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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

西方國家於文藝復興、宗教改革、工業革命之後，逐漸形成一股強大的文明勢力向世 界各角落膨脹．這股勢力包括：政治、經濟、思想各方面，藉著優越的軍事力量在十 八、九世紀之交，急急地叩著各傳統古老社會深閉的門戶．中國與土耳其原本同是這 些傳統社會中的佼佼者，一個是長期的文化輸出者；一個是橫跨歐、亞、非三洲的回 教大帝國，卻同時被冠上「病夫」的屈辱，遭遇瓜分解體的威脅．於是兩國人民為了 救亡圖存均做了最大的努力，一步步的改革，由軍事、制度而思想，一連串的摸索、 學習、抗爭、調適，終於兩個新生政體如浴火鳳凰般自廢墟中昇起．這段由盛而衰， 死的重生的經歷究竟會在兩國文學活動中做出怎樣的影響？或者文學能對之產生如何 的作用呢？而如此相似的外在經驗，是否也會在兩國文學發展過程中振動出相同的頻 率呢？試圖解答這些問題正是本論文的研究動機． 本論文以文獻研究法為主．使用的文獻將包括兩國文學史、歷史、社會、政治各方面 的研究文字．不過，有關土耳其的研究資料較難搜羅，為本論文研究的限制． 全文共分五章：緒論；中國新詩興起的背景及創作理論；土耳其新詩興起的背景及創 作理論；中、土兩國新詩興起背景之比較；結論． 文學與當代人的思潮有著密切的關聯，而當代人的思想深受外在環境的影響．文學完 成之後，藉著傳播流通，可以影響更多的人，造成更大的思潮或引起反對的聲浪，由 此可見文學與環境是互動的．中、土兩國面臨亡國危機，同樣興起救國思潮，投入「 現代化」行列，由器物、制度的現代化終於思想、觀念的全盤西化；文學革新之議則 發韌於制度現代化的同時，到了思想觀念層次，則新文學已成風潮矣．可見中、土新 詩興起與外來刺激、內在思潮是息息相關的．