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Why do we often teach English poetic meter by the Greek terms iamb and trochee? How is our understanding of English meter influenced by the history of England's sense of itself in the nineteenth century? Not an old-fashioned approach to poetry, but a dynamic, contested, and inherently nontraditional field, \"English meter\" concerned issues of personal and national identity, class, education, patriotism, militarism, and the development of English literature as a discipline.The Rise and Fall of Metertells the unknown story of English meter from the late eighteenth century until just after World War I. Uncovering a vast and unexplored archive in the history of poetics, Meredith Martin shows that the history of prosody is tied to the ways Victorian England argued about its national identity. Gerard Manley Hopkins, Coventry Patmore, and Robert Bridges used meter to negotiate their relationship to England and the English language; George Saintsbury, Matthew Arnold, and Henry Newbolt worried about the rise of one metrical model among multiple competitors. The pressure to conform to a stable model, however, produced reactionary misunderstandings of English meter and the culture it stood for. This unstable relationship to poetic form influenced the prose and poems of Robert Graves, Siegfried Sassoon, Wilfred Owen, W. B. Yeats, Ezra Pound, and Alice Meynell. A significant intervention in literary history, this book argues that our contemporary understanding of the rise of modernist poetic form was crucially bound to narratives of English national culture.

HarperCollins is proud to present its incredible range of best-loved, essential classics.'Why can't people have what they want? The things were all there to content everybody; yet everybody has the wrong thing.'Just before the First World War, two young couples meet in Germany. The seemingly perfect yet brittle relationship of the Ashburnhams soon gives way to unhappiness and betrayal, and respectability to adultery and deception. The Dowells are no less affected by infidelity, and everyone caught up in their four lives is tainted by emotional turmoil and moral ambiguity, and tragic consequences follow.Inspired by his own life, Ford Madox Ford's novel, originally titled 'The Saddest Story', utilised the device of the unreliable narrator to tell his universal story of love and loss.

La Gran Guerra aparece regularmente en la poesía de Michael Longley, por razones familiares, estéticas o políticas. El volumen A Hundred Doors, publicado en 2011, contiene poemas relacionados con su padre y los denominados 'poetas de guerra', junto a otros que abordan también el amor, la naturaleza, la vida y la muerte. El artículo mostrará la interrelation de temas que caracteriza toda su obra poética, en la que, en palabras del propio Longley \"la poesía de la naturaleza fertiliza la poesía bélica\". Palabras clave. Michael Longley, Gran Guerra, figura paterna, poetas de guerra, elegía, soneto, vida, muerte, naturaleza, crianza. The Great War has featured regularly in Michael Longley's poetry, for personal, family, aesthetic and political reasons. His collection published in 2011 under the title A Hundred Doors contains a number of poems relating to his father and the so-called War Poets, in connection with others in which love and nature, life and death are also dominant themes. This article will show how, as elsewhere in his poetry, everything is interrelated, \"the nature poetry\", in Longley's words, \"fertilizing the war poetry\". Key Words. Michael Longley, Great War, father-figure, war poets, elegy, sonnet, life, death, nature, nurture.

They are nine women with much in common—all German speaking, all poets, all personal witnesses to the horror and devastation that was World War II. Yet, in this deeply moving collection, each provides a singularly personal glimpse into the effects of war on language, place, poetry, and womanhood. After Every War is a book of translations of women poets living in Europe in the decades before and after World War II: Rose Ausländer, Elisabeth Langgässer, Nelly Sachs, Gertrud Kolmar, Else Lasker-Schüler, Ingeborg Bachmann, Marie Luise Kaschnitz, Dagmar Nick, and Hilde Domin. Several of the writers are Jewish and, therefore, also witnesses and participants in one of the darkest occasions of human cruelty, the Holocaust. Their poems, as well as those of the other writers, provide a unique biography of the time—but with a difference. These poets see public events through the lens of deep private losses. They chart the small occasions, the bittersweet family ties, the fruit dish on a table, the lost soul arriving at a railway station; in other words, the sheer ordinariness through which cataclysm is experienced, and by which life is cruelly shattered. They reclaim these moments and draw the reader into them. The poems are translated and introduced, with biographical notes on the authors, by renowned Irish poet Eavan Boland. Her interest in the topic is not abstract. As an Irish woman, she has observed the heartbreaking effects of violence on her own country. Her experience has drawn her closer to these nine poets, enabling her to render into English the beautiful, ruminative quality of their work and to present their poems for what they are: documentaries of resilience—of language, of music, and of the human spirit—in the hardest of times.

John Weever's 1599 poem to Shakespeare has frequently been used to support the case that Shakespeare was celebrated by his contemporaries. William R. Jones examines the language of the poem as well as its context (particularly Weever's role in the exchanges known as the Poets' War and in the 1599 ban on satire and epigram) to suggest that the poem deserves a more nuanced reading. Beginning with Weever's epigram to John Marston and Ben Jonson, Jones argues that Weever's apparently adulatory poems to these three playwrights in fact assert the moral deficiency of their works, consistent with Puritan anti-theatrical rhetoric.