Pagan epic in contemporary British poetry: Hughes and Logue, Ovid and Homer

In 'Tales from Ovid' and 'War Music' respectively, Ted Hughes and Christopher Logue turned to classical epic as source material and a model for contemporary poetry. In this essay I consider the different ways in which they work with the original epic poems and how they rework them both textually and generically. In the process, I suggest, Hughes gives his readers an Ovid modeled on his own, vatic conception of Homer, while Logue reworks Homer in a manner that is essentially Ovidian.

Natural effusions: Mrs J. Howorth’s English translation of Albrecht von Haller’s Die Alpen

Albrecht von Haller's Die Alpen [The Alps] was an immensely popular piece of early eighteenth-century poetry, yet it took more than half a century to be translated into English. In this article I examine Mrs J. Howorth's prose rendering of it in her translated collection The Poems of Baron Haller (1794) and analyse how the translation itself reflects late-eighteenth-century scientific, political and aesthetic concerns, notably through the influence of Linnaeus and Jean-Jacques Rousseau. Secondly, I explore how Howorth constructed a public image of herself as a female consumer and producer of botanical literature, and argue that her translation constitutes an early example of British women's increasing engagement in science through the activity of translation.

Gallic war songs (II): Marcus Cicero, Quintus Cicero, and Caesar’s invasion of Britain

This article assembles and examines the evidence for the poetic outputs of Marcus and Quintus Cicero related to Caesar’s invasion of Britain. Following the establishment of a relative chronology of the evidence for their work, it is argued that Quintus Cicero most likely produced a fabula praetexta (not an epic poem, as commonly assumed). His brother, in turn, wrote an epic, based on Quintus’ eye-witness reports. Careful analysis of the ancient discourse about this piece reveals insights in Cicero’s poetic workshop and the creation of ‘archival truth’ through narrativising historical events in epic poetry. Finally, a case is made for greater attention to financial affairs between Caesar and the Ciceros that happen to coincide with the drafting process of their respective literary works.

Framing fracking: which frames are heard in English planning and environmental policy and practice?

Fracking in England has been the subject of significant controversy and has sparked not only public protest but also an associated framing war with differing social constructions of the technology adopted by different sides. This article explores the frames and counter-frames which have been employed by both the anti-fracking movement and by government and the oil and gas industry. It then considers the way in which the English planning and regulatory permitting systems have provided space for these frames within the relevant machinery for public participation. The article thus enables one to see which frames have been allowed a voice and which have been excluded.

Poetry, parables and codes: translating the letters of Indian soldiers

This chapter examines the role of translation in the work of the Indian Mail Censorship Department in France in the First World War, considering the position of the translator as an intermediary figure, and the implications for the military tasks of censorship and intelligence analysis of operating in this way from a foreign language.

Undying voices: the poetry of Roman Britain

An anthology (comprising introduction, text, translation, and notes) of Britain's most ancient (surviving) poetry (Latin/Greek, with an English translation).

The Rilke of Ruth Speirs: new poems, Duino Elegies, Sonnets to Orpheus & others

Rainer Maria Rilke (1875-1926) is universally recognized as among the most important twentieth-century German-language poets. Here, for the first time, are all the surviving translations of his poetry made by Ruth Speirs (1916-2000), a Latvian exile who joined the British literary community in Cairo during World War Two, becoming a close friend of Lawrence Durrell and Bernard Spencer. Though described as ‘excellent’ and ‘the best’ by J. M. Cohen on the basis of magazine and anthology appearances, copyright restrictions meant that during her lifetime, with the exception of a Cairo-published Selected Poems (1942), Speirs was never to see her work gathered between covers and in print. This volume, edited by John Pilling and Peter Robinson, brings Speirs’ translations the belated recognition they deserve. Her much-revised and considered versions are a key document in the history of Rilke’s Anglophone dissemination. Rhythmically alive and carefully faithful, they give a uniquely mid-century English accent to the poet’s extraordinary German, and continue to bear comparison with current efforts to render his tenderly taxing voice.