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Daniel Cook's book, "Reading Swift's Poetry," explores Jonathan Swift's use of poetic borrowing and repurposing throughout his literary career. Cook examines Swift's intertextuality and his construction of "The Author" as well as his use of unconventional elements in his poetry. The book analyzes Swift's early poems, his appropriation of other writers' material, his non-love poems, his poetry of insult, and his late works. Cook argues that critics have focused too much on the overall intertextual effects of Swift's texts, and instead suggests a closer examination of the local effects of Swift's borrowings. [Extracted from the article]

In memory of D. A. Pearsall (1931–2021) The late-sixteenth- and early-seventeenth-century tradition of English antiquarianism is enlisted to license a proposed elevation of the birthdate of the poet John Lydgate by a generation, to ca. 1390, with a consequent abbreviation of his lifespan to the sixty-some years that the poet mentions. The proposal intends to mitigate problems of Lydgate's early years, especially a long quiet at the start of the literary career of this most facile of English poets, by their elimination. [ABSTRACT FROM AUTHOR]

The article examines English poet Philip Larkin's suppressed Betjeman period and admiration for English poet John Betjeman. It explores the influence of Betjeman on Larkin's Brunette Coleman persona and poetry writing as reflected by the sentimental and comedic features, elegiac tone and nostalgia in the poetry collection "Sugar and Spice" and the empathetic quality in the novel "Trouble at Willow Gables." The difference between Larkin and Betjeman when it comes to church going is discussed.

The article revisits the life and work of English poet Philip Larkin, also known as Brunette Coleman. It analyzes Larkin's motives in his imitation of the narcissistic feminine voyeurism of writer Dorita Fairlie Bruce and the lesbian sadism and class prejudice of novelist Dorothy Vicary. It discusses his depiction of girls or young women with empathy as agents in their own right, rather than as sexual objects such as in the poem "Sugar and Spice," his adoption of French motifs and French voice.

The article analyzes the cross over of Irish poet Seamus Heaney to English poet George Herbert in his poems. It discusses Heaney's use of Herbert in the poetry collections "The Government of the Tongue" and "The Redress of Poetry" as a metaphor of resistance to doctrine as an act of belief and to describe the function of poetry in heightened political times. It explores Heaney's references to Herbert in the poem "The Spirit Level" to reflect a spiritual balancing act or equilibrium.

"Suffering in Babylon: Ludlul bēl nēmeqi and the Scholars, Ancient and Modern" by Alan Lenzi is a comprehensive exploration of the Poem of the Righteous Sufferer, a prominent Babylonian literary masterpiece. Lenzi offers various approaches to understanding the poem, delving into its historical context and analyzing its themes and language. The book also examines the poem's place in Babylonian education and its relationship to other texts. Lenzi's work is well-researched and respectful of the Babylonian culture, making it a valuable resource for anyone studying this ancient text. [Extracted from the article]

The main purpose of this article is to draw the attention of its readers to Charlotte Mew, a poet who is not well-known but whose work should be of great interest to mental health clinicians. She lived most of her life in the shadow of mental illness. Her poetry provides penetrating insights into her experiences of this in herself and in members of her family. [ABSTRACT FROM AUTHOR]

This paper scrutinizes the cultural strangeness of Coleridge's line "Instead of the cross, the Albatross about my neck was hung", arguing that the image of the bird hung around the Mariner's neck is borrowed from Holy Quran. The paper provides a close reading of the line under discussion while associating it with the Quranic verse 13 of Chapter 17 (al-isrāʼ; meaning: The Night Journey), which declares that a bird is bound to the neck of every single human. The paper concludes that the image of the Albatross hung around the Mariner's neck testifies to the heavy influence of Holy Quran on Coleridge's poetry, which complies with Coleridge's statement that he will never forget Mohammad the Prophet. [ABSTRACT FROM AUTHOR]

This article argues that sixteenth-century humanist depictions of Rome's decay, together with paradigms of translatio imperii et studii , shape Edmund Spenser's poetics of matter. The article identifies a new translatio in Spenser's corpus, translatio materiae —matter's movement or change—born from Spenser's contact with and Complaints (1591) translation of Joachim du Bellay's sonnet sequence, Les Antiquitez de Rome (1553). Where earlier humanists represent the recovery and reincorporation of Rome's material remains as a metaphor for carrying forward antique power and artistry, Spenser transforms this image of material translatio into a law governing depicted matter's movement and change in his Faerie Queene (1590/96). Translatio materiae runs through Spenser's corpus as represented matter's resurrection from states of decay into material afterlives as narrative object or poetic device. I examine this phenomenon in key heroic episodes of Faerie Queene Book One, episodes which I treat as exemplary of matter's preservation, proliferation, and translatio as compositional strategies in the poem's narrative and structure. Translatio materiae 's use in the poem thus points to a Spenserian theory of imitation that resists the teleology of prior translatio paradigms and instead understands Renaissance imitation to exhibit all the waywardness of matter. [ABSTRACT FROM AUTHOR]

This essay brings to light the most substantial episodes of textual scholarship on Piers Plowman to have occurred over the space of 300-odd years, of which one certainly, the other likely, took place in the household of Archbishop Matthew Parker. The former consists of a series of red numbers inscribed next to lines in two passus of the C-version copy Cambridge, Corpus Christi MS 293, which are shown to refer to the pages on which the equivalent lines appear in a sixteenth-century printed edition of Piers B, reflecting careful comparison of their respective texts. The latter is manifested in the 'correction' of a portion of the C-text manuscript London, British Library, MS Royal 18 B xvii so as to bring it into line with its equivalent in a printed edition of B. The placement of the lines is suggestive of access by the corrector to unbound printed matter. This episode, so it is argued, is most intelligible in the context of such episodes of correction as that in which John Joscelyn, Parker's secretary, engaged. A sub-theme of the essay is that Stephan Batman's putative centrality to the topic of the Parkerian Piers is not supported by any evidence. [ABSTRACT FROM AUTHOR]

Attitudes to animals and their relationship with the human have undergone significant changes over the last six decades, from the rise of the environmental movement to debates about genetic modification. Poetry has responded to these developments but also contributed to argument and activism. This essay aims to make sense of this history and its literary consequences by investigating the representation of otters in the work of a series of poets from Ted Hughes to John Kinsella. Shape-shifting, elusive, never entirely other, otters allow writers to negotiate the fluid boundary between animal and human and the value of what is wild. They enable explorations of sexuality, the attraction of animals as re-makers of human geography, and the risk to all life forms posed by pollution and nuclear contamination. By analysing a range of work from Britain and Ireland, with some attention to American and Australian contexts and the international rise of Bio Art, the discussion aims to clarify both how views of the natural have been reconfigured and how these shifts animate very different kinds of verse, from the formality of Seamus Heaney and Alice Oswald to the late modernism of Colin Simms and Maggie O'Sullivan. [ABSTRACT FROM AUTHOR]

The article highlights a private letter sent from France by Privy Seal clerk John Offord on June 6, 1420 to an anonymous recipient in England. Topics include the numerous letters sent by Signet and Privy Seal clerks prior to the death of King Henry V of England in 1422, the reference of Offord's letter to treatments of Henry's marriage and Anglo-French relations in Paris and Johan Kern's identification of Offord's letter as addressed to his Privy Seal colleague and English poet Thomas Hoccleve.

The article questions the term "sacred parody" used to describe the poetic endeavors of Robert Southwell and English poets who imitated his style. It examines Southwell's re-writing of Edward Dyer's poem "Fancy" into a religious repentance-themed poem; suggesting that the term "sacred parody" is inadequate for describing Southwell's literary reformation project; and the alterations made by Southwell in his poems, considering a different form of poetic transformation.

The article focuses on English poet Samuel Taylor Coleridge concept of wonder and its importance in his thinking, bridging classical philosophy with his own elaborations. Topics include how wonder, as a metacritical concept, influences Coleridge explorations of philosophy, religion, poetics, and the sciences, adding depth to his arguments and reflections.

The article focuses on English poet Samuel Taylor Coleridge research of irritability as a concept intertwined with sensibility in his scientific treatise "Theory of Life." Topics highlights the connection between eighteenth-century medical theories and Coleridge expansion of these concepts, irritability that plays a role in stages of life's historical development and its influence on human self-governance and creative genius.

The article focuses on English poet Samuel Taylor Coleridge biographical sketches in the Biographia Literaria and its retrospective nature, examining how it evolves from an exculpation to a significant book of criticism. Topics include the retrospective nature of Coleridge's Biographia Literaria, its transformative power as a book of criticism and its influence on later poets.

The article focuses on the examination of the "anima poetae" or soul of the poet in Samuel Taylor Coleridge's "Biographia Literaria" which explores the influence of philosophical thinking, particularly German idealism, on Coleridge's portrayal of the poetic imagination as a powerful force in a politically charged world. Topics include the consolidation of aesthetic thinking as well as Coleridge's interest in the primacy of genius and the artistic imagination.

The article focuses on the overlooked connections between English poet Samuel Taylor Coleridge's "Biographia Literaria" and Philosopher Immanuel Kant essay on negative magnitudes shedding light on an aspect that has been overlooked. Topic highlights the need to explore the influence of Kant's precritical thinking on Coleridge's work, an aspect that has received relatively little attention.

I present a conspectus of the imaginative geography of the English poet WH Auden. This imaginative geography is avowedly the product of a rootless, cosmopolitan which extols domestic virtues against the backcloth of an originary poetic homeland in Rookhope in the Northern Pennines of England. Auden's poetry addresses eternal questions about the conditions under which communities thrive or decline, what dividends they bestow upon their members, the costs and benefits of choosing to cultivate local knowledge and attachments and how communities coexist at different scales. Auden's topopoetics reflects his search for affective bonds in a life marked otherwise by placelessness. It is a quest for a sense of place in the absence of insideness – in this respect it affects more widespread concerns of how to belong to place in an age of hyper-globalisation. Although the landscape of the Northern Pennines held a profound aesthetic attraction for Auden, it was the numinous experience of his youth in Rookhope that allowed him to attach his poetic and personal biography to the place and ascribe its meaning. This amounted to a kind of elective belonging, albeit stripped of any sociological connotation or political commitment. [ABSTRACT FROM AUTHOR]

The ancient links between poetry and the Olympic idea were rediscovered and revived in the Renaissance period and beyond. The first references to the ancient Olympic Games appeared in fifteenth-century Italian literature. Then they were exploited by German, French, Polish, Scottish and English poets in the following century. An analysis of sixteenth-century and seventeenth-century poetic works demonstrates that Olympic themes were used in poetry for comparative purposes to evoke moral, ethical, organizational, and athletic models, and even to raise the prestige of local events. The dissemination of Olympic traditions through poetry also contributed to the development of some well-known carriers of the Olympic tradition called pseudo-Olympics, famously exemplified by the Cotswold Olimpick Games organized in England by Robert Dover and widely appraised by English poets. All these activities testify to the significant role of poetry as a principal component of Olympic legacy in European culture. [ABSTRACT FROM AUTHOR]

The article focuses on Thomas De Quincey's fascination with power and his alignment with it, evident in his writings on opium and other areas. Topics include De Quincey's views on the literature of power, his admiration for Wordsworth as the greatest English poet, and the role of continuousness in producing sustained and elaborate expressions of thought and emotion.

In this paper, using a hermeneutic approach, I discuss G. G. Byron's use of language in describing the socio-political and geographical issues of the countries he visited during his travels in Europe, primarily with regard to Albania. I show that in Childe Harold's Pilgrimage, Byron depicted Albanian scenery in an attempt to create homophily. I also analyse the Albanian reception of the English poet's vision. I justify the relevance of incorporating Byron's position on Albania into the consciousness of the Albanian people, as well as supplementing the Albanian language with the oriental vocabulary he used. [ABSTRACT FROM AUTHOR]

The article considers the folio of works by Italian poet Petrarch, titled "Francisci Petrarchae Florentini...OPERA quae extant omnia..." as the closest match to the edition of poems that English poet Thomas Watson used for his poetic sequence "Hekatompathia, or passionate centurie of loue." It mentions the matching of Watson's numbering of the poems to that of the folio of sonnets except in two instances, as well as the matching spelling except for two mistakes.

The article suggests a news pamphlet titled "Letters Sent From Venice," published by Henry Bynneman in 1571 or 1572, as a source for Elizabethan poet George Gascoigne's "A Devise of a Maske for the Right Honourable Viscount Mountacute," an English eyewitness account of the Siege of Famagusta and the Battle of Lepanto. It discusses Gascoigne's use of figures found in the pamphlet to present an account of Turkish losses in the battle.

The article highlights work of two Victorian women poet Patricia Rigg's biography of "A. Mary F. Robinson" and James Diedrick's edited edition of Mathilde Blind's poetry and prose. Topics include the complex identities and transnational perspectives of these women writers, emphasizing their integration of various literary styles and their engagement with diverse themes such as materiality, affect, form, and cosmopolitanism.

The article focuses on the theme of paganism and revolt in English poet Algernon Charles Swinburne scholarship. Topics include how Swinburnes poetry represents decadent paganism and its collaboration with the portrayal of an open ecological reality, challenging Victorian society moral vision and also discusses Swinburne celebration of pagan divinities and his perspective on decay as exemplifying decadent ecology.

The article focuses on a survey of general materials, including edited collections and a monograph, that explore the position of Victorian poets and poetry in relation to the legacies of Lord Byron and John Keats, as well as scientific and artistic developments in medicine and ballet. Topics include the influence of Byron on later writers, the intersection of Browning and Byron's poetic styles, poet Matthew Arnold engagement with Byron's influence and Swinburne complex relationship with Byron.

The article focuses on new insights and approaches to English poet Dante Rossetti and William Morris. Topics include Rossetti's concept of "definite vagueness", how it is expressed in his sonnet "A Venetian Pastoral, by Giorgione; in the Louvre," and focus the sense of elusiveness and shifting perspectives.

The article focuses on Summer 2021 special issue of the periodical on work of English poet Alfred Tennyson particularly his approaches to imagination, the suggestibility of his poetry, and the poetic use of concepts like phantom balladic measure and the "gleam."

The article discusses on English poet Elizabeth Barrett Browning (EBB's) early antislavery verse, specifically examining her lesser-known poems "The African: A Poem in Two Cantos" and "The Appeal." Topics include EBB's political and poetic career, her views on race and slavery, and the importance of her early antislavery writings.

The article discusses on English poet Gerard Manley Hopkins and his engagement with the poetry of English poet Felicia Hemans during his time at St. Bueno's College in Great Britain. Topics include the influence of Hemans on Hopkins's poetry, their shared connection to Wales, and the exploration of gender and artistic creation in their works.

The article focuses on English poet Gerard Manley Hopkins as a philosophically engaged poet of the Victorian period. Topics include Hopkins interest in metaphysics, his neologisms "instress" and "inscape," and analyzes how his poem "Spring and Fall" captures the intuitive experiences of both the child and the adult speaker.

The article provides insights into English poet Robert Browning's voice and the letters surrounding English poet Elizabeth Barrett Browning's sister's illness. Other topics covered include Browning's influence on other artists, historical allusions in his poems, and themes of labor and money in his works.

The dates of Gittings's study correspond with the commencement of I Hyperion i in September 1818 and the abandonment of I The Fall of Hyperion i in September 1819....on Monday, September 21st, 1818, Keats plunged into the most amazingly creative year that any English poet has achieved. 7 John Keats, I The Eve of St Agnes i , ll. 41, 300, in I The Poems of John Keats i , ed. No other writer is as synonymous with a single year as John Keats is with 1819. [Extracted from the article]

John Keats (1795-1821), besides being the famous English poet, was a student of medicine at the United Hospitals in London. On the occasion of the bicentenary of his death, we would like to pay tribute to this versatile figure with a photographic itinerary of his medical life. This article, in connection with the project “Himetop – The History of Medicine Topographical Database”, retraces objects and places where the poet lived, studied, worked, and prematurely died, showing the importance of material culture. The photographic journey starts in London with the birthplace of the poet and continues through the places of his infancy and youth, the school in Enfield, the lodgings at 8 St. Thomas Street, the United Hospitals, etc. After giving up medicine to devote to poetry, the itinerary proceeds in the Hampstead and, as the ultimate destination, in Rome, where John Keats spent his last months of life due to tuberculosis. To conclude the path at the Protestant Cemetery in Rome, where he was buried, surrounded by grass and flowers. The material memories left by John Keats, as well as preserving his memory, take on a significant educational and inspirational role for everybody and, in particular, literary people and medical students. [ABSTRACT FROM AUTHOR]

The article studies the intersections between the group surrounding Pre-Raphaelite painter Ford Madox Brown at Fitzroy Square and the Gladstone circle at 10 Downing Street in London, England. Topics discussed include the fluidity of the Victorian salon, elevation of Pre-Raphaelite poetry through song, and the political, intellectual, aesthetic and social history of the semipublic space of the Victorian salon.

The printing of the poems of the early Tudor poet Stephen Hawes (c.1474–before 1529) by the London printer Wynkyn de Worde (d. 1534/5) is the earliest example of the sustained publication of a contemporary English poet by a single printer. This article considers de Worde's printing of Hawes, in a flurry around 1509 and then at intervals of more or less ten years until 1530, as part of a larger effort to establish a noncourt audience for contemporary English poetry with nevertheless courtly credentials. The paratexts with which de Worde frames Hawes's verse – from woodcut illustrations, to the printing of the author's name, to the citation of Hawes by other writers associated with de Worde – are examined as evidence for a growing tendency amongst London printers to provide opportunities for their readers to make imaginative crossreference between their varied literary output. They represent an alternative to the marketing of English literary texts primarily on the basis of authorship – what I describe as an 'improvisation of literary genre' by early Tudor England's poets, printers, and readers. [ABSTRACT FROM AUTHOR]

Those unfamiliar with Al-Sayyab may not know other than the poet Badr Shaker Al-Sayyab had other beautiful creations such as translation, for example. The project and the caution contained, but translation as a whole is a beautiful art and craft for the translator who is trying to express particular ordinary writing, which is the process of translating some passages, sentences, or texts in which the translator is not responsible for the merits of that translation. In the ordinary text, which is the translation of literary texts, whether they are poetry, prose, or play, translation requires that the translator be a poet or at least familiar with the poetic inspiration and its details because the translated text will judge the translator with spiritual provisions that he must understand; otherwise, the text will become a document of a nonliterary text devoid of literariness., and if the translator perfects his tools, knowledge, and expertise in poetry and its fluctuations, and tries to transfer the poetic text into a poem in Arabic, this is the height of creativity and sincerity in the translation integrity that distinguishes one translator from another, and this is what happened in his case On our creative poet al- Sayyab, who was translating literary texts (poetry and story), but excelled in them. He is a poet who knows about poetry and writing, so his translation showed that he was conscious and in the status of an expert craftsman, and two things govern him. The best of those who appreciate the poet or the prose writer of the text are his efforts, and thus he acts as the faithful translator. [ABSTRACT FROM AUTHOR]