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By C. Hugh Holman

The fourth variation of "A guide to Literature" edited through C. Hugh Holman. An critical reference paintings for all scholars of literature, specifically these in English and American literature.

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This kind of rvrucavoids the passionate outbursts of a poErlike Burns, harking back to the kinds of subject matter that Horace and Petrarch wrote about-the tilt of a lady's eyebrow, the glow of a cheek, the gleam of lips. With Herrick, Lovelace, |onson, and Herbert, RErverssANCE English writers polished and perfected their soNGS to gemlike brightness; with Shelley and Keats the art Iyric began to carry ABSTRACT ideas. The art lyric differs from other LyRrcsin the degree to which the poet's self-conscious struggle for perfection of form dominates the spontaneity of feeling.

Ramatizations of subconscious experience, as in the Nighttown sequence second The Castle. rution included wiiters like Djuna Barnes Nightwood), Malcolm Lowry (Urdq the Volcano), Nathanael West (The Day of the Locust), and Henry Miller. The major antirealists at present are Samuel Beckett, ]orge Luis Borges, John Hawkes, Joseph Heller, and Donald Barthelme. They are Producing works of that dispos" of plor and reduce people to minimal selves in vivid states imagined fully_ a vrcNErrES vivrd Molloy; s Beckett' such as Presenting anxiety, new order of reality radically different from ours, such as Borges' brief tales; john works that distort real experience in the manner of dreams, such as an of portrayals LimeTwig;and andThe Cannibal NovELS,-The Hawkes' nightmare ts noael antirealistic The Catch-22.

By association the name has come to represent any court of final authority. In this sense Milton used the term in his Areopagitica, addressed to the British parliament on the question of censorship and the licensing of books. "The Areopagus" is the name used for what some literary historians believe was a sort of liter ary club existing in London shortly before 1580, supposed to be analogous with the Pl|iade group in France. g Gabriel Harvey, Sir Philip Sidney, Edmund Spenser, and Sir Edward Dyer, engaged in a on the principles of classical pnosopv.

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