Reliques of ancient English poetry : consisting of old heroic ballads, songs, and other pieces of our earlier poets, together with some few of later date /

Includes bibliographical references and indexes.

Six centuries of English poetry : Tennyson to Chaucer : typical selections from the great poets /

Mode of access: Internet.

The poets and poetry of Europe /

Many of the biographical notices were written by C. C. Felton. cf. Pref.

Reliques of ancient English poetry : consisting of old heroic ballad, songs, and other pieces of our earlier poets, together with some of later date /

Mode of access: Internet.

Reliques of ancient English poetry, consisting of old heroic ballads, songs, and other pieces of our earlier poets, together with some of later date,

With an Essay on the ancient minstrels in England (v. 1, p. [xxiii]-xliii) and On the ancient metrical romances (v. 2, p. 80-104)

The cabinet of poetry : containing the best entire pieces to be found in the works of the British poets.

Mode of access: Internet.

Reliques of ancient English poetry, consisting of old heroic ballads, songs, and other pieces of our ealier poets,

Mode of access: Internet.

Reliques of ancient English poetry, consisting of old heroic ballads, songs, and other pieces of our earlier poets, together with some few of later date,

With an Essay on the ancient minstrels in England (v. 1, p. [345]-430) and On the ancient metrical romances (v. 3, p. 339-376)

The poets and poetry of Buffalo;

Mode of access: Internet.

The method of teaching and studying the belles lettres; or, An introduction to languages, poetry, rhetoric, history, moral philosophy, physics, &c. : with reflections on taste, and instructions with regard to the eloquence of the pulpit, the bar, and the stage; the whole illustrated with passages from the most famous poets and orators, ancient and modern, with critical remarks on them; designed more particularly for students in the universities /

Translation of: De la manière d'enseigner et d'étudier les belles-lettres.

The poets and poetry of the nineteenth century ...

I. George Crabbe to Samuel Taylor Coleridge.--II. Robert Southey to Percy Bysshe Shelley.--III. John Keats to Edward, lord Lytton.--IV. Frederick Tennyson to Arthur Hugh Clough.--V. Charles Kingsley to James Thomson.--VI. William Morris to Robert Buchanan.--VII. Robert Bridges and contemporary poets.--VIII. Joanna Baillie to Jean Ingelow.--IX. Christina G. Rossetti to Katharine Tynan.--X. Humour: George Crabbe to Edmund B.V. Christian.--XI. Sacred poets of the nineteenth century: James Montgomery to Anna Laetitia Waring.--XII. Edward Hayes Plumtre to Selwyn Image.

Australian eco-pastoral poetry

Les Murray and Judith Wright are two Australian poets who are widely read as landscape poets. While this framing offers valuable insights into their work it often fails to bring the importance into a contemporary context or to recognise the long tradition Australia has had with , to use Leo Marx’ term, “the complex pastoral”. As Ruth Blair reminds us in her chapter “Hugging the Shore: The Green Mountains of South-East Queensland” in The Littoral Zone: Australian Contexts and their Writers it is accepted that North America has a tradition of the complex pastoral mode but it should be remembered that Australia also has a long history of this form. Both Judith Wright’s and Les Murray’s poetry encourages active campaigning for the environment .These Australian poets are eco-pastoral poets whose poetry encourages active reading rather than passive reflections. Their poetry speaks to the strong connection between the lived everyday landscape and the imagination of past, present and future. Their work is imbued with a strong sense of ecocritical awareness while at the same time drawing on pastoral conventions. These two Australian poets do not offer idealistic pastoral notions but rather reveal the complexities of lived human/nonhuman relationships. This paper will discuss these complexities and how poetry can be experienced as literature in action—ways for readers to connect with and negotiate with the land they inhabit. The research for this paper was, in part, drawn from the responses that local community library groups offered after reading the works of these poets. What became evident from this research was the way the poetry made the readers think not only of landscape as a place of refuge from the urban technological world but also as a contemporary place with connection to agency that motivates readers into active change.

Counter-figures : An Essay on Antimetaphoric Resistance: Paul Celan's Poetry and Poetics at the Limits of Figurality

Titled "An Essay on Antimetaphoric Resistance", the dissertation investigates what is here being called "Counter-figures": a term which has in this context a certain variety of applications. Any other-than-image or other-than-figure, anything that cannot be exhausted by figuration (and that is, more or less, anything at all, except perhaps the reproducible images and figures themselves) can be considered "counter-figurative" with regard to the formation of images and figures, ideas and schemas, "any graven image, or any likeness of any thing". Singularity and radical alterity, as well as temporality and its peculiar mode of uniqueness are key issues here, and an ethical dimension is implied by, or intertwined with, the aesthetic. In terms borrowed from Paul Celan's "Meridian" speech, poetry may "allow the most idiosyncratic quality of the Other, its time, to participate in the dialogue". This connection between singularity, alterity and temporality is one of the reasons why Celan so strongly objects to the application of the traditional concept of metaphor to poetry. As Celan says, "carrying over [übertragen]" by metaphor may imply an unwillingness to "bear with [mittragen]" and to "endure [ertragen]" the poem. The thesis is divided into two main parts. The first consists of five distinct prolegomena which all address the mentioned variety of applications of the term "counter-figures", and especially the rejection or critique of either metaphor (by Aristotle, for instance) or the concept of metaphor (defined by Aristotle, and sometimes deemed "anti-poetic" by both theorists and poets). Even if we restrict ourselves to the traditional rhetorico-poetical terms, we may see how, for instance, metonymy can be a counter-figure for metaphor, allegory for symbol, and irony for any single trope or for any piece of discourse at all. The limits of figurality may indeed be located at these points of intersection between different types of tropes or figures, and even between figures or tropes and the "non-figurative trope" or "pseudo-figure" called catachresis. The second part, following on from the open-ended prolegomena, concentrates on Paul Celan's poetry and poetics. According to Celan, true poetry is "essentially anti-metaphoric". I argue that inasmuch as we are willing to pay attention to the "will" of the poetic images themselves (the tropes and metaphors in a poem) to be "carried ad absurdum", as Celan invites us to do, we may find alternative ways of reading poetry and approaching its "secret of the encounter", precisely when the traditional rhetorical instruments, and especially the notion of metaphor, become inapplicable or suspicious — and even where they still seem to impose themselves.

War and Revolution in St. Petersburg : Modernist Links in the Poetry of Edith Södergran and Anna Andreevna Akhmatova

Important modernists in their own countries, Anna Akhmatova and Edith Södergran are compared in this dissertation as poets whose poetry reflects the climactic events of the early twentieth century in Finland and Russia. A comparatist, biographical and historical approach is used to uncover the circumstances surrounding these events. First the poets’ early works are reviewed and their contemporaries are mentioned to provide a poetic context. Then a brief review of Finnish and Russian history situates them historically. Next, the rich literary diversity of St. Petersburg’s Silver Age is presented and the work of the poets is viewed in context before their poetry is compared, as the First World War, October Revolution and subsequent Finnish Civil War impact their writing. While biography is not the primary focus, it becomes important as inevitably the writers’ lives are changed by cataclysmic events and the textual analysis of the poems in Swedish, Russian and English shows the impact of war on their poetry. These two poets have not been compared before in a critical review in English and this work contributes to needed work in English. They share certain common modernist traits: attention to the word, an intimate, unconventional voice, and a concern with audience. In addition, they both reject formal traditions while they adopt new forms and use modern, outside influences such as art, architecture and philosophy as subject matter and a lens through which to focus their poetry. While it may seem that Anna Akhmatova was the most socially aware poet, because of the censorship she endured under Stalin, my research has revealed that actually Edith Södergran showed the most social consciousness. Thus, a contrast of the poets’ themes reveals these differences in their approaches. Both poets articulated a vibrant response to war and revolution becoming modernists in the process. In their final works created in the years before their deaths, they reveal the solace they found in nature as well as final mentions of the violent events of their youth. Keywords: St. Petersburg, Modernism, Symbolism, Acmeism, Silver Age, Finland-Swedish literature

Where the People Are: Language and Community in the Poetry of W.S. Graham

Francis, Matthew, Language and Community in the Poetry of W.S. Graham (Cambridge: Salt Publishing, 2004) RAE2008