The sonnet in American literature, 1865-1900

Thesis (M.A.)--University of Kansas, English, 1932

James Hogg

No abstract available

Some development in Urdu poetry since 1936

This work is devoted to discuss the developments in Urdu poetry since 1936.A brief account of the developments in poetical language, various verse-forms and themes of Urdu poetry till Iqbal (1877-1938) has been given in the introductory chapter. The second chapter is on the poetical language of Urdu poetry. In it, the Influence of English language, the use of Hindi words and phrases and the employment of colloquial vocabulary in Urdu poetry of the last thirty years is discussed at some length. In the third chapter on metres, a general account of the use of metres in Urdu poetry is given. In addition, some recent attempts to write poetry with disregard to metres are discussed, a "relative frequency table of metres" is also prepared and Included in this chapter. The fourth chapter deals with various traditional and new verse-forms of Urdu poetry. They are both defined and distinguished from each other. In the fifth and sixth chapters, a number of themes of Urdu poetry since 1936, such as the influence of Communism, the Independence of the sub-Continent of India and Pakistan and its aftermath. Communal Riots of 1947, writings on social evils and customs and on peace and war, historical and allegorical themes, humorous and satirical poetry, the influence of religion, recent Indo-Pakistani War, and psychological themes Including sex, escapism, scepticism, an Individual’s predicaments, imprisonment of the present moment and so on are discussed at length The final chapter is that of the conclusion

Symmetrical Womanhood: Poetry in the Woman\u27s Building Library

Late-nineteenth-century women poets shed midcentury sentimentality unevenly and at some cost, losing a sense of privacy, a (Christian) frame of reference, and an imagined community of women who shared their worldview. They also gained more public, secular, and professional sources of identity. The exact nature of this postsentimental self was unclear. Postsentimental poets often wrote in the genteel tradition, which trumpeted eternal truth and beauty while working from a position of subjective instability. Ultimately, their verses must be seen as powerfully fluid and transitional, registering (like the Woman\u27s Building Library) women\u27s struggle to inhabit more public forms of authority

The use made of books of travel and exploration by English poets, 1729-1790

INTRODUCTORY CHAPTER. James Thomson and the travel writers - his imitators in poems about the best Indies - motives for travel during the eighteenth century - the manifold relations between poets and travel- writers - the theory of travel in prose and verse. • • CHAPTER TWO. TRAVELLING IN EUROPE. A man who has not been in Italy, is always conscious of an inferiority, from his not having seen it is expected a man should see. The grand object of travelling is to see the shores of the Mediterranean. • • CHAPTER THREE. GREAT BRITAIN. • • CHAPTER FOUR. PRIMITIVE POETRY AND THE TRAVEL BOOKS

Practical Versification, or the Art of Verse Writing

A plain and practical treatise on the rules of versification and the elementary principles of verse writing.https://digitalcommons.acu.edu/crs_books/1562/thumbnail.jp

Creativity with Purest Energy: How Sir Thomas Wyatt Introduced Modern English Poetics

The court poetry of Sir Thomas Wyatt (1503-42) asserts a special confidence and boldness of the individual and his poetics that stand at the forefront of an ambitious, sure and powerful England which eventually came into place during his life and afterwards. Wyatt marks the start of a new literary period when humanity and art gradually diverged from religious rites and instruction, dramatic impulses for romantic love and mere desires for adventure, allegory and narrative to favor instead modern demands and conscious intellectualism. Wyatt\u27s poetry best represents this distinct literary break from his native medieval predecessors and from writers who had already been challenged on the European Continent by the renaissance which began there about a century ahead of England\u27s. Transmitting and revising poetry from Italy, France and elsewhere, Wyatt introduced numerous poetic forms to England. Then, by experimenting with these new metrical forms and using native vernacular, he originated his own poetry. Wyatt\u27s poetry also began to reflect a new attitude about human life, an attitude reflecting the flourishing of classical authorities somewhat at odds with old ideas. His early modern poetics would exceed beyond medieval literature\u27s propensity for rhyme and the harsh depiction of nature\u27s realities. Instead, he would offer an alternative to philosophic depth and poetic virtuosity that was mastered by Chaucer and imitated by others in England and on the European Continent. His would be a transformative kind of poetry, more direct and less narrative, in new and irregular prosody. And Wyatt\u27s new poetry uniquely combined native traditions and classical influences in radically different tones and from ordered meters that did not restrict--actually, which served as a catalyst for--lyrical variations, prosodic innovations, and quite different and highly aesthetic expressions about universal truths and humanity\u27s new-found boldness and intellect that was taking hold in Tudor England. Wyatt\u27s court-poet contemporaries and then successive poets like Spenser, Sidney, Shakespeare, and Donne to name only a few, would acknowledge the poetics that Wyatt first introduced and that they then improved upon in their own poetry to establish what is well-known as the Early Modern eras\u27 best lyrics. However, without the clear voice and innovations by Wyatt, that new path in British life and literature undoubtedly would not have been advanced, at least not in the first half of the sixteenth century