By A. E. Housman
A. E. Housman used to be one of many best-loved poets of his day, whose poems conjure up a effective and idyllic rural international imbued with a poignant experience of loss. they're expressed in uncomplicated rhythms, but express a superb ear for the subtleties of metre and alliteration. His scope is extensive -- starting from non secular doubt to extreme nostalgia for the geographical region. This quantity brings jointly 'A Shropshire Lad' (1896) and 'Last Poems' (1922), in addition to the posthumous choices 'More Poems' and 'Additional Poems', and 3 translations of extracts from Aeschylus, Sophocles and Euripides that show his mastery of Classical literature.
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Extra resources for A Shropshire Lad and Other Poems: The Collected Poems of A.E. Housman
After an hour, the host turns the conversation to foreign affairs, and the evening ends in a brawl, broken up only by exhaustion and “Six fresh Bottles” of wine. Timon’s representation of the host and his guests as ignorant readers who appreciate and encourage poor writing suggests the dismal state of literary culture and justiﬁes his preference for the elite circle of Sedley, Buckhurst, and Savile; whether or not Timon functions as a reliable spokesman for Rochester, the attention given to satirizing literary taste indicates that the creation and reception of poetry serve as important determinants of masculine social authority.
Whether distributed separately or in miscellanies drawn together from separate texts, these poems favored an exclusive, elite audience, for they assumed a knowledge of circumstances and events that would often seem obscure to those beyond a select circle. G. B. upon their Mutual Poems” and D’Urfey’s “Song” (“Room, room, for a Blade of the Town”)—both included in Poems on Several Occasions— depend for their satiric effect on the reader’s knowledge of Mulgrave’s misplaced pride in his writings, and Rochester’s outrages against public order, including a drunken brawl in which a companion died in the poet’s defense.
I’ve noe Ambition on that idle score, But say with Betty Morice, heretofore When a Court-Lady call’d her Buckleys Whore, I please one Man of Witt, am proud on’t too, Let all the Coxcombs, dance to bed to you. (104-07; 110-14) With these lines, Rochester devalues the work of all professional playwrights, since their very survival in the theater depends upon their ability to make the “Play-house ring” with applause. In comparing himself to Betty Morice (or Morris), a courtesan apparently selective in her attachments, Rochester anticipates the charge that his own writing is a source of entertainment, and thus compromises his masculine character.