This broad-ranging Companion gives readers a thorough grounding in both the background and the substance of eighteenth-century poetry in all its rich variety. An up-to-date and wide-ranging guide to eighteenth-century poetry. Reflects the dramatic transformation which has taken place in the study of eighteenth-century poetry over the past two decades. Opens with a section on contexts, discussing poetry's relationships with patriotism, politics, science, and the visual arts, for example. Discusses poetry by male and female poets from all walks of life. Includes numerous close readings of individual poems, ranging from Pope's The Rape of the Lock to Mary Collier's The Woman's Labour. Includes more provocative contributions on subjects such as rural poetry and the self-taught tradition, British poetry 'beyond the borders', the constructions of femininity, women as writers and women as readers. Designed to be used alongside David Fairer and Christine Gerrard's Eighteenth-century Poetry: An Annotated Anthology (Blackwell Publishing, Second Edition, 2003).
Thomas Hardy's reputation as a poet is higher now than it has ever been. It is generally agreed that the Poems of 1912-13, written in memory of his first wife, are some of the greatest elegies in the language. This invaluable new study concentrates on the 'Emma Poems', setting them in the context of Hardy's troubled first marriage, then analysing them one by one. John Greening - a poet himself and author of the Greenwich Exchange Guides to Poets of the First World War and W.B. Yeats - highlights the distinctive music of this twenty-one poem 'suite', while exploring the sexual and spiritual tensions concealed witihn Hardy's Dorsetshire and North Cornish landscapes.
Literary Criticism by A. Nicholas Fargnoli,Vice-President of the James Joyce Society and Professor of Theology and English A Nicholas Fargnoli,Michael Patrick Gillespie
The works of twenty composers from the golden age of English romantic song, major figures - Parry, Stanford, Vaughan Williams, Quilter, Ireland, Gurney, Warlock and Finzi - studied alongside the lesser-known.
Elisabeth Lutyens (1906-1983), Elizabeth Maconchy (1907-1994) and Grace Williams (1906-1977) were contemporaries at the Royal College of Music. The three composers' careers were launched with performances in the Macnaghten-Lemare Concerts in the 1930s - a time when, in Britain, as Williams noted, a woman composer was considered 'very odd indeed'. Even so, by the early 1940s all three had made remarkable advances in their work: Lutyens had become the first British composer to use 12-note technique, in her Chamber Concerto No. 1 (1939-40); Maconchy had composed four string quartets of outstanding quality and was busy rethinking the genre; and Williams had won recognition as a composer with great flair for orchestral writing with her Fantasia on Welsh Nursery Tunes (1940) and Sea Sketches (1944). In the following years, Lutyens, Maconchy and Williams went on to compose music of striking quality and to attain prominent positions within the British music scene. Their respective achievements broke through the 'sound ceiling', challenging many of the traditional assumptions which accompanied music by female composers. Rhiannon Mathias traces the development of these three important composers through analysis of selected works. The book draws upon previously unexplored material as well as radio and television interviews with the composers themselves and with their contemporaries. The musical analysis and contextual material lead to a re-evaluation of the composers' positions in the context of twentieth-century British music history.
Literary Criticism by Morriss H. Needleman,William Bradley Otis
What is the relation of Soviet culture to Russian culture? How does a Soviet poet differ from a Russian poet? Sarah Pratt traces these interwoven questions in the work of Nikolai Zabolotsky, a figure ranking just behind Pasternak, Mandelstam, and Akhmatova in modern Russian poetry and the first major poet to come to light in the Soviet period. The book identifies a "Soviet" impulse, marked by a veneer of Marxist ideology and political acceptability, and a "Russian" impulse that reflects prerevolutionary mores and the cultural bedrock of Russian Orthodoxy. Because of this apparent split, and because Zabolotsky's career was punctuated by a term in a prison camp that emphasized the differences between his early and late works, the poet has often come across as enigmatic and politically suspect. Pratt, however, demonstrates an underlying continuity in Zabolotsky's work, which embodies the mixture of brash iconoclasm and indelibly embedded tradition that shaped the culture of his homeland for most of the twentieth century.The book focuses on selected moments that both reflect basic impulses within Russian culture and define major aspects of Zabolotsky's individual poetic identity. While recognizing the apparent contradictions in Zabolotsky's life and works, Pratt delineates four cultural constants that inform his poetic vision: a sense of "half-peasant" identity; a worldview steeped in Russian Orthodoxy; a strong bond to Russian and western European literary tradition; and an unflinching recognition of Soviet reality. Presenting close readings of poems and numerous relevant documents, the book examines Zabolotsky's contribution to the avant-garde Oberiu group; his responses to Symbolism,Acmeism, and contemporary painting; his complex relationship to Russian Orthodoxy; and his awareness of the inescapable political dimensions of his time. In the end, Pratt argues it was precisely the contradictions that made
English literature by William Bradley Otis,Morriss H. Needleman
George Tyrrell's Relationship to the Thought of Matthew Arnold
Author: Nicholas Sagovsky
Publisher: CUP Archive
Tyrrell and Arnold take their place in a peculiarly English theological tradition. Appreciation of this tradition is of the first importance in understanding the background to contemporary Anglicanism and contemporary Catholicism. More than that, it offers a way of bridging the gulf between the world that to Tyrrell and Arnold was dead or dying and the world of the late twentieth century with all the questions that they began to perceive - two prophetic individuals unable to live with the Church of their day and unable to find the Church of the future.
Author: Friedrich Schiller, Samuel Taylor Coleridge
Publisher: Jazzybee Verlag
This is the second part of the Wallenstein trilogy by German playwright and mastermind Friedrich Schiller. The work as a whole produced a profound impression, and it is certainly Schiller's masterpiece in dramatic literature. He brings out with extraordinary vividness the ascendency of Wallenstein over the wild troops whom he has gathered around him, and at the same time we are made to see how the mighty general's schemes must necessarily end in ruin, not merely because a plot against him is skilfully prepared by vigilant enemies, but because he himself is lulled into a sense of security by superstitious belief in his supposed destiny as revealed to him by the stars. Wallenstein is the most subtle and complex of Schiller's dramatic conceptions, and it taxes the powers of the greatest actors to present an adequate rendering of the motives which explain his strange and dark career. The love-story of Max Piccolomini and Thekla is in its own way not less impressive than the story of Wallenstein with which it is interwoven. This is the bilingual edition of this literary masterpiece including the English and German versions of the play.