The Thankless Muse Classic Reprint

Excerpt from The Thankless Muse This volume includes, with a number of new poems, a selection from a book of verses published in 1878, and entitled "Odds and Ends." Half of that edition - of five hundred copies - was consumed by the public; the other half much more rapidly by the fire which burned Messrs. Houghton, Mifflin & Co.'s Boston store in 1879. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This book surveys the genesis of the modern conception of memory where gender becomes crucial to the processes of memorialization and suggests ways in which technology opens a new chapter in the history of memory.

Excerpt from A Book of Cambridge Verse Nevertheless, after all deductions have been made, how much true poetry is yet left! He must be hard to please who cannot find intense enjoyment in the Eclogues of Phineas Fletcher, in Cowley's epitaph on Harvey, in the Miltonic stanzas of Gray's Installation Ode, in a score of other pieces, grave, quaint, or classical in their allusive ness of phrasing. Especially grateful must we be to the number of poets, of exquisite feeling and easy mastery of form, who during the last fifty or sixty years have enriched the language with delicate and elegant verse, from which it has been only too difficult to choose because its quantity is so great and its merit so even. Of this we trust we have given a tolerably adequate selection but it would have been easy to multiply it fourfold. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Contains one hundred of the most anthologized poems in the English language, and includes notes, profiles of the authors, and bibliographic information; presented in chronological order with a glossary, and author, title, and first line indexes.

Get smarter on the sun! Whether that be on the beach or in the deck chair on your terrace or backyard. The Harvard Classics in 51 volumes include the essential works of world literature, showing the progress of man from antics to modern age. In addition – there are 20 volumes of the greatest works of fiction. Content: The Harvard Classics: V. 1: Franklin, Woolman & Penn V. 2: Plato, Epictetus & Marcus Aurelius V. 3: Bacon, Milton, Browne V. 4: John Milton V. 5: R. W. Emerson V. 6: Robert Burns V. 7: St Augustine & Thomas á Kempis V. 8: Nine Greek Dramas V. 9: Cicero and Pliny V. 10: The Wealth of Nations V. 11: The Origin of Species V. 12: Plutarchs V. 13: Æneid V. 14: Don Quixote V. 15: Bunyan & Walton V. 16: 1001 Nights V. 17: Folklore & Fable V. 18: Modern English Drama V. 19: Goethe & Marlowe V. 20: The Divine Comedy V. 21: I Promessi Sposi V. 22: The Odyssey V. 23: Two Years Before the Mast V. 24: Edmund Burke V. 25: J. S. Mill & T. Carlyle V. 26: Continental Drama V. 27 & 28: English & American Essays V. 29: The Voyage of the Beagle V. 30: Scientific Papers V. 31: The Autobiography of Benvenuto Cellini V. 32: Literary and Philosophical Essays V. 33: Voyages & Travels V. 34: French & English Philosophers V. 35: Chronicle and Romance V. 36: Machiavelli, Roper, More, Luther V. 37: Locke, Berkeley, Hume V. 38: Harvey, Jenner, Lister, Pasteur V. 39: Prologues V. 40–42: English Poetry V. 43: American Historical Documents V. 44 & 45: Sacred Writings V. 46 & 47: Elizabethan Drama V. 48: Blaise Pascal V. 49: Saga V. 50: Reader's Guide V. 51: Lectures The Shelf of Fiction: V. 1 & 2: The History of Tom Jones V. 3: A Sentimental Journey & Pride and Prejudice V. 4: Guy Mannering V. 5 & 6: Vanity Fair V. 7 & 8: David Copperfield V. 9: The Mill on the Floss V. 10: Irving, Poe, Harte, Twain, Hale V.11: The Portrait of a Lady V. 12: Notre Dame de Paris V. 13: Balzac, Sand, de Musset, Daudet, de Maupassant V. 14 & 15: Goethe, Keller, Storm, Fontane V. 16–19: Tolstoy, Dostoevsky, Turgenev V. 20: Valera, Bjørnson, Kielland

The &"classical,&" Steven Shankman argues, should not be confused with a particular historical period of Western antiquity, although it may owe its original articulation to the literary and philosophical explorations of ancient Greek authors. Shankman's book searches for and attempts to formulate the shape of the continuing presence&—as embodied in particular literary works mainly from Western antiquity and the neoclassical and modern periods&—of what the author calls a &"classical&" understanding of literature. For Shankman, literature, defined from a classical perspective, is a coherent, compelling, and rationally defensible representation that resists being reduced either to the mere recording of material reality or to the bare exemplification of an abstract philosophical precept. He derives his definition largely from his reading of Greek literature from Homer through Plato, from the history of literary criticism, and from the Greco-Roman tradition in English, American, and French literature. Shankman reveals unsuspected yet convincing connections among authors of such widely disparate times and places. His idea of the &"classic&" that authorizes these connections is presented as normative, thus making possible the evaluation of literary works and, in turn, forthright discussion of what constitutes the &"literary&" as distinct from other kinds of discourse. Shankman's study runs counter to a strong tendency of contemporary criticism that argues precisely against any distinct category of the &"literary.&" He offers a series of interpretations that cumulatively advance theoretical discussion by challenging scholars to rethink the critical paradigms of postmodernism. At the center of the book is a discussion of the quintessentially classic Val&éry poem Le Cimeti&ère marin and the classic qualities it shares with Pindar's third Pythian ode, from which Val&éry derives the epigraph for his poem.