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'Verlaine, possessed by the madnesses of love, brimming over with desires and prayers, the rebel railing against the complacent platitudes of society, of love, of language'. Jean Rousselot Verlaine ranks alongside Baudelaire, Mallarme, and Rimbaud as one of the most outstanding poets of late nineteenth-century France whose work is associated with the early Symbolists, the Decadents, and the Parnassiens. Remarkable not only for his delicacy and exquisitely crafted verse, Verlaine is also the poet of strong emotions and appetites, with an unrivalled gift for the sheer music of poetry, and an inventive approach to its technique. This bilingual edition provides the most comprehensive selection of his poetry yet, offering some 170 poems in lively and fresh translations and providing a lucid introduction which illuminates Verlaine's poetic form within the context of French Impressionism and the poetry of sensation. Parallex text
| ISBN | 0192833324 | | Volumes | 1 | | ISBN13 | 9780192833327 (What's this?) | | Weight (grammes) | 294 | | Publisher | Oxford University Press | | Language | English & French. | | Imprint | Oxford Paperbacks | | Published in | Oxford | | Format | Paperback | | Series editor | Kermode, Frank | | Publication date | 04 Nov 1999 | | Series title | Oxford World's Classics | | Translator | Sorrell, Martin | | Height (mm) | 196 | | Library of Congress | 00702554 | | Width (mm) | 129 | | DEWEY | 841.8 | | Spine width (mm) | 23 | | DEWEY edition | DC21 | | Academic level | General | | Pages | 368 | |
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| | | A Street in Bronzeville | | 3 | | | | kitchenette building | | 3 | | | | the mother | | 4 | | | | southeast corner | | 5 | | | | hunchback girl: she thinks of heaven | | 5 | | | | a song in the front yard | | 6 | | | | the ballad of chocolate Mabbie | | 7 | | | | the preacher: ruminates behind the sermon | | 8 | | | | Sadie and Maud | | 8 | | | | the independent man | | 9 | | | | of De Witt Williams on his way to Lincoln Cemetery | | 10 | | | | the vacant lot | | 11 | | | | The Sundays of Satin-Legs Smith | | 12 | | | | Negro Hero | | 19 | | | | gay chaps at the bar | | 22 | | | | still do I keep my look, my identity ... | | 23 | | | | my dreams, my works, must wait till after hell | | 23 | | | | looking | | 24 | | | | piano after war | | 24 | | | | mentors | | 25 | | | | the white troops had their orders but the Negroes looked like men | | 25 | | | | firstly inclined to take what it is told | | 26 | | | | "God works in a mysterious way" | | 27 | | | | love note I: surely | | 27 | | | | love note II: flags | | 28 | | | | the progress | | 28 | | | | Notes from the Childhood and the Girlhood | | 33 | | | | Clogged and soft and sloppy eyes | | 33 | | | | Chicken, she chided early, should not wait | | 33 | | | | After the baths and bowel-work, he was dead | | 34 | | | More... | | |
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