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The International Spenser Colloquium, sponsored by St Thomas University and the University of New Brunswick, was held in Fredericton in 1969 to celebrate the four hundredth anniversary of Spenser's first appearance in print in A Theatre for Wordlings. The intention of the colloquium was to honour a great poet for the pleasure and profit his work continues to give and to promote understanding of his poetry through lectures, discussions, and proposals for future lines of exploration. The six original essays on Spenser's poetry contained in this volume were first presented at the colloquium. While there is a central concern with The Faerie Queene, the essays range widely through Spenser's works and treat many aspects of his poetic vision and artistry: his comic vein and his melancholy, his learning and his realism, his grand designs and his richness of detail. In their variety and vivacity the essays amply demonstrate the powerful appeal that Spenser's poetry exerts today and the quality of response it elicits

First published in 1961. On her death, Professor Ellis-Fermor left behind some uncollected essays and part of a book on Shakespeare the Dramatist. This volume includes the chapters of the unfinished work and three further articles on Shakespeare. It discusses Shakespeare's methods with regard to plot, character, diction, and imagery and it contains comparative analysis of Shakespeare with other dramatists, including Ibsen and Corneille.

The eighteenth century produced more inventive actors than fine dramatists, and it displayed its actors to increasing advantage as theatre management became more expert, and stage design more ambitious. First published in 1972, the eleven papers collected in The Eighteenth-Century English Stage, originally read at a Manchester University Symposium in July 1971, follow this historical emphasis. Two papers are centred on dramatists, four on actors, three on managers, and two on designers. Malcolm Kelsall analyses Steele's debt to Terence, using his classical scholarship as illuminatingly as Edgar Roberts uses his musical scholarship in writing about the songs in Fielding's plays. George Taylor compares and evaluates a number of theories of acting, and speculates on the likely relevance of the best-known books on rhetoric, whilst Kathleen Barker, Arnold Hare, and David Rostron consider the work of individual actors – Powell, Cooke, and John Kemble. Theatre managers are represented by John Rich in Paul Sawyer's sympathetic account, Thomas Harris, who is given new life in the recent researches of Cecil Price, and Stephen Kemble, fixed by Kenneth Robinson in canny control of the Newcastle theatre circuit. Finally, Graham Barlow reaches some controversial conclusions about the dimensions of the Theatre Royal, Drury Lane, by subjecting Thornhill's sketches to a practising designer's statistical examination, and Sybil Rosenfeld carries a stage further her pioneering work on eighteenth-century scene-painting and design. The two last are attractively illustrated by 8 pages of plates. This book's particular value lies in its bringing together several simply presented but deeply informed explorations of often neglected aspects of the eighteenth-century theatre. The papers, with their general sense of enthusiasm and concern for their subject, will interest all students of the eighteenth century, and theatre enthusiasts in particular.

Thomas James Wise (1859–1937), though destined to receive in his own lifetime practically every honor the world of letters could bestow, is remembered today as perhaps the greatest malefactor in all of literary history. From 1934 to 1957 various enquiries have implicated him first in the manufacture of more than fifty predated'original'editions of eminent Victorian authors, then in seven additional forgeries, later in countless piracies of other nineteenth-century work, and finally in repeated acts of vandalism upon forty-one seventeenth-century plays. It is fitting that Wise himself appears as a contributor to this volume. Included are his original introduction to the Browning Library, his letters to bookseller J. E. Cornish, his extraordinary letter to Sir Edmund Gosse, and a note to H. Buxton Forman. These Centenary Studies review the course of research over twenty-five years, designate topics requiring further investigation, and assess new evidence of Wise's villainies. One more forgery is identified, the provenance of others reexamined, the forger's method of purveying his wares closely appraised, his association with H. Buxton Forman and Sir Edmund Gosse more precisely defined, and the range of his activities summarized in an annotated handlist. The record includes at least 400 printings directly attributed to Wise, as well as 23 suppressed or abortive issues, and 29 others in which he seems to be somewhat involved. Through these perspectives the culprit appears even more contemptible and, possibly for this very reason, ever more intriguing as a cause célèbre in literary scholarship. The illustration on the cover of this book reproduces, through a magnifying glass, the peculiar question mark appearing in certain forgeries printed for Wise by the firm of Richard Clay & Sons. The mark may also implicate Wise in other irregular printings, including The Death of Balder.

Of Joseph Conrad, H.L. Mencken has written: ‘There was something almost suggesting the vastness of a natural phenomenon. He transcended all the rules. There have been perhaps, greater novelists, but I believe that he was incomparably the greatest artist whoever wrote a novel.'Originally published in 1957, the year of the centenary of Conrad's birth, and although he was firmly established among the world's great literary figures, little was known about him generally, beyond the fact that he was himself once a sailor, and that the language he handled with such mastery was not the one to which he was born. This was described as the definitive biography, written by one of Conrad's closest friends, to whom the novelist willed his personal papers. It took many years to prepare and the author travelled extensively in the lands that Conrad knew and wrote about. He writes with clarity, compassion and understanding of Conrad's childhood in Russia (where the father was exiled for Polish nationalist activities); of how the youth of fifteen, who had never seen the sea before, became a sailor; of how at twenty-nine he became a British subject and master of his own ship; of how in 1894 he became a novelist almost by accident, rose rapidly to literary fame, found new friends and established himself in literary history. This is a record of the strangest and most enigmatic of lives, fascinating and authoritative at the same time.

First published in 1974, Authors, Publishers and Politicians describes the efforts to secure an Anglo-American copyright agreement. It explores the underlying causes of the failure of this quest, a failure which enabled literary pirates on both sides of the Atlantic to continue operations for another forty years. It traces the effects this had on the writers and producers of books as well as their reading public. Few aspects of Anglo-American relations were untouched by the drama presented in this study. Its broader implications range from straightforward business transactions, official diplomatic manoeuvres, endless legal complexities, and clandestine political intrigue to the peculiarities involved in book smuggling, newspaper rivalries and industrial espionage. The book will be of interest to students of legal history, publishing and literature.

William Makepeace Thackeray (1811-1863), was a writer, novelist, and illustrator. In this 1959 study, Laurence Brander argues that Vanity Fair (1847) is Thackeray's masterpiece, a novel in which all his gifts are fused in a unique creative glow and fire. Brander adds that the Pendennis novels are'the greatest panorama of London life ever offered in a novel sequence'and an incomparable portrait of England in the 1850s. A volume in the Writers and Their Work series, which draws upon recent thinking in English studies to introduce writers and their contexts. Each volume includes biographical material, an examination of recent criticism, a bibliography and a reappraisal of a major work by the writer.

First Published in 1942, English Domestic Life presents an anthology that gives as complete a picture as possible of the English domestic scene during the last 200 years. With Fielding we accompany an eighteenth-century family to the theatre to see Mr Garrick in Hamlet; with Thackeray we see Mrs Rawdon Crawley going to Court; with Meredith we taste the delights of wine; with Galsworthy we enjoy a Forsyte dinner; and so on. The mass material from which L. A. G. Strong has made this selection is enormous; he has therefore been rigidly selective, and, believing that representation of the subject is more important than representation of authors, has made an anthology as entertaining as it is instructive. Among many others, selections have been taken from the work of Jane Austen, Dickens, Bennett, Walpole etc. This selection is a must read for scholars and students of English literature.

Racine the practising dramatist had been in some danger of being crowded out from the numerous books on his psychology and style. In this critical study of the man and his work, first published in 1951 and this slightly revised edition originally in 1973, Dr Brereton's guiding principle has been to make the factual basis as accurate as it can be in the light of modern research. The result is the portrait of a sensitive and attractive figure which is none the worse for being shorn of certain legends.

What is tragedy? What does the term imply? The word had outgrown its original context of literature and art and acquired wider and looser meanings. Originally published in 1968, Dr Brereton seeks to establish the basis of a definition which will hold good on various planes and over a wide range of dramatic and other literature. Various theories are examined, beginning with Aristotle and taking in the Marxist interpretation and the two main religious theories of the sacrificial hero and the built-in conflict in fallen human nature. These theories are tested out on representative works by Sophocles, Shakespeare, Racine, Ibsen, Beckett and others, and the findings which emerge are developed in the course of the book. This is conceived as a re-exploration of a widely debated subject in the light of a few clear basic principles. The result is a lucid study which will be especially valuable for students of literature and drama.

The French poetry of some five centuries is here surveyed in a series of studies of the work and personality of individual poets from Villon to the present day. Each chapter is primarily concerned with establishing the ‘literary identity'of the poet or poets with whom it deals: the work of each is outlined and related to the historical and biographical circumstances in which it was written; and its characteristics are then examined critically in terms relevant to the modern reader. Comparisons are made between different poets, and more general topics – such as the concepts of ‘classic'and ‘baroque'– are discussed. This book, first published in 1956, had become a standard introductory work for students of French poetry and general readers alike. For this revised edition, originally published in 1973, new chapters have been added on ‘irregular'seventeenth-century poets and on various modern poets whose work now enables the Surrealist movement to be seen in clearer perspective. The bibliography has been revised extensively.

In The Bow and the Lyre Octavio Paz, one of the most important poets writing in Spanish, presents his sustained reflections on the poetic phenomenon and on the place of poetry in history and in our personal lives. It is written in the same prose style that distinguishes The Labyrinth of Solitude. The Bow and the Lyre will serve as an important complement to Paz's poetry. Paz's discussions of the different aspects of the poetic phenomenon are not limited to Spanish and Spanish American literature. He is almost as apt to choose an example from Homer, Vergil, Blake, Whitman, Rimbaud as he is from Lope de Vega, Jiménez, Darío, Neruda. In writing these essays, he draws on his vast storehouse of knowledge, revealing a world outlook of ample proportions. In reading these essays, we share the observations of a searching, original, highly cultivated mind.

Originally published in 1963 and edited by an authority on Wyndham Lewis (whom he also knew personally) this volume made available for the first time over 500 letters of Wyndham Lewis, who for half a century was a dynamic force among English artists and intellectuals. Culturally, Lewis played the dual role of innovator and iconoclast. Lewis's letters show the wide range of his interests as well as his great verbal energy and unrelenting intellect. Lewis knew most of the significant artists and writers of his time and some of them – Augustus John, Pound, Eliot and Joyce were his lifelong friends and chief correspondents. Regardless of to whom he was writing, he displayed his intense awareness of the personalities and currents around him.

Die Reihe Die Griechischen Christlichen Schriftsteller der ersten Jahrhunderte (GCS) veröffentlicht seit 1897 (zuerst in Leipzig, dann in Berlin) die Ergebnisse des Akademieprojektes Griechische Christliche Schriftsteller, begonnen in der damaligen Königlich Preußischen Akademie der Wissenschaften, unter dem Titel Die alexandrinische und antiochenische Bibelexegese fortgeführt in der Berlin-Brandenburgischen Akademie der Wissenschaften. Sie bietet in großen kritischen Ausgaben mit historisch orientierenden Einleitungen und Registern diejenigen Werke, die ursprünglich im griechischsprachigen Teil des antiken kaiserzeitlichen Christentums entstanden sind und nicht von den anderen großen Editionsreihen herausgegeben werden. Für die ersten drei Jahrhunderte wird dabei Vollständigkeit angestrebt.

The third Earl of Shaftesbury had generally been known as the forerunner of the Moral Sense school of philosophers in the eighteenth century. Surprisingly little attention had been paid to his importance for literature and yet undoubtedly this had been very great. Originally published in 1951, this study gives an account of Shaftesbury's aesthetic and literary theory; his discussion of the imagination, ridicule, the aesthetic judgment and the sublime; and his anticipation of later writers such as Burke, Coleridge and Kant. It also considers Shaftesbury's thought as part of the background of ideas in the Augustan period and his influence in such fields as literature, architecture and landscape gardening. In addition, the author assesses in more general terms Shaftesbury's attempt to maintain a Platonic viewpoint that would be more congenial to poetry than Locke's'new way of ideas'.

Originally published in 1906, this book examines the oriental tale in England, meaning it considers all the oriental and pseudo-oriental fiction that appeared in English, whether written in English or translater from the French. The highlights fall upon the Arabian Nights, Dr. Johnson's Rasselas, Goldsmith's Citizen of the World, and Beckford's Vathek, and the presnet volume aims to depict clearly the interesting orientalizing tendency of which these apparently isolated works were the best manifestations - a tendency itself a part of the larger movement of English Romanticism.

Originally published in 1968. A critical interpretation of Chaucer's narrative poetry which concentrates on three major groupings - the early love-visions, the ‘tragedye'of Troilus and Criseyde, and the Canterbury Tales. Emphasis is laid on Chaucer as an oral narrator and on the varying skills which this role encourages and sustains. The quotations are liberal and throughout help is given to the reader unfamiliar with Middle English.

Originally published in 1972. This important work of Chaucerian scholarship deals with two aspects of the poet and his work - his individual achievement and his place in history - and demonstrates that in both these senses Chaucer is a maker of English poetry. The author explores Chaucer's narrative art. The book includes an examination of the puzzling question of narrative structure in the Canterbury Tales and of the nature of Chaucerian comedy in these works. The author surveys the major themes of the poems: Fortune and free will, marriage, and the nobleness of man. In the final chapter she treats of the meaning of Chaucer's art for his successors. Throughout the work, Miss Kean deals extensively with the sources which Chaucer used for the writing of his poems, in a way which directs light on the more difficult aspects of his art.

This study provides an accessible, informative and entertaining introduction to women's sexual health as presented on the early modern stage, and how dramatists coded for it. Beginning with the rise of green sickness (the disease of virgins) from its earliest reference in drama in the 1560s, Ursula Potter traces a continuing fascination with the womb by dramatists through to the oxymoron of the chaste sex debate in the 1640s. She analyzes how playwrights employed visual and verbal clues to identify the sexual status of female characters to engage their audiences with popular concepts of women's health; and how they satirized the notion of the womb's insatiable appetite, suggesting that men who fear it have been duped. But the study also recognizes that, as these dramatists were fully aware, merely by bringing such material to the stage so frequently, they were complicit in perpetuating such theories.

This volume contributes to the study of early English poetics. In these essays, several related approaches and fields of study radiate outward from poetics, including stylistics, literary history, word studies, gender studies, metrics, and textual criticism. By combining and redirecting these traditional scholarly methods, as well as exploring newer ones such as object-oriented ontology and sound studies, these essays demonstrate how poetry responds to its intellectual, literary, and material contexts. The contributors propose to connect the small (syllables, words, and phrases) to the large (histories, emotions, faiths, secrets). In doing so, they attempt to work magic on the texts they consider: turning an ordinary word into something strange and new, or demonstrating texture, difference, and horizontality where previous eyes had perceived only smoothness, sameness, and verticality.

Of irony as a figure of speech we are commonly aware: it is an everyday conversational weapon. But there are other ironies, those of allegory, of understatement, of detachment, of fate; and especially there is irony in drama. Professor Sedgewick shows how the various meanings of irony have developed -- through Socrates, with his'urbane pretence'; through Bacon, Schlegel, and Tieck; through Bishop Thirlwall, whose essay on the irony of Sophocles was a landmark in the history of English dramatic criticism; and through R.G. Moulton's books on drama. Professor Sedgewick examines closely the notion of irony in drama, and skillfully analyses that delight in contrast of appearance and reality, in the combination of superior knowledge and detached sympathy, which the spectator finds in contemplating the performance of the whole or individual parts of a play. This analysis is accompanied by masterly expositions of impressive scenes from Shakespeare and Ibsen, but especially from the Greek tragedians. The author concludes with a detailed application of his suggestions to Othello. He believes that a realization of how Shakespeare has saturated the play from the beginning with irony used as a means of dramatic preparation will answer the absurdities of Rymer and show that it is not necessary to suppose a convention called The Calumniator Credited in order to accept the temptation scene.

Although well known to experts in English literature, Guilpin's Skialetheia has been available only in inadequate texts until now. This edition of the 1598 work presents an old-spelling critical text and provides and introduction and commentary on the text. These seventy epigrams and seven formal verse satires display the peculiarly negative, malicious tone associated with English literature of the time.Originally published 1974.A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

American and British Writers in Mexico is the study that laid the foundation upon which subsequent examinations of Mexico's impact upon American and British letters have built. Chosen by the Mexican government to be placed, in translation, in its public libraries, the book was also referenced by Nobel Laureate Octavio Paz in an article in the New Yorker, “Reflections—Mexico and the United States.” Drewey Wayne Gunn demonstrates how Mexican experiences had a singular impact upon the development of English writers, beginning with early British explorers who recorded their impressions for Hakluyt's Voyages, through the American Beats, who sought to escape the strictures of American culture. Among the 140 or so writers considered are Stephen Crane, Ambrose Bierce, Langston Hughes, D. H. Lawrence, Somerset Maugham, Katherine Anne Porter, Hart Crane, Malcolm Lowry, John Steinbeck, Graham Greene, Tennessee Williams, Saul Bellow, William Carlos Williams, Robert Lowell, Ray Bradbury, Allen Ginsberg, William Burroughs, and Jack Kerouac. Gunn finds that, while certain elements reflecting the Mexican experience—colors, landscape, manners, political atmosphere, a sense of the alien—are common in their writings, the authors reveal less about Mexico than they do about themselves. A Mexican sojourn often marked the beginning, the end, or the turning point in a literary career. The insights that this pioneering study provide into our complex cultural relationship with Mexico, so different from American and British authors'encounters with Continental cultures, remain vital. The book is essential for anyone interested in understanding the full range of the impact of the expatriate experience on writers.

Rubén Darío (1867–1916), the undisputed standard-bearer of the Modernist movement in Hispanic letters, was born in Nicaragua. In 1886 he went to Chile, where he published Azul (1888), his first important book of poems and stories. Later he lived for extended periods in Argentina, Spain, and France, and in these countries produced his best work: compelling poems of beauty, style, and dignity, especially Cantos de vida y esperanza (1905). The perfection of form, exotic essences, and rich ornamentation of his earlier work give way in his most mature poems to self-probings and doubts, the anguish so characteristic of twentieth-century literature. But the hedonistic note, the quenchless appetite for life, dominating Azul and Prosas profanas (1896) never die out, and are magnificently present in El poema del otoño (1910). Darío has had a tremendous impact on Hispanic literature. He is one of the best examples of the poet who is true to his art as determined by his innermost impulses. His poetry has fertilized a whole generation of writers in Spanish America and in Spain, and even now his influence continues to be felt.

Partial Portraits is a book of literary criticism by Henry James published in 1888. The book collected essays that James had written over the preceding decade, mostly on English and American writers. But the book also offered treatments of Alphonse Daudet, Guy de Maupassant and Ivan Turgenev.

Beginning with the dim prehistory of the mythical gods and their descendants, Heimskringla recounts the history of the kings of Norway through the reign of Olaf Haraldsson, who became Norway's patron saint. Once found in most homes and schools and still regarded as a national treasure, Heimskringla influenced the thinking and literary style of Scandinavia over several centuries.

These ten essays, written over a period from 1950 to 1962, are bound together by their common concern with questions of the meaning of criticism and the larger meaning of literature itself. These difficult questions W.K. Wimsatt treats with characteristic wit and penetration, ranging easily from a broad consideration of principles to incisive comment on individual writers and works. The first part of the book is devoted to a discussion of literary theory. Wimsatt reviews the development of critical dialectic from the German romanticism of Schelling and the Schlegels to the mythopeic bravura of Northrop Frye. Himself a classical ironist, he nevertheless exposes here some of the extravagances of the ironic principle as flourished by the systematic Prometheans. The second and third parts contain essays on more particular topics: the meaning of'symbolism,'Aristotle's doctrines of the tragic plot and catharsis, the theory of comic laughter, and the objective reading of English meters. Here too are extended comment on particular writers—a study of the imagination of James Boswell, an analysis of the comedy of T. S. Eliot in The Cocktail Party, and a contrast in the handling of similar themes by Tennyson and Eliot. The fourth part is a comprehensive statement of the demands and opportunities confronting the critic in his or her role as teacher.

In two magnificent and authoritative volumes, Harold C. Goddard takes readers on a tour through the works of William Shakespeare, celebrating his incomparable plays and unsurpassed literary genius.

The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling students and researchers to read for themselves, for example, comments on early performances of Shakespeare's plays, or reactions to the first publication of Jane Austen's novels. The carefully selected sources range from landmark essays in the history of criticism to journalism and contemporary opinion, and little published documentary material such as letters and diaries. Significant pieces of criticism from later periods are also included, in order to demonstrate the fluctuations in an author's reputation. Each volume contains an introduction to the writer's published works, a selected bibliography, and an index of works, authors and subjects.The Collected Critical Heritage set will be available as a set of 68 volumes and the series will also be available in mini sets selected by period (in slipcase boxes) and as individual volumes.

The Critical Heritage gathers together a large body of critical sources on major figures in liteature. Each volume presents contemporary responses on a writer's work, enabling student and researcher to read the material themselves.

Nine noted literary critics examine the spiritual and religious elements in the fiction of such diverse writers as James Baldwin, J. F. Powers, Graham Greene, Par Lagerkvist, and Flannery O'Connor. Contributors: Robert Boyle, S.J.; Robert McAfee Brown; A. A. Devitis; Herbert Howarth; Maralee Frampton; Nathan A. Scott, Jr.; Albert Sonnenfeld; Winston Weathers; and the editors

First published in 1953, Tragedy and the Paradox of the Fortunate Fall argues that our response to tragedy is made up of a series of responses: the impact of experience which produces the archetypes of belief; the formation of the archetype of rebirth; the crystallization of the archetype of rebirth in the myth and ritual of the ancient Near East; the transformation of myth and ritual in the religions of the ancient world, including Christianity; the formalization of the archetype of rebirth into the concept of felix culpa, the paradox of the fortunate fall and finally the secular utilization of the paradox of the fortunate fall as the substance out of which tragedy is made. This book will be of interest to students of literature, philosophy and history.

First Published in 1972, The Scholar-Critic argues that it's a mistake to consider literary criticism and literary scholarship as each other's antitheses. The two approaches to literature are, except at the most superficial level, complementary, both indispensable, both equally honourable aspects of a single discipline. The book deals with themes like the sense of fact; works of reference; the literary object; style and interpretation; textual criticism and literary history; and presentation. This is an interesting read for scholars and researchers of English literature.

First published in 1974, Fact in Fiction states that literature does not ‘reflect'or ‘arise from'society but is as much a functioning part of it as any social structure, institution or set of norms. The author shows that, however fantastic the content of fiction, it is a representation of social fact, not the mere random issue of private fantasy. Because of this, there is a regular and discernible pattern in which literature is related to other strands in the social web, which makes it possible to ‘read back'from fiction to other social fact. An explanation is put forward for the normative power of fiction, from its origins in the apparent human necessity to communicate abstract concepts in terms of narrative accounts of human action. This book will be of interest to students of literature, sociology and history.

As J. M. Cohen points out in the opening of his survey, the two great periods of excellence in English translation occur at the time of the Renaissance, and again at the present, when ‘English has become…the common cultural language of a vast section of the world.'Helped by a discriminating use of quotation in prose and verse, Cohen covers the whole story of the English effort to make classics of other languages on their own, and he has wise words on the difficulties and achievements of individual translators. Ezra Pound once said: ‘English literature lives on translation, it is fed by translation: every new heave is stimulated by translation, every allegedly quiet is an age of translation.'This booklet is a valuable commentary on this judgement by a writer who has himself won distinction as a translator of Cervantes, Montaigne and Rabelais.

Edward Lear (1812-1888) wrote a well-known autobiographical poem that begins ‘How pleasant to know Mr Lear!'But how well do we really know him? Famous for his nonsense verses, he is often compared with that other Victorian master of nonsense, Lewis Carroll. In this 1965 study, however, Joanna Richards prises the two apart, arguing that'Carroll approached his nonsense by way of logic and mathematics, Lear approached it through his painting and through his poetry, and [...] through lift itself.'This essay on Lear as man, typographer, painter, and poet, elucidates the complexity of his life and work.

Originally published in 1931, this book surveys the origin and development of Greek Comic Drama, with full discussion not only of Aristophanes and Menander but also of other important playwrights whose work had usually received scant notice because only fragments of it have survived. The important papyrus-finds of the previous forty years have been expounded and used. The final chapter is an introduction to comic metre and rhythm.

First published in 1974, The Augustan Vision looks at the entire spectacle of Augustan Society in an attempt to see English culture as a whole and thus gain greater insight into this critical period in English Literature. Later parts of the book explore poetry, drama, and aesthetics; that distinctive expression of the age, satire, where abuse is made into art, and the moral essay; and finally, the emerging novel, the crucial new form of this period. This is a must read for students and researchers of English literature.