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Focuses on the mystery behind Ralph Waldo Emerson's decision to give the title 'Hamatreya' to the poem the author wrote in 1846. Relationship of the Hindu text Vishnu Purana and the poem; Discussion of Emerson's concept of hamartia; Effect of the duality of the title on the poem's structure and technique.

The article discusses the 1929 painting "La trahison des images (The treachery of images)," by René Magritte, and the common mistake that its title is "Ceci n’est pas une pipe." The author describes the Magritte's use of the words "Ceci n’est pas une pipe" on the painting, leading viewers to assume it is a title. The author discusses how titles affect art, the use of words in art, and differences in art and literary titles for books and poems.

An essay presents the author's insights regarding the poem "Restatement of Romance" by Wallace Stevens. The author says that the poem lacks sentimentality, sensuality, and has no characteristics of romantic poetry. He mentions that Stevens interprets the archetypal romanticism's fundamental elements regarding his self-knowledge apotheosis, transcendence, and nature figuration. He also mentions that the title of the poem misdirects the reader.

Abstract: The lyric “I” or lyric subject in a poem is often identified with the poet himself. However, what the lyric “I” says is much more than a personal statement from the “empirical” poet, the poet as he exists in real life. In expressing his views, thoughts and feelings and telling about his adventures or daily affairs, the poet, if gifted, transcends the personal to the universal. Boris Ryzhii is a very “personal” poet; the “I” has a prominent place in his poetry and he often mentions himself and his friends by name in his poems. Due to the original way in which he expresses himself, all these personal elements become part of an interesting poetic structure. They can be connected with Ryzhii himself, but function in the first place on another level: that of the poem as a work of art. [Copyright &y& Elsevier]

This article presents the dying gladiator (DG) poem that has become one of the favorite themes of poems. It offers poems that relate to the DG poems which became popular in almost two decades in the 19th century. It notes that the poem written by Scott takes it as Herman's DG poem and was patterned in the 1810 Newdigate Prize poem of George Robert Chinnery's "The Statue of the Dying Gladiator."

The article examines the history of studying the Old High German poem "Muspilli." An analysis of the poem by Elias von Steinmeyer is criticized, the categorization of medieval German texts as literature is questioned, and the title of the poem is analyzed. Passages in "Muspilli" are compared with sections of the Bible.

A title index for the journal's fall 2007, winter 2008, spring 2008, and summer 2008 aritcles is presented.

The marks of elite forms such as the ode or the tragedy are retained when a title is cited. Historians of the book have considered every marginal element of the early modern title-page: typeface and compositors' marks; printers' scrollwork and frontispiece design; authors' names and imprint. When it comes to the self-descriptions of vernacular prose, however, we casually dispose of such tags as 'A grand reproof…', 'A pious remonstrance…', 'A quiet rebuke…'. This essay argues that title-page markers of this kind have generic force, and that we would do well to acknowledge a taxonomy of subgenres not recognized before. [ABSTRACT FROM AUTHOR]

The article reflects on Ausonius, Decimus Magnus's poem epigram 20, which was addressed to his elegiac wife Sabina and the Latin erotic tradition. Latin amatory poetry's addressees probably were based on real people. It has long been noticed of Ausonius's Epigram 20 that the initial juxtaposition of uxor and vivamus recalls, in reverse order, vivamus, mea Lesbia, the opening of Catullus. Ausonius's uxor is not fiction. She is in fact his wife, and Epigram 20 is not the only occasion on which he refers to her. The ninth poem of his Parentalia, a collection of epitaphs for dead family members, tells of her death at the age of twenty-seven. Ausonius presents Sabina not only as an intelligent reader of his erotic verse, fully able to distinguish poetic fiction from autobiography, but as a poet in her own right; as such, the poetic heritage of the domina would no more have eluded her than would the Catullan reference at the beginning of Epigram 20. However, in Epigram 20, Ausonius violates their literary conventions precisely by applying them to his conventionally sanctioned union with Sabina, with the result that the wife now enjoys within her marriage something she could normally acquire only by stepping outside it.

Describes the design of the title page of Robert Burns' "Poems, Chiefly in the Scottish Dialect." Role of the poet in the publication of the book; Description of the title page; Symbolism of the design.

Discusses the importance of titling in short poems, citing its importance to the public in England. Reference to several poem titles; Examination of poetry miscellanies of the Middle Ages and Renaissance; Who was responsible for titling in ancient Greece to sixteenth-century England.

Examines various kinds of titles, such as titles for short poems. Examination of a poem entitled `Leduleputswa' by Momogobo.

An essay is presented which gives the author's insights regarding title categories of poet Wallace Stevens. The author mentions that Stevens has five categories in giving title including the license-plate titles, spotlight titles, and untitled or not wearing a tie. The author also mentions that the license-plate give important in identifying information on who is speaking and who is being addressed while untitled category is a self-explanatory title.

The article focuses on the two poems by William Lisle Bowles which were reprinted in the "Gentleman's Magazine," but their original place of publication varied. Both are concerned with memory and the imagination. The first poem is without a title, but forms what William Wordsworth called "an antiquarian dream." It was published in Richard Colt Hoare's "The Ancient History of South Wiltshire." The second poem is precisely dated, and was first published, apparently within a week of composition, in the "Bath Chronicle," 13 August 1812, over the initials "W.L.B."

The article discusses the use of Biblical quotations in the titles of poems written by Christina Rossetti, particularly those appearing in the 1875 poetry book "Goblin Market, the Prince's Progress, and Other Poems." The source of the title for the poem "When My Heart Is Vexed, I Will Complain" is unknown, though scholar Betty Flowers has surmised that it may be an allusion to a line in the Book of Job in the Bible. It is also considered whether the title may be derived from Psalm 77:3b, in the 1662 Book of Common Prayer.

The article offers a look at the life of Christiana Coward, the postmistress at Bockhampton, whose name was identified in the subtitle of the poem "Geographical Knowledge" by Thomas Hardy. According to the article, the poem is about a sailor's mother. Census research indicates that Coward had a son who was a sailor in the Royal Navy Reserve.

An introduction is presented in which the editor discusses various reports within the issue on topics including the esoteric titles of the poem and stories, the literalistic themes of the selections, and Monica Sarsini's reflections on teaching creative writing in prison for women.

Examines writer Edgar Allan Poe's use of names and titles based on significant anagrams for his tales and essays. Enhancement of the reader's understanding of the symbolic journey in 'The Domain of Arnheim' by treating 'Arnheim' as an anagram of 'Near Him'; Anagrams used for characters in 'The Power of Words' and in the title 'The Conversation of Eiros and Charmion'; Use of anagrams in 'Eleonora.'

This article discusses concerns regarding the title of the poem "A Little Cloud." He mentions about Hipparchus, the father of trigonometry who uses a crude form of parallax and managed to make a respectable calculation of the distance between the Earth and the moon. He also indicates that James Joyce revised his previous words and works.

The article presents an interview with author Rabindra K. Swain. When asked about the function of poetry, Swain said that reading a poem and writing a poem are two different experiences, although sometimes one affects the other. He stated that he writes about those things with which he can identify himself, which pokes his conscience or stirs his inner being. According to him, titles emerge when one prepares a collection of poems.

Presents the poem 'Figuring the Landscape,' by John Willson.