The author rejects C.S. Lewis's theory of a "Drab" and a “Golden” school as unhistorical, and establishes the presence of an eloquent or courtly tradition and of a plain or contemplative tradition. Originally published in 1967. 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.

The authority of poetry varies from one period to another, from one culture to another. For Robert von Hallberg, the authority of lyric poetry has three sources: religious affirmation, the social institutions of those who speak the idioms from which particular poems are made, and the extraordinary cognition generated by the formal and musical resources of poems. Lyric Powers helps students, poets, and general readers to recognize the pleasures and understand the ambitions of lyric poetry. To explain why a reader might prefer one kind of poem to another, von Hallberg analyzes—beyond the political and intellectual significance of poems—the musicality of both lyric poetry and popular song, including that of Tin Pan Alley and doo-wop. He shows that poets have distinctive intellectual resources—not just rhetorical resources—for examining their subjects, and that the power of poetic language to generalize, not particularize, is what justly deserves a critic’s attention. The first book in more than a decade from this respected critic, Lyric Powers will be celebrated as a genuine event by readers of poetry and literary criticism.

Gilmour suggests the various ways in which Dylan uses scripture both in an explicit and an implicit manner.

John Lennon was the world's biggest rock star in the late Sixties. With his new wife Yoko Ono, the duo were icons of the peace movement denouncing the Vietnam War. In 1969, at the height of their popularity, they headed to Canada. Canada was already a politically charged place. In 1968, Pierre Elliott Trudeau rode a wave of popularity dubbed Trudeaumania for its similarities to the Beatlemania of the era. The sexual revolution, hippie culture, the New Left and the peace movement were challenging norms, frightening the authorities and provoking backlash. Quebec nationalism was putting the power of the English-speaking minority running the province on the defensive, and threatening the breakup of the country. John Lennon and Yoko Ono staged a "bed-in for peace?" at an upscale downtown Montreal hotel. The couple, aided by the CBC, saw a steady stream of journalists, musicians and activists arriving for interviews, political discussions, singing and art-making. The classic "Give Peace A Chance" was recorded there with the help of local Quebecois musicians. Three months later they were back in Canada with Eric Clapton and other friends to play a concert festival in Toronto arranged by local promoters. American acts like Little Richard, The Doors, Bo Diddley and Alice Cooper, along with many Canadian pop musicians of the time, played at the festival. At year's end, the duo met with Prime Minister Trudeau in Ottawa. By this time Trudeau was cracking down on dissent, mainly in Quebec, and falling out of favour with the counterculture crowd. Recounting the story of these events, historian Greg Marquis offers a unique portrayal of Canadian society in the late Sixties, recounting how politicians, activists, police, artists, musicians and businesses across Canada reacted to John and Yoko's presence and message.

During an unstable childhood, Tom's mental health began to wane and, after two members of his family committed suicide, Tom found himself sectioned under The Mental Health Act, at just sixteen years of age, experiencing an intense psychosis that lasted several years. During his time in hospital, Tom found solace in music and wrote lyrics to pass his time and help focus away from the world he was living in. The majority of those lyrics written during his time in hospital are presented to you in this book. Now in recovery from his illness, Tom still likes to express himself through rhyme and lyric, with newer works included in this book sharing a broader understanding of his journey. 'A profoundly moving collection of lyrics and poetry. Tom Clement takes the reader on a personal and literary journey through his life. Sectioned as a teenager Tom shares painful discoveries and reflections. Beautifully written, this collection provides a haunting insight into one man's life. Highly recommended.' Judith Haire, Author of 'Don't Mind Me' by Chipmunkapublishing & Contributor to 'Our Encounters with Madnes's and 'Our Encounters with Suicide' by PCCS Books 'Inspiration is found in the strangest of places and many of us who experience poor mental health well-being find we are inspired to develop our creative side. Tom Clement is a greatly talented artist and writer who encourages a sense of hope to others who experience the effects of mental health issues. He makes a connection with the reader because of the experiences captured within in his work.' Carla Swann, Motivational Speaker and Recovery College Peer Tutor

From the mountains of Algeria to the squats of South London via sectarian Northern Ireland, Ten Thousand Apologies is the sordid and thrilling story of the country's most notorious cult band, Fat White Family. Loved and loathed in equal measure since their formation in 2011, the relentlessly provocative, stunningly dysfunctional "drug band with a rock problem" have dedicated themselves to constant chaos and total creative freedom at all costs. Like a tragicomic penny dreadful dreamed up by a mutant hybrid of Jean Genet, the Dadaists and Mark E. Smith, the Fat Whites' story is a frequently jaw-dropping epic of creative insurrection, narcotic excess, mental illness, wanderlust, self-sabotage, fractured masculinity, and the ruthless pursuit of absolute art. Co-written with lucidity and humour by singer Lias Saoudi and acclaimed author Adelle Stripe, Ten Thousand Apologies is that rare thing: a music book that barely features any music, a biography as literary as any novel, and a confessional that does not seek forgiveness. This is the definitive account of Fat White Family's disgraceful and radiant jihad - a depraved, romantic and furious gesture of refusal to a sanitised era.