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Final Harvest: Poems

Emily Dickinson

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Customer Reviews:
Total reviews: 7 Average rating: 5.0 of 5

Perhaps we are looking at the wrong aspects... 4 out of 5 stars.
8 of 9 people found this review helpful.

Don't get me wrong, I truly love a large selection of the poems in this volume. However, that is a measure of Emily Dickenson and me, not T. Johnson's collection. What makes this book better than many that are around and about, as has been mentioned, is the lack of editing to her poems--something that has always bothered me. In this regard, the content of the poems is better than many others, however there are other issues of note.

This is, of course, an abridged collection. As such, we are forced to rely on the opinion of another. Granted this is common enough with poetry collections, but that doesn't change the very nature of each person having differing interests. There is no way to know if the ones he leaves out are just as good or even better, from each individuals perspective, without going to more comprehensive texts.

Regardless, I do have one gripe with this book that is unrelated to the above pettiness. The method of dating each poem seems silly to me. The reason is that they are all claimed to be from one of several (if memory serves 3) years separated out over several decades. That and there are two listings of dates for each poem, which I don't recall off hand why they did that, and it may serve some purpose, but it's not useful information if when these poems were written can only be pinned down to plus or minus five-ten years. I can't blame Johnson for this as I imagine that is as close as is known, but, by the same token, the dates could have been left out so that it doesn't detract from the actual poetry.

All in all I would recomend this book, but I might suggest getting a more complete version instead (so long as it is unedited--Emily hated it when people wanted to edit her poems, and I think that we should respect that).

Editorial Review:

A selection of 576 of Emily Dickinson's poems which is designed to be representative of the complete range of her work.

The Complete Works of Oscar Wilde: Volume 1, Poems and Poems in Prose

Oscar Wilde

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Customer Reviews:
Total reviews: 15 Average rating: 4.5 of 5

Don't leave home without it 5 out of 5 stars.
16 of 17 people found this review helpful.

If you believe literature's main purpose in existence is to induce pleasure, you could probably never find a better writer than Oscar Wilde.

All his plays are absolute delights from start to finish, even the ones that aren't The Importance of Being Earnest. The Picture of Dorian Gray is a fantastic novel and a deserved classic. His poetry's derivative, but not bad by any stretch of the imagination. His stories, essays, letters, collections of epigrams, and other various writings are excellent reading as well, if you don't mind occasional melodrama or other minor missteps.

This is a relatively expensive collection, but one that is well worth it. I don't regret spending a penny. The print's a readable size and, to my somewhat expansive knowledge on Wilde, none of his writings have been omitted or forgotten.

Essential for those who want to enjoy literature while allowing it to expand the mind, but also looking for something deeper than Tuesdays With Morrie or other modern, popular tripe.

Editorial Review:

This volume of Poems and Poems in Prose inaugurates the Oxford English Texts Complete Works of Oscar Wilde. It provides texts of Wilde's one-hundred and nineteen poems and poems in prose, including twenty-one never published in his lifetime, together with the publishing history of each poem, and a detailed commentary on allusions and echoes, imagery, and points of biographical interest.

Shakespeare's Sonnets (Folger Shakespeare Library)

William Shakespeare

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Customer Reviews:
Total reviews: 7 Average rating: 4.0 of 5

Lord of my love, to whom in vassalage 5 out of 5 stars.
11 of 16 people found this review helpful.

Thy merit hath my duty strongly knit,
To thee I send this written embassage,
To witness duty, not to show my wit.
(Sonnet 26.)

How to do justice to the legacy of literary history's greatest mind - moreover in such a limited review? Forget Goethe's "universal genius" and his rebel contemporary Schiller; forget the 19th century masters; forget contemporary literature: with the possible (!) exception of three Greek gentlemen named Aischylos, Sophocles and Euripides, a certain Frenchman called Poquelin (a/k/a Moliere), and that infamous Irishman Oscar Wilde, there's more wit in a single line of Shakespeare's than in an entire page of most other, even great, authors' works. And I'm not saying this in ignorance of, or in order to slight any other writer: it's precisely my admiration of the world's literary giants, past and present, that makes me appreciate Shakespeare even more - and that although I'm aware that he repeatedly borrowed from pre-existing material and that even the (sole) authorship of the works published under his name isn't established beyond doubt. For ultimately, the only thing that matters to me is the brilliance of those works themselves; and quite honestly, the mysteries continuing to enshroud his person, to me, only enhance his larger-than-life stature.

The precise dating of Shakespeare's sonnets - like other poets', a response to the 1591 publication of Sir Philip Sidney's "Astrophil and Stella" - is an even greater guessing game than that of his plays: although #138 and #144 (slightly modified) appeared in 1599's "Passionate Pilgrim," most were probably circulated privately, and written years before their first - unauthorized, though still authoritative - 1609 publication; possibly beginning in 1592-1593.

Format-wise, they adopt the Elizabethan fourteen-line-structure of three quatrains of iambic pentameters expressing a series of increasingly intense ideas, resolved in a closing couplet; with an abab-cdcd-efef-gg rhyme form. (Sole exceptions: #99 - first quatrain amplified by one line - #126 - six couplets & only twelve lines total - #145 - written in tetrameter - and #146 - omission of the second line's beginning; the subject of a lasting debate.) Their order is thematic rather than chronological, although beyond the fact that the first 126 are addressed to a young man - maybe the Earl of Pembroke or Southampton, maybe Sir Robert Dudley, the natural son of Queen Elizabeth's "Sweet Robin," the Earl of Leicester - (the first seventeen, possibly commissioned by the addressee's family, pressing his marriage and production of an heir), and ##127-152 (or 127-133 and 147-152) to an exotic woman of questionable virtues only known as "The Dark Lady," even in that respect much remains unclear; including the nature of Shakespeare's relationship with the two main addressees, regarding which the sonnets' often ambiguous metaphors invoke much speculation. #145 is probably addressed to Shakespeare's wife; the closing couplet plays on her maiden name ("['I hate' from] hate away she threw And saved my life, [saying 'not you']:" "Hathaway - Anne saved my life"), several others contain puns on the name Will and its double meaning(s) (exactly fourteen in the naughty #135: "Whoever hath her wish, thou hast thy Will;" and seven in the similarly mischievous #136), and the last two draw on the then-popular Cupid theme. Sometimes, placement seems linked to contents, e.g., in #8 (music: an octave has eight notes), #12 and #60 (time: twelve hours to both day and night; sixty minutes to an hour); and in the famous #55, which praises poetry's everlasting power and as whose never-expressly-named subject Shakespeare himself emerges in a comparison with Horace's Ode 3.30 - in turn written in first person singular and thus, denoting its own author as the builder of its "monument more lasting than bronze" ("Exegi monumentum aere perennius") - as well as through the number "5"'s optical similarity to the letter "S," making the sonnet's number a shorthand reference for "5hake5peare" or "5hakespeare's 5onnets," echoed by numerous words containing an "S" in the text.

Of indescribable linguistic beauty, elegance and complexity, Shakespeare's sonnets owe their timeless appeal to their supreme compositional values, the universality of their themes, and their keen insights into the human heart and soul; as much as their transcendence of the era's poetic conventions which, following Petrarch, heavily idealized the addressee's qualities: a form new and exciting twohundred years earlier, but encrusted in cliche in the late 1500s. Indeed, Shakespeare's "Dark Lady" Sonnet #130 owes its particular fame to its clever puns on that very style, which went overboard with references to its golden-haired, starry- (beamy-, sparkling, sunny-) eyed, cherry- (strawberry-, vermilion-, coral-) lipped, rosy- (crimson-, purple-, dawn-) cheeked, ivory- (lily-, carnation-, crystal-, silver-, snowy-, swan-white) skinned, pearl-teethed, honey- (nectar-, music-) tongued, goddess-like objects. "My mistress' eyes are nothing like the sun;" the Bard countered, proceeded to describe her breasts as "dun," her hair as "black wires," and her breath as "reek[ing]," and denied her any divine or angelic attributes. "And yet," he concluded: "by heaven, I think my love as rare As any she belied with false compare."

Arguably, Shakespeare's very choice of addressees (a young man - also the subject of the famously romantic #18: "Shall I compare thee to a summer's day;" the first of several sonnets promising his immortalization in poetry - as well as the "Dark Lady," in turn introduced under the notion "black is beautiful" in #127) itself suggests a break with tradition; and compared to his contemporaries' poetry, even the equally-famous #116's on its face rather conventional praise of love's constancy ("Let me not to the marriage of true minds admit impediments"), echoed in the poet's vow to vanquish time in #123, sounds fairly restrained. But ultimately, Shakespeare's sonnets - like his entire work - simply defy categorization. They are, as rival Ben Jonson acknowledged, written "for all time," just as the Bard himself immodestly claimed:

'Gainst death and all oblivious enmity
Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.
(Sonnet 55.)

Also recommended:
The Oxford Shakespeare: The Complete Works 2nd Edition
Shakespeare: For All Time (Oxford Shakespeare)
Much Ado About Nothing
Love's Labour's Lost
William Shakespeare's Hamlet (Two-Disc Special Edition)
BBC Shakespeare Comedies DVD Giftbox
BBC Shakespeare Tragedies DVD Giftbox
Olivier's Shakespeare - Criterion Collection (Hamlet / Henry V / Richard III)
William Shakespeare's The Merchant of Venice
Twelfth Night

Editorial Review:

Folger Shakespeare Library
The world's leading center for Shakespeare studies

• Full explanatory notes conveniently placed on the page facing each sonnet
• A brief introduction to each sonnet, providing insight into its possible meaning
• An index of first lines
• An essay by Professor Lynne Magnusson, a leading Shakespeare scholar, providing a modern perspective on the poems
• Illustrations from the Folger Shakespeare Library's vast holdings of rare books

The Folger Shakespeare Library in Washington, D.C., is home to the world's largest collection of Shakespeare's printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs.

Poetry: A Pocket Anthology (Penguin Academics Series) (4th Edition) (Penguin Academics)

R. S. Gwynn

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Customer Reviews:
Total reviews: 3 Average rating: 3.5 of 5

great anthology 5 out of 5 stars.
8 of 9 people found this review helpful.

This is a great anthology. The best you are going to find unless you go with one of the giant anthologies. This one is cheaper and definitely less heavy than, lets say Norton's anthology. And because it is a 'pocket anthology' it cuts out the weaker poems making this a strong group of poems.

A Review of" Poetry: A Pocket Anthology" 1 out of 5 stars.
1 of 10 people found this review helpful.

An excellent text that includes an impressive number of poems as well as useful commentary on the art of poetry and specific terminology. This is my third time using this book.

Very Useful 5 out of 5 stars.
0 of 0 people found this review helpful.

I purchased this anthology for my poetry class. It provides all the information that you need for poetry reading, writing and analysis (poetry elements, structure...etc).

Editorial Review:

Key Benefit: This brief, inexpensive, and portable anthology of poetry features more than 250 poems and presents a diverse body of work ranging from William Shakespeare and John Milton to Rita Dove and Adrienne Rich. Key Topics: Selection of poems along with guidance on how to write about poetry. Index of critical terms included. Market: This interested in a concise introduction to poetry.

Mary, Queen of Scots

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Total reviews: 48 Average rating: 3.5 of 5

Editorial Review:

More than four hundred years after her death, Mary Queen of Scots remains one of the most romantic and controversial figures in British history. Antonia Fraser's classic biography of her won the James Tait Prize when it was first published in 1969, became an international bestseller and was translated into nine languages.

Mary passed her childhood in France and married the Dauphin to become Queen of France at the age of sixteen. Widowed less than two years later, she returned to Scotland as Queen after an absence of thirteen years. Her life then entered its best known phas: the early struggles with John Knox, and the unruly Scottish nobility; the fatal marriage to Darnley and his mysterious death; her marriage to Bothwell, the chief suspect, that led directly to her long English captivity at the hands of Queen Elizabeth; the poignant and extraordinary story of her long imprisonment that ended with the labyrinthine Babington plot to free her, and her execution at the age of forty-four.

Antonia Fraser's biography, four years in the writing, enters fully into the life of an historical figure who continues to capture the popular imagination, and provides a moving answer to the question, `What was Mary Queen of Scots really like?' `Lady Antonia Fraser tells Mary's story movingly and yet witih scholarship, insight and balance. It is the sort of biography of Mary which has long been needed.' The Scotsman `A fluent narrative style, a perfect eye for physical detail, a rich sense of the black comedy that the period demands and a high feeling for the central tragedy' Sunday Times

Break, Blow, Burn: Camille Paglia Reads Forty-three of the World's Best Poems

Camille Paglia

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Customer Reviews:
Total reviews: 36 Average rating: 4.0 of 5

Her fresh writing, + 43 (mostly) great poems = success 5 out of 5 stars.
1 of 1 people found this review helpful.

This book is a real refreshment -- a shower of [mostly; I could have done without "Woodstock"] great poems, with just enough stirring, insightful commentary to draw the reader deep into the pool of each poem's meanings and pleasures. The format is very successful, with each typographically well-presented poem followed by three to five pages of thoughtful, extremely well written critique and commentary, including history, analysis, and politically fresh perspectives. Unlike other reviewers who didn't like the selection of poems, I really appreciated the mix of classic standards with modern poems I wasn't familiar with, and which seem to have been selected for their accessibility and power. (Only the final selection -- Joni Mitchell's "Woodstock" -- was out of its league.)

This was an ideal "car book," one I keep in the car and read in 15-minute episodes as I'm waiting for an appointment, or eating a meal on the road. It is a great way to bring poetry in, or back in, to your life, and to leaven a diet of more utilitarian or narrative reading.

Editorial Review:

America’s most provocative intellectual brings her blazing powers of analysis and appreciation to bear on the great poems of the Western tradition, and on some unexpected discoveries of her own. Combining close reading with a panoramic breadth of learning, Camille Paglia refreshes our understanding of poems we thought we knew, from Shakespeare’s “Sonnet 73” to Shelley’s “Ozymandias,” from Donne’s “The Flea” to Lowell’s “Man and Wife,” and from Dickinson’s “Because I Could Not Stop for Death” to Plath’s “Daddy.”

Paglia also introduces us to less-familiar works by Paul Blackburn, Wanda Coleman, Chuck Wachtel, Rochelle Kraut–and even Joni Mitchell. Daring, riveting, and beautifully written, Break, Blow, Burn will excite even seasoned poetry lovers, and create a generation of new ones.

The Major Works (Oxford World's Classics)

John Milton

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Customer Reviews:
Total reviews: 5 Average rating: 5.0 of 5

Church, or Muse . . . Doctrine, or Verse ... 5 out of 5 stars.
6 of 9 people found this review helpful.

[John Milton, son of a scrivener and musician...]
This review is of the Oxford World's Classics edition of
-John Milton: The Major Works- (ISBN: 019280409X),
edited and with an Introduction by Stephen Orgel and
Jonathan Goldberg.
"That kings for such a tomb would wish to die" (John
Milton-- "On Shakespeare") -- "one of the greatest,
most noble, and most sublime poems which either this
age or nation has produced" (John Dryden -- on -Paradise
Lost-). The picture drawn of Milton, his life, and his
career (or careers) by Orgel and Goldberg is of a
man of intelligence and means who had been educated
for the life of a gentleman and a scholar in his
early life, yet finding that the surge of events
and ideologies has a way of changing one's timing,
course of expression, and even personal fate. Thus
Milton makes conflicting statements about his intents,
his "ripeness" (maturity of intellect and wisdom, more
than age), and which venue is his real chosen arena
of expression.
His first published poem, is anonymous, and is
"On Shakespeare" included in "the dedicatory verses
to the second Shakespeare folio[1632]." (Chronology.) Yet
in his first signed publication, -The Reason for Church
Government- (1642), a prose tract, "Milton presents himself ...
as a poet who uses only his 'left hand'
in writing prose. In the account he gives, his entire
life appears to have been spent in training as a poet." (Introduction.)
As the eldest son, however, he "had been from childhood
'destined'...to a Church career." (Introduction.) But
events intrude, as well as yearnings, and the 2 Jan. 1646
publication of -Poems of Mr. John MIlton, Both English
and Latin-, dated 1645. The Church career never materializes,
but in a strange way, a more interesting "preaching" or
"exhorting" or "inspirational" one does, through his
poetry, rather than his political tracts. And Milton,
perhaps even oblivious to his own constantly self-
revisionist attitudes and stances, creates a more
enduring legacy which has influenced literature,
scholarship, views about justifying "the ways of
God to man" (from -Paradise Lost-), and the common
cultural views about Satan, and Hell, and the Fall,
even more so than those of Dante.
This is an excellent edition which contains the
shorter English poems, the Latin poems (with both
Latin text on left pages -- and the Enlish translations
on the right pages), Selections from -A Book of
Sylvae-, Greek poem added 1673, Carmina Elegiaca,
the Prose Works: from -The Reason of Church Government-,
from -An Apology for Smectymnuus-, -The Doctrine and
Discipline of Divorce (Complete), -Of Education-
(Complete), -Areopagitica- (Complete), -The Tenure
of Kings and Magistrates- (Complete), from -The
Second Defence of the English People, -The Ready and
Easy Way to Establish a Free Commonwealth- (Complete).
Of course, there is also -Paradise Lost- (Complete);
-Paradise Regained- (Complete); and -Samson Agonistes-
(Complete). Highly enlightening are 3 Familiar Letters
of 1674: "To Charles Diodati, 1637"; "To Benedetto
Buonmattei, 1638"; and "To Leonard Philaras, Athenian."
There is a lengthy excerpt from -Christian Doctrine-
which starts out talking of "restoring religion to
something of its pure original state" and has the
very interesting (telling) perspective on Milton's
own "cross": "If I were to say that I had focused
my studies principally upon Christian doctrine because
nothing else can so effectually wipe away those two
repulsive affictions,tyranny and superstition [of
course, no idea that doctrine itself might promote
those two evils -- R.K.], from human life and the
human mind, I should show that I had been concerned
not for religion but for life's well-being." And
the glory of Oxford editions, there are copious
notes in the back going from page 735 to page 959,
Further Reading List, and Index of Titles and First
Lines. At this price, this volume is a real steal
(er, get thee behind me, Satan...) ... bargain!
-- Robert Kilgore.

Editorial Review:

Previously published in the Oxford Authors series, this unique one-volume selection of Milton's poetry and prose includes all the English and Italian verse and a generous selection of his major prose works. Modernized spelling, extensive notes, and a helpful introduction make the text immediately accessible to the modern reader.

Sir Gawain and the Green Knight (Signet Classics)

Anonymous

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Customer Reviews:
Total reviews: 7 Average rating: 4.5 of 5

Wonderful 5 out of 5 stars.
9 of 9 people found this review helpful.

The story of Sir Gawain and the Green Knight is perhaps the most authentically English of all the King Arthur tales. Most of the Arthurian mythos was largely a largely French creation, when the Norman conquerors discovered a few old Celtic legends about Arthur and wove them into a dynamic myth of chivalric idealism. The story of Sir Gawain is regarded by most scholars as a much purer version of those Celtic stories, as well as a much more nuanced synthesis of Celtic cultural heritage with Christian ideals. J.R.R. Tolkien was fond of citing it as one of his very favorite stories and deepest influences.

Raffel's translation is sure to endear itself to any fan of fantasy, medieval literature, or the King Arthur stories. It flows with the simple beauty of a dream, and the purity of heart of Gawain himself. Do yourself a favor and spend an hour or two reading this.

Editorial Review:

King Arthur's Knights of the Round Table are in the middle of a Christmas feast when a green-skinned knight offers them a simple but deadly challenge. A challenge the brave Sir Gawain quickly-and fatefully-accepts. Brilliantly translated by distiguished poet Burton Raffel, this is a lyrical, accessible version of one of the most beloved tales in Arthurian literature.

Shelley's Poetry and Prose (Norton Critical Edition)

Percy Bysshe Shelley

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Total reviews: 5 Average rating: 5.0 of 5

Editorial Review:

This volume contains one of the fullest, and certainly the most accurately edited, collections of Shelley's poetry and prose available.

This Second Edition is based on the authoritative texts established by Reiman and Fraistat for their scholarly edition, The Complete Poetry of Percy Bysshe Shelley. Each poetry and prose selection has been reedited from the ground up. Headnotes detailing the textual history of Shelley's major works have been revised and expanded, and many new and revised footnotes are included.

The years since 1977—when the First Edition appeared—have witnessed a renaissance in Shelley studies greater than any since 1870-92. All 23 critical selections are new, and include analysis of Shelley's manuscripts and other textual sources for his writing as well as interpretations.

A Chronology, rigorously updated Selected Bibliography, and Index of Titles and First Lines are also included.

About the series: No other series of classic texts equals the caliber of the Norton Critical Editions. Each volume combines the most authoritative text available with the comprehensive pedagogical apparatus necessary to appreciate the work fully. Careful editing, first-rate translation, and thorough explanatory annotations allow each text to meet the highest literary standards while remaining accessible to students. Each edition is printed on acid-free paper and every text in the series remains in print. Norton Critical Editions are the choice for excellence in scholarship for students at more than 2,000 universities worldwide.

Dream Visions and Other Poems (Norton Critical Edition)

Geoffrey Chaucer

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Customer Reviews:
Total reviews: 2 Average rating: 4.5 of 5

Superb edition--new standard ed. for Chaucer's dream visions 5 out of 5 stars.
6 of 7 people found this review helpful.

Besides the excellent, scrupulously edited texts and Lynch's thorough notes and rich-though-brief introductions, this new edition contains a concise and incredibly useful guide to Chaucer's pronunciation that is alone worth the price of the book. The best edition for the undergraduate or professional scholar.

Drean Visions and Other Poems (Norton Critical Edition) 4 out of 5 stars.
2 of 9 people found this review helpful.

Though it says 'A lightly modernized system of spellings has been adopted.', it is a bit too much modernization in spelling, it seems to me.
Criticism is very useful. After all, this is for the novice.

Editorial Review:

About the Series: No other series of classic texts equals the caliber of the Norton Critical Editions. Each volume combines the most authoritative text available with the comprehensive pedagogical apparatus necessary to appreciate the work fully. Careful editing, first-rate translation, and thorough explanatory annotations allow each text to meet the highest literary standards while remaining accessible to students. Each edition is printed on acid-free paper and every text in the series remains in print. Norton Critical Editions are the choice for excellence in scholarship for students at more than 2,000 universities worldwide.

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