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Among the poets new to this edition are such leading names as Americans Robert Pinsky, Louise Erdrich and Louise Glck; Britons James Fenton and Carol Ann Duffy; and Canadians Anne Carson, Robert Bringhurst, and Christian Bk. A number of names who may be new to many readers of poetry are also included among them: Ohioan Debra Allbery, Vancouverite Elise Partridge, and the Cree poet Connie Fife; as with the first edition, the editors have endeavored to include much that is fresh as well as much that is familiar. There are many additions to the selections from poets who appeared in the first edition including selections from the recent work of Leonard Cohen, Les Murray, and Margaret Atwood. As before, the anthology includes work from English-language poets throughout the world from India, Africa, and the Caribbean as well as from Britain, North America, and Australia.
The Broadview Reader 3rd Edition Ebook
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Penguin Classics: This is another fine, reliable edition, with a good introduction by Rosemary Ashton; it has the benefit of also being available as an e-book, which may be an advantage if some of your members use e-readers.
A collaboration between Broadview Press and the Internet Shakespeare Editions project at the University of Victoria, the editions developed for this series have been comprehensively annotated and draw on the authoritative texts newly edited for the ISE. This innovative series allows readers to access extensive and reliable online resources linked to the print edition.
Written in a lively, accessible style, chapters on materiality, textuality, printing and reading, intermediality, and remediation guide readers through numerous key concepts, illustrated with examples from literary texts and historical documents produced across a wide historical range. An ideal text for undergraduate and graduate courses in book history, it offers a road map to this dynamic inter-disciplinary field.
This Modified eBook version of The Broadview Anthology of British Literature: Concise Volume B, 3rd edition omits in-copyright readings that are found in the print book. This ebook is available for purchase in the UK and select international markets.
The book also offers abundant exercises to help the student develop techniques for working productively at each stage of the scholarly writing process; mastering and summarizing difficult scholarly sources; planning; and revising to create good working conditions for the reader.
Amazon.comFind in a libraryAll sellers Shop for Books on Google PlayBrowse the world's largest eBookstore and start reading today on the web, tablet, phone, or ereader.
True, reader; and I knew and felt this: and though I am a defective being, withmany faults and few redeeming points, yet I never tired of Helen Burns; norever ceased to cherish for her a sentiment of attachment, as strong, tender,and respectful as any that ever animated my heart. How could it be otherwise,when Helen, at all times and under all circumstances, evinced for me a quietand faithful friendship, which ill-humour never soured, nor irritation nevertroubled? But Helen was ill at present: for some weeks she had been removedfrom my sight to I knew not what room upstairs. She was not, I was told, in thehospital portion of the house with the fever patients; for her complaint wasconsumption, not typhus: and by consumption I, in my ignorance, understoodsomething mild, which time and care would be sure to alleviate.
While he is so occupied, I will tell you, reader, what they are: and first, Imust premise that they are nothing wonderful. The subjects had, indeed, risenvividly on my mind. As I saw them with the spiritual eye, before I attempted toembody them, they were striking; but my hand would not second my fancy, and ineach case it had wrought out but a pale portrait of the thing I had conceived.
And was Mr. Rochester now ugly in my eyes? No, reader: gratitude, and manyassociations, all pleasurable and genial, made his face the object I best likedto see; his presence in a room was more cheering than the brightest fire. Yet Ihad not forgotten his faults; indeed, I could not, for he brought themfrequently before me. He was proud, sardonic, harsh to inferiority of everydescription: in my secret soul I knew that his great kindness to me wasbalanced by unjust severity to many others. He was moody, too; unaccountablyso; I more than once, when sent for to read to him, found him sitting in hislibrary alone, with his head bent on his folded arms; and, when he looked up, amorose, almost a malignant, scowl blackened his features. But I believed thathis moodiness, his harshness, and his former faults of morality (I sayformer, for now he seemed corrected of them) had their source in somecruel cross of fate. I believed he was naturally a man of better tendencies,higher principles, and purer tastes than such as circumstances had developed,education instilled, or destiny encouraged. I thought there were excellentmaterials in him; though for the present they hung together somewhat spoiledand tangled. I cannot deny that I grieved for his grief, whatever that was, andwould have given much to assuage it.
Gentle reader, may you never feel what I then felt! May your eyes never shedsuch stormy, scalding, heart-wrung tears as poured from mine. May you neverappeal to Heaven in prayers so hopeless and so agonised as in that hour left mylips; for never may you, like me, dread to be the instrument of evil to whatyou wholly love.
This is a gentle delineation, is it not, reader? Yet he whom it describesscarcely impressed one with the idea of a gentle, a yielding, an impressible,or even of a placid nature. Quiescent as he now sat, there was something abouthis nostril, his mouth, his brow, which, to my perceptions, indicated elementswithin either restless, or hard, or eager. He did not speak to me one word, noreven direct to me one glance, till his sisters returned. Diana, as she passedin and out, in the course of preparing tea, brought me a little cake, baked onthe top of the oven.
Perhaps you think I had forgotten Mr. Rochester, reader, amidst these changesof place and fortune. Not for a moment. His idea was still with me, because itwas not a vapour sunshine could disperse, nor a sand-traced effigy storms couldwash away; it was a name graven on a tablet, fated to last as long as themarble it inscribed. The craving to know what had become of him followed meeverywhere; when I was at Morton, I re-entered my cottage every evening tothink of that; and now at Moor House, I sought my bedroom each night to broodover it.
The one caveat I have about this otherwise magnificent teaching edition is that it would be useful--especially for student readers and for instructors who are not specialists in medieval drama--to include bibliography, perhaps in the form of a "Suggestions for Further Reading" section or even a "Works Consulted" to accompany the introduction.
Fitzgerald, Christina M., ed. The York Corpus Christi Play: Selected Pageants, The Broadview Anthology of Medieval Drama. Â Peterborough, ONT: Broadview Press, 2018. pp. 405. $16.95 (paperback) $13.95 (ebook). ISBN: 978-1-55481-429-9 (paperback).
In "A Note on the Text," Nersessian recognizes that the difference between Laon and Cythna and The Revolt of Islam is slight. Though claiming to prefer the latter, she chooses to use the text of the former because it was Shelley's initial choice and because it will be "especially useful to students of Romanticism" (p. 37). She includes the textual variants in The Revolt of Islam in footnotes. Noting the importance of The Poems of Shelley: Volume Two (2000) and The Complete Poetry of Percy Bysshe Shelley: Volume III (2012) to her own edition, along with the relevant Bodleian Shelley Manuscripts, Nersessian tacitly acknowledges the very different emphasis of her edition from her predecessors. The Johns Hopkins edition, The Complete Poetry of Percy Bysshe Shelley: Volume III, published most recently of her listed sources, stands at 1084 pages, and includes the recently discovered and hitherto unpublished only known draft of Canto III of Laon and Cythna; its lengthy commentary (by Michael Neth) is unparalleled in its detail. Nersessian's edition does not compete with Neth's; she is doing something different. Nersessian includes so much rich material that all readers will be impressed by her achievement.
The edition has some flaws. Nersessian's personal enjoyment of Laon and Cythna can lead her to misrepresent its significance. It seems at least a little odd to see the poem referred to in the first sentence of the introduction, without any caveats, as "one of the three great epic poems of the Romantic period" (p. 9). Admiration for the poem is one thing, and a thing to be hoped for in an editor, but to represent Laon and Cythna to its readership as a poem that is just as accomplished and venerated as The Prelude and Don Juan is hyperbole, and unnecessary hyperbole at that. Within the same paragraph, Nersessian admits that the poem [End Page 186] "is hardly read except by scholars," which rather seems to undermine her own opening gambit (p. 9). More broadly, the introduction's interesting brief section on "Reviving the Romance" would have benefited from a little more attention to formal questions, especially in view of the editor's strength in this area. Another serious omission is the deleted opening of Laon and Cythna, lines otherwise known as "Frail clouds arrayed in sunlight lose the glory." Though often overlooked by critics, these lines, as Earl R. Wasserman and Michael O'Neill have shown elsewhere, are deeply significant in terms of Shelley's assumption of poetic authority and his engagement with religion. be457b7860
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