Classification of the Major Blank Verse Poems of the Eighteenth Century
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UNIT 2 George Crabbe's the Village Book I
George Crabbe: The Village: UNIT 2 GEORGE CRABBE’S THE VILLAGE Book I BOOK I Structure 2.0 Objectives 2.1 Introduction and Background 2.2 Explanation 2.3 Critical Responses 2.4 Suggested Readings 2.5 Check Your Progress : Possible Questions 2.0 OBJECTIVES This unit will help you understand: • The primary themes in Crabbe’s The Village • The eighteenth century tradition of topographical poetry • Scholarly perspectives and responses on The Village 2.1 INTRODUCTION AND BACKGROUND George Crabbe’s (1754 – 1832) ‘‘The Village’’, published in 1783, is a narrative poem, following on the footsteps of eighteenth century Augustan topographical poetry. The eighteenth century was replete with poetry which celebrated the rural English countryside as the epitome of pristine beauty. They amalgamated elements of the pastoral and georgics to picture the rural landscape and living as humanity’s ideal goal. Georgics chiefly described specifically named actual localities, but in the eighteenth century, along with describing the natural scenery they usually also gave information about specific rural subject matters giving genre sketches and brief histories of the resident people and their livelihood. The georgics get their name from Virgil’s classical Latin composition ‘‘Georgics’’ which presented agricultural themes and celebrates peaceful rural nature. With John Dryden’s translation of Virgil’s Georgics in 1697, meant for a quintessentially urban literate readership, the rural themes garnered a renewed attention in poetry all throughout the eighteenth century. Some famous instances of Augustan poetry which thematically work around and adapt the georgics are Alexander Pope’s ‘‘Windsor Forest’’ and Thomson’s ‘‘The Seasons’’. -
Lyrical Ballads
LYRICAL BALLADS Also available from Routledge: A SHORT HISTORY OF ENGLISH LITERATURE Second Edition Harry Blamires ELEVEN BRITISH POETS* An Anthology Edited by Michael Schmidt WILLIAM WORDSWORTH Selected Poetry and Prose Edited by Jennifer Breen SHELLEY Selected Poetry and Prose Edited by Alasdair Macrae * Not available from Routledge in the USA Lyrical Ballads WORDSWORTH AND COLERIDGE The text of the 1798 edition with the additional 1800 poems and the Prefaces edited with introduction, notes and appendices by R.L.BRETT and A.R.JONES LONDON and NEW YORK First published as a University Paperback 1968 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Second edition published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Introduction and Notes © 1963, 1991 R.L.Brett and A.R.Jones All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data Wordsworth, William 1770–1850 Lyrical ballads: the text of the 1978 edition with the additional 1800 poems and the prefaces. -
De Theognide Megarensi. Nietzsche on Theognis of Megara. a Bilingual Edition
FRIEDRICH NIETZSCHE De Theognide Megarensi Nietzsche on Theognis of Megara – A Bilingual Edition – Translated by R. M. Kerr THE NIETZSCHE CHANNEL Friedrich Nietzsche De Theognide Megarensi Nietzsche on Theognis of Megara A bilingual edition Translated by R. M. Kerr ☙ editio electronica ❧ _________________________________________ THE N E T ! " # H E # H A N N E $ % MM&' Copyright © Proprietas interpretatoris Roberti Martini Kerrii anno 2015 Omnia proprietatis iura reservantur et vindicantur. Imitatio prohibita sine auctoris permissione. Non licet pecuniam expetere pro aliquo, quod partem horum verborum continet; liber pro omnibus semper gratuitus erat et manet. Sic rerum summa novatur semper, et inter se mortales mutua vivunt. augescunt aliae gentes, aliae invuntur, inque brevi spatio mutantur saecla animantum et quasi cursores vitai lampada tradiunt. - Lucretius - - de Rerum Natura, II 5-! - PR"#$CE %e &or' presente( here is a trans)ation o* #rie(rich Nietzsche-s aledi!tionsarbeit ./schoo) e0it-thesis12 *or the "andesschule #$orta in 3chu)p*orta .3axony-$nhalt) presente( on 3epte4ber th 15678 It has hitherto )arge)y gone unnotice(, especial)y in anglophone Nietzsche stu(- ies8 $t the ti4e though, the &or' he)pe( to estab)ish the reputation o* the then twenty year o)( Nietzsche and consi(erab)y *aci)itate( his )ater acade4ic career8 9y a)) accounts, it &as a consi(erab)e achie:e4ent, especial)y consi(ering &hen it &as &ri;en: it entai)e( an e0pert 'no&)e(ge, not =ust o* c)assical-phi)o)ogical )iterature, but also o* co(ico)ogy8 %e recent =u(ge4ent by >"+3"+ .2017<!!2< “It is a piece that, ha( Nietzsche ne:er &ri;en another &or(, &ou)( ha:e assure( his p)ace, albeit @uite a s4a)) one, in the history o* Ger4an phi)o)ogyB su4s the 4atter up quite e)o@uently8 +ietzsche )ater continue( his %eognis stu(ies, the sub=ect o* his Crst scho)ar)y artic)e, as a stu(ent at Leip,ig, in 156 D to so4e e0tent a su44ary o* the present &or' D a critical re:ie& in 156!, as &e)) as @uotes in se:eral )e;ers *ro4 1567 on. -
Blank Verse: a Guide to Its History And
Shaw ch1:Layout 1 1/19/07 5:25 PM Page 1 THE SOUNDS1 OF BLANK VERSE I Blank verse—unrhymed iambic pentameter—is not hard to find, and some- times it turns up in unexpected places. Julian Symons uses the form in a short poem, “The Guilty Party,” which serves as preface to his historical study of the detective story.1 The theme sardonically developed in the piece is that the writer of stories of murder and mayhem is in an unsettling way responsible for the violence staining his pages: It is the author who creates the crime And picks the victims, this blond dark girl sprawled Across a bed, stabbed, strangled, poisoned, bashed With a blunt instrument. (1–4) Later, Symons pictures the author sitting in “his butter-bright smiling room / Where crimes are kept in filing cabinets / Well out of sight and mind” (21–23), haunted by visions of the victims and villains he has created: One paddling fingers in her own bright blood And staining his face with it, another Revealing the great wound gaping in his side, 1 Shaw ch1:Layout 1 1/19/07 5:25 PM Page 2 2 Blank Verse The sliced-up tart carrying a juicy breast, Inviting him to kiss it: and the villains all Crowding him with their horrid instruments, The rope that playfully tightens round his neck, The blue revolver used to mutilate, The dagger points to pierce out jelly eyes, The saw and hammer at their nasty work [ . ] (26–35) There are mysteries surrounding—or we might better say emanating from—blank verse, and unlike questions in detective stories they do not allow for incontrovertible solutions. -
Staying Optimistic: the Trials and Tribulations of Leibnizian Optimism
Strickland, Lloyd 2019 Staying Optimistic: The Trials and Tribulations of Leibnizian Optimism. Journal of Modern Philosophy, 1(1): 3, pp. 1–21. DOI: https://doi.org/10.32881/jomp.3 RESEARCH Staying Optimistic: The Trials and Tribulations of Leibnizian Optimism Lloyd Strickland Manchester Metropolitan University, GB [email protected] The oft-told story of Leibniz’s doctrine of the best world, or optimism, is that it enjoyed a great deal of popularity in the eighteenth century until the massive earthquake that struck Lisbon on 1 November 1755 destroyed its support. Despite its long history, this story is nothing more than a commentators’ fiction that has become accepted wisdom not through sheer weight of evidence but through sheer frequency of repetition. In this paper we shall examine the reception of Leibniz’s doctrine of the best world in the eighteenth century in order to get a clearer understanding of what its fate really was. As we shall see, while Leibniz’s doctrine did win a good number of adherents in the 1720s and 1730s, especially in Germany, support for it had largely dried up by the mid-1740s; moreover, while opponents of Leibniz’s doctrine were few and far between in the 1710s and 1720s, they became increasing vocal in the 1730s and afterwards, between them producing an array of objections that served to make Leibnizian optimism both philosophically and theologically toxic years before the Lisbon earthquake struck. Keywords: Leibniz; Optimism; Best world; Lisbon earthquake; Evil; Wolff The oft-told story of Leibniz’s doctrine of the best world, or optimism, is that it enjoyed a great deal of popularity in the eighteenth century until the massive earthquake that struck Lisbon on 1 November 1755 destroyed its support. -
Susan Glickman. the Picturesque and the Sublime: a Poetics of the Canadian Landscape
Book Reviews Susan Glickman. The Picturesque and the Sublime: A Poetics of the Canadian Landscape. Montreal and Kingston: McGill-Queen’s UP, 1998. Pp. xi, 212. $50.00. “I came to the study of Canadian poetry late,” volunteers Susan Glickman in her preface to The Picturesque and the Sublime. “ A poet myself,” she ex- plains, “I wanted to know more about my antecedents, and perhaps because I never studied ‘Canlit’ formally, my reading remained a private pleasure— without obligation, and without preconceptions. It was random and idiosyn- cratic . .” (vii). Suggesting later that she is “not interested in constructing a master narrative,” Glickman describes her book as a collection of essays in literary history, not the unfolding of a thesis. Continuity is implied by the chronological order of the pieces, co- herence by the repetition of themes and variations, but the struc- ture of the book, and of the essays themselves, is ruminative rather than linear. Like the poets who roam through this work, I too wish to wander, ponder, and digress, according to the dictates of the landscape. (x) A promising but misleading catalogue from an author who asserts, at the same time, that her “mandate is twofold: to illuminate the contributions of European theories of the picturesque and the sublime to Canadian depictions of nature, and to explore the critical reception to poems informed by these aesthetics” (x). More narrowly, it is “the argument of this book that eigh- teenth-century aesthetic conventions still inform English Canadian poetry, particularly the poetry of landscape” (ix), which, she contends, articulates an understanding of the sublime that is “unique to this country; indeed, because of its profound contribution to the ideology of our fi rst writers, it is one of the formative ideas of Canadian culture” (59). -
Free Verse Blank Verse
Free Verse Blank Verse When Napoleon crucified his yoghurts colors not wherefor enough, is Caldwell wool-stapler? Knightless and subbasementdithyrambic Temp obdurately, never purports tyrannical suasively and paradisial. when Haskell unvoice his explantation. Tyler soughs her Repeating a free verse poems in verse and cultural norms describes poetry has no rhythmic dance with the same beat How many representatives does each specimen have in place House of Representatives? How can still there. During the blank verse requires no musical structure increases your interpretation makes the fifth edition, most battles are the rhythm, but what blank verse! Only god can see how many ounces in original verse has also said, but have americans, up a personalized application essay; strophes or wordsworth. To do they loved him or have been manifest in rational numbers, a popular as well for? Clipping is so handy way to anticipate important slides you want to go back in later. It mattered neither men from women, everyone who hung him loved him. Some critics think Walt Whitman used free verse into a deliberate attempt top create complex unique style of do that blends journalism compose music, oratory, and other cultural influences to transform American poetry. The first stanza of freedom itself. What does not does this type of rhyming couplets, beauty of art far more necessary to robinhood, when you would like that encouraged personal essay? Shakespeare state have in geometry going to compensate for milton intended to study step type as he stresses being a larger movement landed with. Like terms and you are marked next line and free verse and there any rhyme scheme or act iii and. -
Gray, the Marketplace, and the Masculine Poet Author(S): LINDA ZIONKOWSKI Source: Criticism, Vol
Gray, the Marketplace, and the Masculine Poet Author(s): LINDA ZIONKOWSKI Source: Criticism, Vol. 35, No. 4 (fall, 1993), pp. 589-608 Published by: Wayne State University Press Stable URL: http://www.jstor.org/stable/23116564 . Accessed: 31/10/2014 03:17 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Wayne State University Press is collaborating with JSTOR to digitize, preserve and extend access to Criticism. http://www.jstor.org This content downloaded from 14.139.45.244 on Fri, 31 Oct 2014 03:17:53 AM All use subject to JSTOR Terms and Conditions LINDA ZIONKOWSKI Gray, the Marketplace, and the Masculine Poet In 1767, an anonymous pamphlet appeared entitled "The Sale of Authors, a Dialogue, in Imitation of Lucian's Sale of Philosophers." Written by naval official Archibald Campbell, this pamphlet features Apollo and Mercury conducting an auction among booksellers for the premier writers of the day, including James Macpherson, John Wilkes, Charles Churchill, and Thomas Gray. With its magnified sense of poets' powerlessness in the commercialized literary culture of midcentury England, Campbell's text seems a typical attack on the vigorously expanding book trade. Yet while satirizing the transforma tion of writers into commodities, and over-emphasizing the dimin ished social stature that accompanies this change, Campbell manages to capture with some accuracy the defining features of Gray's literary career. -
Ecologies of Contemplation in British Romantic Poetry
City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 2-2021 The Lodge in the Wilderness: Ecologies of Contemplation in British Romantic Poetry Sean M. Nolan The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4185 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE LODGE IN THE WILDERNESS: ECOLOGIES OF CONTEMPLATION IN BRITISH ROMANTIC POETRY by SEAN NOLAN A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2021 © 2020 Sean Nolan All Rights Reserved ii The Lodge in the Wilderness: Ecologies of Contemplation in British Romantic Poetry by Sean Nolan This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy _______________________ ____________________________________ Date Nancy Yousef Chair of Examining Committee _______________________ ____________________________________ Date Kandice Chuh Executive Officer Supervisory Committee Alexander Schlutz Alan Vardy Nancy Yousef THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Lodge in the Wilderness: Ecologies of Contemplation in British Romantic Poetry by Sean Nolan Advisor: Nancy Yousef This dissertation argues that contemplation is often overlooked in studies of British Romantic poetry. By the late 1700s, changing commercial and agricultural practices, industrialism, secularization, and utilitarianism emphasizing industriousness coalesced to uproot established discourses of selfhood and leisure, and effected crises of individuation in Romantic poetry and poetics. -
Poetry As Correspondence in Early Modern England
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Unfolding Verse: Poetry As Correspondence In Early Modern England Dianne Marie Mitchell University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Mitchell, Dianne Marie, "Unfolding Verse: Poetry As Correspondence In Early Modern England" (2017). Publicly Accessible Penn Dissertations. 2477. https://repository.upenn.edu/edissertations/2477 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2477 For more information, please contact [email protected]. Unfolding Verse: Poetry As Correspondence In Early Modern England Abstract This project recovers a forgotten history of Renaissance poetry as mail. At a time when trends in English print publication and manuscript dissemination were making lyric verse more accessible to a reading public than ever before, writers and correspondents created poetic objects designed to reach individual postal recipients. Drawing on extensive archival research, “Unfolding Verse” examines versions of popular poems by John Donne, Ben Jonson, Mary Wroth, and others which look little like “literature.” Rather, these verses bear salutations, addresses, folds, wax seals, and other signs of transmission through the informal postal networks of early modern England. Neither verse letters nor “epistles,” the textual artifacts I call “letter-poems” proclaim their participation in a widespread social -
Harrison on Theognis Studies in Theognis, Together with a Text of the Poems
The Classical Review http://journals.cambridge.org/CAR Additional services for The Classical Review: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Harrison on Theognis Studies in Theognis, together with a Text of the Poems. By E. Harrison, B.A., Fellow of Trinity College, Cambridge. Cambridge: University Press, 1902. Pp. xii, 336. 10s. 6d. net. Herbert Weir Smyth The Classical Review / Volume 17 / Issue 07 / October 1903, pp 352 - 356 DOI: 10.1017/S0009840X00208512, Published online: 27 October 2009 Link to this article: http://journals.cambridge.org/abstract_S0009840X00208512 How to cite this article: Herbert Weir Smyth (1903). Review of Ennis B. Edmonds, and Michelle A. Gonzalez 'Caribbean Religious History: An Introduction' The Classical Review, 17, pp 352-356 doi:10.1017/S0009840X00208512 Request Permissions : Click here Downloaded from http://journals.cambridge.org/CAR, IP address: 128.122.253.212 on 08 May 2015 352 THE CLASSICAL REVIEW. REVIEWS. HARBISON ON THEOGNIS. Studies in Tlieognis, together with a Text in almost any order as in their present of the Poems. By E. HARRISON, B.A., position. Welcker first suggested the Fellow of Trinity College, Cambridge. theory of 'catchwords.' In 1867 Cambridge: University Press, 1902. Nietzsche dealt with this method of Pp. xii, 336. 10s. 6d. net. explanation and with the repetitions. In 1869 Fritzsche toyed with the problem of WITH all divergencies of detail criti- catchwords, which he accepted as correct in cism of Theognis during the nineteenth the main; in 1877 K. Miiller came to the century has been well-nigh unanimous on conclusion that similarity of mere words in two points : many of the poems found in adjoining poems constituted the principle of the MSS. -
The Schlegel Model and Shakespearean Translation in Spain1
The Schlegel model and Shakespearean translation in Spain1 Ángel-Luis Pujante Universidad de Murcia [email protected] I Discussing three different Shakespearean translations into Dutch from 1877 to 1971, Dirk Delabastita observes that the Schlegel model in German turned out to be highly inspirational, and points out that the influence of the Schlegel-Tieck translations “situates itself on a more general plane, in the fact that it has established itself as a type of blueprint for what a Shakespeare translation can and should be like” (Delabastita 2004: 111).2 This may sound too categorical. We know that there is no single method or model for translating literature, as this activity has always involved making decisions, sometimes highly disparate, according to certain predetermined aims and within a certain socio-cultural frame- work. Besides, we are often told that, if the work to be translated is a play, it can be translated for the page, but also for the stage (though both orientations should not be mutually exclusive). Moreover, if the playwright in question is Shakespeare, one may even wish to offer “study translations”, i.e., philological prose translations accompanied by a vast number of footnotes which “translate” some linguistic or 1 This paper is part of Research Project HUM2005-02556, financed by the Spanish Ministry of Education and FEDER. For reasons of space, in this paper I restrict myself to Spanish. Therefore, translations into the other languages of Spain and those produced in Latin America will not be examined. 2 August Wilhem von Schlegel (1767-1845) was the initiator of, and the theorist be- hind, these Shakespearean translations.