned with ‘the changing relationships between the relative autonomy of the translated text and two other categories: equivalence and function.’

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Introducing Students to Pre-Nineteenth-Century Poetry in the Language Classroom

We as language instructors are tasked with preparing students to transition from language to literature courses. The shorter length of many poems makes them ideal for presentation in the language classroom, where the acquisition of communicative competence is the priority. Introductory and intermediate textbooks’ poetry offerings, however, are frequently drawn from a canon of poems by only a few nineteenth- and twentieth-century authors (Verlaine, Apollinaire, Prévert) and fail to expose students to broader aspects of French literature. This article offers strategies for presenting pre-nineteenth-century poetry to first- and second-year students of French using dizains from Scève’s Délie as examples.

Classical Romantic: Identity in the Latin Poetry of Vincent Bourne

This monograph examines a selection of Vincent Bourne's Latin verse in its classical, neo-Latin and vernacular contexts, with particular attention to the theme of identity (and differing forms of identity). Its aim is to initiate the resurrection from silence of an author whose self-fashioning is achieved by investigating the identity of the self in relation to the other and by foregrounding multiple attempts to fashion other selves.

From Back Cover of published book:

Through close and perceptive analysis of Bourne's negotiation of poetic identity, Haan argues in new ways for the blend of classicism and Romanticism informing his marginalized status. As such, the book promises to revive scholarship on Bourne, and to be of use to students and scholars of Latin as well as vernacular verse.
Carla Mazzio, Professor of English, University of Chicago.


Estelle Haan is the UK's most eminent neo-Latinist. Her books with the APS on Milton (From Academia to Amicitia, Transactions 88, part 6) and Addison (Vergilius Redivivus, Transactions 95, part 2) are both important contributions to our knowledge of those authors, and their scholarship is presented in a way that accommodates the growing number of specialists who do not read Latin. Much of the content of this study is entirely new, and it is written in a way that will make it accessible to non-Latinists. The connections with English-language poets that Professor Haan adduces page after page will be a very considerable resource for students of vernacular poetry.
Gordon Campbell, Professor of Renaissance Literature, University of Leicester.


I have long thought that a modern study of Vincent Bourne was very much needed, and am greatly pleased that one has now been written. Estelle Haan offers a thoughtful and sensitive study that has remarkable depth. She capitalizes on the familiarity with other eighteenth-century English poets about whom she has previously written (Cowper, Gray, and most recently Addison) and she makes use of contempoary literary theory without becoming dependent on any single approach or disfiguring her writing with critical jargon. This work will, one hopes, provoke further research into Bourne and his poetry.
Dana F. Sutton, Professor Emeritus of Classics, The University of California, Irvine.

To avoid embarrassment, poetry should keep itself to itself”: an autoethnographic exploration of the place of poetry in adult literacy teacher education

This paper explores the reasons for the author’s reluctance to bring examples of her own poetry into her practice as teacher educator on a program for adult literacy tutors. The paper begins with the author’s poem, “The Place of Poetry”, which is used as a tool for reflection on the author’s assumptions about her identities as poet and as educator. The paper ends with poems written by the author’s students, which demonstrate that the use of poetry in education has the potential to facilitate transformative learning.

Spanish Golden Age Poetry in Motion: The Dynamics of Creation and Conversation.

The fourteen essays of this volume engage in distinct ways with the matter of motion in early modern Spanish poetics, without limiting the dialectic of stasis and movement to any single sphere or manifestation. Interrogation of the interdependence of tradition and innovation, poetry, power and politics, shifting signifiers, the intersection of topography and deviant temporalities, the movement between the secular and the sacred, tensions between centres and peripheries, issues of manuscript circulation and reception, poetic calls and echoes across continents and centuries, and between creative writing and reading subjects, all demonstrate that Helgerson's central notion of conspicuous movement is relevant beyond early sixteenth-century secular poetics, By opening it up we approximate a better understanding of poetry's flexible spatio-temporal co-ordinates in a period of extraordinary historical circumstances and conterminous radical cultural transformation