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Wydawca : Oxford University Press 1999
First published 1999
Stron / pages 690
Book Description
Publication Date: 7 Oct 1999 | ISBN-10: 019[zasłonięte]1821 | ISBN-13: 978-[zasłonięte][zasłonięte]21418 | Edition: 1st edition
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.
The Oxford Book of English Verse
by Christopher Ricks
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.
Christopher Ricks
From Wikipedia, the free encyclopedia
Sir Christopher Bruce Ricks, FBA (born 1933) is a British literary critic and scholar. He is the William M. and Sara B. Warren Professor of the Humanities at Boston University (U.S.) and Co-Director of the Editorial Institute at Boston University, and was Professor of Poetry at the University of Oxford (England) from 2004 to 2009. He is the immediate past-president of the Association of Literary Scholars and Critics. He is known as a champion of Victorian poetry; an enthusiast of Bob Dylan, whose lyrics he has analysed at book-length;[1] a trenchant reviewer [2] of writers he considers pretentious (Marshall McLuhan, Christopher Norris, Geoffrey Hartman, Stanley Fish); and a warm reviewer of those he thinks humane or humorous (F. R. Leavis, W. K. Wimsatt, Christina Stead). Hugh Kenner has praised his 'intent eloquence',[3] and Geoffrey Hill his 'unrivalled critical intelligence'.[4] W. H. Auden described Ricks as 'exactly the kind of critic every poet dreams of finding'.[5] John Carey calls him the 'greatest living critic'.[6]
Contents [hide]
1 Life
2 Principles against theory
3 Works
4 Footnotes
5 External links
Life[edit]
He was born in Beckenham and studied at Balliol College, Oxford, where he graduated with a first in English. He served in the Green Howards in the British Army in 1953/4 in Egypt. He was a Fellow and Tutor in English Literature at Worcester College, Oxford, moving in 1968, after a sabbatical year at Stanford University, to become Professor of English at the University of Bristol.
During his time at Bristol he worked on Keats and Embarrassment (1974), in which he made the then revelatory connection between the letters and the poetry. It was also at Bristol that he first published his still-definitive edition of Tennyson's poetry. In 1975, Ricks moved to the University of Cambridge, where he was King Edward VII Professor of English Literature, before leaving for Boston University in 1986. In June 2011 it was announced he would join the professoriate of New College of the Humanities, a private college in London.[7]
He was knighted in the 2009 Birthday Honours.[8]
Principles against theory[edit]
Ricks has distinguished himself as a vigorous upholder of traditional principles of reading based on practical criticism. He has opposed the theory-driven hermeneutics of the post-structuralist and postmodernist. This places him outside the post-New Critical literary theory, to which he prefers the Johnsonian principle.
In an important essay,[9] he contrasts principles derived empirically from a close parsing of texts, a tradition whose great exemplar was Dr. Johnson, to the fashionable mode for philosophical critique that deconstructs the 'rhetorical' figures of a text and, in doing so, unwittingly disposes of the values and principles underlying the art of criticism itself. 'Literature', he argues, 'is, among other things, principled rhetoric'. The intellectualist bias of professional theorists cannot but make their strenuously philosophical readings of literary texts discontinuous with the subject matter.
Practical criticism is attuned to both the text and the reader's own sensibility, and thus engages in a nuanced dialogue between the complex discursive resonances of words in any literary work and the reader's correlative sentiments as they have been informed by a long experience of the self within both the world and literature. In this subtle negotiation between the value-thick sensibility of the reader and the intertextual resonances of a literary work lies the tactful attunement of all great criticism. This school of criticism must remain leery of critical practices that come to the text brandishing categorical, schematic assumptions, any panoply of tacitly assumed precepts external to the practical nature of literary creativity. Otherwise, the risk is one of a theoretical hybris, of a specious detachment that assumes a certain critical superiority to the text and its author. Those theory-saturated critics who engage with texts that, by their nature, are compact of social and political judgements (and much more), assert covertly a privileged innocence, an innocence denied to the text under scrutiny, whose rhetorical biases, and epistemological fault-lines are relentlessly subjected to ostensible 'exposure'.
Works[edit]
A Dissertation Upon English Typographical Founders and Founderies 1778 by Edward Rowe Mores (1961) editor with Harry Carter
Milton's Grand Style (1963)
Poems and Critics (1966) anthology
The Life and Opinions of Tristram Shandy, Gentleman by Laurence Sterne (1967) editor with Graham Petrie
Twentieth Century Views: A. E. Housman (1968) editor
Paradise Lost and Paradise Regained by John Milton (1968) editor
English Poetry and Prose 1[zasłonięte]540-16 (1970) editor
English Drama To 1710 (1971) editor
The Brownings: Letters and Poetry (1970) editor
Tennyson (1972)
A Collection of Poems By Alfred Tennyson (1972) editor
Selected Criticism of Matthew Arnold (1972) editor
Keats and Embarrassment (1974)
Geoffrey Hill and the Tongue's Atrocities (1978)
The State of the Language (1979) editor with Leonard Michaels, later edition 1990
The Force of Poetry (1984) essays
The Poems of Tennyson (1987) three volumes, editor
The Tennyson Archive (from 1987) editor with Aidan Day, 31 volumes
The New Oxford Book of Victorian Verse (1987) editor
T. S. Eliot and Prejudice (1988)
A. E. Housman: Collected Poems and Selected Prose (1988) editor
The Faber Book of America (1992) editor with William L. Vance
The Golden Treasury (1991) editor
Beckett's Dying Words (1993)
Essays in Appreciation (1996)
Inventions of the March Hare: Poems, 1[zasłonięte]909-19 by T. S. Eliot (1996) editor
The Oxford Book of English Verse (1999) editor
Allusion to the Poets (2002)
Selected Poems of James Henry (2002) editor
Reviewery (2003) essays
Dylan's Visions of Sin (2003)
Decisions And Revisions In T. S. Eliot (2003)
Samuel Menashe: Selected Poems (2005) editor
True Friendship: Geoffrey Hill, Anthony Hecht and Robert Lowell Under the Sign of Eliot and Pound (2010)
Footnotes[edit]
^ Michael Gray (2006), The Bob Dylan Encyclopedia, p. 571.
^ A collection is in Reviewery.
^ Hugh Kenner, A Sinking Island: The Modern English Writers, Knopf, New York 1988, p.245
^ Geoffrey Hill, Collected Critical Writings, OUP, Oxford 2008, p.379
^ "Oxford Book of English Verse", ed. Ricks, OUP 1999
^ John Carey in conversation with Clive James.
^ "The professoriate", New College of the Humanities, accessed June 8, 2011.
^ The London Gazette: (Supplement) no. 59090. p. 1. 13 June 2009.
^ 'Literary Principles as against theory', in Christopher Ricks, Essays in Appreciation, Clarendon Press, Oxford, 1996, pp. 311-332, p. 312.
External links[edit]
Editorial Institute
Profile of Christopher Ricks at Guardian Unlimited
Christopher Ricks Playlist Appearance on WMBR's Dinnertime Sampler radio show October 13, 2004
Christopher Ricks: Someone's gotta hold of his art
If Christopher Ricks is better known for his admiration of Bob Dylan than for his own work, it doesn't seem to bother him. The new Oxford professor of poetry has a certain style, finds Donald MacLeod
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The Guardian, Tuesday 13 July 2004 17.21 BST
Yes, of course Bob Dylan will feature in the lectures of the next Oxford professor of poetry - the fans and the foes of Christopher Ricks would expect nothing less. The critic who made his name with meticulous readings of Milton, Tennyson and TS Eliot has long championed the American rock star as a poet worthy of the same close and painstaking analysis. Not everyone approves.
His recent Dylan's Visions of Sin was a 20-year labour of love by a man who owns 1,700 Dylan bootleg recordings and studio outtakes as well as the collected works. In it he subjects a selection of the songs to minute and sensitive scrutiny that goes far beyond the way that, for instance, Dylan alludes to TS Eliot's line "And the cities hostile and the towns unfriendly" in his song Maybe Someday - "Through hostile cities and unfriendly towns/Thirty pieces of silver, no money down".
When Ricks, professor of humanities at Boston University, looks at Lay, Lady, Lay, he compares it with John Donne's "Come, Madam, come, all rest my powers defy,/Until I labour, I in labour lie", teasing out similiarities in alliteration and rhythm. He doesn't claim that Dylan is quoting from the 17th-century churchman but that his lyric is an analogue. "Great minds feel and think alike," says Ricks, who has to defend his venture against not only admirers of the singer who feel that "adducing Mr Eliot when talking about Dylan is pretentious and portentous", but also the man himself, who put down critics who "dissect my songs like rabbits".
"Like the great athlete, the great artist is at once highly trained and deeply instinctual. So if I am asked whether I believe that Dylan is conscious of all the subtle effects of wording and timing that I suggest, I am perfectly happy to say that he probably isn't . . . [and] in this he is not less the artist but more," writes Ricks.
(Which makes their one meeting all the more intriguing. It was not, as reported, a chance meeting at which Ricks was tongue-tied with awe and could only blurt out: "Read any good books lately?" Setting the record straight, Ricks says he and his wife, Judith, were invited backstage by Dylan after a concert in Boston in November 2000. "Mr Ricks, we meet at last," said the singer. Ricks did indeed ask him what he had been reading - he is, after all, fascinated by Dylan's use of literature - and received the interesting reply, Richard III. Shakespeare in the alley indeed.)
Some would say he has won the argument. Last month that unashamedly conservative institution St Andrews awarded Dylan an honorary degree in music - he sat stony faced as Professor Neil Corcoran recalled at the ceremony that when asked what his songs were about, Dylan replied: "Some of them are about three minutes and some are about five minutes."
Yet Ricks' book was not well received by most reviewers, some of whom dismissed it in effect as the work of a fan with a typewriter. Was this payback time for a man who recalls without apology "I have written a lot of adverse reviews"?
"Some of this is settling old scores, though there is a lot to be said for settling old scores. The dust has settled but have the scores?" says Ricks, who can't resist playing with words in his conversation as he does in his writing.
Back in Cambridge to give a lecture, he is dismissive of the idea that he was brave to champion Dylan - "What passes as courage in universities is set at an amazingly low level" - and he mocks those who defend their "academic freedom" to lecture when they feel like it or complacently pride themselves on being subversive. "They don't subvert their free lunches or right to boss the secretaries about."
I suspect the bad reviews are partly a product of the academic industry of analysing Dylan, whose practitioners disagree with each other's conclusions and approaches. Ricks sets Dylan firmly in an English literary tradition and divorces the songs from politics; others stress the political and social roots.
Combative in print, in person Ricks is the most courteous of men, appalled by the way certain of his leftwing academic colleagues treat staff; he told an American interviewer the worst thing about living in the US was "the discourtesy and the lethal hostility on the roads". He is even polite to reporters. Referring to being interviewed for the Boston Globe by Eric McHenry (a "good journalist and a poet"), he adds quickly: "I don't mean not merely a journalist", in case the Guardian felt condescended to.
But he relishes a critical dust-up - as he jokes in the Dylan book, "If you were a grudge, wouldn't you want to be held?" - and when he takes up the pen, the former second lieutenant in the Green Howards takes no prisoners, either among fellow critics or writers of whom he disapproves.
Virginia Woolf he detests for her anti-semitism and her spitefulness about other female writers. "I'm unbalanced about Woolf; I argue with a ferocity that I don't quite understand. There is something disproportionate about my animus in the matter and I don't quite know what it is."
His disapproval of Yeats is calmer, though implacable. "I've never been able to persuade people that I am right about having a lower view than the world has."
He came to public notice in the Cambridge poststructuralist wars of the early 1980s, fought with religious ferocity between the literary theorists and the traditionalists, of which Ricks remains a standard bearer. His 1999 edition of the Oxford Book of English Verse was based on the great tradition of poet critics from Dryden to Empson, he says. At the time there was hostile coverage in the Guardian.
The bitterness of those controversies meant he was not sorry to leave Cambridge for Boston University in 1986, though he says he went mainly because of his American wife, the photographer Judith Aronson, with whom he has three children.
When it comes to the post of professor of poetry at Oxford, he says wryly, the election attracts a lot more interest than what the professor actually does. Since the war, it has been held mainly by poets, not all of them fine ones, Ricks points out, though he praises Paul Muldoon, whom he is succeeding. John Wain, for instance, was much better as a reviewer and critic than as a poet, in his view. "The greatest literary critics have been poets, though that is not the same as saying all of them. Leavis was very good. I'm nothing like as good as AC Bradley or as learned as Maurice Bowra."
The Oxford lectures - the job description is one lecture a term - give him a chance to deal with one unavoidable flaw in the Dylan book, that it deals with the words but can only refer the reader to the music. "In the book I have to depend on people knowing the songs."
But before recordings of Dylan there will be a lecture on poetry translations, using recordings of Ronsard sonnets and Baudelaire by actors of the Comédie Française; and one on dialect poetry (he says the Victorian Dorset poet William Barnes can move him to tears).
Ricks is also promising to provide a poet, an case anyone feels a mere critic is not enough. The first will be the American David Ferry, translator of the Gilgamesh epic as well as Horace and Virgil.
Dylan, however, is not expected to appear.
The CV:
Age 70
Job professor of humanities, Boston; Oxford poetry professor
Before that professor of English literature, Cambridge
Publications Milton's Grand Style; the New Oxford Book of Victorian Verse (ed); Beckett's Dying Words; Inventions of the March Hare - Poems 1909-17 by TS Eliot (ed); Dylan's Visions of Sin
Likes puns, jokes, wordplay, settling literary scores
Dislikes fans who sing along at Dylan concerts; Virginia Woolf
Married , three sons, four daughters
