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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.

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.

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.

Originally published in 1974. The thirty-six essays of this book were written and assembled in hour of an internationally recognised scholar of medieval literature. Written by a diverse range of contributors, the chapters cover not only various studies of aspects of Chaucer's poetry, but also some other medieval authors and investigations about the period, particularly referencing carols and hymns.

Rubén Darío (1867-1916) of Nicaragua was the leader of the important Latin American literary movement known as Modernism. He is considered by many to be the greatest poet in Latin American literature, and the volume of writings devoted to his work since 1884 is perhaps greater than that on any other writer in the history of Spanish American literature. The celebration in 1967 of the centenary of his birth gave rise to a formidable number of new analyses, increasing the need for the classification and assessment of the many studies. In this book Professor Ellis examines and evaluates the wide range of methods and perspectives available to the reader of Darío's works. He considers the biographical approach, social and political questions, influences and sources, structural analysis (providing three structural studies of his own), and, in an appendix, Darío's own concept of the role of the literary critic. His book is comprehensive both in time and in range, and includes an up-to-date bibliography. This is the first systematic study of the critical works on a Spanish American writer. It is significant not only in its treatment of the work on an individual author, but also as a reflection on and an indication of the trends, methods, and preoccupations of modern appraisals of Latin American writing.

Since Yvor Winters'famous denunciation of Ralph Waldo Emerson and his writings in the 1930s, major critics have been silent on the subject, and Emerson scholars have generally avoided critical evaluation. Hyatt H. Waggoner reopens the debate, arguing that past criticism of Emerson has been limited by the inevitable but unfortunate influences of cultural relativism and personal taste. He suggests that by concentrating on the stabilities, on the recognizably similar patterns of response by critics to Emerson as poet, one can arrive at a portrait that transcends changing cultures and preferences. His book thus combines a full critical re-evaluation of Emerson's poetry with a thoughtful commentary on the ways in which critics and readers approach poetry.Originally published in 1975.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.

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.

Originally published in 1974. This book discusses those aspects of Chaucer's art which are concerned with the problem of specific form. These aspects have been concentrated on by the author for Chaucer's major poems and some of his so-called minor poems in separate chapters. It offers a critical evaluation of some specific literary achievements of one of the most important authors of the medieval period. The author extensively compares Chaucer's poetic technique to contemporary French poets and preceding poetic structure.

Can one speak of Kafka's heroes as'characters'? If so, why is it so hard to define their characteristics? If not, how is the reader persuaded to accompany them on their existential journeys, accepting their behavior as falling within the realm of human logic? This study argues that Kafka's fiction has two conflicting premises: the subjective impossibility of human existence, foreclosing all hope of'meaning'in individual actions; and the ordered structure of human thoughts which assign meaning to the smallest event and analyze endlessly the behavior of other people. Kafka's characters are always, either potentially or actually, moving in both directions at once, earnestly building up a continuous logic to their actions while skeptically dismantling their own pretensions to existence. The device of the circumscribed narrator, congruent with the hero, knowing only what the hero knows, yet not identical with him, enables Kafka to contain both fundamental tendencies in a single sentence.Although Kafka is widely read, his works seem to give rise very easily to misconceptions; this study is designed primarily to facilitate an intelligent reading of Kafka. Without imposing answers of its own, it seeks to foster an awareness of the problems of perspective and presentation which Kafka engages.

In the period between 1880 and 1900, Archibald Lampman made an impressive contribution to the development of a distinctive indentity in Canadian literature. Although he is remembered chiefly as a nature poet of regional interest, his interest for us today lines in this unexpected modernism and the intensity with which he interpreted nature and city scenes. In his later poems social criticism and a melancholic mood supersede his earlier idealism, dreams, and thematic preoccupation with nature. This volume includes The Poems of Archibald Lampman, a collection of 237 opems edited with a memoir by Duncan Campbell Scott after Lampman's death, and At the Long Sault and Other New Poems, which was hailed, when it first appeared in 1943, as'the literary discovery of the year.'In Arthur Stringer's estimate, Lampman was the'uncrowned poet laureate of Canada,'a comment that reflects the high esteem in which he was held.'At the Long Sault,'according to some critics, signifies a new direction in Lampman's poetry: his concern with man's isolation and alienation from society. In this poem his breaks away from the ballad and sonnet forms which were his forte, and experiments with blank verse, the culmination of his poetic development. On the whole, his work manifests a tension arising from an uneasy balance of opposites -- fear and resignation, delight and the pain of losee, heat and cold, and life and death. Margaret Whitridge suggests that he was the first to strike an authentic note of fear in Canadian literature, in his poems about politicians and money-lenders, towering impersonal city buildings, and solitary figures prowling the city at night. This tension also reflects the difficulties he experienced in his personal life -- the failure of his marriage, the heart condition that condemned him to an early death, and the frustrations of being a socialist.

The late Cyril Fall's preface to his critical guide, War Books (1930) noted that ‘the Great War has resulted in the spilling of floods of ink as well as of blood'. That flood reached its high-water mark in the years 1929-30. Professor Greicus takes the view that the social and political attitudes to war aroused by this mass of testimony have had the effect, even to this day, of obscuring the literary qualities of much of the writing of that period. In Prose Writers of World War I he examines the novels and reminiscences of those British authors whose works in his opinion merit more critical attention and appreciation than they have so far received. M. S. Greicus was Acting Head of the English Department at the University of Papua, New Guinea. He has served as Visiting Professor at the University of Jyväskylä, Finland, and the University of Malaya, Kuala Lumpur. His publications include a novel on the Cold War.

Symbol and psyche are twin concepts in contemporary symbological studies, where the symbol is considered to be a'statement'by the psyche. The psyche is a manifold of conscious and unconscious contents, and the symbol is their mediator. Because Lorca's dramatic characters are psychic entities made up of both conscious and unconscious elements, they unfold, grow, and meet their fate in a dense realm of shifting symbols. In Psyche and Symbol in the Theater of Federico García Lorca, Rupert Allen analyzes symbologically three dramatic works of Lorca. He has found Perlimplín to be a good deal more complex in both psyche and symbol than it has been admitted to be. Yerma involves psychological complications that have not been considered in the light of modern critical analysis, and the symbolic reaches ofBlood Wedding have until this book remained largely unexplored. Lorca was no stranger to the'agony of creation,'and this struggle sometimes appears symbolically in the form of his dramatic characters. Both Yerma and Blood Wedding reflect specific problems underlying the creative act, for they are'translations'into the realm of sexuality of the creative turmoil experienced by Lorca the poet. Perlimplín portrays the paradoxical suicide as a self-murder born out of the futile attempt to create not a poem, but a self. Previous criticism of these three plays has been dominated by critical assumptions that are transcended by Lorca's own twentieth-century mentality. Allen's analysis provides a new view of Lorca as a dramatist and presents new material to students of symbology.

In the course of some research into the musical element in English poetry, Dr Wilson read the work of the Elizabethan sonneteers chronologically and was struck by a suspicion that Shakespeare's sonnets were parodies. Later she carried out a more thorough investigation, and this book, originally published in 1974, is the product: her early impressions had been justified beyond all expectation.Her investigation involved examining the background of each of Shakespeare's sonnets, and this in itself is a contribution to scholarship. A surprising number of them are shown to be direct parodies of particular sonnets; all of them guy the sonnet convention, and the more difficult ones are easily explained by this hypothesis. Fresh correspondences between Shakespeare and his predecessors have come to light and his relationship with them is seen to be mocking. This is demonstrated in his borrowings from Ovid also, while the opening seventeen sonnets gain point as parody of Erasmus on marriage.The book opens with a short note on the origin of the sonnet in song, chivalric love and Plato. The sonnet theme in Shakespeare's early comedies is treated freshly and the author throws light on the plays from a new angle. In the final chapter, among other themes, the implication of dating is considered, and here too some new material is discussed. However, Dr Wilson is aiming at a wider readership than that of scholars alone. She has a view of Shakespeare as a young man catering for'young-man laughter', as she puts it, and she never loses sight of this aspect in her study. Although the academic basis is there, the presentation is not academic. Her aim is clearly to share the joke with her readers.

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.

In grouping together in a single study the work of Blake, Carlyle, Yeats, and D. H. Lawrence, one becomes aware of a common tradition in which they all participate, of certain shared principles, attitudes, and values, and, despite the individual inflexion of voice, a common language. No matter how distinct each author may be—and the intrinsic individuality of each should not be underestimated—that tradition is obviously Romantic and, more particularly, vitalist. Moreover, as one sees the continuation of that Romantic vitalism, often to varying degrees and taking different forms, in more contemporary writers—from Dylan Thomas, Richard Eberhart, the American Beat writers of the fifties, to Ted Hughes and, more recently, the Children of Albion—one recognizes also that Yeats's prediction, “We were the last romantics” was too gloomy in its finality.

In recent years Yeats has been receiving a great deal of critical attention from many aspects. Professor Engelberg here makes a distinctive contribution to the new studies by bringing under discussion the kind of aesthetic views developed by Yeats in order to rationalize his own practice as poet and dramatist. Yeats was pragmatic in his approach and therefore not concerned about formulating a tight critical theory. Recognizing this, the author at the same time skilfully guides the reader through the opinions expressed in the critical essays to meaningful patterns and shows how Yeats's aesthetic views developed, often in relation to his study of Balzac, Blake, Spenser, Shelley, Morris, and the Irish theatre of his own day. Throughout the stress is fittingly on the originality of Yeats, and the reader will be impressed always with his great critical perceptiveness.

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 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.

This Miltonic reference works is the third and final volume in a trilogy dealing with Miltonic analogues. It complements the author's previous compendia of analogues, The Celestial Cycle (on Paradise Lost) and That Invincible Samson (on Samson Agonistes). Thirty-seven years of research in the libraries of the world have unearthed on impressive array of analogues of Comus, Lycidas, and Paradise Regained; and the more important of these are now made available in Kirkconnell's English translation in Awake the Courteous Echo. The book includes 39 analogues of Comus, 102 of Lycidas, and 25 of Paradise Regained. These analogues range from the Sumerian Epic of Gilgamesh to those of Milton's contemporaries. Dr. Kirkconnell's initial concern is not with source hunting, but with analogues as analogues, the Jonsonian masque, the pastoral elegy, and the brief epic. The subtlety, complexity, and powerful originality of Milton's art are here for the reader to enjoy. The major analogues in languages other than English are translated in both verse and prose. Both specialists and students of Milton will find this a fascinating and valuable study.

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.

The work of the Brontës fell into three clear periods corresponding to their childhood, adolescence, and maturity—yet when speaking of their maturity, it must be remembered that they all died young, Branwell, Emily and Add barely reaching thirty, and Charlotte dying at thirty-nine. This study of the Brontës is split in two volumes. In this first part, Winifred Gérin shows how they produced a collective juvenilia of astounding precocity in which, not only for reasons of age, Charlotte and Branwell were the leading spirits and prolific writers. This was followed by a lyric period, corresponding to adolescence, of joint poetic output, in which Emily alone excelled, but in which Anne revealed genuine elegiac qualities, and Charlotte emerged as a writer of romantic novelettes already notable for their penetration into motive and character. 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.

A five-act tragedy in blank verse. The play is founded upon the old problem of an unnatural and ill-omened union between youth and age.

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.

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.

Aside from Sam Slick, the book which gained Haliburton the greatest notoriety was The Letter Bag of The Great Western; or, Life in a Steamer, published in 1840. Much of this book was composed for the diversion of the other passengers on Haliburton's steamship voyage from Bristol to New York in 1839. The book's ostensible function was the advertisement of the advantages of travel by steamship, but few, after reading the passengers'accounts of their voyage, would, if they took them seriously, ever venture off shore. The book's principal sources of amusement – infirmities of the human body (seasickness), the peculiarities of spelling and grammar that arise from faulty or defective education, the cultural mores of other races and lower classes, and the outrageous punning.

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.

Numerological patterning in literature, where structural details of a literary work are symbolically related to its meaning on the verbal level, was particularly common from the Middle Ages up to the seventeenth century. Originally published in 1973, the author breaks new ground in revealing that familiarity with this technique lived on into the eighteenth century, supplying the more artistically aware of the early British novelists with meaningful formal guidelines.An account is given of the origins and continuity of the numerological tradition in Western European – and particularly English – thought as it affected literary structure. The careful structural patterning in the novels of Defoe and in Fielding's Joseph Andrews and Tom Jones is examined in detail. Smollett, too, is shown to have been interested in exploring the possibilities of number and pattern, and the clear-cut numerological framework of Sterne's Tristram Shandy is revealed.This original and controversial study combines structural analysis with fresh interpretative insights, and draws parallels with painting, music and architecture. It also has an important bearing on the history of ideas in the first half of the eighteenth century.

First published in 1973, On Realism is a comprehensive introduction to the complex problem of literary realism. Written from both a critical and philosophical perspective, the book brings together the concrete study of literary cases and the conceptual analysis of the terms used in describing them. It uses examples drawn from a wide range of European literature and engages in philosophical discussion to argue for a richer and freer sense of the concept than was more commonly in favour at the time of writing. The book describes the literary forms of realism as an art of the'middle distance'and sets out its character and value against alternatives and distortions - symbolism, naturalism, socialist realism, faits divers, and the literature of language consciousness. On Realism will appeal to those with an interest in literary history, the history of literary theory, and literature and philosophy.

This collection of studies in Italian literature is a tribute to Professor Corrigan on her retirement from active teaching at the University of Toronto. The essays, contributed by thirteen scholars in North America and Europe, cover a range of topics that reflect Professor Corrigan's many and varied interests. This book opens with a translation of Petrarch's first eclogue and ends with a comprehensive bibliography of Dr. Corrigan's publications. The eleven intervening essays examine some of the most significant moments in Italian literature from the fourteenth to the twentieth century. The influence of the Renaissance and pastoral drama on Elizabethan England is discussed, as well as the literary achievement in Italian-English relations brought about by the translation of Addison's Cato. The works of Roberto Bracco are considered in the light of the plays of Ibsen, who in the eyes of the critics influenced the work of every Italian dramatist. Bracco is shown to be a dramatist in his own right. Other subjects treated in this Festschrift are Manzone's conception of the profound significance of the moment in the interpretation of the individual personality, Verga's mastery of style and language, and Pirandello's special techniques of transforming a short story into a play.

Play Up and Play the Game (1973) examines the type of fictional hero most embodied in the work and character, poetry and philosophy of Sir Henry Newbolt. ‘Newbolt Man', imbued with the spirit of fairplay, loyalty, fearlessness, conformity (while remaining slightly philistine and sexless), can be traced in the work of Rider Haggard, Conan Doyle, Edgar Wallace, Anthony Hope and P.C. Wren. The book traces his development from the Victorian schoolboy (Tom Brown's School Days and Kipling) to the twentieth-century secret agent (Buchan's Richard Hannay), and on to his demise in Sheriff's Journey's End and Aldington's Death of a Hero.