The Longman Anthology of British Literature, Volume 1b
Autor David Damrosch, Kevin J. H. Dettmar, Clare Carrollen Limba Engleză Foi volante
Preț: 465.29 lei
Preț vechi: 574.43 lei
-19% Nou
Puncte Express: 698
Preț estimativ în valută:
89.11€ • 91.81$ • 74.65£
89.11€ • 91.81$ • 74.65£
Carte indisponibilă temporar
Doresc să fiu notificat când acest titlu va fi disponibil:
Se trimite...
Preluare comenzi: 021 569.72.76
Specificații
V-ar putea interesa
-
The Shakespeare Guide to Italy: Retracing the Bard's Unknown TravelsRichard Paul RoePreț: 142.96 lei -
Sex and Aesthetics in Samuel Beckett's WorkP. StewartPreț: 384.91 lei -
Preț: 384.91 lei -
Preț: 238.48 lei -
The Cambridge Companion to Bob DylanKevin J. H. DettmarPreț: 201.02 lei -
A Preface to Jane Austen: Revised EditionChristopher GilliePreț: 409.68 lei -
Twentieth Century Literary Criticism: A ReaderDavid LodgePreț: 297.74 lei -
What Is World Literature?David DamroschPreț: 373.21 lei -
Preț: 379.53 lei -
World Literature in TheoryD DamroschPreț: 321.42 lei -
Robert Browning: Selected PoemsJohn WoolfordPreț: 287.46 lei -
Preț: 77.09 lei -
Victorian Women Poets: An Annotated AnthologyVirginia BlainPreț: 404.67 lei -
York Notes Companions Gothic LiteratureSusan ChaplinPreț: 79.29 lei
Descriere
Descriere de la o altă ediție sau format:
The Fourth Edition of The Longman Anthology of British Literature continues its tradition of presenting works in the historical context in which they were written. This fresh approach includes writers from the British Isles, underrepresented female authors, “Perspectives” sectionsthatshed light on the period as a whole and link with immediately surrounding works to help illuminate a theme, “And Its Time” clusters that illuminate a specific cultural moment or a debate to which an author is responding, and “Responses” in which later authors respond to one or more texts from earlier works. New works include William Baldwin’s Beware the Cat (the 1st English novel), Edmund Spenser’s The Faerie Queene, Books 6 and the Two Cantos of Mutability and William Shakespeare’s Othello and King Lear.
The Fourth Edition of The Longman Anthology of British Literature continues its tradition of presenting works in the historical context in which they were written. This fresh approach includes writers from the British Isles, underrepresented female authors, “Perspectives” sectionsthatshed light on the period as a whole and link with immediately surrounding works to help illuminate a theme, “And Its Time” clusters that illuminate a specific cultural moment or a debate to which an author is responding, and “Responses” in which later authors respond to one or more texts from earlier works. New works include William Baldwin’s Beware the Cat (the 1st English novel), Edmund Spenser’s The Faerie Queene, Books 6 and the Two Cantos of Mutability and William Shakespeare’s Othello and King Lear.
Cuprins
*** denotes selection is new to this edition.
THE EARLY MODERN PERIOD
JOHN SKELTON***
The Bowge of Courte***
PERSPECTIVES: THE SIXTEENTH CENTURY SONNET***
Sir Thomas Wyatt
The Long Love, That in My Thought Doth Harbor
Companion Reading
Petrarch: Sonnet 140
Whoso List to Hunt
Companion Reading
Petrarch: Sonnet 190
My Galley
Some Time I Fled the Fire
Henry Howard, Earl of Surrey
Love That Doth Reign and Live within My Thought
Th’Assyrians’ King, in Peace with Foul Desire
Set Me Whereas the Sun Doth Parch the Green
The Soote Season
Alas, So All Things Now Do Hold Their Peace
Companion Reading
Petrarch: Sonnet 164
George Gascoigne
Seven Sonnets to Alexander Neville
Edmund Spenser
Amoretti
1 (“Happy ye leaves when as those lilly hands”)
4 (“New yeare forth looking out of Janus gate”)
13 (“In that proud port, which her so goodly graceth”)
22 (“This holy season fit to fast and pray”)
62 (“The weary yeare his race now having run”)
65 (“The doubt which ye misdeeme, fayre love, is vaine”)
66 (“To all those happy blessings which ye have”)
68 (“Most glorious Lord of lyfe that on this day”)
75 (“One day I wrote her name upon the strand”)
Sir Philip Sidney
Astrophil and Stella
1 (“Loving in truth, and fain in verse my love to show”)
3 (“Let dainty wits cry on the sisters nine”)
7 (“When Nature made her chief work, Stella’s eyes”)
9 (“Queen Virtue’s court, which some call Stella’s face”)
10 (“Reason, in faith thou art well served, that still”)
14 (“Alas, have I not pain enough, my friend”)
15 (“You that do search for every purling spring”)
23 (“The curious wits, seeing dull pensiveness”)
24 (“Rich fool there be whose base and filthy heart”)
31 (“With how sad steps, O Moon, thou climb’st the skies”)
37 (“My mouth doth water and my breast doth swell”)
39 (“Come sleep, O sleep, the certain knot of peace”)
45 (“Stella oft sees the very face of woe”)
47 (“What, have I thus betrayed my liberty?”)
52 (“A strife is grown between Virtue and Love”)
60 (“When my good Angel guides me to the place”)
63 (“O grammar-rules, O now your virtues show”)
64 (“No more, my dear, no more these counsels try”)
68 (“Stella, the only planet of my light”)
71 (“Who will in fairest book of Nature know”)
Second song (“Have I caught my heavenly jewel”)
74 (“I never drank of Aganippe well”)
Fourth song (“Only joy, now here you are”)
86 (“Alas, whence came this change of looks? If I...”)
Eighth song (“In a grove most rich of shade”)
Ninth song (“Go, my flock, go get you hence”)
89 (“Now that, of absence, the most irksome night”)
90 (“Stella, think not that I by verse seek fame”)
91 (“Stella, while now by honor’s cruel might”)
97 (“Dian, that fain would cheer her friend the Night”)
104 (“Envious wits, what hath been mine offense”)
106 (“O absent presence, Stella is not here”)
107 (“Stella, since thou so right a princess art”)
108 (“When sorrow (using mine own fire’s might)”)
Richard Barnfield
Sonnets from Cynthia
1 (“Sporting at fancy, setting light by love”)
5 (“It is reported of fair Thetis’ son”)
9 (“Diana (on a time) walking the wood”)
11 (“Sighing, and sadly sitting by my love”)
13 (“Speak, Echo, tell; how may I call my love?”)
19 (“Ah no; nor I myself: though my pure love”)
Michael Drayton
Sonnet 12 (“To nothing fitter can I thee compare”)
Sonnet 61 (“Since there’s no help, come let us kiss and part”)
SIR THOMAS WYATT
They Flee from Me
My Lute, Awake!
Tagus, Farewell
Forget Not Yet
Blame Not My Lute
Lucks, My Fair Falcon, and Your Fellows All
Stand Whoso List
Mine Own John Poyns
HENRY HOWARD, EARL OF SURREY
So Cruel Prison
London, Hast Thou Accused Me
Wyatt Resteth Here
My Radcliffe, When Thy Reckless Youth Offends
SIR THOMAS MORE
Utopia
Response***
Sir Francis Bacon: from New Atlantis***
WILLIAM BALDWIN***
Beware the Cat ***
EDMUND SPENSER***
The Faerie Queene ***
The Sixthe Booke of the Faerie Queene ***
The Two Cantos of Mutabilitie***
SIR PHILIP SIDNEY
The Apology for Poetry
ISABELLA WHITNEY
The Admonition by the Author
A Careful Complaint by the Unfortunate Author
The Manner of Her Will
MARY HERBERT, COUNTESS OF PEMBROKE
Psalm 71: In Te Domini Speravi (“On thee my trust is grounded”)
Psalm 121: Levavi Oculos (“Unto the hills, I now will bend”)
The Doleful Lay of Clorinda
PERSPECTIVES: EARLY MODERN BOOKS***
Ranulf Higden
from Polychronicon
John Foxe***
from Actes and Monuments of These Latter and Perilous Days***
The Geneva Bible
Thomas Hariot***
from The True Pictures and Fashions of the People in That Part of America Now Called Virginia**
John Gerard
from The Herball or Generall historie of plantes
Geoffrey Whitney
The Phoenix
Robert Fludd
from Utriusque cosmic, maioris scilicet et minoris, metaphysica atque technica historia
Francis Bacon
from Advancement of Learning
English Handwriting Samples**
Frontispiece to A Certain Relation of the Hog-faced Gentlewoman
ELIZABETH I
Written with a Diamond on Her Window at Woodstock
Written on a Wall at Woodstock
The Doubt of Future Foes
On Monsieur’s Departure
Speeches
On Marriage
On Mary, Queen of Scots
On Mary’s Execution
To the English Troops at Tilbury, Facing the Spanish Armada
The Golden Speech
AEMILIA LANYER
The Description of Cookham
CHRISTOPHER MARLOWE
Hero and Leander
The Tragical History of Dr. Faustus
Response
C.S. Lewis: from The Screwtape Letters
SIR WALTER RALEIGH
Nature That Washed Her Hands in Milk
To the Queen
On the Life of Man
The Author’s Epitaph, Made by Himself
As You Came from the Holy Land
from The 21st and Last Book of the Ocean to Cynthia
PERSPECTIVES: ENGLAND, BRITAIN, AND THE WORLD***
Fynes Moryson***
from An Itenerary, Obseravations on the Ottomon Empire***
Fynes Moryson***
from An Itenerary, Obeservations of Italy and Ireland***
Edmund Spenser***
from A View of the State of Ireland***
Thomas Hariot
from A Brief and True Report of the Newfound Land of Virginia
John Smith
from General History of Virginia and the Summer Isles
WILLIAM SHAKESPEARE
Sonnets
1 (“From fairest creatures we desire increase”)
12 (“When I do count the clock that tells the time”)
15 (“When I consider every thing that grows”)
18 (“Shall I compare thee to a summer’s day”)
20 (“A woman’s face with Nature’s own hand painted”)
29 (“When, in disgrace with fortune and men’s eyes”)
30 (“When to the sessions of sweet silent thought”)
31 (“Thy bosom is endearèd with all hearts”)
33 (“Full many a glorious morning have I seen”)
35 (“No more be grieved at that which thou hast done”)
55 (“Not marble nor the gilded monuments”)
60 (“Like as the waves make towards the pebbled shore”)
71 (“No longer mourn for me when I am dead”)
73 (“That time of year thou mayst in me behold”)
80 (“O, how I faint when I of you do write”)
86 (“Was it the proud full sail of his great verse”)
87 (“Farewell! Thou art too dear for my possessing”)
93 (“So shall I live, supposing thou art true”)
94 (“They that have pow’r to hurt, and will do none”)
104 (“To me, fair friend, you never can be old”)
106 (“When in the chronicle of wasted time”)
107 (“Not mine own fears nor the prophetic soul”)
116 (“Let me not to the marriage of true minds”)
123 (“No, Time, thou shalt not boast that I do change”)
124 (“If my dear love were but the child of state”)
126 (“O thou, my lovely boy, who in thy power”)
128 (“How oft, when thou my music play’st”)
129 (“The expense of spirit in a waste of shame”)
130 (“My mistress’ eyes are nothing like the sun”)
138 (“When my love swears that she is made of truth”)
144 (“Two loves I have, of comfort and despair”)
152 (“In loving thee thou know’st I am forsworn”)
Twelfth Night; or, What You Will
Othello***
King Lear***
PERSPECTIVES: TRACTS ON WOMEN AND GENDER
Joseph Swetnam
from The Arraignment of Lewd, Idle, Froward, and Unconstant Women
Rachel Speght
from A Muzzle for Melastomus
Ester Sowernam
from Ester Hath Hanged Haman
Hic Mulier and Haec-Vir
from Hic Mulier; or, The Man-Woman
from Haec-Vir; or, The Womanish-Man
BEN JONSON
The Alchemist
On Something, That Walks Somewhere
On My First Daughter
To John Donne
On My First Son
Inviting a Friend to Supper
To Penshurst
Song to Celia
Queen and Huntress
To the Memory of My Beloved, the Author, Mr. William Shakespeare, and What He Hath Left Us
To the Immortal Memory, and Friendship of that Noble Pair, Sir Lucius Cary and Sir H. Morison
Pleasure Reconciled to Virtue
JOHN DONNE
The Good Morrow
Song (“Go, and catch a falling star”)
The Undertaking
The Sun Rising
The Indifferent
The Canonization
Air and Angels
Break of Day
A Valediction: of Weeping
Love’s Alchemy
The Flea
The Bait
The Apparition
A Valediction: Forbidding Mourning
The Ecstasy
The Funeral
The Relic
Elegy 19: To His Mistress Going to Bed
Holy Sonnets
1 (“As due by many titles I resign”)
2 (“Oh my black soul! Now thou art summoned”)
3 (“This is my play’s last scene, here heavens appoint”)
4 (“At the round earth’s imagined corners, blow”)
5 (“If poisonous minerals, and if that tree”)
6 (“Death be not proud, though some have called thee”)
7 (“Spit in my face ye Jews, and pierce my side”)
8 (“Why are we by all creatures waited on?”)
9 (“What if this present were the world’s last night?”)
10 (“Batter my heart, three-personed God; for, you”)
11 (“Wilt thou love God, as he thee? Then digest”)
12 (“Father, part of his double interest”)
Devotions Upon Emergent Occasions
[“For whom the bell tolls”]
LADY MARY WROTH
Pamphilia to Amphilanthus
1 (“When night’s black mantle could most darkness prove”)
5 (“Can pleasing sight misfortune ever bring?”)
16 (“Am I thus conquered? Have I lost the powers”)
17 (“Truly poor Night thou welcome art to me”)
25 (“Like to the Indians, scorched with the sun”)
26 (“When everyone to pleasing pastime hies”)
28 Song (“Sweetest love, return again”)
39 (“Take heed mine eyes, how you your looks do cast”)
40 (“False hope which feeds but to destroy, and spill”)
48 (“If ever Love had force in human breast?”)
55 (“How like a fire does love increase in me”)
68 (“My pain, still smothered in my grièved breast”)
74 Song (“Love a child is ever crying”)
A Crown of Sonnets Dedicated to Love
77 (“In this strange labyrinth how shall I turn?”)
82 (“He may our profit and our tutor prove”)
83 (“How blessed be they then, who his favors prove”)
84 (“ He that shuns love does love himself the less”)
103 (“My muse now happy, lay thyself to rest”)
ROBERT HERRICK
Hesperides
The Argument of His Book
To His Book
Another (“To read my book the virgin shy”)
Another (“Who with thy leaves shall wipe at need”)
To the Sour Reader
When He Would Have His Verses Read
Delight in Disorder
Corinna’s Going A-Maying
To the Virgins, to Make Much of Time
The Hock-Cart, or Harvest Home
His Prayer to Ben Jonson
Upon Julia’s Clothes
Upon His Spaniel Tracie
The Dream (“Me thought (last night) Love in an anger came”)
The Dream (“By dream I saw one of the three”)
The Vine
The Vision
Discontents in Devon
To Dean-Bourn, a Rude River in Devon
Upon Scobble: Epigram
The Christian Militant
To His Tomb-Maker
Upon Himself Being Buried
His Last Request to Julia
The Pillar of Fame
His Noble Numbers
His Prayer for Absolution
To His Sweet Saviour
To God, on His Sickness
GEORGE HERBERT
The Altar
Redemption
Easter
Easter Wings
Affliction (1)
Prayer (1)
Jordan (1)
Church Monuments
The Windows
Denial
Virtue
Man
Jordan (2)
Time
The Collar
The Pulley
The Forerunners
Love (3)
RICHARD LOVELACE
To Lucasta, Going to the Wars
The Grasshopper
To Althea, from Prison
Love Made in the First Age: To Chloris
HENRY VAUGHAN
Regeneration
The Retreat
Silence, and Stealth of Days
The World
They Are All Gone into the World of Light!
The Night
ANDREW MARVELL
The Coronet
Bermudas
The Nymph Complaining for the Death of Her Fawn
To His Coy Mistress
The Definition of Love
The Mower Against Gardens
The Mower’s Song
The Garden
An Horatian Ode Upon Cromwell’s Return from Ireland
KATHERINE PHILIPS
Friendship in Emblem, or the Seal
Upon the Double Murder of King Charles
On the Third of September, 1651
To the Truly Noble, and Obliging Mrs. Anne Owen
To Mrs. Mary Awbrey at Parting
To My Excellent Lucasia, on Our Friendship
The World
PERSPECTIVES: THE CIVIL WAR, OR THE WARS OF THREE KINGDOMS
John Gauden
from Eikon Basilike
John Milton
from Eikonoklastes
Oliver Cromwell
from Letters from Ireland
John O’Dwyer of the Glenn
The Story of Alexander Agnew; or, Jock of Broad Scotland
JOHN MILTON
L’Allegro
Il Penseroso
Lycidas
How Soon Hath Time
On the New Forcers of Conscience Under the Long Parliament
To the Lord General Cromwell
On the Late Massacre in Piedmont
When I Consider How My Light Is Spent
Methought I Saw My Late Espoused Saint
from Areopagitica
Paradise Lost
Book 1
Book 2
Book 3
Book 4
Book 5
Book 6
Book 7
Book 8
Book 9
Book 10
Book 11
Book 12
Responses
Mary Wollstonecraft: from A Vindication of the Rights of Woman
William Blake: A Poison Tree
THE EARLY MODERN PERIOD
JOHN SKELTON***
The Bowge of Courte***
PERSPECTIVES: THE SIXTEENTH CENTURY SONNET***
Sir Thomas Wyatt
The Long Love, That in My Thought Doth Harbor
Companion Reading
Petrarch: Sonnet 140
Whoso List to Hunt
Companion Reading
Petrarch: Sonnet 190
My Galley
Some Time I Fled the Fire
Henry Howard, Earl of Surrey
Love That Doth Reign and Live within My Thought
Th’Assyrians’ King, in Peace with Foul Desire
Set Me Whereas the Sun Doth Parch the Green
The Soote Season
Alas, So All Things Now Do Hold Their Peace
Companion Reading
Petrarch: Sonnet 164
George Gascoigne
Seven Sonnets to Alexander Neville
Edmund Spenser
Amoretti
1 (“Happy ye leaves when as those lilly hands”)
4 (“New yeare forth looking out of Janus gate”)
13 (“In that proud port, which her so goodly graceth”)
22 (“This holy season fit to fast and pray”)
62 (“The weary yeare his race now having run”)
65 (“The doubt which ye misdeeme, fayre love, is vaine”)
66 (“To all those happy blessings which ye have”)
68 (“Most glorious Lord of lyfe that on this day”)
75 (“One day I wrote her name upon the strand”)
Sir Philip Sidney
Astrophil and Stella
1 (“Loving in truth, and fain in verse my love to show”)
3 (“Let dainty wits cry on the sisters nine”)
7 (“When Nature made her chief work, Stella’s eyes”)
9 (“Queen Virtue’s court, which some call Stella’s face”)
10 (“Reason, in faith thou art well served, that still”)
14 (“Alas, have I not pain enough, my friend”)
15 (“You that do search for every purling spring”)
23 (“The curious wits, seeing dull pensiveness”)
24 (“Rich fool there be whose base and filthy heart”)
31 (“With how sad steps, O Moon, thou climb’st the skies”)
37 (“My mouth doth water and my breast doth swell”)
39 (“Come sleep, O sleep, the certain knot of peace”)
45 (“Stella oft sees the very face of woe”)
47 (“What, have I thus betrayed my liberty?”)
52 (“A strife is grown between Virtue and Love”)
60 (“When my good Angel guides me to the place”)
63 (“O grammar-rules, O now your virtues show”)
64 (“No more, my dear, no more these counsels try”)
68 (“Stella, the only planet of my light”)
71 (“Who will in fairest book of Nature know”)
Second song (“Have I caught my heavenly jewel”)
74 (“I never drank of Aganippe well”)
Fourth song (“Only joy, now here you are”)
86 (“Alas, whence came this change of looks? If I...”)
Eighth song (“In a grove most rich of shade”)
Ninth song (“Go, my flock, go get you hence”)
89 (“Now that, of absence, the most irksome night”)
90 (“Stella, think not that I by verse seek fame”)
91 (“Stella, while now by honor’s cruel might”)
97 (“Dian, that fain would cheer her friend the Night”)
104 (“Envious wits, what hath been mine offense”)
106 (“O absent presence, Stella is not here”)
107 (“Stella, since thou so right a princess art”)
108 (“When sorrow (using mine own fire’s might)”)
Richard Barnfield
Sonnets from Cynthia
1 (“Sporting at fancy, setting light by love”)
5 (“It is reported of fair Thetis’ son”)
9 (“Diana (on a time) walking the wood”)
11 (“Sighing, and sadly sitting by my love”)
13 (“Speak, Echo, tell; how may I call my love?”)
19 (“Ah no; nor I myself: though my pure love”)
Michael Drayton
Sonnet 12 (“To nothing fitter can I thee compare”)
Sonnet 61 (“Since there’s no help, come let us kiss and part”)
SIR THOMAS WYATT
They Flee from Me
My Lute, Awake!
Tagus, Farewell
Forget Not Yet
Blame Not My Lute
Lucks, My Fair Falcon, and Your Fellows All
Stand Whoso List
Mine Own John Poyns
HENRY HOWARD, EARL OF SURREY
So Cruel Prison
London, Hast Thou Accused Me
Wyatt Resteth Here
My Radcliffe, When Thy Reckless Youth Offends
SIR THOMAS MORE
Utopia
Response***
Sir Francis Bacon: from New Atlantis***
WILLIAM BALDWIN***
Beware the Cat ***
EDMUND SPENSER***
The Faerie Queene ***
The Sixthe Booke of the Faerie Queene ***
The Two Cantos of Mutabilitie***
SIR PHILIP SIDNEY
The Apology for Poetry
ISABELLA WHITNEY
The Admonition by the Author
A Careful Complaint by the Unfortunate Author
The Manner of Her Will
MARY HERBERT, COUNTESS OF PEMBROKE
Psalm 71: In Te Domini Speravi (“On thee my trust is grounded”)
Psalm 121: Levavi Oculos (“Unto the hills, I now will bend”)
The Doleful Lay of Clorinda
PERSPECTIVES: EARLY MODERN BOOKS***
Ranulf Higden
from Polychronicon
John Foxe***
from Actes and Monuments of These Latter and Perilous Days***
The Geneva Bible
Thomas Hariot***
from The True Pictures and Fashions of the People in That Part of America Now Called Virginia**
John Gerard
from The Herball or Generall historie of plantes
Geoffrey Whitney
The Phoenix
Robert Fludd
from Utriusque cosmic, maioris scilicet et minoris, metaphysica atque technica historia
Francis Bacon
from Advancement of Learning
English Handwriting Samples**
Frontispiece to A Certain Relation of the Hog-faced Gentlewoman
ELIZABETH I
Written with a Diamond on Her Window at Woodstock
Written on a Wall at Woodstock
The Doubt of Future Foes
On Monsieur’s Departure
Speeches
On Marriage
On Mary, Queen of Scots
On Mary’s Execution
To the English Troops at Tilbury, Facing the Spanish Armada
The Golden Speech
AEMILIA LANYER
The Description of Cookham
CHRISTOPHER MARLOWE
Hero and Leander
The Tragical History of Dr. Faustus
Response
C.S. Lewis: from The Screwtape Letters
SIR WALTER RALEIGH
Nature That Washed Her Hands in Milk
To the Queen
On the Life of Man
The Author’s Epitaph, Made by Himself
As You Came from the Holy Land
from The 21st and Last Book of the Ocean to Cynthia
PERSPECTIVES: ENGLAND, BRITAIN, AND THE WORLD***
Fynes Moryson***
from An Itenerary, Obseravations on the Ottomon Empire***
Fynes Moryson***
from An Itenerary, Obeservations of Italy and Ireland***
Edmund Spenser***
from A View of the State of Ireland***
Thomas Hariot
from A Brief and True Report of the Newfound Land of Virginia
John Smith
from General History of Virginia and the Summer Isles
WILLIAM SHAKESPEARE
Sonnets
1 (“From fairest creatures we desire increase”)
12 (“When I do count the clock that tells the time”)
15 (“When I consider every thing that grows”)
18 (“Shall I compare thee to a summer’s day”)
20 (“A woman’s face with Nature’s own hand painted”)
29 (“When, in disgrace with fortune and men’s eyes”)
30 (“When to the sessions of sweet silent thought”)
31 (“Thy bosom is endearèd with all hearts”)
33 (“Full many a glorious morning have I seen”)
35 (“No more be grieved at that which thou hast done”)
55 (“Not marble nor the gilded monuments”)
60 (“Like as the waves make towards the pebbled shore”)
71 (“No longer mourn for me when I am dead”)
73 (“That time of year thou mayst in me behold”)
80 (“O, how I faint when I of you do write”)
86 (“Was it the proud full sail of his great verse”)
87 (“Farewell! Thou art too dear for my possessing”)
93 (“So shall I live, supposing thou art true”)
94 (“They that have pow’r to hurt, and will do none”)
104 (“To me, fair friend, you never can be old”)
106 (“When in the chronicle of wasted time”)
107 (“Not mine own fears nor the prophetic soul”)
116 (“Let me not to the marriage of true minds”)
123 (“No, Time, thou shalt not boast that I do change”)
124 (“If my dear love were but the child of state”)
126 (“O thou, my lovely boy, who in thy power”)
128 (“How oft, when thou my music play’st”)
129 (“The expense of spirit in a waste of shame”)
130 (“My mistress’ eyes are nothing like the sun”)
138 (“When my love swears that she is made of truth”)
144 (“Two loves I have, of comfort and despair”)
152 (“In loving thee thou know’st I am forsworn”)
Twelfth Night; or, What You Will
Othello***
King Lear***
PERSPECTIVES: TRACTS ON WOMEN AND GENDER
Joseph Swetnam
from The Arraignment of Lewd, Idle, Froward, and Unconstant Women
Rachel Speght
from A Muzzle for Melastomus
Ester Sowernam
from Ester Hath Hanged Haman
Hic Mulier and Haec-Vir
from Hic Mulier; or, The Man-Woman
from Haec-Vir; or, The Womanish-Man
BEN JONSON
The Alchemist
On Something, That Walks Somewhere
On My First Daughter
To John Donne
On My First Son
Inviting a Friend to Supper
To Penshurst
Song to Celia
Queen and Huntress
To the Memory of My Beloved, the Author, Mr. William Shakespeare, and What He Hath Left Us
To the Immortal Memory, and Friendship of that Noble Pair, Sir Lucius Cary and Sir H. Morison
Pleasure Reconciled to Virtue
JOHN DONNE
The Good Morrow
Song (“Go, and catch a falling star”)
The Undertaking
The Sun Rising
The Indifferent
The Canonization
Air and Angels
Break of Day
A Valediction: of Weeping
Love’s Alchemy
The Flea
The Bait
The Apparition
A Valediction: Forbidding Mourning
The Ecstasy
The Funeral
The Relic
Elegy 19: To His Mistress Going to Bed
Holy Sonnets
1 (“As due by many titles I resign”)
2 (“Oh my black soul! Now thou art summoned”)
3 (“This is my play’s last scene, here heavens appoint”)
4 (“At the round earth’s imagined corners, blow”)
5 (“If poisonous minerals, and if that tree”)
6 (“Death be not proud, though some have called thee”)
7 (“Spit in my face ye Jews, and pierce my side”)
8 (“Why are we by all creatures waited on?”)
9 (“What if this present were the world’s last night?”)
10 (“Batter my heart, three-personed God; for, you”)
11 (“Wilt thou love God, as he thee? Then digest”)
12 (“Father, part of his double interest”)
Devotions Upon Emergent Occasions
[“For whom the bell tolls”]
LADY MARY WROTH
Pamphilia to Amphilanthus
1 (“When night’s black mantle could most darkness prove”)
5 (“Can pleasing sight misfortune ever bring?”)
16 (“Am I thus conquered? Have I lost the powers”)
17 (“Truly poor Night thou welcome art to me”)
25 (“Like to the Indians, scorched with the sun”)
26 (“When everyone to pleasing pastime hies”)
28 Song (“Sweetest love, return again”)
39 (“Take heed mine eyes, how you your looks do cast”)
40 (“False hope which feeds but to destroy, and spill”)
48 (“If ever Love had force in human breast?”)
55 (“How like a fire does love increase in me”)
68 (“My pain, still smothered in my grièved breast”)
74 Song (“Love a child is ever crying”)
A Crown of Sonnets Dedicated to Love
77 (“In this strange labyrinth how shall I turn?”)
82 (“He may our profit and our tutor prove”)
83 (“How blessed be they then, who his favors prove”)
84 (“ He that shuns love does love himself the less”)
103 (“My muse now happy, lay thyself to rest”)
ROBERT HERRICK
Hesperides
The Argument of His Book
To His Book
Another (“To read my book the virgin shy”)
Another (“Who with thy leaves shall wipe at need”)
To the Sour Reader
When He Would Have His Verses Read
Delight in Disorder
Corinna’s Going A-Maying
To the Virgins, to Make Much of Time
The Hock-Cart, or Harvest Home
His Prayer to Ben Jonson
Upon Julia’s Clothes
Upon His Spaniel Tracie
The Dream (“Me thought (last night) Love in an anger came”)
The Dream (“By dream I saw one of the three”)
The Vine
The Vision
Discontents in Devon
To Dean-Bourn, a Rude River in Devon
Upon Scobble: Epigram
The Christian Militant
To His Tomb-Maker
Upon Himself Being Buried
His Last Request to Julia
The Pillar of Fame
His Noble Numbers
His Prayer for Absolution
To His Sweet Saviour
To God, on His Sickness
GEORGE HERBERT
The Altar
Redemption
Easter
Easter Wings
Affliction (1)
Prayer (1)
Jordan (1)
Church Monuments
The Windows
Denial
Virtue
Man
Jordan (2)
Time
The Collar
The Pulley
The Forerunners
Love (3)
RICHARD LOVELACE
To Lucasta, Going to the Wars
The Grasshopper
To Althea, from Prison
Love Made in the First Age: To Chloris
HENRY VAUGHAN
Regeneration
The Retreat
Silence, and Stealth of Days
The World
They Are All Gone into the World of Light!
The Night
ANDREW MARVELL
The Coronet
Bermudas
The Nymph Complaining for the Death of Her Fawn
To His Coy Mistress
The Definition of Love
The Mower Against Gardens
The Mower’s Song
The Garden
An Horatian Ode Upon Cromwell’s Return from Ireland
KATHERINE PHILIPS
Friendship in Emblem, or the Seal
Upon the Double Murder of King Charles
On the Third of September, 1651
To the Truly Noble, and Obliging Mrs. Anne Owen
To Mrs. Mary Awbrey at Parting
To My Excellent Lucasia, on Our Friendship
The World
PERSPECTIVES: THE CIVIL WAR, OR THE WARS OF THREE KINGDOMS
John Gauden
from Eikon Basilike
John Milton
from Eikonoklastes
Oliver Cromwell
from Letters from Ireland
John O’Dwyer of the Glenn
The Story of Alexander Agnew; or, Jock of Broad Scotland
JOHN MILTON
L’Allegro
Il Penseroso
Lycidas
How Soon Hath Time
On the New Forcers of Conscience Under the Long Parliament
To the Lord General Cromwell
On the Late Massacre in Piedmont
When I Consider How My Light Is Spent
Methought I Saw My Late Espoused Saint
from Areopagitica
Paradise Lost
Book 1
Book 2
Book 3
Book 4
Book 5
Book 6
Book 7
Book 8
Book 9
Book 10
Book 11
Book 12
Responses
Mary Wollstonecraft: from A Vindication of the Rights of Woman
William Blake: A Poison Tree
Notă biografică
David Damrosch is Professor of Comparative Literature at Harvard University. He is a past president of the American Comparative Literature Association, and has written widely on world literature from antiquity to the present. His books include What Is World Literature? (2003),The Buried Book: The Loss and Rediscovery of the Great Epic of Gilgamesh (2007), and How to Read World Literature (2009). He is the founding general editor of the six-volumeLongman Anthology of World Literature, 2/e (2009) and the editor of Teaching World Literature (2009).
Kevin J. H. Dettmar is W. M. Keck Professor and Chair, Department of English, at Pomona College, and Past President of the Modernist Studies Association. He is the author of The Illicit Joyce of Postmodernism and Is Rock Dead?, and the editor of Rereading the New: A Backward Glance at Modernism; Marketing Modernisms: Self-Promotion, Canonization, and Rereading; Reading Rock & Roll: Authenticity, Appropriation, Aesthetics; the Barnes & Noble Classics edition of James Joyce’s A Portrait of the Artist as a Young Man and Dubliners; and The Blackwell Companion to Modernist Literature and Culture, and co-general editor of The Longman Anthology of British Literature.
Clare Carroll is Director of Renaissance Studies at The Graduate Center, City University of New York and Professor of Comparative Literature at Queens College and at The Graduate Center, CUNY. Her research is in Renaissance Studies, with particular interests in early modern colonialism, epic poetry, historiography, and translation. She is the author of The Orlando Furioso: A Stoic Comedy, and editor of Richard Beacon's humanist dialogue on the colonization of Ireland,Solon His Follie. Her most recent book isCirce's Cup: Cultural Transformations in Early Modern Ireland. She has received Fulbright Fellowships for her research and the Queens College President's Award for Excellence in Teaching.
Andrew Hadfield is Professor of English at The University of Sussex. He is the author of a number of books, including Shakespeare and Republicanism (2005), which was awarded the 2006 Sixteenth-Century Society Conference Roland H. Bainton Prize for Literature; Literature, Travel and Colonialism in the English Renaissance, 1540-1625 (1998); and Spenser's Irish Experience: Wilde Fruyt and Salvage Soyl (1997). He has also edited a number, most recently, with Matthew Dimmock, Religions of the Book: Co-existence and Conflict, 1400-1660 (2008), and with Raymond Gillespie, The Oxford History of the Irish Book, Vol. III: The Irish Book in English, 1550-1800 (2006). He is a regular reviewer for the TLS.
Constance Jordan is Professor Emerita of English at Claremont Graduate University. She is the author of Renaissance Feminism: Literary Texts and Political Models, and Shakespeare's Monarchies: Ruler and Subject in the Romances, and co-editor with Karen Cunningham of a forthcoming collection of essays on the Law in Shakespeare. She has received Fellowships from the ACLS, the NEH, and the Folger and the Huntington Libraries. Her interests include the literature of contact in the Atlantic World, 1500-1680.
Kevin J. H. Dettmar is W. M. Keck Professor and Chair, Department of English, at Pomona College, and Past President of the Modernist Studies Association. He is the author of The Illicit Joyce of Postmodernism and Is Rock Dead?, and the editor of Rereading the New: A Backward Glance at Modernism; Marketing Modernisms: Self-Promotion, Canonization, and Rereading; Reading Rock & Roll: Authenticity, Appropriation, Aesthetics; the Barnes & Noble Classics edition of James Joyce’s A Portrait of the Artist as a Young Man and Dubliners; and The Blackwell Companion to Modernist Literature and Culture, and co-general editor of The Longman Anthology of British Literature.
Clare Carroll is Director of Renaissance Studies at The Graduate Center, City University of New York and Professor of Comparative Literature at Queens College and at The Graduate Center, CUNY. Her research is in Renaissance Studies, with particular interests in early modern colonialism, epic poetry, historiography, and translation. She is the author of The Orlando Furioso: A Stoic Comedy, and editor of Richard Beacon's humanist dialogue on the colonization of Ireland,Solon His Follie. Her most recent book isCirce's Cup: Cultural Transformations in Early Modern Ireland. She has received Fulbright Fellowships for her research and the Queens College President's Award for Excellence in Teaching.
Andrew Hadfield is Professor of English at The University of Sussex. He is the author of a number of books, including Shakespeare and Republicanism (2005), which was awarded the 2006 Sixteenth-Century Society Conference Roland H. Bainton Prize for Literature; Literature, Travel and Colonialism in the English Renaissance, 1540-1625 (1998); and Spenser's Irish Experience: Wilde Fruyt and Salvage Soyl (1997). He has also edited a number, most recently, with Matthew Dimmock, Religions of the Book: Co-existence and Conflict, 1400-1660 (2008), and with Raymond Gillespie, The Oxford History of the Irish Book, Vol. III: The Irish Book in English, 1550-1800 (2006). He is a regular reviewer for the TLS.
Constance Jordan is Professor Emerita of English at Claremont Graduate University. She is the author of Renaissance Feminism: Literary Texts and Political Models, and Shakespeare's Monarchies: Ruler and Subject in the Romances, and co-editor with Karen Cunningham of a forthcoming collection of essays on the Law in Shakespeare. She has received Fellowships from the ACLS, the NEH, and the Folger and the Huntington Libraries. Her interests include the literature of contact in the Atlantic World, 1500-1680.
Caracteristici
· Generous coverage of fiction, drama, and poetry alike. Major prose works are included in their entirety, together with a wealth of poetry and drama, from a collection of 16th century sonnets to More's Utopia to three of Shakespeare’s most widely taught masterpieces–and beyond.
· Cultural breadth. Regional as well as metropolitan perspectives, religious as well as secular writing, popular as well as elite productions, classic works, newly recovered texts, and Irish, Welsh, and Scottish writers all combine to represent the full scope of the British literary tradition.
· Women's writing. Extensive selections from a wide range of writers, fully integrated in each period, include such writers as Isabella Whitney, Mary Herbert Countess of Pembroke, Elizabeth I, and Lady Mary Wroth.
· “Perspectives” sections. These groupings shed light on the period as a whole and link with immediately surrounding works to help illuminate a theme.
· “…and Its Time” sections. These shorter groupings show major works in the context of their own era. For example, "Pepys Diary and Its Time.”
· Rich illustration program. An unrivalled collection of both black-and-white and color illustrations include portraits of major authors as well as images to illustrate artistic and cultural developments.
· Complete Longer Works. The Longman Anthology of British Literature contains a wide variety of complete longer works from all periods including Utopia, Othello, King Lear, The Twelfth Night, The Tragical History of Dr. Faustus, and Paradise Lost.
· Cultural breadth. Regional as well as metropolitan perspectives, religious as well as secular writing, popular as well as elite productions, classic works, newly recovered texts, and Irish, Welsh, and Scottish writers all combine to represent the full scope of the British literary tradition.
· Women's writing. Extensive selections from a wide range of writers, fully integrated in each period, include such writers as Isabella Whitney, Mary Herbert Countess of Pembroke, Elizabeth I, and Lady Mary Wroth.
· “Perspectives” sections. These groupings shed light on the period as a whole and link with immediately surrounding works to help illuminate a theme.
· “…and Its Time” sections. These shorter groupings show major works in the context of their own era. For example, "Pepys Diary and Its Time.”
· Rich illustration program. An unrivalled collection of both black-and-white and color illustrations include portraits of major authors as well as images to illustrate artistic and cultural developments.
· Complete Longer Works. The Longman Anthology of British Literature contains a wide variety of complete longer works from all periods including Utopia, Othello, King Lear, The Twelfth Night, The Tragical History of Dr. Faustus, and Paradise Lost.
Caracteristici noi
· New Fact Sheet. An informative fact sheet opens the volume, providing an easily digestible glimpse of daily life during the early modern period.
· New Perspectives groupings of works in cultural context. Topics and “Perspectives” groupings new to this edition are The Sixteenth Century Sonnet, Early Modern Books, and England, Britain, and the World. New to this edition, several "Perspectives" sections follow general themes throughout a number of the volumes such as the development of literature, the shifting role of London, and the state of the empire. The "Perspectives" build on one another and illuminate the evolution of some major concerns of the British world.
· New major, classic texts. In response to instructor’s requests, major additions of important works that are taught frequently in the British Literature course have been added, including William Baldwin’s Beware the Cat (the 1st English novel), Edmund Spenser’s The Faerie Queene, Books 6 and the Two Cantos of Mutability, and William Shakespeare’s Othello and King Lear.
· Easier Navigation. Revised indexes in the frontmatter and endmatter of the book link the Website, Audio CD, Longman Cultural Editions, and main text to make the complete range of resources better integrated and easier to use.
· Enhanced Companion Website. A new fourth edition site includes an archive of valuable texts that we were not able to include in the most recent edition, detailed bibliographies, an interactive timeline, review quizzes, and web resources for each period. These resources may be accessed by going to www.pearsonhighered.com/damrosch.
· New Longman Cultural Editions. One at no additional cost when bundled with the anthology, this series of supplemental texts presents key works from every era of the British literary tradition, introduced, annotated, and framed with contextual readings and illustrations by major scholars in the field. Recent new additions to the series include Bronte’s WutheringHeights, Stevenson’s Dr. Jekyll and Mr. Hyde, Forster’s Howards End, Shakespeare’s Julius Caesar, and collections of writings by Dorothy Wordsworth and Percy Bysshe Shelley.
· New Perspectives groupings of works in cultural context. Topics and “Perspectives” groupings new to this edition are The Sixteenth Century Sonnet, Early Modern Books, and England, Britain, and the World. New to this edition, several "Perspectives" sections follow general themes throughout a number of the volumes such as the development of literature, the shifting role of London, and the state of the empire. The "Perspectives" build on one another and illuminate the evolution of some major concerns of the British world.
· New major, classic texts. In response to instructor’s requests, major additions of important works that are taught frequently in the British Literature course have been added, including William Baldwin’s Beware the Cat (the 1st English novel), Edmund Spenser’s The Faerie Queene, Books 6 and the Two Cantos of Mutability, and William Shakespeare’s Othello and King Lear.
· Easier Navigation. Revised indexes in the frontmatter and endmatter of the book link the Website, Audio CD, Longman Cultural Editions, and main text to make the complete range of resources better integrated and easier to use.
· Enhanced Companion Website. A new fourth edition site includes an archive of valuable texts that we were not able to include in the most recent edition, detailed bibliographies, an interactive timeline, review quizzes, and web resources for each period. These resources may be accessed by going to www.pearsonhighered.com/damrosch.
· New Longman Cultural Editions. One at no additional cost when bundled with the anthology, this series of supplemental texts presents key works from every era of the British literary tradition, introduced, annotated, and framed with contextual readings and illustrations by major scholars in the field. Recent new additions to the series include Bronte’s WutheringHeights, Stevenson’s Dr. Jekyll and Mr. Hyde, Forster’s Howards End, Shakespeare’s Julius Caesar, and collections of writings by Dorothy Wordsworth and Percy Bysshe Shelley.
Textul de pe ultima copertă
The Fourth Edition of The Longman Anthology of British Literature continues its tradition of presenting works in the historical context in which they were written. This fresh approach includes writers from the British Isles, underrepresented female authors, "Perspectives" sectionsthatshed light on the period as a whole and link with immediately surrounding works to help illuminate a theme, "And Its Time" clusters that illuminate a specific cultural moment or a debate to which an author is responding, and "Responses" in which later authors respond to one or more texts from earlier works. New works include William Baldwin's "Beware the Cat" (the 1st English novel), Edmund Spenser's "The Faerie Queene, Books 6 "and the "Two Cantos of Mutability "and William Shakespeare's "Othello "and "King Lear. "