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The article features poet Alfred Tennyson. Topics mentioned include the analysis of Tennyson's relation to British imperialism and tradition of war poetry, his concept of an ideal womanhood, and Tennyson's way of conceptualizing the effect of naturalness and all social connection ordered through art.

The article explores the haunting voices in Thomas Hardy's Boer War poetry. It examines Hardy's interrogation of military campaign through voices in the departure of troops at the outbreak of the Boer War, the influence of the Crimean War in his poetry, depiction of the scenes of London, England and the death of the drummer boy, and the use of dactylic sound and sense of the word drearily to counter the seductive sound of patriotic and warlike poetry.

Monro's letters to Marinetti are no longer extant, but Marinetti's subsequent letter to Monro responds to what must have been Monro's suggestion, on October 23, 1913: Je viens de recevoir votre dépêche. Afterlives of Futurism Although it is generally assumed that Monro's undoubtedly cooled stance towards the futurists in the December 1913 issue of I Poetry and Drama i constituted a complete, indiscriminate rejection of the movement, there is in fact evidence to suggest that Monro continued to maintain an interest in futurism for the rest of his life. In the September 1913 issue of the London-based journal I Poetry and Drama i , Harold Monro made the astonishing declaration that not only would the issue be devoted to the work of the Italian futurists, but also that the members of the periodical "claim ourselves, also, to be futurists." Prior to his arrival in London, Marinetti sent Monro a telegram from Brussels: "Tres [ I sic i ] heureux de vous voir demain samedi Savoy Hotel a [ I sic i ] 6 heures votre ami Marinetti" (Very happy to see you tomorrow Saturday Savoy Hotel at 6 o'clock your friend Marinetti) (Marinetti to Monro, November 14, 1913). [Extracted from the article]

A literary criticism of the book "Battle-Pieces and Aspects of the War" by Herman Melville is presented. It examines the depiction of civil war officers in the book of poetry by Melville and the strategies that he used to narrate heroism and heroes in his works. It explores the distinction of good and bad officers in his war poetry.

A literary criticism of the book "Battle-Pieces and Aspects of the War" by Herman Melville is presented. It examines the vernacular poetic context of the book and its depiction of the Civil War's problem in South America. It explores how the author developed a poetics of supplement to the vernacular tradition to show people's self-recognition.

A literary criticism is presented on war and military leaders in works of American poetry, including "O Captain! My Captain!" by Walt Whitman, "For the Union Dead," by Robert Lowell, and "The March into Virginia" by Herman Melville. The author suggests that poems are written about war to commemorate heroes such as Colonel Robert Gould Shaw.

An essay is presented which discusses the poem "Moment of Light" by Wallace Stevens, which is the translated version of the poem "Instant de clarté" by Jean Le Roy. It mentions how the poem presents the use of first person view on the translated poem to provide readers with better understanding of war poetry. It also features how the translated poem previews other works by Stevens, and in collective utterance.

Abstract:This article focuses on the significance of the Civil War to Dickinson as a poet. The war not only reflected Dickinson's inner turmoils, it threatened to trivialize them. What did her poems of stoic suffering and private torment matter in a nation at war with itself? How could she aspire to glory on the page when heroes were forming daily on the battlefield? In her struggle to justify her poetics and her bid for poetic fame, Dickinson took various approaches, ranging from ardent identification to aggressive emulation, and from protestations of modesty to outright confessions of envy. The challenge for Dickinson is most evident in the poems she wrote following Lincoln's assassination. How could the poet make her own name while elegizing the martyred president? In these poems, Dickinson found her answer in her role as an elegist whose "deathless syllable" would help make Lincoln's memory immortal. [ABSTRACT FROM AUTHOR]

The article examines the diversity of subjects addressed by eight women through the poems that they wrote between 1914 and 1918, showing a wide range of social backgrounds, poetic styles and positions towards war. Among these authors are Adrienne Blanc-Péridier, Henriette Charasson and Lucie Delarue-Mardrus. The artistic transmutation of feminine conscience and psyche during a war period, observed in this poetry, is discussed.

An essay is presented which explores poet W. H. Auden's portrayal of war in his literary works. The author asserts that Auden had a belief that real emotion could only be obtained in literary efforts if the author had first-hand knowledge of his subject. To that end, Auden traveled throughout the world in the 1930s so he could gain a journalistic understanding of the world. His itinerary included visiting Spain during the Civil War and going to China to observe the Sino-Japanese War.

The article focuses on the military conflicts during the second year of the Seven Years' War in Great Britain, which is 1757, and the poetry during the said year that wishes the revival of British arms and a worthy muse to provoke and record that revival. It states that like the prayer of epic poetry, the poets' wishes were hald-granted. The remaining years of the war gave enough victories, heroes and conquered land to satisfy the most fervent patriot. However, if the war was military successful for Great Britain, it did not create the martial muse for which the poets of 1757 had wished for.

The article focuses on the assimilation of the character of Caesar to Jupiter in the poem "Bellum Civile," by the Roman epic poet Lucan. The author argues that this representation is played out in Caesar's rage against the temples of Jupiter Capitolinus and Jupiter Latiaris. He then stresses that the battle becomes another layer of civil war in the poem. Moreover, he opines that Caesar's violence looks purposeful, but as both the beginning and the end of the poem suggest, is ultimately ineffectual.

This article presents the author's views on the literary works of Quintus Ennius, a renowned poet. Ennius' book "Annales," is related to a war in Rome. Roman statesman Marcus Tullius Cicero quoted a line from "Annales," when he was asked to comment on Sextus Annalis, a hostile witness. Another book by Ennius focused on Rome's conflict with a Greek commander.

The article examines the expression of nationalism in William Wordsworth's poetry collection "The River Duddon" and "Guide to the Lakes." The two books serve as Wordsworth's response to the Peninsular War and the Westmorland election of 1818. In a metaphorical manner, the works assert the superiority of England's ethical standard over other Western nations. Through these works, the consistency of the poet's conservative ideals can be comprehended.

This article discusses the images of war in Emily Dickinson and Walt Whitman's addresses to a divided nation. For both the poets, Dickinson, as well as Walt Whitman, the political crisis of the Civil War raises unavoidable questions about the workings of literary representation. And for both poets, the dilemmas of the address to the nation are inseparable from the dilemmas of witnessing wartime violence and suffering. It is suggested on the basis of the Dickinson's work that the stability of the poet's platform in addressing the nation depends upon the speaker's ability to bear witness to the suffering of others. According to the author, Dickinson foregrounds the problems of the address to the nation in a way that no other American poet of this era does. In their poems, both writers probe the limits of the lyric speaker's position as witness to suffering. Simultaneously, Dickinson and Whitman, through their exploration of the Romantic scene of address, have considered the dilemmas an American writer faces in addressing the nation in a time of war. Both the poets have recognized the impossibility of representing the experience of battle.

This article explores the depiction of modern warfare in the early-eighteenth century poetry. Modern war and the modern understanding of war brought with them new constraints on representation and new ideas about the nature of heroism. In this context, the author notes that the history of eighteenth-century literature is not just a history of the temporary dominance of satire, the rise of the novel, and the emergence of Romanticism, but also one of the decline of the heroic. Most of the war poets during this time tried to write significant and lasting poetry by drawing upon ancient models.

This article states that the use of pathetic animal imagery in the post-Civil War poetry speaks to an increased desire to motivate audiences to read with the heart rather than with the head. In works by several poets including Geoffrey Chaucer, Philip Sidney, and even William Shakespeare, readers recurrently discern a call to exercise tolerance and sensitivity toward the lesser creatures. A long-running literary trend, the sympathetic portrayal of animals bespeaks, in part, mankind's preoccupation with its own tenuous place on earth. The acceptance of animals as sensitive beings becomes and remains an important part of the culture of the seventeenth and eighteenth centuries.

This essay presents the author's experience of working with poet Yusef Komunyakaa in creating a stage adaptation of "The Epic of Gilgamesh." On a Sunday afternoon in March 2004, the author anxiously awaited the arrival of Yusef Komunyakaa, and, almost as important, the first pages of their dramatic adaptation of "The Epic of Gilgamesh." The author had assembled a group of actors to read the first draft, and after 25 minutes of waiting, they had grown restless. He finally called Yusef and found him snug at home in Trenton, expecting to meet the next day. The more the author read of Komunyakaa's poetry, the more convinced he became that he was perfectly suited to write Gilgamesh. The epic is about loss and death, and Yusef's work is infused with deep longing and a sharp awareness of mortality. He wanted the play to evoke the grit of a warrior-king's life. Yusef's poems of war in Dien Cal Dau were perfectly balanced between lyricism and realism and depicted the horror of the soldiers' life while at the same time infusing it with a metaphysical majesty.

The article focuses on the literary work of a poet Matthew Arnold. The probability that Arnold drew on the conflict with the Sikhs matches up nicely. Arnold, witnessing a new Sikh war breaking out just two years later, must have sensed a keen irony. However, no-one can say for certain how "Dover Beach" was composed, but even if Arnold somehow did not see the essay, even if he had not been thinking of the conflict in India when he wrote "Dover Beach," the connection to the Sikh wars would have been clear to many (if not most) of the readers of the poem--especially had it been published soon after it was composed.

This article discusses about the poetry of Ted Hughes. War is the abiding preoccupation of Hughes's poetry. As a teenager beginning to write in the early 1940s, he viewed contemporary conflict through the lens of the past, and the fear that his elder brother's war would prove as terrible as their father's became his permanent preoccupation. His post-war poetic maturity continued to perceive experience through that lens: Hughes characterizes his poems as battleground where his imagination, excited by the war between vitality and death, celebrates the exploits of the warriors of either side.

The article focuses on the views of the poets T.S. Eliot and A.C. Swinburne on Decadent Bodies and visualities. Eliot claimed to have bypassed the diffuse, Romantic, effeminate British Decadent legacy that had privileged sound over concrete image in favor of French urban poets such as Charles Baudelaire or Jules Laforgue. And perhaps because modernism so successfully rid itself of A.C. Swinburne's infectious aural traits, critics have not recognized the profound visual impact of his pagan natural landscapes on modern urban/war poetry. Eliot's incidents of vision and eros frequently evoke a regression to besieged childlike fragility and awe in drowning Swinburnian underworlds. In Eliot's urban and war poems of sensory bombardment, his speakers appear to experience mystic/erotic transport as a return to early worlds. Eliot's notes to his extension lectures on Swinburne's letters specifically celebrate the Decadent-Romantic's pagan mythmaking and championship of liberty and stoic survival.

This article reports that many artists were beginning to recalibrate their sense of space, seeking an intimate, human scale of objects and relations in a world experienced as chaotic and against the outsized ambitions of the public realm. Modernity's expanded and fragmented space, its skyscrapers, its giant silver screens, its impersonal forces of capitalism and of the state, had evacuated the realm of the personal. But there was no returning to detached privacy or inviolate inwardness. The author wants to explore this idea in connection with poet Wallace Stevens' turn to the genre of still life in "Parts of a World." Stevens ends this 1942 volume with an unusual prose comment that directly addresses the experience of scale in the pressure of a world at war.

This article focuses on the poem "Pink Dog," and other works of Elizabeth Bishop. In this article, the author argues that Bishop's texts employ various strategies for complicating or contesting such categories. Although the poet's fascination with bordered spaces preceded the onset of the Cold War, the political discourse of that era both reinforced and problematized her representational schemes. Some of her poems evoked public issues, some encoded private experiences, and others seemed to do both at once. In a similar vein, some of her poems reflected a fascination with the places and traditions of the United States, particularly New England, New York, and Florida, whereas others entered into a dialogue with the places and traditions of Canada, Europe, the Caribbean, and Brazil. She refused to designate herself explicitly a lesbian poet, yet at the height of Cold War homophobia she published a series of poems that suggested lesbian desire, beginning with "Insomnia" and ending with "The Shampoo."

This article examines the book of poetry "Seuls demeurent" by René Char. Discussion on the liberational poetics initiated by the book of poetry; Analysis of Char's poetic re-enactment of his passage through World War II foregrounds historical events and violence; Elaboration of the historical elements in his poems.

In this article, the author discusses on ekphrasis as postmodern witness in Denise Levertov's late poetry. Levertov's poems about works of art occur also in the context of her ongoing concern about how political resistance is to be expressed in lyric poetry. As Alicia Ostriker has written, distinguishing "the poetics of postmodern witness" from confessional poetry, some poets after World War II have reacted to Theodore Adorno's famous declaration that there can be no poetry after Auschwitz with renewed determination to continue the struggle with the self that is also the struggle with what Auschwitz stands for-"not only the Holocaust but also the ongoing concatenation of horrors scarring twentieth-century history." They have done so, as Ostriker puts it, "by avoiding a poetics purely of the self," on one hand, and by refusing to abandon the lyric "I," on the other, lest they deny a consciousness "that desires, suffers and chooses," and thus prosides an ethical and political model for the reader.

Explores the ideology of combat gnosticism in First World War poetry. Formulation of the trench lyric; War poetry's emphasis on personal experience; Revision of both the aesthetic purposes of lyric poetry and of a naively optimistic attitude toward the conduct of war; Combat's representation of a qualitatively separate order of experience; Ethic of passive humanism.

Argues that the heroic subject of history, the hero poet Wallace Stevens celebrates when the pressures of the reality of war demand the celebration of heroes, is one which recognizes that it is historically situated. Discussion of Nietzschean echoes in Stevens' sense of nobility; Defense made by Stevens on high culture from what he sees as the growing power of a mass culture that cannot bear distinction; Depiction of death in the poem "The Death of a Soldier."

Examines the war elegies written by Wallace Stevens on the first and second world wars. Description of the war elegies of Stevens; Method used by Stevens to console the readers of his war poems; Representation of death in the poems.

Examines the influence of Captain Fernand Auberjonois on poet Wallace Stevens and his creation of war poems. Historical background of the relationship between Auberjonois and Stevens; Representation of war in the poems written by Stevens; Description of Stevens' war poems.