The Regenerate Lyric

Elisa New examines the poems in great detail, offering searching readings and concluding finally that "it is 'regeneracy' rather than 'originality' that is the American poet's modus operandi and native mandate."

H. D. and Hellenism: Classic Lines concerns a prominent aspect of the writing of the modern American poet H. D. (Hilda Doolittle): a lifelong engagement with hellenic literature, mythology and art. H. D.'s hellenic intertextuality is examined in the context of classical fictions operative at the turn of the century: the war of words among literary critics establishing a new 'classicism' in reaction to romanticism; the fictions of classical transmission and the problem of women within the classical line; nineteenth-century romantic hellenism, represented in the writing of Walter Pater; and the renewed interest in ancient religion brought about by anthropological studies, represented in the writing of Jane Ellen Harrison. Eileen Gregory explores at length H. D.'s intertextual engagement with specific classical writers: Sappho, Theocritus and the Greek Anthology, Homer and Euripides. The concluding chapter sketches chronologically H. D.'s career-long study and reinvention of Euripidean texts. An appendix catalogues classical subtexts in Collected Poems, 1912-1944, edited by Louis Martz.

Barbara Lewalski argues that the Protestant emphasis on the Bible as requiring philological and literary analysis fostered a fully developed theory of biblical aesthetics defining both poetic art and spiritual truth. Originally published in 1979. 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.

This lively analysis argues that, contrary to stereotype, the Romantic poets did not reject genre; rather, they adapted traditional poetic forms to suit their own democratic, secular, and skeptical ethos--a world view recognizably modern in its dimensions.

Previous scholars have noted the Puritans' edenic descriptions of New World landscapes, but Inventing Eden is the first study to fully uncover the integral relationship between the New England interest in paradise and the numerous iconic intellectual artifacts and social movements of colonial North America. Harvard Yard, the Bay Psalm Book, and the Quaker use of antiquated pronouns like thee and thou: these are products of a seventeenth-century desire for Eden. So, too, are the evangelical emphasis of the Great Awakening, the doctrine of natural law popularized by the Declaration of Independence, and the first United States judicial decision abolishing slavery. Be it public nudity or Freemasonry, Zachary Hutchins convincingly shows how a shared wish to bring paradise into the pragmatic details of colonial living had a profound effect on early New England life and its substantial culture of letters. Spanning two centuries and surveying the works of major British and American thinkers from James Harrington and John Milton to Anne Hutchinson and Benjamin Franklin, Inventing Eden is the history of an idea that irrevocably altered the theology, literature, and culture of colonial New England -- and, eventually, the new republic.

This collection presents new approaches to Dickinson, informed by twenty-first-century theory and methodologies. The book is indispensable for Dickinson scholars and students at all levels, as well as scholars specializing in American literature, poetics, ecocriticism, new materialism, race, disability studies, and feminist theory.

Dickinson formulates her poetics in the context of popular manuscript practices, rhetoric, philosophy, and science in the American nineteenth century.