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Jun 29, 1875 — Oct 13, 1968· 93 yrs

UNITED STATES AUTHOR · HISTORY AND CRITICISM · ENGLISH

Hardin Craig

Also known as: هاردين كرايغ

15
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Owensboro, United States
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Shakespeare's life began near the reflecting, gleaming river Avon, which today flows past Stratford's Church of the Holy Trinity where he lies buried, and past a theatre where his dramas are seen and heard by visitors from all nations.

— from Shakespeare, 1977

Most acclaimed

#1

A history of English literature

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Augustan literature (sometimes referred to misleadingly as Georgian literature) is a style of British literature produced during the reigns of Queen Anne, King George I, and George II in the first half of the 18th century and ending in the 1740s, with the deaths of Alexander Pope and Jonathan Swift, in 1744 and 1745, respectively. It was a literary epoch that featured the rapid development of the novel, an explosion in satire, the mutation of drama from political satire into melodrama and an evolution toward poetry of personal exploration. In philosophy, it was an age increasingly dominated by empiricism, while in the writings of political economy, it marked the evolution of mercantilism as a formal philosophy, the development of capitalism and the triumph of trade. The chronological boundary points of the era are generally vague, largely since the label's origin in contemporary 18th-century criticism has made it a shorthand designation for a somewhat nebulous age of satire. Samuel Johnson, whose famous A Dictionary of the English Language was published in 1755, is also "to some extent" associated with the Augustan period.

#2

Representative Selections, With Introduction, Bibliography, And Notes

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10 stories: [Berenice]( [Cask of Amontillado]( [Eleonora]( [Fall of the House of Usher]( Gold-Bug [Landor's Cottage]( Ligeia Ms Found in a Bottle Murders of the Rue Morgue [Pit and the Pendulum]( 36 poems: Tamerlane Song-"I saw thee on thy bridal day" Dreams Evening star A dream within a dream The happiest day, the happiest hour The lake: to -- Sonnet- to science Al Aaraaf Romance Alone To Helen- "Helen, they beauty is to me" Israfel The city in the sea The sleeper Lenore The coliseum To one in paradise Hymn To F -- To F -- s S.O -d Bridal ballad The haunted palace Sonnet -- silence The conqueror worm Dream-land [Raven]( A valentine To M.L. S- Ulalume- a ballad The bells To Helen- "I saw thee once -once only- years ago" Eldorado For Annie To my mother [Annabel Lee]( Criticism Letter to Mr. -- -- Drake and Halleck Tortesa, the usurer Undine: a miniature romance Voices of the night Night and morning Macaulay's essays Barnaby Rudge Ballads and other poems Twice-told tales The philosophy of composition The poetic principle From "Marginalia". Philosophy. The colloquy of Monos and Una From "Eureka."

#3

Shakespeare

1977

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Shakespeare has been the lodestar of English literature, not only to our finest biographers & critics but to our greatest imaginative writers as well. Oscar Wilde, Mark Twain & James Joyce have all written of the man— as enigma, ancestor or phantom. In Shakespeare Burgess, whose Nothing Like the Sun Harold Bloom called "the only successful novel ever written about Shakespeare," takes up that daunting challenge once again, reimagining the actual world of Shakespeare the author, actor & man. Burgess is mindful of the few facts we have about Shakespeare & handles them with great dexterity. But this isn't a mere recounting of facts. It's an attempt by one virtuoso writer to capture the likeness of the supreme virtuoso, to locate him exactly & take his measure. It's also an attempt to present him —as only a gifted professional writer can —as a working writer among others, a man of his time in his own milieu. Shakespeare the Elizabethan upstart? Literary genius without peer? The representative man? The actor among actors, businessman among businessmen? What Burgess so skillfully gets across —alongside what he calls "the main facts about the life & society from which the poems & plays arose"— is a genuine feel for who Shakespeare was & where he was. In the end, Burgess claims for himself the right of every Shakespeare-lover: "to paint his own portrait of the man."

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