UNITED KINGDOM OF GREAT BRITAIN AND IRELAND AUTHOR · POETRY · ENGLISH
Edwin Morgan
Two very beautiful naked girls are crouched facing each other.
— from Essays, 1987
Most acclaimed
Beowulf
" More than one hundred glorious images, many of objects dating from the time of the story, enhance Seamus Heaney's masterful best-selling translation. Composed toward the end of the first millennium, Beowulf is the elegiac narrative of the Scandinavian hero who saves the Danes from the seemingly invincible monster Grendel and, later, from Grendel's mother. Drawn to its immense emotional credibility, Seamus Heaney gives the great epic convincing reality for the reader. But how to visualize the poet's story has always been a challenge for modern-day readers. In Beowulf: An Illustrated Edition, John D. Niles, a scholar of old English, brings Heaney's remarkable, best-selling translation to life. More than one hundred full-page illustrations-Viking warships, chain mail, lyres, spearheads, even a reconstruction of the Great Hall-make visible Beowulf's world and the elemental themes of his story: death, divine power, horror, heroism, disgrace, devotion, and fame. Now this mysterious world is transformed into one that only becomes more amazing after viewing its elegant goblets, dragon images, finely crafted gold jewelry, and the Danish landscape of its origins."--Publisher's website. Presents a translation of the Anglo-Saxon epic chronicling the heroic adventures of Beowulf, the Scandinavian warrior who saves his people from the ravages of the monster Grendel and Grendel's mother, with illustration of ancient artifacts from the time period.
Poems
This is an edition of all the known poems of Mark Akenside, the eighteenth-century English poet and physician, whose poetry has not been newly edited for more than a century. This edition will thus provide scholars and students with a much-needed opportunity to reassess the extent of Akenside's contribution to literary culture, and it will also clarify his role in the development of the aesthetic theories of his own generation and the one that followed. The career of Mark Akenside (1721-70) spans a period of extraordinarily fast change in English literature: his first major poem, The Pleasures of Imagination, appeared in the year of Pope's death; and Akenside died in the year Wordsworth was born. His works not only reflected the very considerable changes that took place during these years; they also contributed in many ways to the shifts in focus, interest, and emphasis that characterize the literature of the later eighteenth century. Akenside's fascination with the imagination, its characteristics and functions, resulted in an intriguing and influential blend of the poetic and the philosophical in his longer poems, The Pleasures of Imagination (1744) and The Pleasures of the Imagination (1772). The earlier work explores the then new subject of aesthetics in greater detail than it had ever been explored before, presenting various original insights and arguments. Yet it would be wrong to see the poem as merely a versified philosophical treatise; its complex structure offers satisfactions beyond those of sequential logic, and the examples cited to illustrate the central ideas are imbued with considerable vigor and clarity. As products of, and contributors to, the eighteenth-century enthusiasm for aesthetics, Akenside's longer poems are captivating examples of the eighteenth- and nineteenth-century experiment in developing the philosophical poem into a major literary form. It is for this reason above all others that they are valued by Coleridge and the writers of the next generation. Because of the comparative obscurity into which Akenside's works fell after the demise of the long philosophical poem in the latter part of the nineteenth century, they have not by and large attracted the attention of modern bibliographers. In this edition numerous bibliographical and textual puzzles presented by his poems are solved for the first time. The apparatus, meanwhile, demonstrates the full extent of the poet's urge to revise - an urge that extended from the wholesale rewriting of some poems to subtle alterations of textual minutiae, showing a mind and an ear alive to nuances of meaning and intonation.
Essays
1987
The titles of Ralph Waldo Emerson’s essays consist of a range of general concepts such as character, experience, friendship, history, intellect, love, nature, politics, prudence and, most famously, self-reliance. However, in no case is the content of an essay limited to considerations relevant to its title concept. Emerson’s style is digressive and aphoristic, his lengthy paragraphs strewn with terse, dogmatic assertions. The pieces record the diffuse preconceptions and opinions of the author, typically without arguing for them. “Nature,” Emerson’s first published essay, was published independently five years before his first collection of essays. It became a foundational text for transcendentalism, the New England intellectual movement that upheld the divine character of the natural world and the importance of spiritual connection with it. In its emphasis on reason, individual conscience, and innate human goodness, transcendentalism was related to Unitarianism, where Emerson began his career as a minister. While Emerson resigned from this post after only a few years, he retained a lifelong concern with religion and theology that is frequently manifest in his essays. Even in the earlier essays Emerson expresses in passing a general opposition to slavery, but he has sometimes been criticized for remaining aloof from the social issues of his day, and especially from abolition. Emerson’s growing willingness to think and speak about slavery as he aged is visible in the collection; its final essay is a lecture given before the American Anti-Slavery Society. In “Politics,” he includes “emancipat[ing] the slave” alongside befriending the poor, building schools and cherishing the arts in a list of causes that he takes to represent “real good.” Emerson’s essays were especially influential among the members of the Transcendental Club that met in Cambridge, Massachusetts, which included Henry Thoreau among its members. Reading the essays was also instrumental in the literary development of Emerson’s later correspondent Walt Whitman, who in Leaves of Grass aimed to attain the ideal of the American poet described in “The Poet.” In German translation, the essays were read and appreciated by Nietzsche, who chose a quotation from “History” as the epigraph for the first edition of his 1882 book The Gay Science and in the same book named Emerson among the few men he judged to be “masters of prose.” The essays collected here were originally released in two volumes, or “series,” the first in 1841 and the second in 1844. In the original editions, each essay was prefaced by a poem of Emerson’s own authorship. While some of these poems were omitted in later editions, all have been included here.