A reference guide to various forms of poetry with entries arranged in alphabetical order. Each entry defines the form and gives its history, examples, and suggestions for usage.

Themistius’ (4th century CE) paraphrase of Aristotle’s Metaphysics 12 is the earliest surviving complete account of this seminal work. Despite leaving no identifiable mark in Late Antiquity, Themistius’ paraphrase played a dramatic role in shaping the metaphysical landscape of Medieval Arabic and Hebrew philosophy and theology. Lost in Greek, and only partially surviving in Arabic, its earliest full version is in the form of a 13th century Hebrew translation. In this volume, Yoav Meyrav offers a new critical edition of the Hebrew translation and the Arabic fragments of Themistius’ paraphrase, accompanied by detailed philological and philosophical analyses. In doing so, he provides a solid foundation for the study of one of the most important texts in the history of Aristotelian metaphysics.

"Thanatopsis" is a renowned poem written by William Cullen Bryant, an American poet and editor of the 19th century. First published in 1817 when Bryant was just 17 years old, the poem is considered one of the early masterpieces of American literature. In "Thanatopsis," Bryant explores themes related to death and nature, contemplating the idea of mortality and the interconnectedness of life and death. The title, derived from the Greek words "thanatos" (death) and "opsis" (view), suggests a meditation on the contemplation of death. The poem begins with an invocation to nature, portraying it as a grand and eternal force. Bryant expresses the idea that death is a natural part of the cycle of life, and all living things ultimately return to the earth. He emphasizes the consoling and unifying aspects of death, encouraging readers to view it as a peaceful and harmonious process. "Thanatopsis" reflects the Romantic literary movement's appreciation for nature and its role in shaping human perspectives. Bryant's eloquent language and profound reflections on mortality contribute to the enduring appeal of the poem.

Traces the practice of induction - manipulating textual evidence by selective quotation - and its uses by Romantic-period writers.

"Poems end. They begin, and they end. In between beginnings and ends are the middles--the means--of getting from the one to the other. How poems get to their ends--the directions they take, and give, and the consequences of following them--is the topic of this study."--from the Introduction Lyric poems, argues Timothy Bahti, do not simply end in the sense of arriving at the end of a story or the conclusion of an argument. Instead, these endings return their own structures and statements (as well as the readers' engagements with the poems' meanings) back to the beginnings and middles of the poems. Thus, Bahti contends, lyric poetry does not end, but re-begins and continues anew toward its ends. Studying poetry from five Western languages, from antiquity through the Middle Ages and the Renaissance to the nineteenth and twentieth centuries, Ends of the Lyric combines advanced methods in literary interpretation with a focus on lyric poetry's surprisingly recurrent motifs, devices, and figures of language. "It is not only that Bahti has a range of knowledge of extraordinary depth, not only that he analyzes with exceptional precision and brings us to important theoretical insights about the lyric and about reading and language in general, not only that he knows the secondary works thoroughly and is able to read others' reading in a disciplined and productive manner. He also manages to write beautifully."--Carol Jacobs, State University of New York at Buffalo

This work is an anthology of 225 translated and annotated Sinitic poems (kanshi 漢詩) composed in public and private settings by nobles, courtiers, priests, and others during Japan’s Nara and Heian periods (710-1185). The authors have supplied detailed biographical notes on the sixty-nine poets represented and an overview of each collection from which the verse of this eminent and enduring genre has been drawn. The introduction provides historical background and discusses kanshi subgenres, themes, textual and rhetorical conventions, styles, and aesthetics, and sheds light on the socio-political milieu of the classical court, where Chinese served as the written language of officialdom and the preeminent medium for literary and scholarly activity among the male elite.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This book explores the words, forms, and styles Shakespeare used to interact with the verbal marketplace of early modern England.