John Dryden's 1677 tragedy "All For Love" or "The World Well Lost" was based on William Shakespeare's "Antony and Cleopatra." This would be a minority opinion, but I really think this Restoration Drama is comparable to the Shakespeare version in many regards. Of course "borrowing" from Shakespeare cannot be considered much of a crime when the Bard of Avon appropriated so many plots from other dramatists as well. Shakespeare's play covers ten years in settings scattered across the eastern Mediterranean, while Dryden confines all of his events to one day in the Temple of Isis. For me the dramatic highpoint of the Dryden version is the ugly confrontation between Cleopatra and Octavia, Roman wife of Mark Antony, but I also like the final death scenes better than what we find in Shakespeare. Just do not ask me to explain how "All for Love" reflects Restoration sensibilities rather than the Elizabethan values of "Antony and Cleopatra." I first read this play and decided to use it as the final play in a mini-trilogy of one-act that used Shaw's "Caesar and Cleopatra" and Shakespeare's "Julius Caesar," and had no problem given Dryden the anchor position. Certainly classes studying English drama can benefit by having students read both the Shakespeare and Dryden versions with an eye out towards better understanding the works of both playwrights. If you are only going to read one play by Dryden, then the only other choices besides this one would be "Aureng-Zebe," his last and best example of the heroic genre or his comedy masterpiece "Marriage a-la-mode." But I would still pick "All For Love."

Dryden's reworking of Shakespeare's "Antony and Cleopatra" is a great read, especially if you didn't fully comprehend Shakespeare's work. Dryden's language is concise, and his portrayal of historical characters is excellent; especially considering that he had to follow Shakespeare's lead.

Rudyard Kipling writes concisely and with great insight on a wide range of issues. With each story only taking up a few pages the depth of characterisation is superb. 'The gate of one-hundred sorrows' is one of the finest short stories ever written.

My copy has 36 stories, but Kipling's Plain Tales tells about life in British-occupied India from every imaginable angle. It's touching, it's funny, and at times it's unbelievably sad. Don't let the author put you off, this is a highly readable book. My personal favorites are "Thrown Away" and "Beyond the Pale", but be careful; they're sad.

I rarely recognized the full significance of Andrew Marvell's imagery on my first reading, and with each subsequent reading I made new discoveries. Likewise, Marvell's themes are often complex and require thought and contemplation. This is poetry to be read again and again. Nonetheless, Marvell's language is characterized by clarity and even the first reading is quite enjoyable.

Although Andrew Marvell is recognized today as one of the great poets of the English language, many readers are familiar with only a few of his works, notably To His Coy Mistress (found in most anthologies) and a few of his pastoral poems like Damon the Mower and The Mower's Song. This little Dover edition offers an inexpensive way to become more acquainted with a good selection of Marvell's versatile poetry.

Andrew Marvell was active in English politics during the turbulent period of Charles I, Oliver Cromwell, and Charles II. His love poems and lyrics were private writings not published until three years after his death. Through the years a few poets like Coleridge and Wordsworth recognized Marvell's genius, but he largely remained unknown.

Fortunately, a scholar, Sir Herbert Grierson, and a noted poet, T. S. Elliot, jointly brought attention in the 1920s to the remarkable work of the "metaphysical poets of the seventeenth century", especially Andrew Marvell.

In this Dover edition the spelling and punctuation has been modernized somewhat for clarity. The footnotes are sparse and I found it helpful to occasionally visit the dictionary. The collection includes a wide selection of Marvell's love poems, lyric poetry, religious poetry, and two political poems - An Horatian Ode upon Cromwell's Return from Ireland and the rather long poem Upon Appleton House.

It is not easy to select only a few favories as this collection is quite exceptional. Certainly my list would include: To His Coy Mistress - The Mower to the Glowworms - The Mower Against the Gardens - Damon the Mower - The Mower's Song - On a Drop of Dew - Eyes and Tears - Bermudas - and A Dialogue Between the Soul and the Body.

The other poems in this collection include: The Definition of Love - The Unfortunate Lover - The Gallery - The Fair Singer - Mourning - Ametas and Thestylis Making Hay Ropes - The Nymph Complaining for the Death of Her Fawn - Daphnis and Chloe - The Match - Young Love - The Picture of Little T. C. in a Prospect of Flowers - The Garden - A Dialogue Between the Resolved Soul and Created Pleasure - and The Coronet.

Opinions vary greatly as to whether T.S. Eliot was a good critic or not, but there is no disputing the service he did for the poetry of Andrew Marvell. Not only in his criticism, but through echoes in his own poetry, Eliot made people more interested in Marvell. Today, we see Marvell as the equal of Milton or Donne, a truly 'major' poet. And here we have a tremendously inexpensive edition of Marvell's poetry from Dover. Since it is so cheap, you might not want to order it by itself. But why not add it to your items and treat yourself to a perfectly acceptable edition of this great poet's work? "To His Coy Mistress" is obviously the most famous poem here, but you'll have world enough and time to enjoy the other poems as well. I am especially impressed by the "cute" pieces concerning Damon the Mower and the object of his affection, Juliana. Think of it as a boy mowing lawns for extra money in the summer, with his eye on the girl across the street-- or something like that. At any rate, these particular poems are the best imitations-- or extensions-- of the classical genre of pastoral verse (such as Theocritus and Vergil) that I know of. They are fresher and more subtle in their expression than Spenser's "Shepherd's Calendar" and more original than the four pastorals by my favorite poet Pope. There are many reasons Marvell, in general, is among the greatest English poets, but I am attracted to him because of his flexible rhythms and very musical yet restrained use of assonance and alliteration. I am also very happy with this Dover edition.

There are of course many editions of Burns's poetry available, but sadly most mass-market editions seem more concerned with perpetuating some kind of twee, Brigadoony version of Burns and Scotland. Of the ostensibly scholarly paperback editions of Burns, however, I have not seen anything that comes close to Andrew Noble and Patrick Scott Hogg's for comprehensiveness, annotation, and context. Noble's introduction is brilliant and takes great care to rehabilitate Burns's image by taking him out of the hands of St. Andrew's Society sentimentality and resituating the poet in the political and social climate of his time. Burns was politically radical, sexually promiscuous, and intellectually engaged...all qualities that are effaced by the defanged, Burns supper bardie image that has been so popular with many Scots and Scottish-Americans alike. If you're seriously interested in Burns as a man and a poet, this is the edition you should own. If you want something to dust off once a year on January 25th (along with your kilt, sporran, and bagpipes), go buy one of the editions with the tartan cover.

Since Shakespeare is the ultimate in English literature, any student who takes English ought to have a Concordance for reference purposes. The book allows easy access to every word Shakespeare wrote, all in one volume. It is invaluable for papers, conversation, and research. Although it seems pricey, the book will be used repeatedly throughout the secondary student's academic life, and is a must for the English major or English teacher.

I recommend this book to anyone interested in poetry. In Five Seventeenth-Century Poets: Donne, Herbert, Crashaw, Marvell, Vaughan, the author addresses metaphysical poetry. Brijraj Singh took a subject that I have often found cryptic and explained it exquisitely. His historical background on the poets and annotated poems put this beautiful poetry into a context that was easy to comprehend. Upon finishing the book, I have a greater understanding and appreciation of 17th century poetry. Mr. Singh wrote a superlative book!

An excellent source-book for anyone studying Middle English. It compiles an extensive selection of excerpts which demonstrate the ways in which medieval English writers struggled with the concept of writing in English, and defended their use of the vernacular. The accompanying essays range from excellent to mediocre, but the texts themselves make the book worth buying. By compiling texts about medieval literary theory, this book begins to fill a major gap in medieval studies.

Andrew Motion's biography recognizes the historical circumstances in which Keats lived, approaching new historicist tenets while maintaining a clear focus on the poet's individual life and works. He traces political tensions and medical practices of the time to expand upon the existing academic vision of Keats's poetic life; here he is more than a poet. That said, Motion, a poet himself, exemplifies the sensitivity to the writing process when discussing Keats's work. His criticism of the poems is well-rounded, balanced, and aware of the poet's process of composition. Overall, the book is well-reseached and a necessary addition to the scholarship we have on John Keats.

"Old Possum's Book of Practical Cats," by T.S. Eliot, is a book of poems about cats. The basis for the wildly successful musical "Cats," the book stands on its own as a delightful work of literature. The poems are accompanied by wonderful illustrations by Edward Gorey.

This book is hilarious and very enjoyable. Eliot's words leap and dance across the pages with a zany musicality. Gorey's accompanying artwork is whimsical and full of interesting details. Eliot has created some great feline characters: the fearsome Growltiger, dapper Bustopher Jones, Magical Mr. Mistoffelees, and more.

Yes, these poems are great fun to read. But if you are inclined to look closer and analyze them at a deeper literary level, you will find that each one is a masterpiece of poetic craftsmanship. Eliot uses a wonderful variety of meters, rhyme schemes, and various poetic effects. Each poem stands on its own, and together they form an effective artistic unity.

Also noteworthy is the very "English" flavor of the book, which Eliot achieves by spicing his poems with many references to English geography and cultural history. Highly recommended, whether or not you like cats.

This book was a delightful read! Poems for everybody to come to love! It was also the inspiration behind the musical Cats, and everybody can certainly see why!

Between some of the cheerful and bubbly poems you'll find, a discussion/interpretation of the social issues surrounding Eliot at that time, giving the reader an insight into the inspiration behind his poetry and into his psychology.

Garnished with lovely illustrations to feed and humor your imagination, Old Possum's Book of Practical Cats has everything to become something for all of the family, and all generations to behold. I couldn't put it down, and it always beckons a re-read!

If you've read The Wastland or any of the other, more substantial poems by T.S Eliot, you may be shocked at Old Possum's Book of Practical Cats. But don't be fooled, even in the simple subject matter there is genius in Eliot's writing.

This is the only poem book of Eliot's that I own and it's a great deal of fun to read. My favorite cat is Macavity. If you've seen the musical Cats (which I haven't), here's the inspiration. This is also a great first book to get younger people interested in poetry. The language Eliot uses is flowery and catchy, and the subject matter is centered on those cute furballs. Enjoy.

It may seem an immediate departure to discuss Blake's biography, but it must be considered. Leaving formal school at ten, Blake first entered a drawing school, very early evincing great artistic talent. An eight year apprenticeship with engraver James Basire was a milestone of Blake's rather low key life. Blake's talents in the art of engraving were immeasurably important to both the full expression of his poetry and visual art.

As a poet, Blake opted for an almost facile, rhythmic, lyrical approach. His metre was superbly tight, his vocabulary surprisingly controlled for an 18th century writer. Of the two parts, Songs of Experience is the better of the two; not only did five years give Blake's poetry just one more dash of prowess, but his topics are dealt with in a more effective and interesting manner. His subject matter also becomes more bleak, more wearily phrased. A perfect example: Here is a stanza from ...Innocence's The Divine Image

For mercy has a human heart
Pity, a human dress
And love, the human form divine
And peace the human dress

Compare this with the poem of the same name in experience:

Cruelty has a human heart,
And jealousy a human face
Terror, the human form divine
And secrecy, the human dress

Whyfore this turnabout, from an almost sanguine mentality to one so dour and unmitigatedly bleak that Blake excluded this poem and attendant engraving in most editions of his Songs...

First, the death of Robert, Blake's beloved younger brother and apprentice. It is said that Blake stayed up a fortnight nursing his ill brother; a four day sopor followed. Later, Blake was to report that he was visited by Robert's spirit, laden with ideas as to the format of the Songs. ...Such poems as the Chimney Sweeper and the Little Boy Lost are frightful, cynical visions of the fractured side of London life. Take this stanza from Little Boy Lost, a story of a child martyed for speaking his mind:

The weeping child could not be heard
The weeping parents wept in vain
They strip'd him to his little shirt
And bound him with an iron chain

And burned him in a holy place
Where many had been burned before
The weeping parents wept in vain
Are such things done on Albions shore?

This darker judgement of life does not preclude the two motifs most sacred to Blake: Religion and love. Poems such as the Clod and the Pebble, The Pretty Rose Tree, both Holy Thursdays, the Laughing Song, and the Lamb all explore some aspect of divine justice or the perverse or beautiful aspects of love.

Something fascinating: In that very racist, colony-crazy, native torching time, Blake iconoclastically treats the subject of race in the Little Black Boy, which describes a black child of such spiritual perception that he is able to guide his paler brethren on the path to God. This intimation of an oppressed race's closeness to an arcane but majestic God is a keynote in the study of the fiercely individualistic Blake. Buy this book when you see it.

I bought this book for a friend's birthday. At home, I read it through, soon experiencing the shameful thought that I wanted to keep it for myself. I didn't keep it, but I quickly found my own copy.

Fool that I am, I have never appreciated poetry much. This book opened my eyes. I write this review in the hope that someone may be encouraged to read it, and experience the wonder that it brought to me.

No words can do justice to these poems. I just marvel at how such seemingly simple compositions could contain so much meaning. Blake cuts straight to the spiritual essence of human existence. There are very few books that I could say have deepened my faith in God. This is one.

I was recently lucky to see the Gutenburg to Gone With the Wind Exhibit in Austin, Texas recently. At that marvelous exhibit I got to see one of Blake's original editions of Songs of Innocence. After that, I (of course) had to find a copy with the amazing poems and the amazing artwork by Blake. This edition satisfied both criteria well. First of all, the poems are brilliant. Everybody has read such works as "Little Boy Lost," "Little Boy Found," "The Shepherd," "The Lamb," and "The Tyger." These poems are just as good as they are made out to be. Each poem is excrutiatingly simple (in the style of children's verse), and each has such depth. The artwork is all in this edition, too, and it is fabulous. The colors are exactly like those of Blake's. I really think that the poems should never be read without Blake's engravings. This is a marvelous book for poetry lovers to own. It is high quality and affordable. Any fan of Blake's should own this book.