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What is the precise relation between the "Pope" of the poems and the Pope of history? Seeking to clarify the nature of the intimate link between the historical self and the idealized self of the poetry, Dustin Griffin examines the various ways in which Pope's poems may be said to be self-expressive. He brings a sensitive critical reading of the texts and an impressive knowledge of the poet's life and writings to his discussion of poems from the entire range of the poet's career.
The author argues that Pope is present in his poems as a private person whose special imaginative and psychological concerns emerge because they are expressed publicly. In some poems, Pope confronts quite openly his fervent moral idealism with his powerful aggressive feelings, and he explores his conflicting impulses toward retirement and engagement. In others, he reveals impulses and attractions that he would not admit to full consciousness in his letters. Pope is also present as poet-protagonist, self-consciously attempting to present and master a body of poetic material. Professor Griffin's study recovers some of the personal energy that invigorates Pope's greatest poems and makes them strikingly self-expressive products of an imagination intrigued and often at odds with itself and, yet more sharply, with the world.
Originally published in 1979.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Variations on an Icon, from James Fenimore Cooper to the Dixie Chicks
Modern Irish Historical Pageantry
In the early twentieth century, publicly staged productions of significant historical, political, and religious events became increasingly popular—and increasingly grand—in Ireland. These public pageants, a sort of precursor to today’s opening ceremonies at the Olympic games, mobilized huge numbers of citizens to present elaborately staged versions of Irish identity based on both history and myth. Complete with marching bands, costumes, fireworks, and mock battles, these spectacles were suffused with political and national significance. Dean explores the historical significance of these pageants, explaining how their popularity correlated to political or religious imperatives in twentieth-century Ireland. She uncovers unpublished archival findings to present scripts, programs, and articles covering these events. The book also includes over thirty photographs of pageants, program covers, and detailed designs for costumes to convey the grandeur of the historical pageants at the beginning of the century and their decline in production standards in the 1970s and 1980s. Tracing the Irish historical pageant phenomenon through the twentieth century, Dean presents a nation contending with the violence and political upheaval of the present by reimagining the past.
The Poetry of Samih Al-Qasim
All Faces but Mine gathers selected poems from the acclaimed Palestinian poet Samih Al-Qasim (1934–2014). A contemporary of Mahmoud Darwish, Al-Qasim was a celebrated resistance poet whose passionate call for independence inspired a generation of poets. In this award-winning volume, poems are drawn from fourteen of the poet’s collections published over the last twenty years in addition to some of his final works. Lu’lu’a’s fluid translation captures both Al-Qasim’s innovative style and the emotional tenor of his poetry.
In "The Big Bang and the Good House", Tony, a former drug dealer, pits his urge toward chaos against the orderly pleasures of marriage, finally yielding to the solidity and spaciousness of domestic love: "I feel myself gathering weight, density. Cautiously, I allow myself to inhabit this Good House, which surprisingly fits like my own body". Julia, the aging protagonist of "Simplifying", risks her fragile health in a love affair; her generosity of spirit toward her lover is matched in inverse proportion by the frugality with which her lover doles out his affections. In "The March of the Toys", a young woman flees Delaware, her chronically ill father, and her grieving mother, only to find that she's traded the neediness of her family for the harrowing disturbances of her lovers. She muses, "I couldn't affect anyone's life. I could only attend it".
In "Hualapai Dread", an investment broker's infatuation with an enigmatic Hualapai Indian woman, as elusive as she is beautiful, brings out his most predatory instincts and unmasks her own deceit. Acting on similar but more destructive impulses toward the object of his sexual obsession, a character in another story takes his soon-to-be ex-wife on a bizarre "honeymoon for divorce". The close-knit family of "Builders" breaks under the strain of constructing their dream house with their own hands, and eventually they are forced to leave behind the illusion of safety and permanence: "Once the three had imagined themselves as a house on a hill, dug into stone with the tenacity of a lion. Now they sat tensely in canvas-backed chairs stretched like slingshots. They talked cautiously, with encouragement, hoping for the return of pleasure".
Embodying the transience and openness of the New West, the characters in All My Relations reinvent themselves, even as they struggle with the age-old, perilous necessity of loving.
This collection is a love letter to language with poems that are drunk and filled with references to the hyperkinetic world of the twenty-first century. Yet Zeus and Hera tangle with Leda on the interstate; Ava Gardner becomes a Hindu princess; and Shiva, the Destroyer, reigns over all. English is the primary god here, with its huge vocabulary and omnivorous gluttony for new words, yet the mystery of the alphabet is behind everything, a funky puppet master who can make a new world out of nothing.
These poems contain fasts and feasts, laments and love songs, histories, fantasies, and elegies, the amusing and heartbreaking debris of life on this world, all the while recalling Seneca's dictum, non est ad astra mollis e terris via ("the road from the earth to the stars is not easy").