Poetics en Passant presents a 'cross-channel' poetics that redefines the relationship between 'Victorian' and 'modern' poetry by understanding Christina Rossetti's poetics of 'stealth' as an important counterpart to Baudelairean 'shock.'

Decadent Poetics explores the complex and vexed topic of decadent literature's formal characteristics and interrogates previously held assumptions around the nature of decadent form. Writers studied include Oscar Wilde, Charles Baudelaire and Algernon Charles Swinburne, as well as A.E. Housman, Arthur Machen and Hubert Crackanthorpe.

The terms 'poetry' and 'realism' have a complex and often oppositional relationship in American literary histories of the postbellum period. The core narrative holds that 'realism', the major literary 'movement' of the era, developed apace in prose fiction, while poetry, stuck in a hopelessly idealist late-Romantic mode, languished and stagnated. Poetry is almost entirely absent from scholarship on American literary realism except as the emblem of realism's opposite: a desiccated genteel 'twilight of the poets.' Realist Poetics in American Culture, 1866-1900 refutes the familiar narrative of postbellum poetics as a scene of failure, and it recovers the active and variegated practices of a diverse array of realist poets across print culture. The triumph of the twilight tale in the twentieth century obscured, minimized, and flattened the many poetic discourses of the age, including but not limited to a significant body of realist poems currently missing from US literary histories. Excavating an extensive archive of realist poems, the volume offers a significant revision to the genre-exclusive story of realism and, by extension, to the very foundations of postbellum American literary history dating back to the earliest stages of the discipline.

Coleridge has been perceived as the youthful author of a few brilliant poems. This study argues that his poetry is actually a continuous process of experimentation and provides a new perspective on both familiar and unfamiliar poems, as well as the relation between Coleridge's poetry and philosophical thinking.

In Victorian Poetry: Poetry, Poetics and Politics, Isobel Armstrong rescued Victorian poetry from its longstanding sepia image as ‘a moralised form of romantic verse' and unearthed its often subversive critique of nineteenth-century culture and politics. In this uniquely comprehensive and theoretically astute new edition, Armstrong provides an entirely new preface that notes the key advances in the criticism of Victorian poetry since her classic work was first published in 1993. A new chapter on the alternative fin de siècle sees Armstrong discuss Michael Field, Rudyard Kipling, Alice Meynell and a selection of Hardy lyrics. The extensive bibliography acts as a key resource for students and scholars alike.

This book finds its origin partly in the International Colloquium on French and Francophone Literature in the 1990's at Dalhousie University, September 1998. number of the papers, since reworked, take their place here alongside other studies subsequently invited. They form a broad and varyingly focused set of cogent and pertinent appraisals of very recent French, and francophone, poetic practice and its shifting, becoming conceptual underpinnings.

Inclusive, cutting-edge essay collection by leading scholars on Victorian women poets and their diverse poetic forms and identities.

Explores how Victorian poetry and translation dynamically influenced one another in an age of empire.

Why do we often teach English poetic meter by the Greek terms iamb and trochee? How is our understanding of English meter influenced by the history of England's sense of itself in the nineteenth century? Not an old-fashioned approach to poetry, but a dynamic, contested, and inherently nontraditional field, "English meter" concerned issues of personal and national identity, class, education, patriotism, militarism, and the development of English literature as a discipline. The Rise and Fall of Meter tells the unknown story of English meter from the late eighteenth century until just after World War I. Uncovering a vast and unexplored archive in the history of poetics, Meredith Martin shows that the history of prosody is tied to the ways Victorian England argued about its national identity. Gerard Manley Hopkins, Coventry Patmore, and Robert Bridges used meter to negotiate their relationship to England and the English language; George Saintsbury, Matthew Arnold, and Henry Newbolt worried about the rise of one metrical model among multiple competitors. The pressure to conform to a stable model, however, produced reactionary misunderstandings of English meter and the culture it stood for. This unstable relationship to poetic form influenced the prose and poems of Robert Graves, Siegfried Sassoon, Wilfred Owen, W. B. Yeats, Ezra Pound, and Alice Meynell. A significant intervention in literary history, this book argues that our contemporary understanding of the rise of modernist poetic form was crucially bound to narratives of English national culture.

George Whalley's English translation of the Poetics breathes new life into the study of Aristotle's aesthetics by allowing the English-speaking student to experience the dynamic quality characteristic of Aristotle's arguments in the original Greek.