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Author(s): Jane Clark Scharl [sup.1] Author Affiliations: (1) grid.21729.3f, 0000000419368729, The King's College, , New York, NY, USA In February, Oxford University announced that the Classics faculty is considering dropping [...]

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.

What to do with Hemi? Like it or not, Baxter remains, like a battered beacon, deeply anchored in the midst of the muddy stream of New Zealand poetry, still 'issuing [...]

Hawaiian poetry developed in the nurturing embrace of oral tradition for nearly two thousand years before American missionaries introduced writing in the 1820s. Once literacy was established, Native Hawaiians enthusiastically set out to use the new technology to record their oral traditions in writing. During this period they also experimented with and developed new forms of mele, such as hula ku'i. After the Hawaiian language was banned and the government overthrown in the late nineteenth century, there was a period where Hawaiian poetry was carried forward into the twentieth century by entertainers--singers, dancers, and musicians--who kept the performance aspect of Hawaiian poetry alive. The art of Hawaiian poetry was transformed in the latter half of the twentieth century, when haku mele (poets) began to write primarily in English and Hawai'i Creole English while still maintaining Hawaiian themes and utilizing traditional metaphors. Since then, contemporary Hawaiian poetry in these languages has thrived alongside Hawaiian-language compositions, which are still perpetuated, mostly through the practice of hula. Today, Hawaiian poetry can be best described by using the metaphor of a haku lei, where different strands of language and influence are woven together to create something beautiful and unique, an enduring and perpetual symbol of Hawaiian cultural tradition--a lei ho'oheno no na kau a kau, a lei to be cherished for all seasons. KEYWORDS: Hawaiian poetry, form, performance, Hawaiian literature, KA'INA (INTRODUCTION) Hawaiian poetry is the poetry produced by Kanaka Maoli (Native Hawaiians), the indigenous inhabitants genealogically connected to the archipelago known to the world as Hawai'i. (1) It is […]

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'.

While Aphra Behn's writing as a whole has received a great deal of recent scholarly attention, and her 1688 poem 'To the fair Clarinda, who made Love to me, imagin'd [...]

The poet rises, and the world rises with him. This is the duty that he has known from the start. Suffering and joy, divided within. I would like to return, [...]

The Symposium is one of Plato's most literary and poetic dialogues. How might one reconcile this evidence of Plato's predilection for poetry in light of his severe critique of poetry in the Republic? Though his critique is modified and refined in other dialogues, the power of his critique is nowhere significantly undermined. I argue in this paper that Plato's poetic writing is not inconsistent with his critique, and that in fact there is an affinity between his practice of poetry and his critique. Plato's critique of poetry is not aimed against poetry itself, but just against its problematic claims and false promises. In turn, Plato's use of the poetic image, especially in relationship to eros, delimits philosophy, and places it in relation to that which is not attainable for it. The battle between poetry and philosophy is seen to involve a reciprocal benefit for both, and a hidden affinity. In this sense, the poetic image has its philosophical sense precisely because it falls outside of the philosophical perspective.

ELIZA HARRIET KEARY (1827-1918) WAS A YORKSHIRE POET WHOSE MAJOR work, a remarkably varied collection of poems running to one hundred and eighty-five pages, warrants far greater critical attention than [...]

The true has no value beyond the sham: As well the counter as coin, I submit. --Robert Browning The Statue and the Bust (21) FORGERY AND FUTURITY The belated revelation--modestly [...]

Richard Ford's novels include A Piece of My Heart, The Ultimate Good Luck, T'he Sportswriter, Wildlife, and Independence Day, which won the Pulitzer Prize and PEN/Faulkner Award in 1996. He [...]

Medbh McGuckian was born in Belfast in 1950, where she now lives for most of the year with her husband and their four teenagers. Her poems have won the English [...]

They say that the first sentence in any speech is always the hardest. Well, that one's behind me. But I have a feeling that the sentences to come - the [...]

The prologue of the 13th-century poet Jean Renart's 'Roman de la Rose' offers a much cause for literary speculation. Interweaving humor and ingenuity within his work, Renart was able to use fabric and clothing as lyric insertions to his poem. The exchange of clothing in the romantic poem, namely, robes, mantels and tunics, represents the link between how various kinds of song can adorn a text aurally as clothes can do visually. He was, however, conscious of his sophisticated yet plastic approach to his composition.

The greatest confluence of all is that which makes up the human memory--the individual human memory.... The memory is a living thing--it too is in transit. But during its moment, [...]