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How W. H. Auden's emigration to the United States changed the course of postwar American poetry W. H. Auden's emigration from England to the United States in 1939 marked more than a turning point in his own life and work—it changed the course of American poetry itself. The Age of Auden takes, for the first time, the full measure of Auden's influence on American poetry. Combining a broad survey of Auden's midcentury U.S. cultural presence with an account of his dramatic impact on a wide range of younger American poets—from Allen Ginsberg to Sylvia Plath—the book offers a new history of postwar American poetry. For Auden, facing private crisis and global catastrophe, moving to the United States became, in the famous words of his first American poem, a new \"way of happening.\" But his redefinition of his work had a significance that was felt far beyond the pages of his own books. Aidan Wasley shows how Auden's signal role in the work and lives of an entire younger generation of American poets challenges conventional literary histories that place Auden outside the American poetic tradition. In making his case, Wasley pays special attention to three of Auden's most distinguished American inheritors, presenting major new readings of James Merrill, John Ashbery, and Adrienne Rich. The result is a persuasive and compelling demonstration of a novel claim: In order to understand modern American poetry, we need to understand Auden's central place within it.

The Shenxian daohua ju of the Yuan dynasty closely relates to Daoism. However, the essence and boundary of these two concepts have not been clearly defined and delineated in the existing research, which leads to confusion in analyzing their relationship. This article provides methodologies for defining Shenxian daohua ju and Daoism. Based on the extant Yuan zaju texts and confined to the themes of seclusion, deliverance, and ascending to immortality, we enumerate the particular dramatic texts of Shenxian daohua ju. Then, we limit the objects of the concept of Daoism to specific Daoist sects in history and highlight that the criteria for determining whether a Shenxian Dao (Celestial Being Sect) belongs to Daoism are provided by the officially recognized Daozang (Daoist canon). According to the above understanding of these two concepts, we explore their relationship from the following perspectives. First, in terms of composition subjects, these include the frustrated Confucian literati, the vassal Kings, and the imperial literati; the Shenxian daohua ju written by frustrated literati in the Yuan dynasty is not the embodiment of Daoist doctrines as some of the researchers conclude. Second, in light of the “aesthetic distinction”, we can also take Shenxian daohua ju as pure literary works and interpret these dramas from their literary structures and rhythmical forms. Third, from the perspective of the literary tradition, although with the adoption of Daoist themes, the Shenxian daohua ju of the Yuan dynasty still belongs to the Confucian poetic tradition. Its negation of secular life and advocacy of the ideal world follow the Confucian poetic teachings of “criticizing those above”. Objectively speaking, due to the influence of Daoism, the Shenxian daohua ju with the Daoist themes breaks through the taboo topics prescribed in Confucian literary principles to a certain extent and enriches Chinese literature.

This essay focuses on two Moroccan immigrant authors whose recent works provide insights into transnational feminisms in contemporary poetry and narrative. Najat El Hachmi’s Mare de llet i mel (2018) and Lamiae El Amrani’s Poesía femenina y sociedad (2010) highlight Moroccan women’s collective voices through poetic storytelling and contribute to the contemporary transnational feminist movement. This study analyzes the two works and comments on contemporary feminist and poetic theory as they relate to transnational Peninsular feminism and to the future of Moroccan literature written in Castilian and Catalan. Both authors avoid the pitfalls of certain third-wave, transnational, feminist stances by focusing on the collective voices of Moroccan women and by emphasizing the oral poetic traditions of Moroccan culture and how such forms uniquely communicate transnational feminist perspectives, particularly in the context of global migrations.Este estudio se centra en dos autoras inmigrantes marroquíes cuya obra reciente ofrece perspectivas iluminadoras sobre los femenismos peninsulares transnacionales en la poesía y la narrativa contemporáneas. Mare de llet i mel de Najat El Hachmi (2018) y Poesía femenina y sociedad de Lamiae El Amrani (2010) resaltan las voces colectivas de las mujeres marroquíes a través de narraciones poéticas y le aportan contribuciones importantes al movimiento feminista transnacional contemporáneo. Este estudio analiza ambas obras y ofrece un debate sobre la teoría poética y feminista contemporánea en relación con el feminismo peninsular transnacional y el futuro de la literatura marroquí en castellano y en catalán. Cada escritor ofrece una perspectiva diferente que evita ciertos escollos feministas de la tercera ola del feminismo, en parte al enforcarse en las voces colectivas de las mujeres marroquíes, y en parte al enfatizar las tradiciones poéticas orales de la cultura marroquí y cómo tales formas comunican las perspectivas feministas transnacionales, particularmente en el contexto de las migraciones globales.

In seeing melancholy as the antithesis of poetic creativity, the Victorians often broke with the traditional Renaissance and Romantic attitudes of equating melancholy moods with artistic or poetic genius. This article proposes to explore how, initially viewed as an emotional and ‘depressed’ woman poet, Elizabeth Barrett Browning tried to resist and escape the sickening disempowerment or abandonment which had affected poets such as Felicia Hemans and Letitia Landon, and engage in a new poetics of melancholy in Sonnets from the Portuguese (1850). It demonstrates how the poet plays this poetics out in most of her later sonnets, where she indeed attempts to prove that good poetry can be written without melancholy, even if she herself does not always succeed in this deliberate rejection of ‘dejection’. The article thus intends to suggest, through a brief comparative analysis, that her apparently contradictory poetics of melancholy very probably derived from a specifically Portuguese poetic tradition, namely the ‘fondness for being sad’ of Luís de Camões, as well as the sorrowful love of Mariana Alcoforado’s epistles (1669) and of Soror Maria do Céu’s mannerist poems, an influence that is supported in the great similarity of motives and language that can be found in the respective texts.

\"Because I am not silent,\" George Oppen wrote, \"the poems are bad.\" What does it mean for the goodness of an art to depend upon its disappearance? InBeing Numerous, Oren Izenberg offers a new way to understand the divisions that organize twentieth-century poetry. He argues that the most important conflict is not between styles or aesthetic politics, but between poets who seek to preserve or produce the incommensurable particularity of experience by making powerful objects, and poets whose radical commitment to abstract personhood seems altogether incompatible with experience--and with poems. Reading across the apparent gulf that separates traditional and avant-garde poets, Izenberg reveals the common philosophical urgency that lies behind diverse forms of poetic difficulty--from Yeats's esoteric symbolism and Oppen's minimalism and silence to O'Hara's joyful slightness and the Language poets' rejection of traditional aesthetic satisfactions. For these poets, what begins as a practical question about the conduct of literary life--what distinguishes a poet or group of poets?--ends up as an ontological inquiry about social life: What is a person and how is a community possible? In the face of the violence and dislocation of the twentieth century, these poets resist their will to mastery, shy away from the sensual richness of their strongest work, and undermine the particularity of their imaginative and moral visions--all in an effort to allow personhood itself to emerge as an undeniable fact making an unrefusable claim.

This article examines the emergence of Specular Poetry, an emerging poetic field that has significantly consolidated through published poetry books and specialized anthologies in recent years. The term itself has been coined over this period. The research is organized into three sections: the first explores the dialogues between various poetic currents in Spain and Latin America, highlighting mutual influences. The second section focuses on identifying essential references by analyzing works and authors that have played a significant role in its development. Finally, the third section addresses the specific characteristics of Specular Poetry and its connection to the avant-garde tradition of the 20th century. This analysis reveals how this innovative poetic approach, despite its connections to previous movements, introduces textual disruptions that enrich the current landscape of literary creation. Este artículo examina el surgimiento de la Poesía especular, campo poético emergente que ha experimentado una consolidación notable a través de la publicación de libros de poesía y antologías especializadas en los últimos años. La denominación de este término se ha acuñado a lo largo de este periodo. La investigación se organiza en tres secciones: la primera indaga en los diálogos entre diversas corrientes poéticas de España y América Latina, destacando las influencias mutuas. La segunda sección se enfoca en identificar referentes esenciales, analizando obras y autores que han desempeñado un papel significativo en su desarrollo. Finalmente, la tercera sección aborda las características particulares de la Poesía especular y su conexión con la tradición vanguardista del siglo XX. Este análisis revela cómo este enfoque poético innovador, a pesar de sus conexiones con movimientos anteriores, introduce disrupciones textuales que enriquecen el panorama actual de la creación literaria.

The Advent Lyrics, a group of Old English religious antiphons (formerly called Christ I) dating from about the 9th century, are presented in this edition as an independent group of poems disengaged, for the first time, from Cynewulf's Christ. Professor Campbell’s study focuses on the significance of the antiphons as lyrics rather than as philological documents. The book includes a full critical introduction, a new text and modern English translation (on facing pages), critical notes, and a glossary.Originally published in 1959.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Combining literary and philosophical analysis, this study defends an utterly innovative reading of the early history of poetics. It is the first to argue that there is a distinctively Socratic view of poetry and the first to connect the Socratic view of poetry with earlier literary tradition. Literary theory is usually said to begin with Plato's famous critique of poetry in the Republic. Grace Ledbetter challenges this entrenched assumption by arguing that Plato's earlier dialogues Ion, Protagoras, and Apology introduce a distinctively Socratic theory of poetry that responds polemically to traditional poets as rival theorists. Ledbetter tracks the sources of this Socratic response by introducing separate readings of the poetics implicit in the poetry of Homer, Hesiod, and Pindar. Examining these poets' theories from a new angle that uncovers their literary, rhetorical, and political aims, she demonstrates their decisive influence on Socratic thinking about poetry. The Socratic poetics Ledbetter elucidates focuses not on censorship, but on the interpretation of poetry as a source of moral wisdom. This philosophical approach to interpreting poetry stands at odds with the poets' own theories--and with the Sophists' treatment of poetry. Unlike the Republic's focus on exposing and banishing poetry's irrational and unavoidably corrupting influence, Socrates' theory includes poetry as subject matter for philosophical inquiry within an examined life. Reaching back into what has too long been considered literary theory's prehistory, Ledbetter advances arguments that will redefine how classicists, philosophers, and literary theorists think about Plato's poetics.

Arion's Lyreexamines how Hellenistic poetic culture adapted, reinterpreted, and transformed Archaic Greek lyric through a complex process of textual, cultural, and creative reception. Looking at the ways in which the poetry of Sappho, Alcaeus, Ibycus, Anacreon, and Simonides was preserved, edited, and read by Hellenistic scholars and poets, the book shows that Archaic poets often look very different in the new social, cultural, and political setting of Hellenistic Alexandria. For example, the Alexandrian Sappho evolves from the singer of Archaic Lesbos but has distinct associations and contexts, from Ptolemaic politics and Macedonian queens to the new phenomenon of the poetry book and an Alexandrian scholarship intent on preservation and codification. A study of Hellenistic poetic culture and an interpretation of some of the Archaic poets it so lovingly preserved,Arion's Lyreis also an examination of how one poetic culture reads another--and how modern readings of ancient poetry are filtered and shaped by earlier readings.

Contemporary poetic traditions define themselves as experimental when they disrupt either realist representation or semantic realism. Some of these experimental poetic traditions date back to the seventeenth century. They have been widely influential across the world, and are now part of the poetic mainstream. Mainstream poetry in other traditions also works to avoid cliché.