This collection of poems brings to life the idea that in a poet's world, every day life and every single occurrence is a possible subject. Included are works brought on from the worst of circumstances, the youngest of memories, the happiest moments, and even the simplest of thoughts. The collection is autobiographical and reflective, a re-creation of the events taken place with the addition of present knowledge. The work here gives proof to the idea of cohesion between content and art form--it proves the notion that how something is being said is just as, if not more, important than what is being said itself. Concrete imagery full of sensory details, a distinct voice given through language and rhythm, and passionate, truthful emotion are only some of the specific interests found in the following pages. and it's also the smell of laundry is a collection that celebrates the cohesion of content and form, interweaves experience and art itself. This collection embraces experience, gives reason to the past, and gives strength to the present. It is autobiographical, written from painful, colorful, miserable, ecstatic, and even mundane moments. But it is also carefully crafted, true to the form, and embodies perfectly the idea of art itself as it is the carefully constructed form and tools within each piece that bring to life the experiences themselves.

This study discusses the evolution of the English country-house poem from its inception by Ben Jonson in "To Penshurst" to the present. It shows that in addition to stylistic and thematic borrowings primarily from Horace and Martial, traditional English values associated with the great hall and comitatus ideal helped define features of the English country-house poem, to which Jonson added the metonymical use of architecture. In the Jonsonian country-house poem, the country estate, exemplified by Penshurst, is a microcosm of the ideal English social organization characterized by interdependence, simplicity, service, hospitality, and balance between the active and contemplative life. Those poems which depart from the Jonsonian ideal are characterized by disequilibrium between the active and contemplative life, resulting in the predominance of artifice, subordination of nature, and isolation of art from the community, as exemplified by Thomas Carew's "To Saxham" and Richard Lovelace's "Amyntor's Grove." Architectural features of the English country house are examined to explain the absence of the Jonsonian country-house poem in the eighteenth century. The building tradition praised by Jonson gradually gave way to aesthetic considerations fostered by the professional architect and Palladian architecture, architectural patronage by the middle class, and change in identity of the country house as center of an interdependent community. The country-house poem was revived by W. B. Yeats in his poems in praise of Coole Park. In them Yeats reaffirms Jonsonian values. In contrast to the poems of Yeats, the country-house poems of Sacheverell Sitwell and John Hollander convey a sense of irretrievable loss of the Jonsonian ideal and isolation of the poet. Changing social patterns, ethical values, and aesthetics threaten the survival of the country-house poem, although the ideal continues to reflect a basic longing of humanity for a pastoral retreat where life is simple and innocent.

This thesis argues that François Villon becomes a significant, but overlooked, influence in the tradition of English poetry, and that this influence reveals itself in translations, adaptations, and responses to his work. By focusing on the way in which numerous high profile poets in the United Kingdom and the United States have reacted to Villon, this study will posit that the reasons behind the appeal of his oeuvre as a source text lie both in the protean nature of his narrative voice and in the myth of his life. The inter-lingual intertextual relationships established through translation and the residue of Villon in English poetic tradition will be presented by means of five case studies, all taking the work of a specific poet as their theme: Algernon Charles Swinburne; Dante Gabriel Rossetti; Ezra Pound; Basil Bunting; and Robert Lowell. These five poets are presented as being exemplary of a greater tradition of translating Villon into English, and will take the reader from the first verse translations of his work in the nineteenth century, to postmodern adaptations and parodies of Villon in the twentieth. They will illustrate the specified intertextual relationships that exist both between source text and target text, and the work of one translator and another, thereby demonstrating the accumulation of influences at play in any one translation of this medieval French poet. In so doing, this thesis will also explore translation and adaptation as dialogical and transformative spaces, distinct from other genres in their ability to establish cross-cultural and interlingual intertexts. Translation and adaptation as spaces of cultural and linguistic hybridity will be demonstrated by observing some of the ways in which Villon has left his mark on English verse, and some of the Villons that anglophone poets have created in their turn.

Law, Lok Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves i-vi). / Abstracts in English and Chinese. / INTRODUCTION --- p.2 / Chapter Section One: --- The Discussion on Donne's Conceits and Donne's Passion in His Poetry --- p.3 / Chapter Section Two: --- Development of Cognitive Poetics --- p.6 / Chapter Section Three: --- Significance of Cognitive Poetics --- p.10 / Chapter Section Four: --- Significance of this Research Project --- p.13 / Chapter CHAPTER ONE: --- CONCEPTUAL METAPHOR THEORY AND BLENDING THEORY --- p.15 / Chapter Section One: --- Theoretical Background of Metaphor --- p.15 / Chapter Part One: --- Metaphor as Deviation --- p.16 / Chapter Part Two: --- Metaphor as Ornament --- p.17 / Chapter Part Three: --- Metaphor as a Way of Understanding --- p.19 / Chapter Part Four: --- Metaphor and Conceit --- p.21 / Chapter Section Two: --- Conceptual Metaphor Theory --- p.21 / Chapter Part One: --- Conceptual Metaphor Theory --- p.21 / Chapter Part Two: --- Conceptual Metaphor Theory and Emotions --- p.25 / Chapter Section Three: --- Blending Theory --- p.26 / Chapter Part One: --- From Conceptual Metaphor Theory to Blending Theory --- p.26 / Chapter Part Two: --- Gregor as a Twitter User --- p.28 / Chapter Part Three: --- Blending and Conceit --- p.33 / Conclusion --- p.34 / Chapter CHAPTER TWO: --- FUNCTIONS OF DONNE'S CONCEITS --- p.35 / Chapter Section One: --- Conceit in Perspectives --- p.36 / Chapter Part One: --- Definition and Classification of a Conceit --- p.36 / Chapter Part Two: --- The Mechanism of Combining Two Heterogeneous Images --- p.38 / Chapter Part Three: --- Functions of a Conceit in the Argumentation of a Poem --- p.41 / Chapter Part Four: --- Comparison Between the Rhetorical Approach and the Cognitive Approach --- p.43 / Chapter Section Two: --- Functions of Donne's Conceits --- p.47 / Chapter Part One: --- Analysis of 'Lovers' Infiniteness' --- p.47 / Chapter Part Two: --- Condensed Conceits --- p.57 / Chapter Part Three: --- Expanded Conceits --- p.64 / Conclusion --- p.67 / Chapter CHAPTER THREE: --- THE PASSION IN DONNE'S CONCEITS --- p.68 / Chapter Section One: --- The Emotional Aspect of Donne's Poems and the Cognitive Perspective --- p.69 / Chapter Section Two: --- Conceptual Theory of Emotion in Detail --- p.75 / Chapter Part One: --- Kovecses's Emotion Concepts and Cognitive Model of Emotions --- p.75 / Chapter Part Two: --- "Intensity, Passivity and Force in Romantic Love" --- p.77 / Chapter Part Three: --- Application of Kovecses's theory to Donne's poems --- p.79 / Chapter Section Three: --- Donne's Expressions of Emotions --- p.81 / Chapter Part One: --- Passion and Intensity of Love when Love is Fierce --- p.81 / Chapter Part Two: --- Frustration and Attempts to Control One's Emotions --- p.85 / Chapter Part Three: --- Secured and Satisfied Love --- p.89 / Chapter Part Four: --- Conceits that Fall Outside the Stages of Emotions --- p.94 / Conclusion --- p.97 / CONCLUSION --- p.99 / Other Issues in Donne's Poetry Concerning Emotions --- p.100

Mary Robinson’s perceived entrapment within masculine discourse has led to a somewhat distorted portrayal of this author as ‘victim’: critical focus on how she and eighteenth-century society may have constructed her authorial identity, reflecting her primarily as a historical and cultural product, has contributed indirectly to diminish due recognition of the level of autonomy she attained within her own writing. However, recent political interpretations of Robinson’s work have largely challenged these views, acknowledging her considerable influence within the public realm of the ‘masculine’ Romantic. In this dissertation, I aim to build upon, and argue beyond, those readings which have explored Robinson’s political uses of victimisation, as well as those which have studied her promotion of female authorship. I will argue that, by exploring Robinson’s own portrayal of the female philosopher and author, as well as her manipulation of victimisation within sensibility literature, we may be able to better interrogate modern feminist thinking around the concept of the eighteenth-century female philosopher, and thus begin to situate the value of Robinson’s work within a firmer literary compass. I will focus upon the following novels: Walsingham (2003 b), The False Friend (1799), and The Natural Daughter (2003 a). While I will root my arguments in the abovementioned approach, I will avoid contributing further discussion to Robinson’s use of radical politics and defence or fostering of female authorship. First because these are relatively well explored issues around her writing, and secondly because it is wise to be cautious when affirming Robinson’s radical politics, as ultimately this impulse ties into a modern yearning to portray her as a radical feminist. Robinson certainly adopted a radical political stance in some of her novels; yet, I will argue, we cannot value her writing primarily in terms of its political bent, however tempting this approach may be. / English Studies / M.A. (English Studies)

The purposes of this study were to formulate a definition of the "bob-wheel" stanza in which a number of Middle English and Middle Scots poems were written, to inventory and describe these works, with special attention to the structure of individual stanzas, to identify the genres, the periods, and the dialects in which they were written, and to trace their origin and development between the thirteenth and sixteenth centuries. The dissertation includes a general introduction of the topic, chapters on the influence of Latin and Romance stanzaic structure, a chronological survey of the bob-wheel poems, and a conclusion in which theories concerning the origins, development, and decline of the form are discussed.

The purpose of this study is to demonstrate that the concept of a godless universe governed by a consciousless and conscienceless Immanent Will in Hardy's poetry is an ineluctable outcome, given the expanded scientific knowledge of the nineteenth century, of the pantheistic views of the English Romantic poets. The purpose is accomplished by tracing characteristically Romantic attitudes through the representative poetry of the early Victorian period and in Hardy's poetry. The first chapter is a brief introduction. Chapter II surveys major Romantic themes, illustrating them in Wordsworth's poetry. Chapter III treats the decline of the Romantic vision in the poetry of Tennyson and Arnold. Hardy's views and the Victorian poets' influence are the subject of Chapter IV. Chapter V demonstrates Wordsworth's influence on Hardy in several areas.

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