Barfield discusses poetry's meaning in terms of both his personal experience and objective standards of criticism. Poetic Diction, first published in 1928, begins by asking why we call a given grouping of words "poetry" and why these arouse "aesthetic imagination" and produce pleasure in a receptive reader. Returning always to this personal experience of poetry, Owen Barfield at the same time seeks objective standards of criticism and a theory of poetic diction in broader philosophical considerations on the relation of world and thought. His profound musings explore concerns fundamental to the understanding and appreciation of poetry, including the nature of metaphor, poetic effect, the difference between verse and prose, and the essence of meaning. CONTRIBUTOR: Howard Nemerov.

Alone among artists, poets are at once blessed and burdened by the inherent semantic component and the tarnishing social employment of their linguistic medium. In an effort to define the mysterious and attractive power of poetic discourse, Emerson Marks undertakes a comparison of successive attempts to explain the phenomenon. TAMING THE CHAOS is an ambitious study of poetic language.

"Poetic diction: A study of eighteenth century verse" by Thomas Quayle. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

Excerpt from Wordsworth's Theory of Poetic Diction: A Study of the Historical and Personal Background of the Lyrical Ballads The following study was undertaken as a doctoral dis sertation under the direction of Professor Albert 5. Cook of Yale University. To Professor Cook I em especially indebted, not only for stimulating guidance in the field of the English language in general, but for a most minute and painstaking criticism of the proof. To Professor Lane Cooper of Cornell Univefsity I owe a debt less easy of definition. Although he has not read the manuscript of this book, and is not responsible for particular statements herein, the inspiration and the direction that I received from him in my reading of Wordsworth as an under graduate at Cornell has been the most Vital element in my study of the poet; if there is anything good in this work of mine, it is ultimately derived from him. I also wish to make grateful acknowledgment to Professor Charlton M. Lewis for criticism received from him in his course on nineteenth-century poets in the Graduate School of Yale University. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

A major addition to the literature of poetry, Edward Hirsch’s sparkling new work is a compilation of forms, devices, groups, movements, isms, aesthetics, rhetorical terms, and folklore—a book that all readers, writers, teachers, and students of poetry will return to over and over. Hirsch has delved deeply into the poetic traditions of the world, returning with an inclusive, international compendium. Moving gracefully from the bards of ancient Greece to the revolutionaries of Latin America, from small formal elements to large mysteries, he provides thoughtful definitions for the most important poetic vocabulary, imbuing his work with a lifetime of scholarship and the warmth of a man devoted to his art. Knowing how a poem works is essential to unlocking its meaning. Hirsch’s entries will deepen readers’ relationships with their favorite poems and open greater levels of understanding in each new poem they encounter. Shot through with the enthusiasm, authority, and sheer delight that made How to Read a Poem so beloved, A Poet’s Glossary is a new classic.