Attempts to isolate and describe the characteristic poetic mode in which Auden has worked for more than thirty years. Originally published in 1965. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

All of the major meditations on the theory and practice of poetry by one of the greatest poets of our time--and perhaps the one who has most scrupulously analyzed his art--are included in The Art of Poetry. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Poesi og prosa - og meget andet - i udvalg

This volume explores the poetry of W. H. Auden, J. H. Prynne, and Paul Muldoon with specific attention to the ways in which their work has engaged with etymology and the history of language.

A delightful collection of modern Chinese tales The Dragon Daughter and Other Lin Lan Fairy Tales brings together forty-two magical Chinese tales, most appearing for the first time in English. These stories have been carefully selected from more than a thousand originally published in the early twentieth century under the pseudonyms Lin Lan and Lady Lin Lan—previously unknown in the West, and now acclaimed as the Brothers Grimm of China. The birth of the tales began in 1924, when one author, Li Xiaofeng, published a set of literary stories under the Lin Lan pen name, an alias that would eventually be shared by an editorial team. Together, this group gathered fairy tales (tonghua) from rural regions across China. Combining traditional oral Chinese narratives with elements from the West, the selections in this collection represent different themes and genres—from folk legends to comic tales. Characters fall for fairies, experience predestined love, and have love/hate relationships with siblings. Garden snails and snakes transform into cooking girls, and dragon daughters construct houses. An introduction offers historical and social context for understanding the role that the Lin Lan stories played in modern China. Appendixes include information on tale types and biographies of the writers and contributors. The Dragon Daughter and Other Lin Lan Fairy Tales is a captivating testament to the power of storytelling.

For many years there existed a general feeling that the selection made by Auden himself in 1968 was far from satisfactory. It was too short to provide a full introduction to such a large body of work; perhaps it was too weighted in favour of the later poetry; at the time it was made some famous poems, or portions of poems were still under an embargo imposed by Auden himself which remained in force until his death. This edition contains an introduction which is an examination of the nature of Auden's genius and of his position and stature in 20th-century literature.

Although Auden has often been hailed as the twentieth century’s master of metre and most outstanding practitioner of traditional poetic forms, his metrical art still remains a mystery, as far as its real significance is concerned. This book sheds new light on the enticing appeal of formal poetry which induced Auden into composing in almost every possible stanza form. In order to work out a ‘new’ appreciative assessment of Auden’s formal art, the book uses Amittai Aviram’s theory of poetic rhythm, which transcends the common literary critical process, based on the rhetorical assessment of rhythm in poetry. Aviram’s theory clearly revolutionises our common methods of interpretation regarding rhythm rather than meaning as the starting point in reading poetry; it is the poem’s ideas and theme which express and strengthen rhythm, not the other way round. Such conception of rhythm, as allegorized by meaning (images and metaphors), breathes new life into the outworn Russian formalist tradition. Turning to Auden’s poetry today may be said to be urged by both literary and political contexts; in an age marked by uncertainties and an upsurge of violence, poetry’s voice, regrettably, reverberates less forcefully, sinking into a state of formal loosening. As such, this book may be said to be prompted by a ‘necessity’ to revive the interest in Auden’s poetry, especially given its recent neglect. A reconsideration of Auden’s conception of the nature of poetry and its status enables us to encrypt his verbal art, assess its multiple effects, and appreciate the metrical range that has helped the poet handle so subtly his twofold inquiry: What is poetry? What is its use?