Samuel Hynes – författare

Volume II of a five-volume scholarly edition of the complete poetical works of Thomas Hardy. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

This book is intended for hardy scholars and enthusiasts.

Volumes IV and V of the Complete Poetical Works of Thomas Hardy, which complete the edition, contain all of his dramatic writing in verse. Hardy was interested in dramatic verse all his adult life; before he wrote his first novel he considered writing plays in blank verse, and during the thirty years of his novel-writing career he entered in his notebooks many schemes for a vast poetic drama of England's wars with Napoleon. But is was not until after he had turned from fiction to poetry, in the 1890s, that he actually began to work on a poetic drama. The Dynasts was written between 1902 and 1907; The Famous Tragedy of the Queen of Cornwall was begun in 1916 and completed in 1923.In addition to the two major dramas this volume includes Hardy's versions of two folk-pieces: the Mummers' Play of 'Saint George' and the rustic operetta O'Jan, O'Jan, O'Jan' (here published for the first time). Textual annotations, together with a full account of the rough draft of Part third of The Dynasts, make it possible for the reader to follow the history of the composition of Hardy's epic drama in unusual detail. Explanatory notes to each of the dramatic works describe its composition and publication, and provide supporting material from Hardy's letters and notebooks.Appendices add further information on the production and performance of these works.

Volumes IV and V of the Complete Poetical Works of Thomas Hardy, which complete the edition, contain all of his dramatic writing in verse. Hardy was Hardy was interested in dramatic verse all his adult life; before he wrote his first novel he considered writing plays in blank verse, and during the thirty years of his novel-writing career he entered in his notebooks many schemes for a vast poetic drama of England's wars with Napoleon. But it was not until after he had turned from fiction to poetry, in the 1890s, that he actually began to work on a poetic drama. The Dynasts was written between 1902 and 1907; the Famous Tragedy of the Queen of Cornwall was began in 1916 and completed in 1923.In addition to the two major dramas this volume includes Hardy's versions of two folk-pieces: the Mummers'Play of 'Saint George'and the rustic operetta O'Jan. O'Jan, O'Jan'(here published for the first time). Textual annotations, together with a full account of the rough draft of Part Third of The Dynasts, make it possible for the reader to follow the history of the composition of Hardy's epic drama in unusual detail. Explantory notes to each of the dramatic works describe its composition and publication, and provide supporting material from Hardy's letters and notebooks. Appendices add further information on the production and performance of these works.

Thomas Hardy (1840-1928) remains one of the best loved of the great English poets. Hardy thought of himself as a poet all his life, although his poetic career only flowered after he had retired from novel-writing in his mid-fifties. Over the next thirty years he wrote the poems that have established him as one of the great and most enduringly popular English poets of the twentieth century. His verse touches all the common themes of human existence: birth, childhood, love, marriage, ageing, death. If Hardy's age brings anything to them, it is an old man's ironic and elegiac sense that in life hopes are likely to be defeated and losses sustained, and that the world was not designed for human happiness. This collection is prepared by Samuel Hynes, editor of the Oxford English Texts edition of The Complete Poetical Works of Thomas Hardy, and selected from the Oxford Authors critical edition. The introduction and notes illuminate Hardy's central place in the tradition of English poetry. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

"In our imaginations, war is the name we give to the extremes of violence in our lives, the dark dividing opposite of the connecting myth, which we call love. War enacts the great antagonisms of history, the agonies of nations; but it also offers metaphors for those other antagonisms, the private battles of our private lives, our conflicts with one another and with the world, and with ourselves." Samuel Hynes knows war personally: he served as a Marine Corps pilot in the Pacific Theater during World War II, receiving the Distinguished Flying Cross. He has spent his life balancing two careers: pilot and professor of literature. Hynes has written a number of major works of literary criticism, as well as a war-memoir, Flights of Passage, and several books about the World Wars. His writing is sharp, lucid, and has provided some of the most expert, detailed, and empathetic accounts of a disappearing generation of fighters and writers. On War and Writing offers for the first time a selection of Hynes's essays and introductions that explore the traditions of war writing from the twentieth century to the present. Hynes takes as a given that war itself--the battlefield uproar of actual combat--is unimaginable for those who weren't there, yet we have never been able to turn away from it. We want to know what war is really like: for a soldier on the Somme; a submariner in the Pacific; a bomber pilot over Germany; a tank commander in the Libyan desert. To learn, we turn again and again to the memories of those who were there, and to the imaginations of those who weren't, but are poets, or filmmakers, or painters, who give us a sense of these experiences that we can't possibly know. The essays in this book range from the personal (Hynes's experience working with documentary master Ken Burns, his recollections of his own days as a combat pilot) to the critical (explorations of the works of writers and artists such as Thomas Hardy, e. e. cummings, and Cecil Day Lewis). What we ultimately see in On War and Writing is not military history, not the plans of generals, but the feelings of war, as young men expressed them in journals and poems, and old men remembered them in later years--men like Samuel Hynes.

The Unsubstantial Air is a chronicle of war that is more than a military history; it traces the lives and deaths of the young Americans who fought in the skies over Europe in World War I. Using letters, journals, and memoirs, it speaks in their voices and answers primal questions: What was it like to be there? What was it like to fly those planes, to fight, to kill? The volunteer fliers were often privileged young men. The sort of college athletes and Ivy League students who might appear in an F. Scott Fitzgerald novel, and sometimes did. For them, a war in the air would be like a college reunion. Others were roughnecks from farms and ranches, for whom it would all be strange. Together they would make one Air Service and fight one bitter, costly war. A wartime pilot himself, the memoirist and critic Samuel Hynes tells these young men's saga as the story of a generation. He shows how they dreamed of adventure and glory, and how they learned the realities of a pilot's life, the hardships and the danger, and how they came to know both the beauty of flight and the constant presence of death.They gasp in wonder at the world seen from a plane, struggle to keep their hands from freezing in open-air cockpits, party with actresses and aristocrats, and search for their friends' bodies on the battlefield. Their romantic war becomes more than that, it becomes a harsh but often thrilling new reality.

Christopher Caudwell was the pseudonym of Christopher St. John Sprigg, a British journalist and professional writer who became an important philosopher and critic in the 1930's, author of Illusion and Reality and Studies in a Dying Culture. In the mid-thirties Caudwell joined the Communist Party; he died in 1937 in the defense of Madrid, leaving the manuscript of Romance and Realism unpublished. This short but comprehensive book is a Marxist interpretation of English literature from Shakespeare to Spender. The author follows the course of English history-the end of feudalism, the age of exploration, the rise of the common man, industrialization, science- producing his particular synthesis of literature as a subjective experience (romance) and as a response to society (realism). The major writers and movements of English literature are discussed, often with brilliant observations. Romance and Realism is important as Marxist criticism, as a reflection of the acrid definitions of the writers of the thirties (including Auden, Orwell, C. Day Lewis), and as the highly personal view of a talented critic. Originally published in 1971.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 editions preserve the original texts of these important books while presenting them in durable paperback and hardcover 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.

Christopher Caudwell was the pseudonym of Christopher St. John Sprigg, a British journalist and professional writer who became an important philosopher and critic in the 1930's, author of Illusion and Reality and Studies in a Dying Culture. In the mid-thirties Caudwell joined the Communist Party; he died in 1937 in the defense of Madrid, leaving the manuscript of Romance and Realism unpublished. This short but comprehensive book is a Marxist interpretation of English literature from Shakespeare to Spender. The author follows the course of English history-the end of feudalism, the age of exploration, the rise of the common man, industrialization, science- producing his particular synthesis of literature as a subjective experience (romance) and as a response to society (realism). The major writers and movements of English literature are discussed, often with brilliant observations. Romance and Realism is important as Marxist criticism, as a reflection of the acrid definitions of the writers of the thirties (including Auden, Orwell, C. Day Lewis), and as the highly personal view of a talented critic. Originally published in 1971.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 editions preserve the original texts of these important books while presenting them in durable paperback and hardcover 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.

The Edwardian Turn of Mind brilliantly evokes the cultural temper of an age. The years between the death of Queen Victoria and the outbreak of the First World War witnessed a turbulent and dramatic struggle between the old and the new. Samuel Hynes considers the principal areas of conflict - politics, science, the arts and the relations between men and women - and fills them with a wide-ranging cast of characters: Tories, Liberals and Socialists, artists and reformers, psychoanalysts and psychic researchers, sexologists, suffragettes and censors. His book is a portrait of a tumultuous time - out of which contemporary England was made.

Between the opulent Edwardian years and the 1920s the First World War opens like a gap in time. England after the war was a different place; the arts were different; history was different; sex, society, class were all different.Samuel Hynes examines the process of that transformation. He explores a vast cultural mosaic comprising novels and poetry, music and theatre, journalism, paintings, films, parliamentary debates, public monuments, sartorial fashions, personal diaries and letters.Told in rich detail, this penetrating account shatters much of the received wisdom about the First World War. It shows how English culture adapted itself to the needs of killing, how our stereotypes of the war gradually took shape and how the nations thought and imagination were profoundly and irretrievably changed.

This is a study of a literary generation writing in a period of expanding fears and ever more urgent political and social crises. The pace of the time itself, the sense of time passing and an end approaching gave a special quality to the Thirties. The public world pressed insistently on the private world. For those who came of literary age - Auden, Day Lewis, MacNeice, Spender, Graham Greene, Isherwood and Orwell among them - writing became a form of action. In the process a generation discovered itself and found its own expression.

The Soldiers? Tale is the story of modern wars as told by the men who did the actual fighting. Hynes examines the journals, memoirs, and letters of men who fought in the two World Wars and in Vietnam, and also the wars fought against the weak and helpless in concentration camps, prisoner-of-war camps, and bombed cities. Interweaving his own reflections on war with brilliantly chosen passages from soldiers? accounts, he offers vivid answers to the question we all ask of men who have fought: What was it like? In these powerful pages the experiences of modern war, which seem unimaginable to those who weren?t there, become comprehensible and real.The wide range of writers examined includes both famous literary memoirists like Robert Graves, Tim O?Brien, and Elie Wiesel, and unknown soldiers who wrote only their war stories. Using these testimonies, Hynes considers each war in terms of its special circumstances and its effects on men who fought. His understanding of the psychology of warfare--and of each war?s role in history--gives this study its intellectual authority; the voices of the men who were there, and wrote about what they saw and felt, give it its powerful dramatic impact.

Christopher Caudwell was the pseudonym of Christopher St. John Sprigg, a British journalist and professional writer who became an important philosopher and critic in the 1930's, author of Illusion and Reality and Studies in a Dying Culture.In the mid-thirties Caudwell joined the Communist Party; he died in 1937 in the defense of Madrid, leaving the manuscript of Romance and Realism unpublished. This short but comprehensive book is a Marxist interpretation of English literature from Shakespeare to Spender. The author follows the course of English history-the end of feudalism, the age of exploration, the rise of the common man, industrialization, science- producing his particular synthesis of literature as a subjective experience (romance) and as a response to society (realism). The major writers and movements of English literature are discussed, often with brilliant observations.Romance and Realism is important as Marxist criticism, as a reflection of the acrid definitions of the writers of the thirties (including Auden, Orwell, C. Day Lewis), and as the highly personal view of a talented critic.Originally published in 1971.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 editions preserve the original texts of these important books while presenting them in durable paperback and hardcover 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.

Between the opulent Edwardian years and the 1920s the First World War opens like a gap in time. England after the war was a different place; the arts were different; history was different; sex, society, class were all different.Samuel Hynes examines the process of that transformation. He explores a vast cultural mosaic comprising novels and poetry, music and theatre, journalism, paintings, films, parliamentary debates, public monuments, sartorial fashions, personal diaries and letters.Told in rich detail, this penetrating account shatters much of the received wisdom about the First World War. It shows how English culture adapted itself to the needs of killing, how our stereotypes of the war gradually took shape and how the nations thought and imagination were profoundly and irretrievably changed.

The Edwardian Turn of Mind brilliantly evokes the cultural temper of an age. The years between the death of Queen Victoria and the outbreak of the First World War witnessed a turbulent and dramatic struggle between the old and the new. Samuel Hynes considers the principal areas of conflict - politics, science, the arts and the relations between men and women - and fills them with a wide-ranging cast of characters: Tories, Liberals and Socialists, artists and reformers, psychoanalysts and psychic researchers, sexologists, suffragettes and censors. His book is a portrait of a tumultuous time - out of which contemporary England was made.

This is a study of a literary generation writing in a period of expanding fears and ever more urgent political and social crises. The pace of the time itself, the sense of time passing and an end approaching gave a special quality to the Thirties. The public world pressed insistently on the private world. For those who came of literary age - Auden, Day Lewis, MacNeice, Spender, Graham Greene, Isherwood and Orwell among them - writing became a form of action. In the process a generation discovered itself and found its own expression.

The pattern in Hardy's poetry is the eternal conflict between irreconcilables that was, for him, the first principle, and indeed the only principle, of universal order. Hynes analyzes this pattern as it is manifested in the philosophical context of the poems, their structure, diction, and imagery. Originally published in 1961.A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

The pattern in Hardy''s poetry is the eternal conflict between irreconcilables that was, for him, the first principle, and indeed the only principle, of universal order. Hynes analyzes this pattern as it is manifested in the philosophical context of the poems, their structure, diction, and imagery. Originally published in 1961.A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

The pattern in Hardy''s poetry is the eternal conflict between irreconcilables that was, for him, the first principle, and indeed the only principle, of universal order. Hynes analyzes this pattern as it is manifested in the philosophical context of the poems, their structure, diction, and imagery. Originally published in 1961.A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.