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Brett Bourbon's essays, his feeling that poems have a logical analogy and ideas on poetry are discussed. Many poets like Kant feel that aesthetic ideas must belong to poetry and it helps in making judgment beautiful.

Sestinas written by a number of renowned authors and that was first introduced into English by Sir Philip Sidney in the nineteenth century is discussed. It is seen that modern day sestinas meditate on the limits and frustrations of any model of poetry based in technique or in entertainment.

Jennifer Scappettone's essays that have arguments not only about the meanings and methods but also about the merits of individual texts and research into her essays are discussed.

The style of writing of renowned writer Thomas Wyatt that he wrote in communities where the fashion for poems in the same forms with the same diction and topics attracted fellow followers is discussed. Many of Wyatt's poems were bourn into the community of style and many have also disappeared over time.

The view of Oren Izenberg that our interest or lack of interest and not our interpretation of poems' meaning braces up our intention towards poetry is analyzed. Izenberg proposed a 180-degree reorientation regarding the question of poetry and intentionality.

Thomas Wyatt's essays and poems are different from other authors due to usage of style as a generative norm. In contradiction to Dolven it is suggested that it is not possible to have appreciative relation to poems however the type of the poems can be admired.

The article describes the relation between the language of poems and truth and the way in which poetry is not defined by its access to wisdom or form that is logical. Various examples of poems are explained in detail.

The understanding of the concept of a poem by reading a poem and the kinds of poetry are presented. It is suggested that the link between the poem and its context is reductive as the culture is expressed as the conditions of possibility of the poem.

The work of Gabrielle Starr with respect to close reading that has a relationship between psychological experience and poetic structures and arguments against the same are given. It is concluded that cognitive science has not reached the pint where it can talk regarding long term relationships of literary works and how we relate to them.

The writings of eighteenth-century Irish, Scots and Welsh writers championed distinctive national literary traditions. The selected works of Welsh scholar-poet Evan Evans and two well-known poems of Thomas Gray show that the eighteenth century was a period of fruitful interchange between English and Welsh literary scholars when not only a new sense of Britishness developed but also Wales began to assert its rich bardic heritage spearheaded by the groundbreaking publications of Evans.

The question of whether the different texts of Robert Bridges's 'The Growth of Love' that existed in three complete texts and a number of fragments, should be considered as divergent versions of the same poem or as separate poems in their own right is addressed. A close examination of all three texts demonstrates that both the sequence and individual sonnets, which comprise it, change their significance throughout the process of revision.

The evidence of what Wordsworth read, what he said about his admiration for Samuel Daniel, and how he used it in his own poetry is surveyed. It is suggested that Daniel's influence, especially in 'Musophilus', may have contributed to Wordsworth's defensive posture after the failure of his 'Poems, in Two Volumes' (1807) by strengthening his conviction that the poet must necessarily armour himself against public hostility.

Two fourteenth-century rhymed alliterative poems, 'Pater Noster' and 'Three Dead Kings', that extant in a manuscript containing a collection of poems by John Audelay are presented. The linguistic analysis is followed by an analysis of the metrical complexities attempted by the poet of 'Pater Noster' and 'Three Dead Kings'.

Stephen Burt's views regarding sestinas that are become the form of choice and mediate on the limits and frustrations of any model of poetry based in entertainment or in technique is presented. The stable ground of value in poetry according to Burt lies neither in fitting the world nor in changing it.

The article examines the significance of the phrase 'pia vota bibit' in John Gower's poem 'O recolende' that hints at King Henry IV's November 1399 annuity to the poet and expresses gratitude for it. The sequence of events suggests that Gower's poem anticipated the 'Cronica tripertita' advocating Henry's regime and that Gower published the work after he received the royal grant.

The study conducted to check how the poem provides an insight into the extent to which mythology was used to pursue inter-state rivalries, in the early fifth century, is presented. The result reveals how the Bacchylides 9 invited pan-Hellenic, as well as native, admiration of Phleious, its cults, its citizens and its victory.

Alcaeus of Messene (fl, c.200B.C) is credited by editors of the Greek Anthology with a modest twenty-two elegiac epigrams. It was further stated that no theory has been advanced about whether Alcaeus' epigrams appeared as a collection, or simply as scattered occasional poems.

The author examine the meaning behind the poem Song of Orpheus. Topics include portrayals of virginity, symbolism, and blushing.

A number of verbs written in the Old English language contain contractions, particularly verses that highlight unstressed positions. Although the use of contracted verbs was significantly limited during the early periods, certain poems require the contracted form of the verb for metrical reasons. In fact, evidence shows that unstressed verbs are contracted by merely half of instances, while stressed verses are contracted four fifths of instances.