No description available.

No description available.

No description available.

This study endeavours to offer a coherent explanation of the unity of Dryden's works from a thematic perspective. It attempts to show the way in which John Dryden (1631-1700) made use of the concept of enthusiasm in some of those poems which have established him as a major poet in the English language. Chapter I defines the term enthusiasm within the context of Restoration and eighteenth century philosophical, political and artistic thought, and the remaining chapters concentrate upon Dryden's response to enthusiasm. I have not discussed Dryden's translations for I have limited my study to his "original" verse, which, with the exception of his plays, has received the bulk of critical attention. Because the political, religious and artistic aspects of enthusiasm are the most important ones in Restoration thought as well as in Dryden's poems, I have examined those of his poems which emphasize one of these three facets in adjoining or separate chapters. This arrangement allows for a treatment of Dryden's works in a roughly chronological order since those poems which are chiefly concerned with political enthusiasm preceded those which deal with religious and artistic enthusiasm. Critics of Dryden's poems frequently mention the importance of enthusiasm in his works, particularly in Absalom and Achitophel in which divinely-appointed figures are besieged by a mob of frenzied republicans and religious fanatics. As I have tried to show, however, the concept of enthusiasm can be suitably applied to a number of poems which may at first appear to have no connection with the topic. Alexander's Feast, Religio Laici and particularly The Hind and the Panther express a concern with epthusiasm. It has sometimes been assumed that Dryden expresses only a negative opinion about enthusiasm, and, perhaps, this accounts for the critical assessment of Absalom and Achitophel from the perspective of enthusiasm by at least three critics: Ruth Wallerstein, Bruce King and Bernard Schilling. As a child of the Renaissance, as an artist and as a follower of rather anachronistic ideas, Dryden knew that enthusiasm did not have exclusively pejorative connotations, and his poems celebrate inspired figures, while, at the same time, they deprecate enthusiastic enemies of stable gover:r1ment, ecclesiastical authority and artistic prudence. Althouch there are few critical studies directly on this topic, I have noted the contribution of the critics who have been suggestive in this matter. This study attempts to modify the idea that Dryden's poems are defensive efforts written to condemn the destructive forces of enthusiasm which he saw in his society. It argues that in those poems in which Dryden made some of his strongest denunciations of enthusiasm, he still voiced his unqualified approval of truly-inspired figures including Charles II, the Catholic Church as represented by the Hind, the Christian artist, St. Cecilia and the poet himself. Even though Dryden's convictions changed during the last twenty-five years of his life, this struggle of an inspired figure against imprudent enthusiasts continued to dominate his verse. Close textual analysis of the poems establishes the pervasiveness of the topic in Dryden's work and joins the aesthetic aspects of his poems with the thematic. / Thesis / Doctor of Philosophy (PhD)

A collection of poems by Sarah Dupuis-Kornreich.

A collection of poems.

This is a book of poems.

A collection of poems.

A collection of poems exploring the relationship between self, interpretation of memory, and the dynamic structure of families, nuclear and not. The notion of family as a wider concept, a unit that can be heartily constructed, maintained, and destructed beyond the ties of blood relations, is a focus of numerous poems in the collection. The title poem, “Numerator Denominator,"? evokes, through associative leaps in language, the implicit shifts of emotion that surround personal relationships—the countless divisions and facets of oneself exposed. The structures of the poems in the collection range from free verse to a nonce sonnet sequence to the repetitive drive of the sestina. The poems are not divided into sections, but are arranged in such a way that connects the themes and flow of the work while still allowing the reader to explore her/his own connections throughout the collection. / Master of Fine Arts

I have endeavored to show that the "gray outlook" that some of the critics have complained about in Frost's poems was well offset early in his career by a sly and subtle humor that rarely failed the poet, and by the sheer beauty of the New England background.