THE INFLUENCE of MILTON Oi WORDSWORTH's POETRY

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The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17Th-First Half of the 18Th Century

The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Siedina, Giovanna. 2014. The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:13065007 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 © 2014 Giovanna Siedina All rights reserved. Dissertation Advisor: Author: Professor George G. Grabowicz Giovanna Siedina The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century Abstract For the first time, the reception of the poetic legacy of the Latin poet Horace (65 B.C.-8 B.C.) in the poetics courses taught at the Kyiv Mohyla Academy (17th-first half of the 18th century) has become the subject of a wide-ranging research project presented in this dissertation. Quotations from Horace and references to his oeuvre have been divided according to the function they perform in the poetics manuals, the aim of which was to teach pupils how to compose Latin poetry. Three main aspects have been identified: the first consists of theoretical recommendations useful to the would-be poets, which are taken mainly from Horace’s Ars poetica.
The Order of Authors: Degrees of 'Popularity' and 'Fame' in John Clare's Writing

The Order of Authors: Degrees of ‘Popularity’ and ‘Fame’ in John Clare’s Writing ADAM WHITE Abstract: This essay analyses Clare’s essay ‘Popularity in Authorship’, arguing that the work can be seen as a central statement in Clare’s recurrent concern with poetic fame and authorial reputation. By connecting ‘Popularity in Authorship’ with Clare’s sonnets on his Romantic contemporaries (Robert Bloomfield and Lord Byron), the essay contends that Clare’s complex understanding of ‘popular’ and ‘common’ notions of fame helps to bring into focus a distinctive contribution to debates about how authors were received by different audiences in the period. Contributor: Adam White currently teaches in English and American Studies at the University of Manchester, where he obtained his PhD. He has published a number of essays on Romantic poetry, most recently on Robert Burns and John Clare. In 2012 his essay on Leigh Hunt, John Keats, John Hamilton Reynolds, and John Clare was awarded second prize in the Keats-Shelley Memorial Association competition. For The Literary Encyclopedia he has written entries on Lord Byron, John Keats, the Brontë sisters, Charles Dickens, and Thomas Hardy. In a letter of 29 August 1828 to Thomas Pringle,1 John Clare states that ‘I would sooner be the Author of Tam o shanter then of the Iliad & Odyssey of Homer’ (Storey 437).2 It is intriguing that Clare should voice a bold preference for being the author of ‘Tam o’ Shanter’ given that earlier in his career he had in fact been called ‘a second [Robert] Burns’ (Storey 105) after the instant success of his first volume, Poems Descriptive of Rural Life and Scenery (1820).
Introduction

Introduction The Ladies, I should tell you, have been dealing largely and profitably at the shop of the Muses. And the Hon. Mrs. Norton ... has been proving that she has some of the true ink in her veins, and has taken down several big boys in Mr. Colburn's Great Burlington School. Mrs. Hemans, too, has been kindly noticed by Mr. Murray, and has accomplished the difficult feat of a second edition. Apollo is beginning to discharge his retinue of sprawling men-servants, and to have handmaids about his immortal person, to dust his rays and polish his bow and fire-irons. If the great He- Creatures intend to get into place again, they must take Mrs. Bramble's advice, and "have an eye to the maids." -John Hamilton Reynolds (1832) Although their influence and even their existence has been largely unac knowledged by literary scholars and critics throughout most of the twentieth century, women poets were, as their contemporary John Hamilton Reynolds nervously acknowledged, a force to be reckoned with in early-nineteenth century Britain.1 Not only Felicia Hemans and Caroline Norton but Letitia Elizabeth Landon and Mary Howitt were major players and serious competi tors in the literary marketplace of Reynolds's time. Their poetry was reviewed in the most prestigious journals, respected by discerning readers, reprinted, imitated, anthologized, sung, memorized for recitation, copied into com monplace books, and bought by the public. Before their time, prominent writers such as Joanna Baillie, Anna Letitia Barbauld, Hannah More, Mary Robinson, Anna Seward, Charlotte Smith, Mary Tighe, and others helped to change the landscape of British poetry both in style and in subject matter.
Times and Tides of Tuberculosis Perceptions Revealed in Literature, Keats to Sontag

TIMES AND TIDES OF Tuberculosis PERCEPTIONS REVEALED IN LITERATURE, KEATS TO SONTAG THOMAS M. DANIEL Medical History Books by Thomas M. Daniel Polio (editor, with Frederick C. Robbins) Captain of Death: The Story of Tuberculosis Pioneers of Medicine and Their Impact on Tuberculosis Drama and Discovery. The Story of Histoplasmosis (with Gerald L. Baum) Wade Hampton Frost. Pioneer Epidemiologist. 1880–1938. Up to the Mountain. John Keats, 1795-1821 Pencil drawing by Shannon Casey TIMES AND TIDES OF TUBErcULOSIS Perceptions Revealed in Literature, Keats to Sontag Thomas M. Daniel 2013 · Fithian Press, McKinleyville California Copyright © 2013 by Thomas M. Daniel All rights reserved Printed in the United States of America The interior design and the cover design of this book are intended for and limited to the publisher’s first print edition of the book and related marketing display purposes. All other use of those designs without the publisher’s permission is prohibited. Cover photograph by Arthur B. McComb, May 3, 1988. Abandoned building of the White Haven Sanatorium. The White Haven Sanatorium opened in 1901 and operated until it closed on March 1, 1956. It housed an average of 617 tuberculosis patients annually. It attempted to provide free or low-cost care for tuberculosis victims of limited means. Published by Fithian Press A division of Daniel and Daniel, Publishers, Inc. Post Office Box 2790 McKinleyville, CA 95519 www.danielpublishing.com Distributed by SCB Distributors (800) 729-6423 library of congress cataloging-in-publication data Daniel, Thomas M., 1928- author. Times and tides of tuberculosis : perceptions revealed in literature, Keats to Sontag / by Thomas M.
Romantic Age :– an Introduction

ROMANTIC AGE :– AN INTRODUCTION DR. MANOJ KUMAR CHATURVEDI Assist. Prof. English, Janta Mahavidyalay, Ajeetmal, Auriya (UP) INDIA The Romantic period in English Literature has a very wide sense in itself. As it has taken its birth from French revolution which took place in 1789. But the exact date of the beginning of Romantic period with the publication of “Lyrical Ballad” in 1789 by words worth with the collaboration of Coleridge. There were many changes seen in the poetry of Romantic period. The poets of like Wordsworth, Coleridge, Shelley, Keats and Byron challenged the theory of poetry propounded by the poets of the eighteenth century. Wordsworth made a cry to his fellow poets “Return to Nature”. The Romantic period is special and unique in the Horizon of English literature. Actually romanticism became a controversial word with three phenomena associated with a change occurring in utopian sensibility towards the end of the 18th Century and extending into the present. Basically it started in Germany and England during the 1790’s as a new mode of imagination and vision and spread with considerable modification throughout Europe between 1800 and 1830. Keywords: Meaning of The word ‘Romance’, beginning of The Romantic Period, Characteristics, major poets of the period, type of poetry, etc. INTRODUCTION The word ‘romance’ which was originally used to signify a long tale in prose or verse, changed its meaning, in the course of time and came to stand for the modern as opposed to the antique or classical writings. “It was the German critic Friedrich Schlegel, who had first used the term Romantic to designate a school of literature as opposed to the classic.
Poetic Diction, Poetic Discourse and the Poetic Register

proceedings of the British Academy, 93.21-93 Poetic Diction, Poetic Discourse and the Poetic Register R. G. G. COLEMAN Summary. A number of distinctive characteristics can be iden- tified in the language used by Latin poets. To start with the lexicon, most of the words commonly cited as instances of poetic diction - ensis; fessus, meare, de, -que. -que etc. - are demonstrably archaic, having been displaced in the prose register. Archaic too are certain grammatical forms found in poetry - e.g. auldi, gen. pl. superum, agier, conticuere - and syntactic constructions like the use of simple cases for pre- I.positional phrases and of infinitives instead of the clausal structures of classical prose. Poets in all languages exploit the linguistic resources of past as well as present, but this facility is especially prominent where, as in Latin, the genre traditions positively encouraged imitatio. Some of the syntactic character- istics are influenced wholly or partly by Greek, as are other ingredients of the poetic register. The classical quantitative metres, derived from Greek, dictated the rhythmic pattern of the Latin words. Greek loan words and especially proper names - Chaoniae, Corydon, Pyrrha, Tempe, Theseus, Zephym etc. -brought exotic tones to the aural texture, often enhanced by Greek case forms. They also brought an allusive richness to their contexts. However, the most impressive charac- teristics after the metre were not dependent on foreign intrusion: the creation of imagery, often as an essential feature of a poetic argument, and the tropes of semantic transfer - metaphor, metonymy, synecdoche - were frequently deployed through common words. In fact no words were too prosaic to appear in even the highest poetic contexts, always assuming their metricality.
The English Lake District

La Salle University La Salle University Digital Commons Art Museum Exhibition Catalogues La Salle University Art Museum 10-1980 The nE glish Lake District La Salle University Art Museum James A. Butler Paul F. Betz Follow this and additional works at: http://digitalcommons.lasalle.edu/exhibition_catalogues Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation La Salle University Art Museum; Butler, James A.; and Betz, Paul F., "The nE glish Lake District" (1980). Art Museum Exhibition Catalogues. 90. http://digitalcommons.lasalle.edu/exhibition_catalogues/90 This Book is brought to you for free and open access by the La Salle University Art Museum at La Salle University Digital Commons. It has been accepted for inclusion in Art Museum Exhibition Catalogues by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. T/ie CEnglisti ^ake district ROMANTIC ART AND LITERATURE OF THE ENGLISH LAKE DISTRICT La Salle College Art Gallery 21 October - 26 November 1380 Preface This exhibition presents the art and literature of the English Lake District, a place--once the counties of Westmorland and Cumber land, now merged into one county, Cumbria— on the west coast about two hundred fifty miles north of London. Special emphasis has been placed on providing a visual record of Derwentwater (where Coleridge lived) and of Grasmere (the home of Wordsworth). In addition, four display cases house exhibits on Wordsworth, on Lake District writers and painters, on early Lake District tourism, and on The Cornell Wordsworth Series. The exhibition has been planned and assembled by James A.
JL Borges and the Poetic Art of the Icelandic Skalds

Sigrún Á. Eiríksdóttir “El verso incorruptible” Jorge Luis Borges and the Poetic Art of the Icelandic Skalds If the same words were repeated over and again, they could fade and become like a shaped coin, “stiff and dead upon the earth”. Einar Ólafur Sveinsson, Við uppspretturnar (At the Source). The kenning as rhetoric (of myth and history) round 1220 the Icelandic writer and historian, Snorri Sturlu- son, wrote a treatise on the rhetoric art of the skaldic poetry (“Skáldskaparmál”) which some seven hundred years later A 1 was partly reproduced by Borges in Argentina. When Borges wrote his essay on the kennings in 1933, he had not be- gun his studies of Old Norse and based his observations on transla- tions, into both English and German as indicated by his appendixed bibliography. Yet we can suppose that he had already become ac- quainted with the basic principle behind the kennings when he was a young boy and read Völsungasaga in the translation of William Morris 1 “Las kenningar”, in Historia de la eternidad. All references to Borges’ work (unless otherwise stated) are to Jorge Luis Borges, Obras completas, hereafter referred to as OC. On Snorri and Borges’ fascination and admiration for him see Literaturas germá- nicas medievales (LGM hereafter), the poem “Snorri Sturluson (1179-1241)” (El otro, el mismo), and my essay “‘La alucinación del lector’. Jorge Luis Borges and the legacy of Snorri Sturluson”. Variaciones Borges 2/1996 38 Sigrún Á. Eiríksdóttir and Eiríkr Magnússon.2 There he would have come across archaisms and even coinages from Germanic roots which the translators resorted to in order to capture the ancient and “barbaric” flavour of the original.
{DOWNLOAD} the Poems in Verse Ebook

THE POEMS IN VERSE PDF, EPUB, EBOOK Stephane Mallarme | 285 pages | 01 Mar 2012 | Miami University Press | 9781881163503 | English | United States Verse - Examples and Definition of Verse Eliot observed of Hamlet , it is the Mona Lisa of literature. What happens when we die? John Milton, Paradise Lost. Five years have past; five summers, with the length Of five long winters! The poem is one of the great hymns to tranquillity, quiet contemplation, and self-examination in all of English literature, and a quintessential piece of Romantic poetry written in meditative blank verse. Elizabeth Barrett Browning, Aurora Leigh. It may be that the gulfs will wash us down: It may be we shall touch the Happy Isles, And see the great Achilles, whom we knew. In this classic dramatic monologue, the ageing Ulysses prepares to leave his home of Ithaca and sail off into the sunset on one last adventure. Or is he a bold and hardy adventurer whose persistence we should admire as — well, as heroic? Readers are often divided on that issue…. I am poor brother Lippo, by your leave! You need not clap your torches to my face. Like Tennyson, Browning pioneered the dramatic monologue in the s and s, and one of his finest examples is also written in blank verse. Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity.
William Wordsworth (7 A;뼈 1770 - 23 Ap벼 1850)

William Wordsworth (7 A;뼈 1770 - 23 Ap벼 1850) Judith W. Page Millsaps College BOOKS: AnEv’e1’↑따r Peter Bell, A Tale in Verse (London: Printed by dressed to a young Lady, [rom the Lakes o[ the Strahan & Spottiswoode for Longman, North o[ Englaηd (London: Printed for J. Hurst, Rees, Orme & Brown, 1819); johnson, 1793); The Waggoner, A Poem. To Which are added, Sonnets Descriptive Sketches. ln Verse. Take'ft 4t띠ng a Pedes (London: Printed by Strahan & Spot trian Tour in the ltalian, G:매:son， Swi:ss, and Sa tiswoode for Longman, Hurst, Rees, Orme voyard Aφ's (London: Printed for J. johnson, & Brown, 1819); 1793); M강cellaη eous Poems o[ William Word:sworth, 4 vol Lyrical Ballad:s, with a [ew other Poems (Bristol: umes (London: Printed for Longman, Printed by Biggs & Cottle for T. N. Long Hurst, Rees, Orme & Brown, 1820); man, London, 1798; London: Printed for J. The River Dμddoη， A se얘es o[ Sonnets: Vaudracmιr & A. Arch 1798; enlarged edition 2 vol , , q,nd Jμ lia: and Other Poems. To which 강 aη umes, London: Printed for T. N. Longman nexed, A Topographical Desc얘 tioη o[ the Coun & Rees by Biggs &. Co., Bristol, 1800; Phil o. tη， o[ the Lakes, in the North o[ Eη.glaηd (Lon adelphia: Printed & s이d by james Hum don: Printed for Longman, Hursì:, Rees, phreys, 1802); Orme & Brown, 1820); Poems, in two Volumes (London: Printed for Long ADαcπÖ:þ tioη o[ the Sceη ery o[ the Lakes in The N orth man, Hurst, Rees & Orm~ ， 1807); o[ Eη.glaηd. Third Editioη， (Now [irst publi:shed Concerning the Convention o[ Cintra (London: separately) (London: Printed for Longman, Printed for Longman, Hurst, Rees & Orme Hurst, Rees, Orme & Brown, 1822; revised 1809); and enlarged, 1823); revised and enlarged TheEχ:cursion， being a portion o[ The Recluse, a Poem again as A Gμide through the Di:strict o[ the (London: Printed for Longman, Hurst, Lakes in The N orth o[ Eηgland (Kendal: Pub Rees, Orme & Brown, 1814; New York: C.
Wordsworth's Subliminal Lyric

Haunted Metre: Wordsworth’s Subliminal Lyric by Adrian Harding (Université de Provence & American University in Paris) Given Wordsworth’s condemnation, in the 1800 Preface to the Lyrical Ballads, of the “frantic novels, sickly and stupid German tragedies, and deluges of idle and extravagant stories in verse,” exciting the reading public’s “degrading thirst after outrageous stimulation” (LB 249), it has been customary to approach his relations to the Gothic in terms of readerships, grounded on or eventually grounding a sociology of reception. In this paper I am assuming the transference of the Gothic charge more intimately upon Coleridge, despite the latter’s own disparagement of the seductions of Gothic literature, as in the (perhaps strategic) letter of 27 December 1802 to Mary Robinson: “My head turns giddy, my heart sickens at the very thought of seeing such books in the hands of a child of mine” (Griggs, 94). The terms of Coleridge's condemnation of the Gothic provide a counterpart to Wordsworth's lyric phenomenology: “combinations of the highest sensation, wonder produced by supernatural power, without the means—thus gratifying our instinct of free-will that would fain be emancipated from the thraldom of ordinary nature—& and would indeed annihilate both space & time” (Notebooks 3449). What interests me here are the ways in which Wordsworth works with familiar, not unfamiliar, spirits, in a bringing up of language from what Hegel in The Philosophy of Spirit calls the “night-like mine” or “unconscious pit” (Hegel §453) from which signs emerge, to “the light of things” (“The Tables Turned”), the emancipations and annihilations operating from within “metrical language” to motivate any possible incursion or excursion through “ordinary nature”, any possible space and time of writing, any signs of a presence.
Short Title: STRUCTURAL PATTERNS in WORDSWORTH's the EXCURSION

Short Title: STRUCTURAL PATTERNS IN WORDSWORTH'S THE EXCURSION ABSfRACf SfRUCI1JRAL PAITERNS IN \\URDSWOR'lH'S nIE EXaJRSION ROYOON SALICK DEP'T OF ENGLISH lwk:GILL UNIVERSITY M.A. TIiESIS. Except for Lyon' s treatment of the sources and analogues of The Excursion, there bas not bean any detailed discussion of the structure of the poem. This essay shows that The Excursion does possess an overall epic pattern. This essay further examines the intricate relationship between the actual pilgrimage and the spiri tuaI odyssey of the Solitary . Too, this essay discusses Wordsworth' s ingenious use of a liturgical pattern and its cor relation with the various stages of the excursion, actual and spiritual. STRUCTURAL PATrERNS IN WILLliiM WORDSWORrHI S THE EXCURSION by roYOON SAL!CK A thesis submitted to the Faculty of Graduate Studies and Researcb 10 partial fulfllment of the requirements for the degree of Master of Artso Departaent of English KcGil1 University Montreal. July 1971. (' - -- .-- '-' ln 1949 Ernest de Selincourt produced the long-awaited Oxford Edition oi The Excursion, which Kelen Daro:Lshire revised and corrected in 1959. This Darbishire-de Selincourt Edition has become the definitive edition. In 1950 J. S. Lyon published an excellent introduction to The Excursion; and in 1965 Mary Moorman gave us the standard biography of Wordsworth. Although the spadework has been completed, there remains much to be done; the art1st1e elemeüts, especially the str~t~re and imagery, of The Excursion have been sacHy neglected. The time seems ripe, therefore, for a close critica1 analysis of The Excursion. This essay purports to be at least the beginning of such a study.