I was led to arrange "THE ORACLES FROM THE POETS," by observing the vivid interest taken by persons of all ages in a very common-place Fortune-Teller in the hands of a young girl. It occurred to me that I might avail myself of this love of the mysterious, for the intellectual enjoyment of my family circle. Instead, however, of the pastime of a few days, it has been the work of every leisure moment for six months. The first movement was the pebble thrown into the stream; circle after circle formed, until I found, with old Thomas Heywood, "My pen was dipt As well in opening each hid manuscript, As tracts more vulgar, whether read or sung In our domestic or more foreign tongue." How rich these six months have been in the purest and highest enjoyment, I will not stop to say; but to be allowed to float in such an atmosphere, buoyed up with the sweetest sympathies of friends, may be conceived to be no common happiness. And now, with the hope of communicating a portion of this pleasure more extensively, I yield this volume up as a public offering, for the advancement of those rational 10 social enjoyments which seem to belong to the moral movement of the age. I do not know how far early associations may have influenced me, but I distinctly recollect the first Oracle of my childhood. At the age of eight years I attended a female seminary in a village. The classes were allowed a half hour for recreation, and they usually played on the green within view of the academy building. One day I observed a group of girls of the senior class pass beyond the bounds and enter the church, which was opened for some approaching occasional service. I followed quietly. They walked through the aisle with agitated whispers, and ascended to the pulpit. Then each, in turn, opening the large Bible, laid a finger, with closed eyes, on a verse, and read it aloud, as indicating her fate or character.

Combining poetry with divination, this collection resurrects the ancient Greek art of Rhapsodomancy, or divining one's fortune or destiny through the use of poetry or verse. Harkening back to antiquity, when Polyhymnia—the muse of sacred poetry—and Calliope—the muse of epic poetry—were invoked for guidance, each page of this anthology contains three poetic excerpts, chosen for their oracular wisdom. Readers are asked to contemplate a question and then randomly select an excerpt, which will offer revelations and inspiration for further contemplation. Excerpts are drawn from poets throughout the ages, including Sappho, Li Po, Rumi, Emily Dickinson, Walt Whitman, Dylan Thomas, William Blake, and J.R.R. Tolkien. Though designed as a prophetic tool, it can also be used as an introduction to some of the world's greatest poets.

This innovative look at previously neglected poetry in British America represents a major contribution to our understanding of early American culture. Spanning the period from the Glorious Revolution (1690) to the end of King George's War (1750), this study critically reconstitutes the literature of empire in the thirteen colonies, Canada, and the West Indies by investigating over 300 texts in mixed print and manuscript sources, including poems in pamphlets and newspapers. British America's poetry of empire was dominated by three issues: mercantilism's promise that civilization and wealth would be transmitted from London to the provinces; the debate over the extent of metropolitan prerogatives in law and commerce when they obtruded upon provincial rights and interests; and the argument that Britain's imperium pelagi was an ethical empire, because it depended upon the morality of trade, while the empires of Spain and France were immoral empires because they were grounded upon conquest. In discussing these issues, Shields provides a virtual anthology of poems long lost to students of American literature.

Reprint of the original, first published in 1845.