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The article offers poetry criticism of the poem "The Prelude," by William Wordsworth, focusing on the section "Cambridge and the Alps" in Book 6 of the poem. It examines the role of the poem in determining biographical information about Wordsworth from the summer of 1790, when he and friend Robert Jones traveled in Europe and the Alps. The author discusses the poem in light of cartography and a letter written from Wordsworth to his sister during the European tour.

The paper examines the image of the maternal in Hayyim Nahman Bialik's poetry and short prose. Contrary to most prior critical evaluations, which have viewed the autobiographical or symbolic mother in Bialik's works as a monolithic representation of misery, helplessness, and self-sacrifice, this paper emphasizes the mother's portrayal as a feared, loathed, and highly ambivalent object of identification vis-à-vis the emergence of the romantic Hebrew male poet. In a reading that spans from Bialik's early lyric poetry to his mature epic "Yatmut" (Orphanhood), the author traces the development of the mother image over the course of the poet's adult life and compares it to maternal images in the works of other romantic poets (William Wordsworth, for example). She also draws parallels between the ambivalent knot through which the poet is bound to his mother, and a similar ambivalent knot that cements the bond between national poet and his "people." [ABSTRACT FROM AUTHOR]

The article critiques two published collections of poetry including "White Papers," by Martha Collins and "A Map of the Lost World," by Rick Hilles. Particular focus is given to how Collins and Hilles explore social, political and historical themes in their work. The author also offers insights on common poetic techniques used in American poetry.

The present paper analyzes poetic metaphor and interdiscursivity in the poems of J. S. Anand's Beyond Life! Beyond Death!! The main argument of the paper is that poetic metaphor bears the poet's ideological perspective. This analysis aims at unraveling the contextual roots of poetic metaphor, hence a cognitive linguistic approach. By drawing a link between poetic metaphor and interdiscursivity, the paper shows the poet's reliance on different discourses for the sake of creativity. It is argued there is a dialogical relation between the poet and the different interpellating discourses of his society. This dialogism sheds a new light on the stance of the poet, hence the issue of ideology. The theoretical method of this study is a mixed one of George Lakoff and Mark Johnson's conceptual cognitive linguistics and basic notions of critical discourse analysis. This interdisciplinary lens fills in the gap of either theory when applied to poetry. In Anand's poetry, such poetic strategies as depersonification in the form of bodification and thingification are the dominant tactics which impregnate his poetic metaphors with his critical views. [ABSTRACT FROM AUTHOR]

Abstract-"The Wandering Wingless" is about a dog walker's life in New York City. It seems that the poet is representing his care about the horrors of September 11, the sibling relationship and the intimacy with animals. This paper, first interprets the poem on the basis of Freud's psychoanalytical theory, and then concludes that the output of this poem results from the influences of the death drive on the poet and the castration anxiety. [ABSTRACT FROM AUTHOR]

Eluned Summers-Bremner pursues in her paper "Reading Ondaatje's Poetry" a psychoanalytic reading of Ondaatje's poetry based on Lacan's thought, highlighting occasions where nature and culture meet. Focusing on the volumes Secular Love and The Man with Seven Toes, Summers-Bremner explores how nature's troubled regions are navigated through the structural estrangement of looking for a name. In Lacanian terms, a proper name signals the contradiction of one's belonging to a biological or other kind of family, whence one's name often arises, and being a user or respondent of language, which produces meaning through its infringement or exceeding of its users' intentions, language being prototypically Other or alienating in this sense. Ondaatje's poetry engages nature continually, in a dynamically architectonic fashion, as a world at once embodied and infused with cultural and linguistic losses, a field of structural liminality whose correlatives are memory, love, and desire. The poetry's engagement of nature in the guise of a reading -- as of a letter, code, or name -- puts loss, as does psychoanalysis, in its proper context as the enabler which drives reading and writing subjectivity as a colloquy with these other terms. [ABSTRACT FROM AUTHOR]

This paper examines the influence of Virgil on Martin Luther, paying special attention to a short verse composition of Luther's in Latin, Adversus Armatum Virum Cochlaeum, based on the first lines of the Aeneid. The study suggests that an adequate understanding of Luther's relationship to and use of Virgil needs to take into full account the fact that the Reformer not only knew Virgil's works and quoted from him frequently, but also himself composed verses based on Virgil's. [ABSTRACT FROM AUTHOR]

In the second half of the 11th century, a humanist circle of clerical poets, living around the central valley of the Loire, was writing poetry in classical language and metre. Baudri of Bourgueil, who wrote an impressive corpus of Latin poems, was an expert in the language, style, verse, motifs and genres of the classical and later antique pagan and Christian poetry, and treated theological as well as profane and explicitly ancient topics. About 1107, when he was urged to become bishop and to abandon his personal independence and quiet monastic life, he gave voice to his disgust of the new ecclesiastical burden by a long poem in elegiac distichs. This paper tries to show the ancient genres Baudri has used and transformed and even inverted in order to describe his special situation. Therefore, in imitating the ancient genres, far from showing only his literary culture, he was rather using them in a very specific and personal way. This use of literary traditions can best be analyzed in terms of intertextuality. [ABSTRACT FROM AUTHOR]

In the Middle English Breton lay, Sir Orfeo (c. 1340), the Underworld transforms from its classical prototype of an ominous realm of shadows into the marvellous Otherworld. In this paper, I examine the Orfeo poet's rewriting of Greco-Roman Orpheus tradition with a focus on the poet's reception of the classical Underworld so as to explicate how frequently the poet makes use of romance elements to relocate the Underworld / Otherworld in a context blended with Celtic folklore and chivalric conventions. I argue that the Orfeo poet refashions the classical Underworld and formulates a world full of natural and artistic spectacle. More importantly, far from being a world of mournful shadows and the symbol of forever loss, the Otherworld in Sir Orfeo is a domain of light and hope where mortals encounter adventures, undergo trials, and return to the corporeal world in bliss and good faith. [ABSTRACT FROM AUTHOR]

This analysis of the pattern of translation of Baudelaire's work in Spain during its initial reception--the fin de siècle--explores possible reasons for the comparatively late translation of the poetry and the chronological precedence of versions of other works, such as the prose poems and Les Paradis artificiels. Drawing on aspects of polysystems theory to provide a conceptual context for discussion, this paper suggests that the pattern of translation in Spain can be explained by pragmatic considerations but also by a more discriminating grasp of contemporary literary developments than fin de siècle Spain is sometimes credited with possessing. [ABSTRACT FROM AUTHOR]

The article discusses three poems written by the poet Paul Celan for his son Eric, two of which were titled "Für Eric" and the third of which was untitled. Celan's use of French and German in his work is explored, and themes of the poems written for his son including loss, time, and sacrifice are examined. Celan's mental state while writing the poems and his relationship with his son are also discussed.

This essay examines the late, short poems of Mary Elizabeth Coleridge as examples of the ways in which fin-de-siècle poets tended to use short, rhymed lines to express consciousness of the compression of time at the century's end. The essay contributes to recent scholarship on Victorian prosody by demonstrating that the era's theories and practices of rhyme were as philosophically rich as its theories of rhythm. Remarks on rhyme and time by George Saintsbury, Andrew Lang, and Mary Elizabeth Coleridge are--along with Coleridge's poems--compared to fin-de-siècle philosopher John McTaggart Ellis McTaggart's 'The Unreality of Time' and to contemporary philosopher Giorgio Amgaben's 'The End of the Poem.' [ABSTRACT FROM AUTHOR]

Statius' incomplete Latin epic, the Achilleid, tells the story of the young Achilles' sojourn on Scyros dressed as a girl, before he goes to Troy. The poem was discounted until recently as a curiosity in the Roman epic tradition, a genre which was theorised to be essentially about martial masculinity (Horace AP 73), despite the fact that women and sexual love feature prominently in actual epics. This paper argues that the Achilleid's complex post-Ovidian representation of gender also bears implications for our understanding of Roman epic as a genre. As Achilles struggles towards his literary destiny as the ultimate Homeric warrior, the poem's allusive exploration of gender ultimately reorients the tense relationship of the epic hero to women and amor, and of the epic genre to its own institutionalised masculinity. [ABSTRACT FROM AUTHOR]

This paper investigates the depiction of Clytaemestra and Egistus in the narrative poem of the North African poet, Dracontius. A close reading of the Latin epyllion explores the similarities and differences between this Clytaemestra and Egistus and their representation in the Greek and Roman tradition. [ABSTRACT FROM AUTHOR]

It is now well known that Vergil exploited this twofold nature of the symbol of the Euphrates masterfully. On the one hand he uses it to refer back to Callimachus and in doing so to state his own views on poetry; on the other hand he invokes the famous river of the East to explain how events there impacts on Rome, her new princeps and ultimately his own capacity to write poetry. Propertius, too, was not insensitive to the possibilities afforded by the symbol of the Euphrates and, having Vergil as an example, could exploit the symbol in much the same way as the illustrious poet. This paper is primarily concerned with how Propertius uses the symbol of the Euphrates to speak about his own poetry and the socio-political circumstances in which he wrote. [ABSTRACT FROM AUTHOR]

The article critiques the poem "Touching the Taranaki Campaign" by Matthew Fitzpatrick, and explores the themes of political history in Taranaki, New Zealand and its influence to literary works of poets and literary artists.

This study sought answers related to the distribution of colour terms in Persian poems and their metaphoric reflection in poets' beliefs, ideas, or values. In so doing, 137 Persian verses from two poetry books with colour terms in content were considered for the analysis. Four raters who studied literature of Persian scrutinized the verses for the evaluation of the colour metaphoric conceptualizations. To validate the raters' suggestions, a focus group of sixteen commented on the recommended connotations. Results indicated that colours are not similarly distributed in Persian poems, are used with different conceptualizations and stood for both positive and negative connotations. Therefore, since colours are part of the authors' and speakers' daily lives to express information, knowledge of metaphoric expressions is suggested to be an inseparable part of language classes. [ABSTRACT FROM AUTHOR]

In the eighth and final quarto edition of If You Know Not Me in 1639 Thomas Heywood claims that 'some by stenography drew / The plot: put it in print, scarce one word true' so that the text of the first quarto, and therefore all previous quartos, was defective. This article investigates the means by which this 'piracy' could have been done and provides an initial testing of such theft using a small portion of the text in performance. [ABSTRACT FROM AUTHOR]

The article offers poetry criticism of the two poems "Two Lots Were Given by Providence..." and "More & More Thought!.." by E. A. Baratynsky. It examines on the use of single-syllable words in two important poems on thought by the Russian metaphysical poet. The author also emphasizes the use of monosyllables to engage in the thought of the poems and support the rationality and subversion of logic in his poetry.

The article reviews the book "Postmodern American Poetry: A Norton Anthology," by Paul Hoover, the second edition.

The article reviews the book "The Virtues of Poetry," by James Logenbach.

Eve, named eight times in Paradise Regained, is usually assimilated to the so-called triple equation between the temptations failed by Adam and resisted by the "second Adam" Jesus. In this essay, Andrew Kau argues that the androcentric typological "equation" should be replaced with an "Eve function" that generates from within the "inputs" of the poem's formal and dramatic structures various interpretive "outputs" that challenge its surface values of typological orthodoxy, masculine virtue, and epic triumph. While Satan absorbs the negative role assigned Eve by the mainstream Christian tradition, Jesus gradually becomes identified with the Eve of Paradise Lost, a representative of moral autonomy. [ABSTRACT FROM AUTHOR]

The article critiques the poetry of nineteenth century American poet Emily Dickinson, focusing on poems portraying bridges. It comments on bridges near Dickinson in the Connecticut River Valley of Massachusetts, including several Sunderland bridges. The author analyzes the use of bridges in the poems to reflect Christian concepts such as faith and salvation. Poems analyzed include "Faith – is the Pierless Bridge," known as F978, as well as the poem known as poem F1459.

The poet and publisher Christopher Okigbo has often been interpreted in terms of a shift from ''Euromodernist'' to ''oral African'' poet, from alienated cosmopolitan to committed Biafran. Demonstrating a fresh approach to Okigbo that attends to the print contexts of his poetry and his own involvement with publishing, this essay argues that Okigbo was both engaged with national politics and situated in transnational networks throughout his career. Enabled by a new biography of Okigbo, it first locates him as a member of the Mbari generation, who aimed to shape postcolonial modernity through their aesthetic, cultural, and political practices, then offers a critical reading of three episodes in his poetic career. By examining the periodicals in which his poems appeared and exhuming his little-discussed final poem, this article reveals the interplay among the local, the national, and the transnational across Okigbo's work. [ABSTRACT FROM AUTHOR]

The article offers criticism of the book of poetry "The Tenth Muse Lately Sprung Up in America, by a Gentlewoman in Those Parts," by Anne Bradstreet, a seventeenth century poet from the Massachusetts Bay Colony. It examines her views on gender and femininity, exploring feminine content and feminine strategies. The author also reflects on Bradstreet's use of family as a poetic metaphor. Poems explored include "Of the Four Humours," "The Four Seasons," and "The Four Ages of Man."

The article discusses the poems "L'espinete amoureuse" and "Le joli buisson de Jonece" by Jean Froissart, with particular focus given to the use of narrative fiction presented as the author's experience, or "pseudoautobiography." The fluid nature of truth and memory in Froissart's poems is explored, and its impact on poetic creation is examined.

A critique of column one lines 1-34 of the ancient Greek poem "PMG 654" by Corinna is presented. The author discusses the poem in relation to the mythology developed by ancient Greek poet Hesiod, its use of Boeotian mountains, and the poem's structure. The author describes the birth of the Greek god Zeus in poetry, "Theogony" by Hesiod, and the mythological figures of the Curetes. The author analyzes how Corinna and other poets such as Epimenides of Crete used Hesiod's mythology.

The article discusses the usage of the poem "Kubla Khan," by Samuel Taylor Coleridge in providing figurative elements to the book "Fear and Loathing in Las Vegas," by Hunter S. Thompson. The poem focuses on the Mongolian emperor Kubla Khan, grandson of Mongolian leader Genghis Khan, and his role in building of the enchanted kingdom of Xanadu. The poem is related to the introduction of the book, where it explains the connection between fiction and journalism.

The article examines the poems "Annus miabilis" by the English poet John Dryden and "Sya'ir perang Menkasar" or "Rhymed Chronicle of the Makassar War" by Amin, a scribe employed by the king of Makassar in Indonesia. Particular focus is given to the similar themes of the poets respective countries' wars with the Dutch United Provinces for control of the spice trade, heroic style, and promotion of official court narratives of the wars.

A poetry criticism is presented of book 6 of the epic poem "Posthomerica" by ancient Greek poet Quintus Smyrnaeus in which the author examines issues of intertextuality regarding Quintus' use of bee similes. The author examines Quintus' allusions to the epic poem "Argonautica," by Apollonius of Rhodes, as well as ancient poets Homer, Hesiod, and Callimachus. Topics include the nature and function of literary imitation, and the literary methods of the Alexandrian poets.

The article offers criticism on the poetry of Yiddish poet Moyshe Kulbak, including the poetry collection "Naye lider" ("New Poems") and the prose-poetry work "Meshiekh ben efrayim" ("Messiah Son of Ephraim"). The author discusses Kulbak's time in exile in Weimar-era Berlin, Germany in the 1920s after leaving the Soviet Union and describes how the exposure to literature and philosophy in Berlin led to a transition in Yiddish literature and Yiddish contributions to modernism.

When Edmund Spenser (1552?-99) published his Faerie Queene in 1590 and 1596, two pervasive structural features would have seemed surprising: the abbreviation Cant. in sectional and running titles, used instead of Canto; and a four-line stanza of common meter for each section's argument, instead of a more expansive and prestigious stanza. Study of the relevant early modern Italian and English norms of publication indicates that these were complementary and innovative means of merging heroic form with divine poetry and hymnic discourse, and recognized as such. Cant. readily suggested canticle and the Solomonic Canticles, and the poet himself calls one of his so-called cantos a "canticle" (4.5.46). In style and prosodic form, his arguments would have particularly evoked the nationally distinctive Elizabethan Protestant psalmody and hymnody, as well as popular ballads. By incorporating these two metamorphic devices into The Faerie Queene's framework, Spenser reconfigured the heroic poem to serve his different, English vision. [ABSTRACT FROM AUTHOR]

As he concludes poem 1.12, Propertius romantically asserts that Cynthia was prima and will be the finis. This article explores the supplemental readings that open up if we focus not on the temporal but on the geographical meaning of the word finis, a move invited by the poem itself and by the poems (1.8a, 1.8b, 1.11) with which it belongs interpretively, all containing several allusions to space. Drawing on both Lacanian and cartographic theory, I suggest that the poet's engagement with questions of fines reveals Propertius' response to a growing awareness and concern with issues of physical space and empire in the Augustan period. [ABSTRACT FROM AUTHOR]

This article draws attention to the thematics of running in Homer, seeking to make sense of the difference between catching up and overtaking as it applies to the two epics. It begins by exploring how the Iliad foregrounds the problems and strategies involved in catching up with one's opponent and getting ahead. It then goes on to show how, by contrast, the Odyssey presents a world where the act of overtaking and the alternation between the categories of first and last are of central concern to Odysseus on his way home in Books 8 and 9. [ABSTRACT FROM AUTHOR]

The article offers criticism on poems from the 2011 collection "Tavtologiia" ("Tautology"), by Russian author Arkady Dragomoshchenko, including "Ludwig Josef Johann," "Izobrazhenie plantatsii" ("Picture of a Plantation"), and "Meleiushchie veshchi" ("Shoaling things"). The author analyzes the difference between poetry and literature and discusses themes of comprehension and understanding in Dragomoshchenko's poetry. Specific topics include philosophers Ludwig Wittgenstein and Walter Benjamin.

The article offers criticism on poems from the collection "Nebo sootvetstvii" ("Sky of Correspondences") by Arkady Dragomoshchenko and Lyn Hejinian. The author discusses the correspondence between the two authors and the Cold War context of their poetry. Specific poems discussed include "Uzhin s privetlivymi bogami" ("A Supper with Affable Gods"), "Obuchenie chistote v smeshannom" ("Instructing Clarity in a Confusion"), and "Nasturtsiia kak real'nost" ("Nasturtium as Reality"), by Dragomoshchenko.

The article offers poetry criticism of the poetic sequence "The Maximus Poems," by Charles Olson, focusing on the figure of Massachusetts Bay Colony Governor John Winthrop. It comments on history and myth in the sequence. The author reflects on Puritans and several figures in colonial Massachusetts history, including Reverend John White. Olson's treatment of the history of Gloucester, Massachusetts is considered.

The article offers criticism on the first "Epode" poem by the ancient Roman poet Horace, focusing on "Epodes" 1.19-22. The author discusses a in the poem referring to a serpent and a birds' nest and compares it to imagery used on the Ara Pacis Augustae altar. Specific topics include the use of the serpent in Augustan poetry and iconography, the Augustan meaning of the simile and imagery, and the presence of the emperor Augustus' family, including women and children, on the Ara Pacis.

The article offers poetry criticism of the poem "Judith." It explores the strategic use of style, theme, and hypermetric verses in the stanzas of the poem which the author gives emphasis. He notices that the sentences of the poem are often repetitive and contain linguistic changes. The author also states that alliteration is used in the poem.

The article offers criticism on the 1817 poem "The Lament of Tasso" by George Byron, focusing on the role of the biography of 16th-century Italian poet Torquato Tasso in English literature. The author discusses biographies of Tasso by authors including Henry Layng and Giovan Battista Manso and focuses on the depiction of Tasso's imprisonment and madness in Byron's poem and in works by other authors such as Henrietta Prescott and Percy Bysshe Shelley.

The article offers criticism on the 1818 poem "The Revolt of Islam," by Percy Bysshe Shelley, previously titled "Laon and Cythna; or, The Revolution of the Golden City: A Vision of the Nineteenth Century." The author suggests that Shelley used chemistry theories from scientists Sir Humphry Davy and Adam Walker in composing the poem and discusses metamorphosis in the poem, focusing on the characters of Laon and Cythna.

The article offers criticism on the poem "Ode to Psyche," by John Keats. The author discusses secularism and criticism of Christianity in Keats's work and analyzes the work in relation to the idea of the "genealogy of the secular." Specific topics include the idea of orthodoxy in the poem, the idea of Cockney classicism, and Keats's poem "The Fall of Hyperion." Also discussed are botanical, classical Greek, and natural historical themes in the poem.

The article examines the ways in which poet Kishwar Naheed uses her work to reignite the Pakistani collective memory that has been censored by the Pakistani state. Particular focus is given to the poems "Girti hu'i Diwar-e Berlin, Günter Grass aur Main" ("The Falling Berlin Wall, Günter Grass, and I") and "Jangal men Zala-bari ka Manzar" ("Scene of Hailstorm in the Jungle"). Other topics discussed include gender identity, Cold War politics, and use of conversational voice in the poems.

The article offers poetry criticism of several poems by Anne Finch, including "The Critick and the Writer of Fables," "A Letter to Dafnis," and "The Appology". It explores the roles of critics and criticism in her writings. According to the author, Finch satirized critical and polemical paratexts and instead encouraged a mode of reading and criticism which valued artistic merit, amusement and aesthetic pleasure over critical disputes. Attitudes towards women authors are also discussed.

The article presents poetry criticism of the poems "Aurora Leigh" by Elizabeth Barrett Browning and "The Prelude" by William Wordsworth. Particular focus is given to the figure of the blind Beggar which features in both texts. Details on the relationship between the two authors are also presented. Other topics include intersubjective relationships, the connection between the body and the self, and the so-called Lake School of poetry.

A criticism is presented of the poetry of World War II British soldiers which argues for their accounts as a kind of testimony, based on the collections relating to the "Oasis" poets housed in Great Britain's Imperial War Museum. Topics include Holocaust literature and victim/perpetrator testimony and poetry. The poems mentioned include "Ubique," by Jack Bevan; "Drumhead," by Victor West; and "Elegy for an 88 Gunner," by Keith Douglas.

The article discusses the juxtaposition of the poems "On the Smooth Floor" and "Like a Fowl in a Butcher's Grasp," by Rachel Bluvstein and Avraham Shlonsky respectively, in the literary supplement of the newspaper "Musaf Davar." It focuses on the critical dimensions of gender and modernist Hebrew poetry. The author suggests that the juxtaposition represents the coexistence of different forms of poetic modernism in the Yishuv, or the Jewish community, in the pre-state Palestine in the 1920s.