Durling's edition of Petrarch's poems has become the standard. Readers have praised the translation of the authoritative text as graceful and accurate, conveying a real understanding of what this difficult poet is saying. The literalness of the prose translation makes this book especially useful to students who lack a full command of Italian.

The Ottoman Empire was one of the most significant forces in world history and yet little attention is paid to its rich cultural life. For the people of the Ottoman Empire, lyrical poetry was the most prized literary activity. People from all walks of life aspired to be poets. Ottoman poetry was highly complex and sophisticated and was used to express all manner of things, from feelings of love to a plea for employment. This collection offers free verse translations of 75 lyric poems from the mid-fourteenth to the early twentieth centuries, along with the Ottoman Turkish texts and, new to this expanded edition, photographs of printed, lithographed, and hand-written Ottoman script versions of several of the texts--a bonus for those studying Ottoman Turkish. Biographies of the poets and background information on Ottoman history and literature complete the volume.

Lyric poetry has long been regarded as the intensely private, emotional expression of individuals, powerful precisely because it draws readers into personal worlds. But who, exactly, is the "I" in a lyric poem, and how is it created? In Lyric Poetry, Mutlu Blasing argues that the individual in a lyric is only a virtual entity and that lyric poetry takes its power from the public, emotional power of language itself. In the first major new theory of the lyric to be put forward in decades, Blasing proposes that lyric poetry is a public discourse deeply rooted in the mother tongue. She looks to poetic, linguistic, and psychoanalytic theory to help unravel the intricate historical processes that generate speaking subjects, and concludes that lyric forms convey both personal and communal emotional histories in language. Focusing on the work of such diverse twentieth-century American poets as T. S. Eliot, Ezra Pound, Wallace Stevens, and Anne Sexton, Blasing demonstrates the ways that the lyric "I" speaks, from first to last, as a creation of poetic language.

This is an amazing book, a major achievement in the field of women's studies.--Renaissance Quarterly, reviewing Women's Writing in Italy, 1400-1650

This anthology contains representative selections from the verse of Minnesingers, nuns, priests, goliards, Spielleute, middle-class singers, and noblemen from the twelfth to the fifteenth century together with historical background, biographical sketches, and comments on individual poems. At the time of its original publication it was the largest such collection in English.

Pietro Bembo (1470-1547), scholar and critic, was one of the most admired Latinists of his day. The poems in this volume come from all periods of his life and reflect both his erudition and his wide-ranging friendships. This volume also includes the prose dialogue Etna, an account of Bembo's ascent of Mt. Etna in Sicily during his student days.

What sort of thing is a lyric poem? An intense expression of subjective experience? The fictive speech of a specifiable persona? Theory of the Lyric reveals the limitations of these two conceptions of the lyric—the older Romantic model and the modern conception that has come to dominate the study of poetry—both of which neglect what is most striking and compelling in the lyric and falsify the long and rich tradition of the lyric in the West. Jonathan Culler explores alternative conceptions offered by this tradition, such as public discourse made authoritative by its rhythmical structures, and he constructs a more capacious model of the lyric that will help readers appreciate its range of possibilities. “Theory of the Lyric brings Culler’s own earlier, more scattered interventions together with an eclectic selection from others’ work in service to what he identifies as a dominant need of the critical and pedagogical present: turning readers’ attention to lyric poems as verbal events, not fictions of impersonated speech. His fine, nuanced readings of particular poems and kinds of poems are crucial to his arguments. His observations on the workings of aspects of lyric across multiple different structures are the real strength of the book. It is a work of practical criticism that opens speculative vistas for poetics but always returns to poems.” —Elizabeth Helsinger, Critical Theory

Fables of the Self traces ideas of imagined selfhood through the lyric poetry of classical Greece and Rome, the modernist poetry of France, and modern and contemporary English and American lyrics. Rosanna Warren's work emerges from the tradition of British and American poet-critics such as William Empson, Donald Davie, and Randall Jarrell. Her readings of Sappho, Virgil, Baudelaire, Melville, Rimbaud, Mark Strand, and Louise Glück, among others, combine Helen Vendler's passionate attention to detail and something of Harold Bloom's panoramic view. Warren opposes both the literalizing, autobiographical approach to self in so-called confessional poetry and the other extreme of avant-garde erasures of self. Framing her critical studies between a memoir of childhood and a concluding journal entry, Warren has composed an occult autobiography, showing the imagination as a transfiguring and potentially moral force.

'Inspired and enlightening ... here is a work of staggering ambition, exceptional accomplishment, and surprisingly pleasant reading ... an excellent gift for anyone interested in classical literature' A. E. Stallings, Telegraph 'An extraordinary feat ... Over and over, I was impressed both by Childers's technical abilities and his vivid way of evoking the multiple voices in this rich tradition' Emily Wilson, translator of the Odyssey and the Iliad 'Where does the lyric begin? One answer – a capacious and generous one – is given by Christopher Childers's anthology, in which translations of both Greek and Latin lyric poetry are offered in large servings, with extensive and ambitious commentary ... bold and worthwhile ... readable and learned' Peter McDonald, TLS 'An extraordinary achievement, in scope, scale and skill' Richard Jenkyns, author of Classical Literature The poems in this lively, wide-ranging and richly enjoyable anthology are the work of priestesses and warriors; of philosophers and statesmen; of teenage girls, concerned for their birthday celebrations; of drunkards and brawlers; of grumpy old men, and chic young things. Their authors write – or sing – about hopes, fears, loves, losses, triumphs and humiliations. Every one of them lived and died between 1,900 and 2,800 years ago. The Penguin Book of Greek and Latin Lyric Verse is a volume without precedent. It brings together the best of two traditions normally treated in isolation, and in doing so tells a captivating story about how literature and book-culture emerged from an oral society in which memory and learning were transmitted through song. The classical vision of lyric poetry as understood by the greatest ancient poets – Sappho and Horace, Bacchylides and Catullus – mingles and interacts with our expansive modern vision of the lyric as the brief, personal, emotional poetry of a human soul laid bare. Anyone looking for a picture of what ancient poets were up to when they were simply singing to the gods, or to their friends, or otherwise opening little verbal windows into their life and times can find it here. It is a volume full of fire and life: an undertaking of astonishing reach, and an accomplishment magisterial in its scope.