The best poems on nature.

Mode of access: Internet.

Bucolica ; Aeneis ; Georgica : the greater poems of Virgil /

Mode of access: Internet.

The complete poems of John Milton,

Mode of access: Internet.

Studies in the lyric poems of Friedrich Hebbel; the sensuous in Hebbel's lyric poetry,

Bibliography: p. [305]-310.

The complete poems of Francis Ledwidge;

Mode of access: Internet.

Tuhfat ul Ahrār, the gift of the noble: being one of the seven poems, or Haft Aurang, of Mullā Jāmī, now first ed. from the collation of eight manuscripts in the library of the Indian house, and in private collections, with various readings,

Mode of access: Internet.

A complete collection of the English poems which have obtained the chancellor's gold medal in the University of Cambridge.

Vol. 2 lacks edition statement.

Sketch of the ship "Jane C. Woodruff"

A black and white copy of a sketch of the ship "Jane C. Woodruff". This appears to have been in a scrapbook. There is a slight tear which affects the picture slightly. [The Jane C. Woodruff was a barquentine ship built in St. Catharines in 1866 by Lewis Shikeluna. The ship belonged to John Battle who was an associate of Samuel D. Woodruff. She was named in honour of Samuel and his wife, Jane Caroline. She originated as a square timber trade boat before being converted into a 3 masted schooner. She collided with the "Mary Battle" in a snow squall in Georgian Bay. The ship passed out of existence in 1902].

Lucasta: the poems of Richard Lovelace, esquire;

v. 1. Richard Lovelace, by W.L. Phelps. Dedication. Verses addressed to the author. Poems addressed or relating to Lucasta. Poems addressed to Ellinda. Miscellaneous poems. Commendatory and other verses, prefixed to various publications between 1638 and 1647.--v. 2. Poems addressed or relating to Lucasta. Miscellaneous poems. Commendatory verses, prefixed to various publications between 1652 and 1657.

Poems /

In full blind-stamped leather binding; spine tooled in blind, black and gilt; marbled endpapers, a.e.g.

From the genius of man to the man of genius, part two: Inheriting (ideas about) genius

In Part One of ʻFrom the Genius of the Man to the Man of Geniusʼ I argued that classical and medieval inscriptions of genius figures suggest a coevalence between characters in their respective cosmologies, making it relatively more difficult to delineate Man from “spirits” and “other organisms”. The labour that genii performed flowed around two significant tropes of production and reproduction whose specificities were inflected in and across sources. In medieval poetry, for instance, genius figures took up a new role in regard to the reproduction trope, as promoter of virtue (in the form of censuring the seven deadly sins) and condemner of vice (in the form of prohibition against same sex intercourse). The sedimentation (complex processes of character-formation), directionality (patterns of descent) and sexual ecology (emergence of a field of ethics) that the medieval literature embodies also indexes an opening disarticulation of Man from universe and the possibility of grounding “morality” in and as His love choices. Through a series of narrative structures, binary concepts and new sources of authority under Christianity the figure now referred to in philosophy as “the subject” is given early grounds upon which to form in the medieval poems.

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

Edmund Burke and the heritage of oral culture

The dissertation proposes that one of the more fruitful ways of interpreting Burke's work is to evaluate him as an oral performer rather than a literary practitioner and it argues that in his voice can be heard the modulations of the genres and conventions of oral composition of eighteenth-century Gaelic Ireland. The first chapter situates Burke in the milieu of the Gaelic landed class of eighteenth-century Ireland. The next chapter examines how the rich oral culture of the Munster Gaelic gentry, where Burke spent his childhood days, was to provide a lasting influence on the form and content of Burke's work. His speeches on the British constitution are read in the context of the historical and literary culture of the Jacobites, specifically the speculum principis, Párliament na mBán. The third chapter surveys the tradition of Anglo-Irish theoretical writings on oratory and discusses how Burke is aligned with this school. The focus is on how Burke's thought and practice, his 'idioms', might be understood as being mediated through the criterion of orality rather than literature. The remaining chapters discuss Burke's politics and performance in the light of Gaelic cultural practices such as the rituals of the courts of poetry, the Warrant Poems or Barántas; the performance of funeral laments and elegies, Caoineadh, the laments for the fallen nobility, Marbhna na daoine uaisle, the satires and the political vision allegories of Munster, Aislingí na Mumhan; to show how they provide us with a remarkable context for discussing Burke's poetical-political performance. In hearing Burke's voice through the body of Gaelic culture our understanding of Burke's position in the wider world of the eighteenth century (and hence his meaning) is profoundly affected.

Marvell's Latin Poetry and the Art of Punning

This chapter analyses Marvell’s linguistic ingenuity as exemplified by his Latin poetic corpus. Here, it is argued, a pseudo Lucretian sensitivity to the parallelism between the structure of Latin words and the structure of the world co-exists with a linguistic methodology that is essentially Marinesque. Close examination of the Latin poems as a whole assesses the nature and significance of etymological play, paronomasia, puns on juxtaposed Latin words, on place names, and on personal names. It is suggested that such devices demonstrate ways in which the neo-Latin poetic text can serve both as a linguistic microcosm of the literary contexts in which they are employed, and as a re-invention of the artifice, extravagant conceits, and baroque wit of Marinism. The result is a neo-Latin ‘echoing song’ that is both intra- and intertextual. Through bilingual punning and phonological wit Marvell plays with a classical language only to demonstrate its transformative potential. The chapter concludes by offering a new reading of Hortus in relation to the garden sections of Marino’s L’Adone, in which an extravagantly luscious setting confounds the senses and is mirrored linguistically by word-clusters and labyrinthine punning.

The Second Lesson of the Anatomists

A single poem in a collection of the best poems published in the journal Poetry London, 1988-2013.