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The article offers poetry criticism of the unfinished poem "The Fall of Hyperion: A Dream," by John Keats, focusing on his use of the term wild Indian leaf. It is said that tree leaves were used as paper in India and that Keats would likely have used the word savage to refer to East Indians rather than to Native Americans.

The article discusses the inscriptions on the Ruthwell Cross, which forms part of what has come to be called "The Ruthwell Crucifixion Poem," which was the subject of research by scholar John M. Kemble. The similarities between this poem and "The Dream of the Rood." It is noted that in a paper written in 1840, Kemble failed to identify the speaker of the Ruthwell poem as the Cross. Scholar Pamela O'Neill and her rejection of the idea that the Cross speaks to the dreamer in the Ruthwell poem is discussed.

The article offers poetry criticism of the poem "An Elegy" by Ben Jonson. It explores the identity of the woman addressed in the elegy and suggests that she may have been Blanche Glover, the wife of Jonson's friend Alexander Glover. Topics discussed include Jonson's frequent rhyming of "love" and "glove," anagrams, and the work of literary scholar F.G. Fleay.

A criticism is provided of the Old English poem "Against a Wen," with a particular focus on its alliterative metrical form and rhyming. An overview of the cultural aspects of alliterative Old English verse in the 12th century is provided.

The author presents a literary criticism of the Middle English poem "Piers Plowman" by William Langland. He discusses the role of the personification of perfection in the character Patience, the theme of penitence, and presents arguments against the interpretations of the poem by literary critics David Aers and Nicholas Watson.

The article characterizes an unfinished and unpublished manuscript poem, "To Strasburg and To Switzerland," written by William Makepeace Thackeray in the Berg Collection of English and American Literature at the New York Public Library in New York. Topics discussed include the novelist's literary uses of memory written in the context of nostalgia, description of the writer's handwriting, and elements of homesickness from a Swiss soldier's point of view.

The author presents a criticism of a series of Middle English prayers written in poetic form. Topics include the question of attribution of these prayers to English poet John Skelton, the stylistic evidence in favor of his authorship, and a presentation of the texts.

The article presents an in-depth analysis of the translation and literary elements of the anonymous Old English poem "The Descent into Hell," found within the Exeter Book. Introductory details are given describing the unpopularity of the work among scholastic circles. Topics then addressed include a listing of different epithets for God in the work, the poem's theme of God's love for mankind, and the translation of the adjective reþe.

The article presents an examination into Andrew Marvell's allusionary references within his lyric poem "The Unfortunate Lover," to Ovid's legendary tale of Ceyx and Alcyone found in the classical Latin work "Metamorphoses." Parallels between the two tales are then cited and explicated, highlighting thematic similarities regarding birds, shipwrecks and love as well as noting divergences between them.

The article presents an analysis of lines 2105-2114 of the old English epic "Beowulf," focusing on the depiction of entertainment within the royal court of Heorot. Alternating interpretations of the compound term "fela fricgende" are highlighted, pointing out their different thematic consequences. Further discussion is offered identifying the reference to "gomela Scilding."

The article reviews the book "Medieval Alliterative Poetry--Essays in Honour of Thorlac Turville-Petre," edited by John A. Burrow and Hoyt N. Duggan.

The article characterizes a number of verses in the poem "Musen-Almanach für das Jahr 1797," by Friedrich Schiller, and how these distichs correlate with the poem "Ad Vilmum Axiologum," by Samuel Taylor Coleridge. Topics discussed include Coleridge's translation of three distichs with inspiration from the effect of English romantic poet William Wordsworth on the reader, vital importance of an understanding reader, and afterlife of Wordsworth's poetry as evident in Ad Vilmum.

The article offers poetry criticism of the poem "So cruell prison" traditionally titled the "Windsor Elegy" by Henry Howard, Earl of Surrey. The author states that line 21 is significantly confusing in regard to interpretation. The article discusses the origins of the appearance of the poem and the variations in three versions of the poem.

The article presents a note of literary history and criticism, discussing the translation of the epic Anglo-Saxon poem "The Seafarer," by the American modernist author and poet Ezra Pound. Details are given noting Pound's edition of the work, citing significant changes and stylistic differences in the conclusion of his published translation and suggesting they are a reflection of his individual poetic style. Other topics include alterations of grammar, removal of Chrisitian references, and the difficulty of life at sea.

A criticism is presented for the Middle English poem "Cleanness," by an unknown author, that focuses on line 112 of the poem. Topics discussed include the ways in which the poem is a paraphrase of a parable found in the Bible's Book of Matthew, the representation of Biblical figures Abraham and Sarah in the poem, and the different meanings of "father" and "mother" in the poem and in the Bible.

The article offers poetry criticism of the anonymous poem "Andreas and the Fates of the Apostles," noting the meaning of the Old English phrase ēst ahwette in line 339. The author argues that the phrase means to make incisively effective, which is contrary to Germanic grammars and dictionaries as related by critic Kenneth R. Brooks.

The article looks at rainbow imagery used in English poet William Blake's illustration that accompanied his work "Jerusalem" The author gives specific attention to the concept of an "anti-rainbow" image that appears with Blake's poem, describing it as Satan's response to the Rainbow of Forgiveness that appeared to Noah in the Bible. Included are references to the English poet John Milton's "Paradise Lost," Blake's painting "A Vision of the Last Judgment," and "The Divine Comedy" by Italian poet Dante Alighieri.

The article discusses an 1816 poem by an unnamed prisoner of London's King's Bench Prison entitled "An elegy in the King's Bench Prison. In Imitation of Gray's Elegy in a Church Yard" that draws inspiration from the 1751 Thomas Gray work "Elegy Written in Country Churchyard." The author analyzes the content of the poem, which includes description of the London prison's poor appearance and conditions, the ethics of the prison marshal regarding liquor sales, and the lack of reforms to the prison.

The article looks at a possible allusion to the poem "De Rerum Natura" by Roman poet Lucretius that appears in American poet Theodore Roethke's poem "The Small." The author focuses on the line "and things throw light on things" that appears at the end of Roethke's poem and in a translation of Lucretius by George Santayana. While unable to directly prove Roethke's inspiration, the author attempts to show Roethke's exposure to the Roman poet through his literary studies and connections with other poets, including Louise Bogan and Robert Lowell.

The article offers poetry criticism of the Old English poem "Beowulf." The author examines the poem's depiction of two halls: Heorot hall and the hall belonging to the character of Grendel. He examines a problematic passage in which Grendel has displaced the inhabitants of Heorot hall and focuses on the main features of Grendel's hall, including light, space, treasures, and dryness.

The article presents a note of literary history and criticism, discussing the interpretation of the poem "A Charm," by John Peale Bishop. Details are given noting the early 20th-century poem's use of a cypher and its obscure references and allusions. An explanation of the poem's figures of speech is given through the context of children's games.

The author presents a literary criticism of the Old English poem "Exodus." He discusses two sections of the poem, commenting on the Old English verb "hyrde" in one section, and the problem of an uneven meter in the other section.

The article offers poetry criticism of sonnets by writer William Shakespeare, including "Sonnet 107," "Sonnet 55," and "Sonnet 111." The author argues that the relative percentages of third person singular verbs ending in either eth or es can be used to date Shakespeare's sonnets through comparison with the vocabulary used in his plays, the dates of which are known.

The article offers poetry criticism of the anonymous Old English poem "The Panther," which is part of a version of the bestiary genre physiologus. The article notes the treatment of quotations of the Christian apostle Paul from the New Testament books Acts and II Corinthians. The author addresses the distinction between the narrator's voice and the possible direct quotation of the apostle in light of the phrasing used by the Vulgate, a Latin translation of the Bible.

The article reviews the book "The Ulster Renaissance: Poetry in Belfast 1962-1972," by Heather Clark.

The article presents a note of literary history and criticism, discussing questions of the accuracy of the term "Quebec County" used in T. S. Eliot's poem "The Waste Land." Discussion is given noting the inaccuracy of the term in the 21st-century, but asserts that through investigation of period geography and Eliot's specific style regarding description of place the term can be legitimized.