Christopher Ricks – författare

Here is a treasure-house of over seven centuries of English poetry, chosen and introduced by Christopher Ricks, whom Auden described as 'exactly the kind of critic every poet dreams of finding'. The Oxford Book of English Verse, created in 1900 by Arthur Quiller-Couch and selected anew in 1972 by Helen Gardner, has established itself as the foremost anthology of English poetry: ample in span, liberal in the kinds of poetry presented. This completely fresh selection brings in new poems and poets from all ages, and extends the range by another half-century, to include many twentieth-century figures not featured before -- among them Philip Larkin and Samuel Beckett, Thom Gunn and Elaine Feinstein -- right up to Ted Hughes and Seamus Heaney. Here, as before, are lyric (beginning with medieval song), satire, hymn, ode, sonnet, elegy, ballad . . . but also kinds of poetry not previously admitted: the riches of dramatic verse by Marlowe, Shakespeare, Jonson, Webster; great works of translation that are themselves true English poetry, such as Chapman's Homer (bringing in its happy wake Keats's 'On First Looking into Chapman's Homer'), Dryden's Juvenal, and many others; well-loved nursery rhymes, limericks, even clerihews. English poetry from all parts of the British Isles is firmly represented -- Henryson and MacDiarmid, for example, now join Dunbar and Burns from Scotland; James Henry, Austin Clarke, and J. M. Synge now join Allingham and Yeats from Ireland; R. S. Thomas joins Dylan Thomas from Wales -- and Edward Taylor and Anne Bradstreet, writing in America before its independence in the 1770s, are given a rightful and rewarding place. Some of the greatest long poems are here in their entirety -- Wordsworth's 'Tintern Abbey', Coleridge's 'Rime of the Ancient Mariner', and Christina Rossetti's 'Goblin Market' -- alongside some of the shortest, haikus, squibs, and epigrams. Generous and wide-ranging, mixing familiar with fresh delights, this is an anthology to move and delight all who find themselves loving English verse.

What Maisie Knew is Henry James's damning portrait of adultery, jealousy and possession on the decadent fringe of English upper-class society. This Penguin Classics edition is edited with an introduction and notes by Christopher Ricks.After her parents' bitter divorce, young Maisie Farange finds herself turned into a 'little feathered shuttlecock' to be swatted back and forth by her selfish mother, Ida, and her vain father, Beale, who value her only as a means of provoking one another. When both take lovers and remarry, Maisie - solitary, observant and wise beyond her years - is drawn into an entangled adult world of intrigue and sexual betrayal, until she is at last able to cooperate in choosing her own future. As time conquers innocence, Henry James masterfully portrays Maisie's consciousness developing from simple childlike 'wonder' to a rich, morally-scrupulous adult mind.This edition of What Maisie Knew includes a chronology, suggested further reading, three contemporary reviews, Henry James's own commentaries on the work, and an introduction that examines how children figured in his predecessors' novels, and how war is waged between the sexes in What Maisie Knew. Henry James (1843-1916) son of a prominent theologian, and brother to the philosopher William James, was one of the most celebrated novelists of the fin-de-siècle. In addition to many short stories, plays, books of criticism, biography and autobiography, and much travel writing, he wrote some twenty novels.His novella 'Daisy Miller' (1878) established him as a literary figure on both sides of the Atlantic, and his other novels in Penguin Classics include Washington Square (1880), The Portrait of a Lady (1881), The Awkward Age (1899), The Wings of the Dove (1902), The Ambassadors (1903) and The Golden Bowl (1904)If you enjoyed What Maisie Knew, you might like Virginia Woolf's Mrs Dalloway, also available in Penguin Classics.'Embodies everything that James excelled at in fiction'Paul Theroux

As Poet Laureate during much of Queen Victoria's reign, Alfred Lord Tennyson's spellbinding poetry epitomized the Victorian age, and Selected Poems is edited with an introduction and notes by Christopher Ricks.'Into the jaw of DeathInto the mouth of HellRode the six hundred'The works in this volume trace nearly sixty years in the literary career of one of the nineteenth century's greatest poets, and show the wide variety of poetic forms he mastered. This selection gives some of Tennyson's most famous works in full, including Maud, depicting a tragic love affair, and In Memoriam, a profound tribute to his dearest friend. Excerpts from Idylls of the King show a lifelong passion for Arthurian legend, also seen in the dream-like The Lady of Shalot and in Morte d'Arthur. Other works respond to contemporary events, such as Ode on the Death of the Duke of Wellington, written in Tennyson's official role as Poet Laureate, or the patriotic Charge of the Light Brigade, while Locksley Hall provides a Utopian vision of the future, and the late poem Crossing the Bar is a haunting meditation on his own mortality.In his introduction, Christopher Ricks discusses aspects of Tennyson's life and works, his revisions of his poems, and his friendship with Arthur Hallam. This edition also includes a chronology, further reading and notes.Alfred Lord Tennyson (1809-1892) was born at Somersby, Lincolnshire, the sixth of eleven children. His first important book, Poems, Chiefly Lyrical, was published in 1830, and was not a critical success, but his two volumes of Poems, 1842, which contain some of his finest work, established him as the leading poet of his generation.If you enjoyed Selected Poems, you might like William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads, also available in Penguin Classics.'He had the finest ear of any English poet since Milton'T.S. Eliot

Times Literary Supplement Book of the YearPegasus Award for Poetry Criticism, Poetry Foundation, ChicagoRichard J. Finneran Award, Society for Textual ScholarshipBest Scholarly Edition Award, Modernist Studies AssociationThe Poems of T. S. Eliot is the authoritative edition of one of our greatest poets, scrupulously edited by Christopher Ricks and Jim McCue. It provides, for the first time, a fully scrutinized text of Eliot's poems, carefully restoring accidental omissions and removing textual errors that have crept in over the full century in which Eliot has been so frequently printed and reprinted. The edition also presents many poems from Eliot's youth which were published only decades later, as well as others that saw only private circulation in his lifetime, of which dozens are collected for the first time. To accompany Eliot's poems, Christopher Ricks and Jim McCue have provided a commentary that illuminates the creative activity that came to constitute each poem, calling upon drafts, correspondence and other original materials to provide a vivid account of the poet's working processes, his reading, his influences and his revisions. The first volume respects Eliot's decisions by opening with his Collected Poems 1909-1962 in the form in which he issued it, shortly before his death fifty years ago. There follow in this first volume the uncollected poems from his youth that he had chosen to publish, along with such other poems as could be considered suitable for publication. The second volume opens with the two books of poems of other kinds that he issued, Old Possum's Book of Practical Catsand his translation of Perse's Anabase, moving then to verses privately circulated as informal or improper or clubmanlike. Each of these sections is accompanied by its respective commentary, and then, pertaining to the entire edition, there is a comprehensive textual history recording variants both manuscript and published. The Poems of T. S. Eliot is a work of enlightening scholarship that will delight and inform all those who read Eliot for pleasure, as well as all those who read with pleasure and for study. Here are a new accuracy and an unparalleled insight into the marvels and landmarks from The Love Song of J. Alfred Prufrock and The Waste Land through to Four Quartets.

'I consider myself a poet first and a musician second''It ain't the melodies that're important man, it's the words'There is no shortage of books about Bob Dylan. This one, however, is unique in its approach and the virtuosity of its execution.Ricks examines Dylan's songs through the biblical concepts of the seven deadly Sins, the four cardinal Virtues and the three Heavenly Graces. He does so with what one critic has described as 'an ultimately irresistible combination of laser-like intelligence with a fan's exuberant idolatry'.

Regarded by many as the greatest of the Metaphysical poets, John Donne (1572-1631) was also among the most intriguing figures of the Elizabethan age. A sensualist who composed erotic and playful love poetry in his youth, he was raised a Catholic but later became one of the most admired Protestant preachers of his time. The Collected Poetry reflects this wide diversity, and includes his youthful songs and sonnets, epigrams, elegies, letters, satires, and the profoundly moving Divine Poems composed towards the end of his life. From joyful poems such as 'The Flea', which transforms the image of a louse into something marvellous, to the intimate and intense Holy Sonnets, Donne breathed new vigour into poetry by drawing lucid and often startling metaphors from the world in which he lived. His poems remain among the most passionate, profound and spiritual in the English language.

Regarded by many as the greatest of the Metaphysical poets, John Donne (1572-1631) was also among the most intriguing figures of the Elizabethan age. A sensualist who composed erotic and playful love poetry in his youth, he was raised a Catholic but later became one of the most admired Protestant preachers of his time. The Collected Poetry reflects this wide diversity, and includes his youthful songs and sonnets, epigrams, elegies, letters, satires, and the profoundly moving Divine Poems composed towards the end of his life. From joyful poems such as 'The Flea', which transforms the image of a louse into something marvellous, to the intimate and intense Holy Sonnets, Donne breathed new vigour into poetry by drawing lucid and often startling metaphors from the world in which he lived. His poems remain among the most passionate, profound and spiritual in the English language.

'Tennyson', wrote T. S. Eliot, 'has the finest ear of any English poet since Milton,' and his verse remains unrivalled in its combination of verbal richness, emotional depth and intellectual engagement. Tennyson drew on classical and medieval legends in poems like 'The Lotos-Eaters' (1832) and 'The Lady of Shalott' (1832) to explore the spiritual tensions of the nineteenth century. In one of the great works of his maturity, 'In Memoriam' (1850) - written after the loss of his dearest friend - Tennyson vividly negotiated contemporary scepticism and the modern sciences of geology and evolution. Similar ground is covered in a dramatically darker mood in 'Maud' (1855), a poignant account of psychological disintegration.

Allusion to the words and phrases of ancestral voices is one of the hiding-places of poetry's power. Poets appreciate the great debts that they owe to previous poets, and are often duly and newly grateful. Allusion to the Poets consists of twelve essays - four published here for the first time - on allusion and its relations, in particular on the use that poets in English have made of the very words of poets in English. The first half of the book, on 'The Poet as Heir', consists of six chapters devoted to individual poets, Augustan, Romantic, and Victorian: Dryden and Pope, Burns, Wordsworth, Byron, Keats, and Tennyson. Allusion is always a form of inheritance, not to be hoarded or squandered. The critical and creative question is its imaginative co-operation with other kinds of legacy - with whatever for a particular poet or for a particular time is judged to be an unignorable inheritance: of a throne, perhaps, or of land; of intermixed languages; of the human senses; of money; of literature itself; or of our planet, long-lived but not eternal. The second half of the book is six essays on allusion's affiliations: to plagiarism (allusion being plagiarism's responsible opposite); to metaphor (allusion being a form that metaphor may take); to loneliness in poetry (allusion constituting company); to allusion within poetry to prose (on A E. Housman); to translation as exercising allusion (on David Ferry); and to the clash between one poet's practice and his critical principles (on Yvor Winters).

A selection of new and revised essays from eminent scholar and critic Professor Christopher Ricks.Christopher Ricks brings together new as well as substantially augmented critical essays across a wide range. Several derive from his term as the Professor of Poetry at the University of Oxford, when his inaugural lecture engaged with the illuminatingly puzzled relations between poetry and prose. Comparison and analysis (the tools of the critic, as T.S. Eliot insisted) are enlivened by imaginative pairings: of Samuel Johnson with Samuel Beckett, of Norman Mailer with Dickens, of Shakespeare with George Herbert, or of secret-police surveillance in Ben Jonson''s Rome with that of Carmen Bugan''s Romania. Along Heroic Lines devotes itself to the heroic and to ''heroics'' (Othello cross-examined by T.S. Eliot; Byron and role-playing; Ion Bugan, political protest and arrest). This knot is in tension with the English heroic line (Dryden''s heroic triplets, Henry James''s cadences, Geoffrey Hill''s concluding book of prose-poems and how they choose to conclude). All alert to the balance and sustenance of alternate tones that prose and poetry can achieve in harmony.

A selection of new and revised essays from eminent scholar and critic Professor Christopher Ricks.Christopher Ricks brings together new as well as substantially augmented critical essays across a wide range. Several derive from his term as the Professor of Poetry at the University of Oxford, when his inaugural lecture engaged with the illuminatingly puzzled relations between poetry and prose. Comparison and analysis (the tools of the critic, as T.S. Eliot insisted) are enlivened by imaginative pairings: of Samuel Johnson with Samuel Beckett, of Norman Mailer with Dickens, of Shakespeare with George Herbert, or of secret-police surveillance in Ben Jonson''s Rome with that of Carmen Bugan''s Romania. Along Heroic Lines devotes itself to the heroic and to ''heroics'' (Othello cross-examined by T.S. Eliot; Byron and role-playing; Ion Bugan, political protest and arrest). This knot is in tension with the English heroic line (Dryden''s heroic triplets, Henry James''s cadences, Geoffrey Hill''s concluding book of prose-poems and how they choose to conclude). All alert to the balance and sustenance of alternate tones that prose and poetry can achieve in harmony.

James Fitzjames Stephen (1829-1894) is still highly valued as a judge, as the historian of the criminal law of England, and as the author of Liberty, Equality, Fraternity, a forthright disagreement with John Stuart Mill. Stephen's weekly journalism established him as a vigorous cross-examiner in the controversies—cultural, social, religious, political, moral, and philosophical—of his time (and duly, of our time). Collected here now are his essays on the novel and journalism, the co-operation and collusion of these two, their responsibilities and irresponsibilities. Written between 1855 and 1867, while Stephen prosecuted twin careers as barrister and journalist, these reviews bring to bear his formidable powers of mind and of phrasing, scrutinizing many deep and disconcerting novelists—Dickens and Thackeray, Harriet Beecher Stowe and E. C. Gaskell, Flaubert and Balzac. His work also weighs journalism in the scales: from Addison's The Spectator to the Crimean war correspondence of William Howard Russell; from the scabrously detailed law-reports in The Times to the phenomenon of Letters to its Editor; from the high culture of Matthew Arnold to the mass market of 'Railroad Bookselling'.

James Fitzjames Stephen (1829-1894) is still highly valued as a judge, as the historian of the criminal law of England, and as the author of Liberty, Equality, Fraternity, a forthright disagreement with John Stuart Mill. Stephen''s weekly journalism established him as a vigorous cross-examiner in the controversies—cultural, social, religious, political, moral, and philosophical—of his time (and duly, of our time).Collected here now are his essays on the novel and journalism, the co-operation and collusion of these two, their responsibilities and irresponsibilities. Written between 1855 and 1867, while Stephen prosecuted twin careers as barrister and journalist, these reviews bring to bear his formidable powers of mind and of phrasing, scrutinizing many deep and disconcerting novelists—Dickens and Thackeray, Harriet Beecher Stowe and E. C. Gaskell, Flaubert and Balzac. His work also weighsjournalism in the scales: from Addison''s The Spectator to the Crimean war correspondence of William Howard Russell; from the scabrously detailed law-reports in The Times to the phenomenon of Letters to its Editor; from the high culture of Matthew Arnold to the mass market of ''Railroad Bookselling''.

A selection of new and revised essays from eminent scholar and critic Professor Christopher Ricks.Christopher Ricks brings together new as well as substantially augmented critical essays across a wide range. Several derive from his term as the Professor of Poetry at the University of Oxford, when his inaugural lecture engaged with the illuminatingly puzzled relations between poetry and prose. Comparison and analysis (the tools of the critic, as T.S. Eliot insisted) are enlivened by imaginative pairings: of Samuel Johnson with Samuel Beckett, of Norman Mailer with Dickens, of Shakespeare with George Herbert, or of secret-police surveillance in Ben Jonson's Rome with that of Carmen Bugan's Romania. Along Heroic Lines devotes itself to the heroic and to 'heroics' (Othello cross-examined by T.S. Eliot; Byron and role-playing; Ion Bugan, political protest and arrest). This knot is in tension with the English heroic line (Dryden's heroic triplets, Henry James's cadences, Geoffrey Hill's concluding book of prose-poems and how they choose to conclude). All alert to the balance and sustenance of alternate tones that prose and poetry can achieve in harmony.

'Milton's Grand Style' has been vigorously attacked in the 20th century, and this book is an attempt to refute Milton's detractors by showing the delicacy and subtlety which is to be found in the verse of Paradise Lost'.

In this acclaimed book, Professor Ricks argues for the importance of embarrassment in human life and for the value works of art which help us deal with embarrassment by recognizing and refining it. As a poet and a man, Keats was especially sensitive to, and morally intelligent about, embarrassment. This study demonstrates the particular direction of his insight and moral concern to acknowledge embarrassability and its involvement in important moral concerns.

Christopher Ricks is one of the best-known living critics of English, and was described by W. H. Auden as `the kind of critic every poet dreams of finding'. Though published indepenently over many years, each of the essays in this collection of his writings asks how a poets words reveal the `force of poetry', that force - in Dr Johnson's words - `which calls new power into being, which embodies sentiment, and animates matter'. The poets covered range from John Gower, Marvell, and Milton to Wordsworth, Empson, Stevie Smith, Lowell, and Larkin, and the book contains four wider essays on clichés, lies, misquotations, and American English.

Allusion to the words and phrases of ancestral voices is one of the hiding-places of poetry's power. Poets appreciate the great debts that they owe to previous poets, and are often duly and newly grateful. Allusion to the Poets consists of twelve essays - four published here for the first time - on allusion and its relations, in particular on the use that poets in English have made of the very words of poets in English. The first half of the book, on 'The Poet as Heir', consists of six chapters devoted to individual poets, Augustan, Romantic, and Victorian: Dryden and Pope, Burns, Wordsworth, Byron, Keats, and Tennyson. Allusion is always a form of inheritance, not to be hoarded or squandered. The critical and creative question is its imaginative co-operation with other kinds of legacy - with whatever for a particular poet or for a particular time is judged to be an unignorable inheritance: of a throne, perhaps, or of land; of intermixed languages; of the human senses; of money; of literature itself; or of our planet, long-lived but not eternal. The second half of the book is six essays on allusion's affiliations: to plagiarism (allusion being plagiarism's responsible opposite); to metaphor (allusion being a form that metaphor may take); to loneliness in poetry (allusion constituting company). And on allusion within poetry to prose (A E. Housman); on translation as exercising allusion (David Ferry); and on the clash between one poet's practice and his critical principles (Yvor Winters).

Allusion to the words and phrases of ancestral voices is one of the hiding-places of poetry's power. Poets appreciate the great debts that they owe to previous poets, and are often duly and newly grateful. Allusion to the Poets consists of twelve essays - four published here for the first time - on allusion and its relations, in particular on the use that poets in English have made of the very words of poets in English. The first half of the book, on 'The Poet as Heir', consists of six chapters devoted to individual poets, Augustan, Romantic, and Victorian: Dryden and Pope, Burns, Wordsworth, Byron, Keats, and Tennyson. Allusion is always a form of inheritance, not to be hoarded or squandered. The critical and creative question is its imaginative co-operation with other kinds of legacy - with whatever for a particular poet or for a particular time is judged to be an unignorable inheritance: of a throne, perhaps, or of land; of intermixed languages; of the human senses; of money; of literature itself; or of our planet, long-lived but not eternal. The second half of the book is six essays on allusion's affiliations: to plagiarism (allusion being plagiarism's responsible opposite); to metaphor (allusion being a form that metaphor may take); to loneliness in poetry (allusion constituting company); to allusion within poetry to prose (on A E. Housman); to translation as exercising allusion (on David Ferry); and to the clash between one poet's practice and his critical principles (on Yvor Winters).

A great age of poetry speaks for itself in Christopher Ricks's celebrated anthology: the variety and power of Victorian verse, the innovation and creativity with which poets resisted the bad propensities of the era through which they lived. The great figures are of course strongly represented - Tennyson and Browning, Swinburne and Hopkins - but not so as to crowd out the less expected but equally rewarding facets of light verse and nonsense, of grotesque and protest. At long last justice is done to the poignant directness of 'the true voice of feeling', from William Barnes and John Clare, through Emily Jane Bronte and Christina G. Rossetti, to Thomas Hardy.

"[From a] critic of unrivaled authority . . .[E]ssays on three late-twentieth-century poets. . . .[and] their literary debts to T. S. Eliot and Ezra Pound." — Adam Kirsch, The New York Review of BooksTrue Friendship looks closely at three outstanding poets of the past half-century—Geoffrey Hill, Anthony Hecht, and Robert Lowell—through the lens of their relation to their two predecessors in genius, T. S. Eliot and Ezra Pound. The critical attention then finds itself reciprocated, with Eliot and Pound being in their turn contemplated anew through the lenses of their successors. Hill, Hecht, and Lowell are among the most generously alert and discriminating readers, as is borne out not only by their critical prose but (best of all) by their acts of new creation, those poems of theirs that are thanks to Eliot and Pound."Opposition is true Friendship." So William Blake believed, or at any rate hoped. Hill, Hecht, and Lowell demonstrate many kinds of friendship with Eliot and Pound: adversarial, artistic, personal. In their creative assent and dissent, the imaginative literary allusions—like other, wider forms of influence—are shown to constitute the most magnanimous of welcomes and of tributes."A masterpiece of criticism." —Lawrence Joseph, Commonweal"Original and . . .provocative . . .one feels in the company of the Circle of Philosophers, comforted by this Virgilian guide who is not only knowledgeable, but—even better—has such a refined sense of humor, wit, and—most rare of gifts—a humanistic pathos that rings down the ages." —Paul Mariani, Boston College"[Christopher Ricks] is, in every sense, an annotator of genius." —Paul Dean, The New Criterion

True Friendship looks closely at three outstanding poets of the past half-century—Geoffrey Hill, Anthony Hecht, and Robert Lowell—through the lens of their relation to their two predecessors in genius, T. S. Eliot and Ezra Pound. The critical attention then finds itself reciprocated, with Eliot and Pound being in their turn contemplated anew through the lenses of their successors. Hill, Hecht, and Lowell are among the most generously alert and discriminating readers, as is borne out not only by their critical prose but (best of all) by their acts of new creation, those poems of theirs that are thanks to Eliot and Pound. “Opposition is true Friendship.” So William Blake believed, or at any rate hoped. Hill, Hecht, and Lowell demonstrate many kinds of friendship with Eliot and Pound: adversarial, artistic, personal. In their creative assent and dissent, the imaginative literary allusions—like other, wider forms of influence—are shown to constitute the most magnanimous of welcomes and of tributes.

A biographical and critical study of Tennyson aiming to show what went into the making of the man, exploring the power, subtlety and variety of his poems, along with the artistic principles and preoccupations which shaped his life's work.

John Milton's classic epic poems in one pocket-sized volumeThese controversial biblical poems explore the story of Adam and Eve, Satan, and the fall of man. Paradise Lost and Paradise Regained demonstrate Milton's genius for fusing sense and sound, classicism and innovation, narrative and drama in profound explorations of the moral problems of God's justice – and what it truly means to be human.

Times Literary Supplement Book of the YearPegasus Award for Poetry Criticism, Poetry Foundation, ChicagoRichard J. Finneran Award, Society for Textual ScholarshipBest Scholarly Edition Award, Modernist Studies AssociationThe Poems of T. S. Eliot is the authoritative edition of one of our greatest poets, scrupulously edited by Christopher Ricks and Jim McCue. It provides, for the first time, a fully scrutinized text of Eliot's poems, carefully restoring accidental omissions and removing textual errors that have crept in over the full century in which Eliot has been so frequently printed and reprinted. The edition also presents many poems from Eliot's youth which were published only decades later, as well as others that saw only private circulation in his lifetime, of which dozens are collected for the first time. To accompany Eliot's poems, Christopher Ricks and Jim McCue have provided a commentary that illuminates the creative activity that came to constitute each poem, calling upon drafts, correspondence and other original materials to provide a vivid account of the poet's working processes, his reading, his influences and his revisions. The first volume respects Eliot's decisions by opening with his Collected Poems 1909-1962 in the form in which he issued it, shortly before his death fifty years ago. There follow in this first volume the uncollected poems from his youth that he had chosen to publish, along with such other poems as could be considered suitable for publication. The second volume opens with the two books of poems of other kinds that he issued, Old Possum's Book of Practical Cats and his translation of Perse's Anabase, moving then to verses privately circulated as informal or improper or clubmanlike. Each of these sections is accompanied by its respective commentary, and then, pertaining to the entire edition, there is a comprehensive textual history recording variants both manuscript and published. The Poems of T. S. Eliot is a work of enlightening scholarship that will delight and inform all those who read Eliot for pleasure, as well as all those who read with pleasure and for study. Here are a new accuracy and an unparalleled insight into the marvels and landmarks from The Love Song of J. Alfred Prufrock and The Waste Land through to Four Quartets.