Paul Celan (1920-1970), the Jewish poet of German descent, lived through the greatest catastrophe of European Jewry of the modern age. He survived, as his parents and innumerable others did not, and dedicated his writing, his voice, to the reality he had witnessed. It would be a mistake, however, to think of him solely as a "Jewish" poet, a term he considered anti-Semitic (see Christina Ivanovic's '''All poets are Jews:' Paul Celan's Reading of Marina Tsvetaeva"). Celan wrote of the world as such; a world that was able to reorganize itself towards the annihilation of countless human beings. In its midst, he questioned how one could live, how brotherhood could still be possible, and how a God could possibly appear in such a place. This thesis follows his questioning and pursues, along with him, the course of poetry and poetic language through the appearance of atrocity.

This thesis examines the poetics of Odysseas Elytis, which, it is argued, emerged from his intense theoretical work on poetry in the period between 1944 and 1960, and was crystallized in the poems he published from 1960 to 1995. Elytis' poetics is examined in this thesis through the exploration of his ideas on the status and function of poetry, on the role of the poet, and on poetic writing; it is also examined through the exploration of the poetry in which these ideas are put into practice. It is argued in this thesis that Elytis' poetics emerged from his effort to provide his poetry with a concrete theoretical basis, an endeavour he deliberately undertook in the 1940s and 1950s; the evolution of his thought coincided chronologically with the period broadly between 1944 and 1960, that is, the period during which he wrote poems but did not proceed to publish any book of poetry. Elytis' thought reached a point of external stabilization before 1960, since in the poetry he published that year his ideas are systematically put into practice. With the publication of these poems, his poetics entered the dynamic phase of crystallization, which prevails throughout his poetic writing from 1960 to 1995, and constitutes a process during the course of which he explored the internal perspectives opened up by the theoretical frame he set for himself in the years 1944-1960. This thesis explores Elytis' theoretical endeavour and his poetic practice, and examines both the emergence of his ideas in the period between 1944 and 1960 and the crystallization of these ideas in the poetry he published from 1960 to 1995.

Lady Mary Wortley Montagu, now known chiefly for her letters, was in her own day famous as a minor poet. This thesis discusses her verse in various genres, relating it to the conventions within which it was written and to the writer's particular interests and aims. It prints the text of all known verse by, or probably by, Lady Mary, with full textual apparatus and explanatory notes. As far as possible all manuscript and printed sources have been collated, their variants recorded, the poems dated, their origins explained, and parallels in other writers listed.

The thesis presents an historical survey of Brecht's poetry; close critical analysis of individual texts, including many not previously discussed, provides the basis for wider generalisation which enables the construction of a comprehensive study. Paraphrase, the explicit formulation of suggested readings, is the fundamental method of analysis. Reference to the historical dimension, and careful attention to Brecht's use of the ironic mode operate as controls. The thesis is divided chronologically into six chapters.

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What this thesis attempts to do is to render as full a picture as possible of Yeats's interest in Ben Jonson, using to the fullest advantage the many hints that come from Yeats and secondary oriticism. Specifically, the focus of this paper is on the process by which Yeats was able, like Eliot, Pound and others, to found a tough, new poetic style with reference to this seventeenth-century period of Jonson. Yeats's reading of "Jonson and the others," which took place at the turn of this century, triggered a whole series of discoveries by Yeats which anticipated the aesthetic beliefs of his famous friends in the modern movement, whose later influence upon his poetry generally fortified poetic principles which had already found their way into his work. His early plays for the Abbey Theatre, for instance, demonstrate his call for a return to the "roots" of poet ic power that Synge associated with the best plays of Jonson and Moliere, and his poetry of that period demonstrates his first attempt at finding the "passionate syntax" of Jonson, Donne, Shakespeare and others.

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