THE AENEID by Virgil
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As One Who from a Volume Reads: a Study of the Long Narrative Poem in Nineteenth-Century America Sean Leahy University of Vermont
University of Vermont ScholarWorks @ UVM Graduate College Dissertations and Theses Dissertations and Theses 2019 As One Who From a Volume Reads: A Study of the Long Narrative Poem in Nineteenth-Century America Sean Leahy University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/graddis Recommended Citation Leahy, Sean, "As One Who From a Volume Reads: A Study of the Long Narrative Poem in Nineteenth-Century America" (2019). Graduate College Dissertations and Theses. 1065. https://scholarworks.uvm.edu/graddis/1065 This Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks @ UVM. It has been accepted for inclusion in Graduate College Dissertations and Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. AS ONE WHO FROM A VOLUME READS: A STUDY OF THE LONG NARRATIVE POEM IN NINETEENTH-CENTURY AMERICA A Thesis Presented by Sean Leahy to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements for the Degree of Master of Arts Specializing in English May, 2019 Defense Date: March 20, 2019 Thesis Examination Committee: Mary Lou Kete, Ph.D., Advisor Dona Brown, Ph.D., Chairperson Eric Lindstrom, Ph.D. Cynthia J. Forehand, Ph.D., Dean of the Graduate College ABSTRACT Though overlooked and largely unread today, the long narrative poem was a distinct genre available to nineteenth-century American poets. Thematically and formally diverse, the long narrative poem represents a form that poets experimented with and modified, and it accounted for some of the most successful poetry publications in the nineteenth-century United States. -
The Letters of TS Eliot, Volume 6
The Newsletter of the T. S. Eliot Society Number 90 Fall 2016 CONTENTS The Letters of T. S. Eliot, Volume 6: 1932- Reviews 1933, edited by Valerie Eliot and John The Letters of T. S. Eliot, Volume Haffenden 6: 1932-1933, edited by Valerie Eliot and John Haffenden London: Faber & Faber, 2016. 896 pages. Reviewed by Timothy Materer 1 Reviewed by Timothy Materer T. S. Eliot and Christian University of Missouri Tradition, edited by Benjamin G. Lockerd The letters in Volume 6 contain some of the most personally revealing letters since Volume 1. The letters from January to September Reviewed by Julia E. Daniel 3 1932 consist mostly of business letters with extensive footnotes. But the letters from Eliot’s seven months in the United States as Norton British Writers and the Approach of World War II, by Steve Ellis Professor at Harvard University (September 1932 through June 1933) are full of vivid impressions of people and places as well as Eliot’s agonizing Reviewed by Marina MacKay 4 about his decision to separate permanently from his wife Vivien. Public Sightings As Haffenden explained in Volume 5, Valerie Eliot took “infinite pains to be the helpmeet of a future biographer: gathering the raw by David Chinitz 5 material whilst she may” (Volume 5, xxxiii). An editor’s usual procedure Centennial Focus is to give enough information to elucidate the letters and their context. Haffenden’s notes go further to document the life and works of Eliot’s by Kevin Rulo 6 correspondents, which often takes one far from the chronology of T. -
ANALYSIS “The Waste Land” (1922) TS Eliot (1888-1965)
ANALYSIS “The Waste Land” (1922) T. S. Eliot (1888-1965) “[The essential meaning of the poem is reducible to four Sanskrit words, three of which are] so implied in the surrounding text that one can pass them by…without losing the general tone or the main emotion of the passage. They are so obviously the words of some ritual or other. [The reader can infer that “shantih” means peace.] For the rest, I saw the poem in typescript, and I did not see the notes till 6 or 8 months afterward; and they have not increased my enjoyment of the poem one atom. The poem seems to me an emotional unit…. I have not read Miss Weston’s Ritual to Romance, and do not at present intend to. As to the citations, I do not think it matters a damn which is from Day, which from Milton, Middleton, Webster, or Augustine. I mean so far as the functioning of the poem is concerned…. This demand for clarity in every particular of a work, whether essential or not, reminds me of the Pre-Raphaelite painter who was doing a twilight scene but rowed across the river in day time to see the shape of the leaves on the farther bank, which he then drew in with full detail.” Ezra Pound (1924) quoted by Hugh Kenner The Invisible Poet, T.S. Eliot (Obolensky 1959) 152 “[Eliot’s] trick of cutting his corners and his curves makes him seem obscure when he is clear as daylight. His thoughts move very rapidly and by astounding cuts. -
Metaphor and the Limits of Print in Ezra Pound's Cantos
intervalla: Vol. 4, 2016 ISSN: 2296-3413 METAPHOR AND THE LIMITS OF PRINT IN EZRA POUND’S CANTOS Claire Battershill Simon Fraser University ABSTRACT Ezra Pound’s collected Cantos presents textual scholars with a challenge. Parts of the poem were published in little magazines, in newspapers, in fragments and in deluxe editions. No definitive edition of the Cantos exists, and the poem’s difficulty, though often figured as an interpretive difficulty, was just as much a textual difficulty. Just as the text of the poem itself is complex, so Pound’s own metaphors about the nature of print, textuality, and poetry are multifarious and shifting throughout the poem. This essay reads Pound’s own language of textuality and orality in the Cantos alongside his comments on modernist print culture in order to argue that Pound consistently tested the limits of material textuality even as he drew metaphorical power from the language of book history and print culture. Keywords Book History, Print Culture, Textual Studies, Metaphor, Modernism, Orality, Ezra Pound Copyright 2016 © (Battershill). Licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC by-nc-nd 4.0). Battershill Metaphor and the Limits of Print in the Cantos “And even I can remember A day when the historians left blanks in their writings, I mean for things they didn’t know But that time seems to be passing.” —Ezra Pound, Canto XIII 601 The tremendous number of instructional books about “how to read” Ezra Pound’s Cantos is indicative of more than an attempt to simplify “modernist difficulty.”2 These texts and, indeed, Pound’s own instructive projects in ABC of Reading (1960) and Guide to Kulchur (1952), offer ways of narrowing the epic down into a manageable reading experience. -
Writers of Tales: a Study on National Literary Epic Poetry with a Comparative Analysis of the Albanian and South Slavic Cases
DOI: 10.14754/CEU.2017.02 WRITERS OF TALES: A STUDY ON NATIONAL LITERARY EPIC POETRY WITH A COMPARATIVE ANALYSIS OF THE ALBANIAN AND SOUTH SLAVIC CASES FRANCESCO LA ROCCA A DISSERTATION IN HISTORY Presented to the Faculties of the Central European University in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy Budapest, Hungary 2016 Supervisor of Dissertation CEU eTD Collection György Endre Szőnyi DOI: 10.14754/CEU.2017.02 COPYRIGHT NOTICE AND STATEMENT OF RESPONSIBILITY Copyright in the text of this dissertation rests with the Author. Copies by any process, either in full or part, may be made only in accordance with the instructions given by the Author and lodged in the Central European University Library. Details may be obtained from the librarian. This page must form a part of any such copies made. Further copies made in accordance with such instructions may not be made without the written permission of the Author. I hereby declare that this dissertation contains no materials accepted for any other degrees in any other institutions and no materials previously written and/or published by another person unless otherwise noted. CEU eTD Collection DOI: 10.14754/CEU.2017.02 iii ABSTRACT In this dissertation I intend to investigate the history and theory of national literary epic poetry in Europe, paying particular attention to its development among Albanians, Croats, Montenegrins, and Serbs. The first chapters will be devoted to the elaboration of a proper theoretical background and historical framing to the concept of national epic poetry and its role in the cultivation of national thought in Europe. -
The Annotated Waste Land with Eliot's Contemporary Prose
the annotated waste land with eliot’s contemporary prose edited, with annotations and introduction, by lawrence rainey The Annotated Waste Land with Eliot’s Contemporary Prose Second Edition yale university press new haven & london First published 2005 by Yale University Press. Second Edition published 2006 by Yale University Press. Copyright © 2005, 2006 by Lawrence Rainey. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Set in Scala by Duke & Company, Devon, Pennsylvania Printed in the United States of America. Library of Congress Control Number: 2006926386 A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Commit- tee on Production Guidelines for Book Longevity of the Council on Library Resources. ISBN-13: 978-0-300-11994-7 (pbk. : alk. paper) ISBN-10: 0-300-11994-1 (pbk. : alk. paper) 10987654321 contents introduction 1 A Note on the Text 45 the waste land 57 Editor’s Annotations to The Waste Land 75 Historical Collation 127 eliot’s contemporary prose London Letter, March 1921 135 The Romantic Englishman, the Comic Spirit, and the Function of Criticism 141 The Lesson of Baudelaire 144 Andrew Marvell 146 Prose and Verse 158 vi contents London Letter, May 1921 166 John Dryden 172 London Letter, July 1921 183 London Letter, September 1921 188 The Metaphysical Poets 192 Notes to Eliot’s Contemporary Prose 202 selected bibliography 251 general index 261 index to eliot’s contemporary prose 267 Illustrations follow page 74 the annotated waste land with eliot’s contemporary prose Introduction Lawrence Rainey when donald hall arrived in London in September 1951, bear- ing an invitation to meet the most celebrated poet of his age, T. -
Ramayana, the Epic of Rama, Prince of India
The Ramayana Condensed into English Verse by Romesh C. Dutt To The Right Hon. Professor F. Max Muller Who has devoted his lifetime to the elucidation of the learning, literature, and religion of ancient India and has recognised and vindicated what is true and great and ennobling in modern India this translation of the Ramayana is dedicated as a sincere token of the esteem and regard of my countrymen. 3 Contents A Note on the Late Romesh C. Dutt Bibliography Book I. Sita-Swayamvara (The Bridal of Sita) I. Ayodhya, the Righteous City II. Mithila, and the Breaking of the Bow III. The Embassy to Ayodhya IV. Meeting of Janak and Dasa-ratha V. The Preparation VI. The Wedding VII. Return to Ayodhya Book II. Vana-Gamana-Adesa (The Banishment) I. The Council Convened II. The People Consulted III. The City Decorated IV. Intrigue V. The Queen’s Demand VI. The King’s Lament VII. The Sentence Book III. Dasa-ratha-Viyoga (The Death of the King) I. Woman’s Love II. Brother’s Faithfulness 4 III. Mother’s Blessings IV. Citizens’ Lament V. Crossing the Tamasa: the Citizens’ Return VI. Crossing the Ganges, Bharad-vaja’s Hermitage VII. Crossing the Jumna – Valmiki’s Hermitage VIII. Tale of the Hermit’s Son Book IV. Rama-Bharata-Sambada (The Meeting of the Princes I. The Meeting of the Brothers II. Bharat’s Entreaty and Rama’s Reply III. Kausalya’s Lament and Rama’s Reply IV. Jabali’s Reasoning and Rama’s Reply V. The Sandals VI. The Hermitge of Atri Book V. -
MODERNIST POETRY Poems to Be Studied: a Noiseless Patient Spider
MODERNIST POETRY Poems to be studied: A Noiseless Patient Spider (Walt Whitman) – page 7 The Second Coming (William Butler Yeats) – page 8 The Garden (Ezra Pound) – page 9 Musee des Beaux Arts (Wystan Hugh Auden) – page 10 A Brief Guide to Modernism SOURCE: http://www.poets.org/poetsorg/text/brief-guide-modernism “That’s not it at all, that’s not what I meant at all” —from "The Love Song of J. Alfred Prufrock," by T. S. Eliot English novelist Virginia Woolf declared that human nature underwent a fundamental change “on or about December 1910.” The statement testifies to the modern writer’s fervent desire to break with the past, rejecting literary traditions that seemed outmoded and diction that seemed too genteel to suit an era of technological breakthroughs and global violence. “On or about 1910," just as the automobile and airplane were beginning to accelerate the pace of human life and Einstein’s ideas were transforming our perception of the universe, there was an explosion of innovation and creative energy that shook every field of artistic endeavor. Artists from all over the world converged on London, Paris, and other great cities of Europe to join in the ferment of new ideas and movements: Cubism, Constructivism, Futurism, Acmeism, and Imagism were among the most influential banners under which the new artists grouped themselves. It was an era when major artists were fundamentally questioning and reinventing their art forms: Henri Matisse and Pablo Picasso in painting, James Joyce and Gertrude Stein in literature, Isadora Duncan in dance, Igor Stravinsky in music, and Frank Lloyd Wright in architecture. -
Early Cantos I-XLI
Early Cantos I-XLI The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Albright, Daniel. 1999. Early Cantos I-XLI. In The Cambridge Companion to Ezra Pound, ed. Ira B. Nadel, 59-91. Cambridge: Cambridge Univ. Press. Published Version http://dx.doi.org/10.1017/CCOL0521431174.004 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:3355470 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Albright, p. 1 Published in The Cambridge Companion to Ezra Pound. Cambridge: Cambridge UP, 1999. 59- 91. Daniel Albright University of Rochester EARLY CANTOS I-XLI Here begins the great unwieldy poem, all light and mud, to which Ezra Pound devoted much of his life. It was the work of a poet too ambitious, too afraid of being cramped, to work according to a plan. Instead of a plan, Pound devised new Cantos out of his schemes to make sense of his of old Cantos, so that the story of the Cantos comprises two intertwined stories, one concerning Pound's writing of the poem, the other concerning Pound's interpretations of what he had already written. This twin story begins in 1915, when Pound was thirty years old, and felt that it was time to write a grand poem worthy of Homer and Dante. As early as 1909, Pound told his mother that he intended to write an epic; but he was not immediately certain how to proceed. -
Highlights of American Literature. INSTITUTION United States Information Agency, Washington, DC
DOCUMENT RESUME ED 417 420 CS 216 258 AUTHOR Bode, Carl TITLE Highlights of American Literature. INSTITUTION United States Information Agency, Washington, DC. Bureau of Educational and Cultural Affairs. PUB DATE 1995-00-00 NOTE 291p.; "First published 1981; this edition reprinted 1995." PUB TYPE Guides - Classroom Learner (051) Guides Classroom Teacher (052) EDRS PRICE MF01/PC12 Plus Postage. DESCRIPTORS *Authors; Discussion (Teaching Technique); English (Second Language); Literary History; Literary Styles; *Novels; *Poetry; Questioning Techniques; *Reading Materials; Secondary Education; *United States Literature IDENTIFIERS Historical Background ABSTRACT Intended for high-intermediate/advanced level students of English as a foreign language, this book contains selections from the wide range of American literature, from its beginnings to the modern period. Each section begins with a general introduction to the literary period, and then presents essays about individual authors, selections from the author's writings, discussion questions at the end of each prose selection or group of poems, and discussion questions at the end of each chapter. The "National Beginnings" section discusses Benjamin Franklin, Washington Irving, James Fenimore Cooper, Philip Freneau, William Cullen Bryant, Edgar Allan Poe, and Nathaniel Hawthorne. The "Romanticism and Reason" section discusses Ralph Waldo Emerson, Henry David Thoreau, Herman Melville, Henry Wadsworth Longfellow, Walt Whitman, Emily Dickinson, Mark Twain, Stephen Crane, and Henry James, "The -
T.S. Eliot's Anti-Modernism: Poetry and Tradition in the European Waste Land John Bedecarré Claremont Mckenna College
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2012 T.S. Eliot's Anti-Modernism: Poetry and Tradition in the European Waste Land John Bedecarré Claremont McKenna College Recommended Citation Bedecarré, John, "T.S. Eliot's Anti-Modernism: Poetry and Tradition in the European Waste Land" (2012). CMC Senior Theses. Paper 472. http://scholarship.claremont.edu/cmc_theses/472 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. INTRODUCTION I have shed tears twice over the course of my college career: when my dog died, and while reading The Love Song of J. Alfred Prufrock on a still summer night before my senior year. I had read the poem countless times before then and had always found a kindred spirit in the poem’s insecure, socially paralyzed narrator. But my experience that summer evening was different, probably because I realized that Eliot was twenty-two when he wrote it- my age. I cried for Eliot himself, out of some awe or love for humanity that a man like him once lived and breathed. A senior thesis in history may not be the proper place to record my emotional response to Eliot’s poetry, yet the personal experience of reading his work, the emotions and feelings it has excited in me, the indescribable elevation of my spirit that has followed encounters with his verse are responsible for my decision to write about him. I chose to focus on The Waste Land because it seemed like a challenge, and because I had a vague idea, even before reading the poem, that the issues with which it deals must be worth analyzing. -
Rereading the Long Poem: Introduction Uri S
Rereading the Long Poem: Introduction Uri S. Cohen and Michael Golston ur interest in the long poem grew out of an informal reading group held at Columbia University during the spring of 2011. Our readings originated in our differ- ent fields—namely, English and Hebrew—as well as in our various shared European Obackgrounds, and our sessions were dedicated to reading “difficult” or even “impossible” poems that by virtue of their sheer length challenged or defied conventional reading practices and to all appearances aspired to exhaust and finally to defeat their readers. As congeries of impossi- bilities that somehow shed light on possibilities, modernist long poems soon became the focal point, and we quickly understood that while long poems appear in many, if not all, literary tra- ditions, the meanings of their length have always been local and localized, inevitably inscribed in practices of reading involving collaboration, conversation, criticism, and the logics of com- munity and friendship. A second version of this group convened a conference at the Heyman Center at Columbia University in the fall of 2016, and this is where the present collection of essays originated. We thought to extend the scope of our discussions by focusing on structural questions regarding the nature of the length of long poems: What makes a poem long? When does a poem become long? What does length do, and how does it go about doing it? These are some of the questions that we will not be answering directly here, although the essays included in this special issue of Dibur work toward addressing them in multiple ways.