Arnold seeks to find out what culture really is, what good it can do, and if it is really necessary. He contrasts culture, which he calls the study of perfection, with anarchy, the mood of unrest and uncertainty that pervaded mid-Victorian England. This edition reproduces the original book version, revealing the immediate historical context and controversy of the piece. The introduction and notes broaden out the interpretative approach to Arnold's text, elaborating on the complexities of the religious context. The book also reinforces the continued importance of Arnold's ideas its influences in the face of the challenges of multi-culturalism and post-modernism.

    Byatt returns to the territory she explored in Possession: the landscape of Victorian England, where science and spiritualism are both popular manias, and domestic decorum coexists with brutality and perversion. Angels and Insects is "delicate and confidently ironic.... Byatt perfectly blends laughter and sympathy [with] extraordinary sensuality" (San Francisco Examiner).

    Cummings's affirmation of life resolved into serenity as he described himself as someone "whose only happiness is to transcend himself, whose every agony is to grow." This collection of Cummings reading his own poetry embodies this in an unforgettable way.While perhaps best remembered for his use of such visual devices as typography and punctuation, the sheer sound of Cummings's work imparts a greater, deeper understanding of how its cadences reveal its profound meaning. This rich sampling of his poems and lectures is rendered in what the great Robert Graves called Cummings "own beautifully modulated voice."

    He immediately receives four white feathers—symbols of cowardice—one each from his three best friends and his fiancée. To disprove this grave dishonor, Harry dons an Arabian disguise and leaves for the Sudan, where he anonymously comes to the aid of his three friends, saving each of their lives.Having proved his bravery, Harry returns to England, hoping to regain the love and respect of his fiancée. This suspenseful tale movingly depicts a distinctive code of honor that was deeply valued and strongly promoted by the British during the height of their imperial power.

    The Weary Blues announced the arrival of a rare voice in American poetry. A literary descendant of Walt Whitman ("I, too, sing America," Hughes wrote), he chanted the joys and sorrows of black America in unprecedented language. A gifted lyricist, he offered rhythms and cadences that epitomized the particularities of African American creativity, especially jazz and the blues. His second volume, steeped in the blues and controversial because of its frankness, confirmed Hughes as a poet of uncompromising integrity. Then in the 1930s came Dear Lovely Death (1931) and the radical A New Song (1938). Poems such as "Good Morning Revolution" and "Let America Be America Again" made his pen one of the most forceful in America during the Great Depression.

    It scrutinizes its symbolistic dimensions and stylistic excellence while keeping an undeviating focus on the poignant classic of love in the time of war. This study further demonstrates how the novel appeals at different levels like the other works of Hemingwayas a story of war, a story of love, a story of the growth of the heros soul, a story of memorable characters and a work of artistic excellence. The present book will definitely prove useful to students, researchers as well as teachers of English Literature interested in the study of Hemingway and his works.

    Together in one volume, Ralph Waldo Emerson's Nature and Henry David Thoreau's Walking, writing that defines our distinctly American relationship to nature.

    At its heart is Romola, the devoted daughter of a blind scholar, married to the clever but ultimately treacherous Tito whose duplicity in both love and politics threatens to destroy everything she values, and she must break away to find her own path in life. Described by Eliot as 'written with my best blood', the story of Romola's intellectual and spiritual awakening is a compelling portrayal of a Utopian heroine, played out against a turbulent historical backdrop.

    Cedric Errol is a generous, kind, and exemplary middle-class American boy who is suddenly found to be the heir of the Earl of Dorincourt. Saying loving goodbyes to his working-class friends, Cedric goes to England together with his mother to embrace his new fortune. His grandfather, the old earl, is a bitter old man ridden with gout and a foul temper, trusting no one. However the angelic boy elicits a profound transformation in the grandfather, which not only benefits the castle household but the whole populace of the earldom. If only the old man's heart would soften toward Cedric's estranged mother, the family would be healed at last. And when another potential heir to the earldom makes a claim, it seems that everything is lost.... But all things are possible through a child's innocent trust, true friendship, and unconditional love.

    What will be the outcome of the conflict between smugglers and revenue men? How can the hero, John Trenchard, discover the secret of Colonel John Mohune's treasure? As the book progresses these two interwoven themes resolve themselves into a third and richer one, with the friendship and suffering of both John Trenchard and the craggy, taciturn Elzevir Block. Falkner's feeling for history and for the landscape of his Dorset setting combine with his gift for storytelling to turn Moonfleet into a historical romance of moving intensity.

    Don't lose more time searching for the perfect poems or readings - I've already done all the hard work to save you the trouble. This book combines several well known anthologies and brings you well over 1000 poems since 1250. The original anthologies used as a source are: 1919 Arthur Quiller-Couch, The Oxford Book of English Verse, and 1917 The New Poetry - An Anthology - Edited by Harriet Monroe and Alice Corbin Henderson.

    *** Volume 1 plays a key role in the plot of the US movie Sex and the City. *** This Volume 2 includes love poems written by Matthew Arnold, Alfred Austin, Samuel Alfred Beadle, William Blake, Christopher Brennan, Lord Byron, Robert Burns, John Clare, Samuel Taylor Coleridge, Henry Constable, William Cowper, Michael Drayton, George Eliot, Thomas Ford, Stephen Foster, Robert Frost, Thomas Frost, Norman Rowland Gale, Johann Wolfgang von Goethe, Alfred P. Graves, Robert Herrick, Leigh Hunt, Benjamin Jonson, John Keats, Richard Lovelace, Pablo Neruda, Edgar Allen Poe, and William Shakespeare.

    His struggle to succeed and his conquest of Henrietta, the spirited daughter of a rich manufacturer, drive a richly woven tale that takes the reader from the dusty plains of India to the teeming slums of nineteenth-century London, from the chaos of the great industrial cities to the age of the peaceful certainties of the English countryside. Filled with epic scenes and memorable characters, God is an Englishman triumphs in its portrayal of human strength and weakness, and in its revelations of the power of love.

    There may be nothing in the poem that can quite touch the first two books of Paradise Lost for magnificence; but there are several things that may fairly be set beside almost anything in the last ten. The splendid "stand at bay" of the discovered tempter -- "'Tis true I am that spirit unfortunate" -- in the first book; his rebuke of Belial in the second, and the picture of the magic banquet (it must be remembered that, though it is customary to extol Milton's asceticism, the story of his remark to his third wife, and the Lawrence and Skinner sonnets, go the other way); above all, the panoramas from the mountaintop in the third and fourth; the terrors of the night of storm; the crisis on the pinnacle of the temple -- are quite of the best Milton, which is equivalent to saying that they are of the best of one kind of poetry.-- The Cambridge History of English and American Literature

    Grey and his wife, speculation is rife that one of them might marry the local apothecary, Edward Hope. Although he is immediately attracted to Margaret, Hope is ultimately persuaded to marry the beautiful Hester and becomes trapped in an unhappy marriage. His troubles are compounded when a malicious village gossip accuses Hope of grave-robbing, threatening his career. A powerful exploration of the nature of ignorance and prejudice, Deerbrook also may be regarded as one of the first Victorian novels of English domestic life.Excerpt:Every town-bred person who travels in a rich country region, knows what it is to see a neat white house planted in a pretty situation, - in a shrubbery, or commanding a sunny common, or nestling between two hills, - and to say to himself, as the carriage sweeps past its gate, "I should like to live there," - "I could be very happy in that pretty place." Transient visions pass before his mind's-eye of dewy summer mornings, when the shadows are long on the grass, and of bright autumn afternoons, when it would be luxury to saunter in the neighbouring lanes; and of frosty winter days, when the sun shines in over the laurustinus at the window, while the fire burns with a different light from that which it gives in the dull parlours of a city. Mr. Grey's house had probably been the object of this kind of speculation to one or more persons, three times a week, ever since the stage-coach had begun to pass through Deerbrook. Deerbrook was a rather pretty village, dignified as it was with the woods of a fine park, which formed the back-ground to its best points of view. Of this pretty village, Mr. Grey's was the prettiest house, standing in a field, round which the road swept. There were trees enough about it to shade without darkening it, and the garden and shrubbery behind were evidently of no contemptible extent. The timber and coal yards, and granaries, which stretched down to the river side, were hidden by a nice management of the garden walls, and training of the shrubbery. In the drawing-room of this tempting white house sat Mrs. Grey and her eldest daughter, one spring evening.