Share the poetry written by many of the important poets of the English language from the Elizabethan Age to the Nineteenth Century with your students. This resource presents a background to each of the major periods of writing, a biography of the particular poet, a portrait of the poet, a representative poem, activities and suggestions for further reading. 70 pages Activities can be completed independently or in small groups. 20+ Ballads, Poems & Sonnets and 10+ Portraits of Poets & Biographies. Poets & Their Works: The Minstrels of the Middle Ages: The Ballad "Lord Randal The Elizabethan Age William Shakespeare, "Sonnet XXIX" Christopher Marlowe, "The Passionate Shepherd to His Love" Sir Walter Raleigh, "The Nymph's Reply" John Donne, "The Bait" The Seventeenth Century John Donne, "A Hymn to God the Father" Robert Herrick, "To The Virgins to Make Much of Time" John Milton, "On His Blindness" The Restoration and Eighteenth Century The Romantic Age William Wordsworth, "She Dwelt Among the Untrodden Ways John Keats, "When I Have Fears" The Victorian Age Alfred Lord Tennyson, "The Lady of Shalott" Elizabeth Barrett and Robert Browning, "How Do I Love Thee" and "Prospice" Canadian and American Poetry of the Nineteenth Century Walt Whitman, "O Captain! My Captain!" Emily Dickinson, "Because I Could Not Stop For Death" Emily Dickinson, "A Narrow Fellow in the Grass" Emily Dickinson, "I Like To See It Lap The Miles" Duncan Campbell Scott, "The Half-Breed Girl" Sir Charles G.D. Roberts, "The Potato HaNest" Bliss Carmen, "A Vagabond Song" Archibald Lampman, "A Sunset at Les Eboulements" Archibald Lampman, "Winter Uplands"

A collection of favorite poems by such writers as William Shakespeare, Emily Dickinson, Edward Lear, Walt Whitman, and Langston Hughes, with portraits of the poets, brief biographical background, and illustrations.

The period immediately following the end of the First World War witnessed an outpouring of artistic and literary creativity, as those that had lived through the war years sought to communicate their experiences and opinions. In Germany this manifested itself broadly into two camps, one condemning the war outright; the other condemning the defeat. Of the former, Erich Maria Remarque’s All Quiet on the Western Front remains the archetypal example of an anti-war novel, and one that has become synonymous with the Great War. Yet the tremendous and enduring popularity of Remarque’s work has to some extent eclipsed a plethora of other German anti-war writers, such as Hans Chlumberg, Ernst Johannsen and Adrienne Thomas. In order to provide a more rounded view of German anti-war literature, this volume offers a selection of essays published by Brian Murdoch over the past twenty years. Beginning with a newly written introduction, providing the context for the volume and surveying recent developments in the subject, the essays that follow range broadly over the German anti-war literary tradition, telling us much about the shifting and contested nature of the war. The volume also touches upon subjects such as responsibility, victimhood, the problem of historical hiatus in the production and reception of novels, drama, poetry, film and other literature written during the war, in the Weimar Republic, and in the Third Reich. The collection also underlines the potential dangers of using novels as historical sources even when they look like diaries. One essay was previously unpublished, two have been augmented, and three are translated into English for the first time. Taken together they offer a fascinating insight into the cultural memory and literary legacy of the First World War and German anti-war texts.

The Oxford History of Classical Reception (OHCREL) is designed to offer a comprehensive investigation of the numerous and diverse ways in which literary texts of the classical world have stimulated responses and refashioning by English writers. Covering the full range of English literature from the early Middle Ages to the present day, OHCREL both synthesizes existing scholarship and presents cutting-edge new research, employing an international team of expert contributors for each of the five volumes. OHCREL endeavours to interrogate, rather than inertly reiterate, conventional assumptions about literary 'periods', the processes of canon-formation, and the relations between literary and non-literary discourse. It conceives of 'reception' as a complex process of dialogic exchange and, rather than offering large cultural generalizations, it engages in close critical analysis of literary texts. It explores in detail the ways in which English writers' engagement with classical literature casts as much light on the classical originals as it does on the English writers' own cultural context. This second volume, and third to appear in the series, covers the years 1558-1660, and explores the reception of the ancient genres and authors in English Renaissance literature, engaging with the major, and many of the minor, writers of the period, including Shakespeare, Marlowe, Spenser, and Jonson. Separate chapters examine the Renaissance institutions and contexts which shape the reception of antiquity, and an annotated bibliography provides substantial material for further reading.