query: who wrote the preface to lyrical ballads 2nd edition

pos: Lyrical Ballads published in 1800, in which Wordsworth included additional poems and a preface detailing the pair's avowed poetical principles. For another edition, published in 1802, Wordsworth added an appendix titled "Poetic Diction" in which he expanded the ideas set forth in the preface. Wordsworth and Coleridge set out to overturn what they considered the priggish, learned, and highly sculpted forms of 18th-century English poetry and to make poetry accessible to the average person via verse written in common, everyday language. They emphasize the vitality of the living voice used by the poor to express their reality. This language also helps assert

pos: Humphry Davy Nitrous Oxide and its Respiration", and received a more positive response. William Wordsworth and Samuel Taylor Coleridge moved to the Lake District in 1800, and asked Davy to deal with the Bristol publishers of the Lyrical Ballads, Biggs & Cottle. Coleridge asked Davy to proofread the second edition of the Lyrical Ballads, the first to contain Wordsworth's Preface in a letter dated 16 July 1800: "Will you be so kind as just to look over the sheets of the lyrical Ballads". Wordsworth subsequently wrote to Davy on 29 July 1800, sending him the first manuscript sheet of poems and asking

pos: Early life of William Wordsworth a preface to the poems, which was augmented significantly in the 1802 edition. This Preface to Lyrical Ballads is considered a central work of Romantic literary theory. In it, Wordsworth discusses what he sees as the elements of a new type of poetry, one based on the "real language of men" and which avoids the poetic diction of much 18th-century poetry. Here, Wordsworth gives his famous definition of poetry as "the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility." A fourth and final edition of Lyrical Ballads was published in 1805. In 1799, Wordsworth

pos: William Wordsworth Somerset, just a few miles away from Coleridge's home in Nether Stowey. Together Wordsworth and Coleridge (with insights from Dorothy) produced "Lyrical Ballads" (1798), an important work in the English Romantic movement. The volume gave neither Wordsworth's nor Coleridge's name as author. One of Wordsworth's most famous poems, "Tintern Abbey", was published in this collection, along with Coleridge's "The Rime of the Ancient Mariner". The second edition, published in 1800, had only Wordsworth listed as the author, and included a preface to the poems. It was augmented significantly in the next edition, published in 1802. In this preface, which some

pos: Lyrical Ballads one poem in the 1798 edition entitled "Lines written near Richmond, upon the Thames, at Evening." Lyrical Ballads Lyrical Ballads, with a Few Other Poems is a collection of poems by William Wordsworth and Samuel Taylor Coleridge, first published in 1798 and generally considered to have marked the beginning of the English Romantic movement in literature. The immediate effect on critics was modest, but it became and remains a landmark, changing the course of English literature and poetry. Most of the poems in the 1798 edition were written by Wordsworth, with Coleridge contributing only four poems to the collection, including

pos: Lyrical Ballads Lyrical Ballads Lyrical Ballads, with a Few Other Poems is a collection of poems by William Wordsworth and Samuel Taylor Coleridge, first published in 1798 and generally considered to have marked the beginning of the English Romantic movement in literature. The immediate effect on critics was modest, but it became and remains a landmark, changing the course of English literature and poetry. Most of the poems in the 1798 edition were written by Wordsworth, with Coleridge contributing only four poems to the collection, including one of his most famous works, "The Rime of the Ancient Mariner". A second edition was

pos: Poetic diction Poetic diction Poetic diction is the term used to refer to the linguistic style, the vocabulary, and the metaphors used in the writing of poetry. In the Western tradition, all these elements were thought of as properly different in poetry and prose up to the time of the Romantic revolution, when William Wordsworth challenged the distinction in his Romantic manifesto, the Preface to the second (1800) edition of "Lyrical Ballads" (1798). Wordsworth proposed that a "language near to the language of men" was as appropriate for poetry as it was for prose. This idea was very influential, though more in

pos: The Lucy poems "Lyrical Ballads, with a Few Other Poems", a collection of verses each had written separately. The book became hugely popular and was published widely; it is generally considered a herald of the Romantic movement in English literature. In it, Wordsworth aimed to use everyday language in his compositions as set out in the preface to the 1802 edition: "The principal object, then, proposed in these Poems was to choose incidents and situations from common life, and to relate or describe them, throughout, as far as was possible in a selection of language really used by men, and at the same

pos: Modernist poetry in English Modernist poetry in English Modernist poetry in English started in the early years of the 20th century with the appearance of the Imagists. In common with many other modernists, these poets wrote in reaction to the perceived excesses of Victorian poetry, with its emphasis on traditional formalism and ornate diction. In many respects, their criticism echoes what William Wordsworth wrote in "Preface to Lyrical Ballads" to instigate the Romantic movement in British poetry over a century earlier, criticising the gauche and pompous school which then pervaded, and seeking to bring poetry to the layman. Modernists saw themselves as looking back

pos: Modernist poetry in English Coffey's case, facilitating a late flowering of new work. Modernist poetry in English Modernist poetry in English started in the early years of the 20th century with the appearance of the Imagists. In common with many other modernists, these poets wrote in reaction to the perceived excesses of Victorian poetry, with its emphasis on traditional formalism and ornate diction. In many respects, their criticism echoes what William Wordsworth wrote in "Preface to Lyrical Ballads" to instigate the Romantic movement in British poetry over a century earlier, criticising the gauche and pompous school which then pervaded, and seeking to bring poetry

pos: Poor Susan And the colours have all pass'd away from her eyes. Poor Outcast! return—to receive thee once more The house of thy Father will open its door, And thou once again, in thy plain russet gown, Mayst hear the thrush sing from a tree of its own.</poem> In Wordsworth's Preface to the Lyrical Ballads, the poet states: Charles Lamb objected to the final stanza: According to Ernest de Sélincourt, Wordsworth responded by deleting the stanza in the 1815 edition of his poems and renaming the poem "The Reverie of Poor Susan", a title which may have been influenced by his reading

pos: The Solitary Reaper his preface to the Lyrical Ballads. There is, first and foremost, the use of what Wordsworth calls “the language really used by men.” 3. The Solitary Reaper https://diariummedia.wordpress.com/2018/06/30/118/ The Solitary Reaper "The Solitary Reaper" is a ballad by English Romantic poet William Wordsworth, and one of his best-known works. The poem was inspired by his and his sister Dorothy's stay at the village of Strathyre in the parish of Balquhidder in Scotland in September 1803. '"The Solitary Reaper is one of Wordsworth's most famous post-"Lyrical Ballads" lyrics". The words of the reaper's song are incomprehensible to the speaker, so his

pos: British literature and journalist Thomas De Quincey (1785–1859). However, at the time, Walter Scott (1771–1832) was the most famous poet. Scott achieved immediate success with his long narrative poem "The Lay of the Last Minstrel" in 1805, followed by the full epic poem "Marmion" in 1808. Both were set in the distant Scottish past. The early Romantic Poets brought a new emotionalism and introspection, and their emergence is marked by the first romantic manifesto in English literature, the "Preface" to "Lyrical Ballads" (1798). The poems in "Lyrical Ballads" were mostly by Wordsworth, although Coleridge contributed the long "Rime of the Ancient Mariner".

pos: English literature and their emergence is marked by the first romantic manifesto in English literature, the "Preface" to "Lyrical Ballads" (1798). The poems in "Lyrical Ballads" were mostly by Wordsworth, though Coleridge contributed "Rime of the Ancient Mariner". Among Wordsworth's most important poems are "Lines Composed a Few Miles Above Tintern Abbey", "Resolution and Independence", "" and the autobiographical epic "The Prelude". Robert Southey (1774–1843) was another of the so-called "Lake Poets", and Poet Laureate for 30 years, although his fame has been long eclipsed by William Wordsworth and Samuel Taylor Coleridge. Thomas De Quincey (1785–1859) is best known for his "Confessions

pos: We Are Seven repeats that they were seven in number, the narrator, frustrated, replies: The poem ends with a divide between the child and the narrator: Ownership of the poem is in the public domain and the full text can be found on . In his preface to "Lyrical Ballads", Wordsworth wrote that the poems exhibit a "power of real and substantial action and suffering" and, in particular to "We are Seven", to express "the perplexity and obscurity which in childhood attend our notion of death, or rather our utter inability to admit that notion". Geoffrey Hartman points out that there is a

pos: The Lucy poems and directly after "She dwelt" within "Lyrical Ballads". In addition, "I travelled" was sent to the poet's childhood friend and later wife, Mary Hutchinson, with a note that said it should be "read after 'She dwelt'". Coleridge biographer J. Dykes Campbell records that Wordsworth instructed "I travelled" to be included directly following "A slumber", an arrangement that indicates a connection between the poems. Nevertheless, the question of inclusion is further complicated by Wordsworth's eventual retraction of these instructions and his omission of "I travelled" from the two subsequent editions of "Lyrical Ballads". The 1815 edition of "Lyrical Ballads" organised the

pos: I Wandered Lonely as a Cloud the other Lake poets into the poetic limelight. Wordsworth had published nothing new since the 1800 edition of "Lyrical Ballads", and a new publication was eagerly awaited. Wordsworth had, however, gained some financial security by the 1805 publication of the fourth edition of "Lyrical Ballads"; it was the first from which he enjoyed the profits of copyright ownership. He decided to turn away from the long poem he was working on ("The Recluse") and devote more attention to publishing "Poems in Two Volumes", in which "I Wandered Lonely as a Cloud" first appeared. Wordsworth revised the poem in 1815. He

pos: The Idiot Boy on her pony and sends him on his way. When he has not returned after several hours, she grows worried and sets off to find him. The doctor has not seen the boy; finally, she finds him placidly astride his pony, who is grazing near a stream. As they are walking home, they encounter Susan, who has, as it were, worried herself well and come in search of her friend. In the preface to the 1800 "Lyrical Ballads", Wordsworth remarks that the purpose of this poem, as of "The Mad Mother", is to trace "the maternal passion through many of

pos: Humphry Davy him specifically to correct: "any thing you find amiss in the punctuation a business at which I am ashamed to say I am no adept". Wordsworth was ill in the autumn of 1800 and slow in sending poems for the second edition; the volume appeared on 26 January 1801 even though it was dated 1800. While it is impossible to know whether Davy was at fault, this edition of the Lyrical Ballads contained many errors, including the poem "Michael" being left incomplete. In a personal notebook marked on the front cover "Clifton 1800 From August to Novr", Davy wrote his

pos: Poetic diction language that would be as separate from commonplace English as Homeric Greek was from koine. Spenser found it in the intentional use of archaisms. (This approach was rejected by John Milton, who sought to make his epic out of blank verse, feeling that common language in blank verse was more majestic than difficult words in complex rhymes.) William Wordsworth also believed in using the language of the common man to portray a certain image and display his message. In the Preface to the Lyrical Ballads, Wordsworth says "I have proposed to myself to imitate, and as far as possible, to

pos: Jane Austen of much of modern fiction – 'the ephemeral productions which supply the regular demand of watering places and circulating libraries'". Yet her rejection of these genres is complex, as evidenced by "Northanger Abbey" and "Emma". Similar to William Wordsworth, who excoriated the modern frantic novel in the "Preface" to his "Lyrical Ballads" (1800), Austen distances herself from escapist novels; the discipline and innovation she demonstrates is similar to his, and she shows "that rhetorically less is artistically more." She eschewed popular Gothic fiction, stories of terror in which a heroine typically was stranded in a remote location, a castle or

pos: Lyrical Ballads the universality of human emotions. Even the title of the collection recalls rustic forms of art – the word "lyrical" links the poems with the ancient rustic bards and lends an air of spontaneity, while "ballads" are an oral mode of storytelling used by the common people. In the 'Advertisement' included in the 1798 edition, Wordsworth explained his poetical concept: The majority of the following poems are to be considered as experiments. They were written chiefly with a view to ascertain how far the language of conversation in the middle and lower classes of society is adapted to the purpose

pos: She dwelt among the untrodden ways of nature' in his volume "Lyrical Ballads" in which "She Dwelt" first appeared. Early works, such as Tintern Abbey, can be seen as an ode to his experience of nature (though he preferred to avoid this interpretation), or as a lyrical meditation on the fundamental character of the natural world. Wordsworth later recalled that as a youth nature once stirred in him, "an appetite, a feeling and a love", but by the time he wrote "Lyrical Ballads", it evoked "the still sad music of humanity". The five 'Lucy' poems are often interpreted as representing both his apposing views of nature

pos: A slumber did my spirit seal fits of passion have I known", "She dwelt among the untrodden ways" and "A slumber". In December 1798, Wordsworth sent copies of "Strange fits" and "She dwelt" to Coleridge and followed his letter with "A slumber". Eventually, "A slumber", was published in the 1800 edition of "Lyrical Ballads". Unique amongst Lucy poems, "A slumber" does not directly mention Lucy. The decision by critics to include the poem as part of the series is based in part on Wordsworth's placing it in close proximity to "Strange fits" and directly after "She dwelt" in the "Lyrical Ballads". The Lucy poems fall within

pos: The Lucy poems removed, included an explanation of how Lucy was to die: "But slow distemper checked her bloom / And on the Heath she died." The last of the "Lucy poems" to be composed, "I travelled among unknown men", was the only one not included in the second edition of "Lyrical Ballads". Although Wordsworth claimed that the poem was composed while he was still in Germany, it was in fact written during April 1801. Evidence for this later date comes from a letter Wordsworth wrote to Mary Hutchinson referring to "I travelled" as a newly created poem. In 1802, he instructed his

pos: William Wordsworth scholars consider a central work of Romantic literary theory, Wordsworth discusses what he sees as the elements of a new type of verse, one that is based on the "real language of men" and avoids the poetic diction of much 18th-century verse. Wordsworth also gives his famous definition of poetry as "the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility", and calls his own poems in the book "experimental". A fourth and final edition of "Lyrical Ballads" was published in 1805. Between 1795-97, Wordsworth wrote his only play, "The Borderers", a verse tragedy set

pos: Ballad an increasing interest in the ballad form among social elites and intellectuals, particularly in the Romantic movement from the later 18th century. Respected literary figures Robert Burns and Walter Scott in Scotland collected and wrote their own ballads. Similarly in England William Wordsworth and Samuel Taylor Coleridge produced a collection of "Lyrical Ballads" in 1798 that included Coleridge's "The Rime of the Ancient Mariner". Wordsworth, Coleridge, and Keats were attracted to the simple and natural style of these folk ballads and tried to imitate it. At the same time in Germany Goethe cooperated with Schiller on a series of ballads,

pos: The Lucy poems an interpretation that gains strength from the poem's connections to the other "Lucy poems". Lucy only appears in the second half of the poem, where she is linked with the English landscape. As such, it seems as if nature joins with the narrator in mourning for her, and the reader is drawn into this mutual sorrow. Although "I travelled" was written two years after the other poems in the series, it echoes the earlier verses in both tone and language. Wordsworth gives no hint as to the identity of Lucy, and although he stated in the preface to "Lyrical Ballads"

pos: Elegiac the classical elegiac meter. Afterward, Samuel Taylor Coleridge argued that the elegiac is the form "most natural to the reflective mind" and that it may be upon any subject, so long as it reflects on the poet himself. Coleridge was quite aware that his definition conflated the elegiac with the lyric, but he was emphasizing the "recollected" and "reflective" nature of the lyric he favored and referring to the sort of elegy that had been popularized by Gray. Similarly, William Wordsworth had said that poetry should come from "emotions "recollected" in tranquility" (Preface to "Lyrical Ballads", emphasis added). After the

pos: Romantic epistemology creating nothing real, but it does, as Colerdige notes, provide a “drapery” for the body of thought. The power of imagination is evident in the relationship of reality between parts and whole, and the ability thereby to associate parts of the same whole (phenomenon) (association by contiguity) that are not ordinarily so associated in time and space (association by continuity), "the perception of similitude in dissimilitude" which "principle is the great spring of the activity of our minds, and their chief feeder." (Wordsworth's Preface to the Lyrical Ballads) Indeed, it is in the ability to see what is similar in

pos: Biographia Literaria many facts concerning his education and studies and his early literary adventures, an extended criticism of William Wordsworth's theory of poetry as given in the preface to the "Lyrical Ballads" (a work on which Coleridge collaborated), and a statement of Coleridge's philosophical views. In the first part of the work Coleridge is mainly concerned with showing the evolution of his philosophic creed. At first an adherent of the associational psychology of David Hartley, he came to discard this mechanical system for the belief that the mind is not a passive but an active agency in the apprehension of reality. The

pos: Romantic poetry Romantic poetry Romantic poetry is the poetry of the Romantic era, an artistic, literary, musical and intellectual movement that originated in Europe toward the end of the 18th century. It involved a reaction against prevailing Enlightenment ideas of the 18th century, and lasted from 1800 to 1850, approximately. In early 19th century England, the poet William Wordsworth defined his and Samuel Taylor Coleridge's innovative poetry in his Preface to "Lyrical Ballads" (1798):I have said before that poetry is the spontaneous overflow of powerful feelings: it takes its origin in emotion recollected in tranquility: the emotion is contemplated till, by a

pos: Horace Horatian meters, including an ode on gout. Horace maintained a central role in the education of English-speaking elites right up until the 1960s. A pedantic emphasis on the formal aspects of language-learning at the expense of literary appreciation may have made him unpopular in some quarters yet it also confirmed his influencea tension in his reception that underlies Byron's famous lines from "Childe Harold" (Canto iv, 77): William Wordsworth's mature poetry, including the preface to Lyrical Ballads, reveals Horace's influence in its rejection of false ornament and he once expressed "a wish / to meet the shade of Horace...". John

pos: Romantic literature in English Southey (1774–1843) and journalist Thomas de Quincey (1785–1859). However, at the time Walter Scott (1771–1832) was the most famous poet. Scott achieved immediate success with his long narrative poem "The Lay of the Last Minstrel" in 1805, followed by the full epic poem "Marmion" in 1808. Both were set in the distant Scottish past. The early Romantic poets brought a new emotionalism and introspection, and their emergence is marked by the first romantic manifesto in English literature, the "Preface" to "Lyrical Ballads" (1798). In it Wordsworth discusses what he sees as the elements of a new type of poetry, one

pos: Early life of William Wordsworth lyrics of 1799". Besides an emphasis on nature, as Bennett Weaver points out, "The dominant theme of the poems of 1799 is death: death for the children of the village school, for Matthew's daughter, and for Lucy Gray." In his ""Preface to Lyrical Ballads"", which is called the "manifesto" of English Romantic criticism, Wordsworth calls his poems "experimental". The year 1793 saw Wordsworth's first published poetry, with the collections "An Evening Walk" and "Descriptive Sketches". He received a legacy of £900 from Raisley Calvert in 1795 so that he could pursue writing poetry. That year, he met Samuel Taylor Coleridge

pos: Lyrical Ballads (Coleridge) were written by Coleridge; all other poems were written by Wordsworth. In first edition, 1798 there were 19 poems written by Wordsworth and 4 poems by Coleridge. For the 1800 edition, Wordsworth added several poems which make up Volume II. The poem "The Convict" (Wordsworth) was in the 1798 edition but Wordsworth omitted it from the 1800 edition, replacing it with Coleridge's "Love". "Lewti or the Circassian Love-chaunt" (Coleridge) exists in some 1798 editions in place of "The Convict". The poems "Lines written when sailing in a Boat at evening" and "Lines written near Richmond, upon the Thames" are

pos: Edward Dowden In 1900 he edited an edition of Shelley's works. Other books by him which indicate his interests in literature include: Robert Southey (in the "English Men of Letters" series, 1880), his edition of "Southey's Correspondence with Caroline Bowles" (1881), and "Select Poems of Southey" (1895), his Correspondence of Sir Henry Taylor (1888), his edition of Wordsworth's "Poetical Works" (1892) and of his "Lyrical Ballads" (1890), his "French Revolution and English Literature" (1897; lectures given at Princeton University in 1896), "History of French Literature" (1897), "Puritan and Anglican" (1900), "Robert Browning" (1904) and "Michel de Montaigne" (1905). His devotion to Goethe

pos: The Feast of the Poets on the British Romantic poetry, including "Lyrical Ballads", that sought to overcome the standards of neoclassical poetry with emphasis on the problems inherent in the French standards created by those like Nicholas Despreaux-Boileau. As such, Hunt praises Wordsworth as the leader of a new type of poetry. Although Byron is not fully discussed in early editions of the poem, he is discussed in the notes as an individual who would become an important person who had already "taken his place, beyond a doubt, in the list of English Poets". By the 1815 edition, Byron was introduced and was praised by

pos: Suspension of disbelief of poetry. Chapter XIV describes the preparations with Wordsworth for their revolutionary collaboration "Lyrical Ballads" (first edition 1798), for which Coleridge had contributed the more romantic, gothic pieces including "The Rime of the Ancient Mariner". Poetry and fiction involving the supernatural had gone out of fashion to a large extent in the 18th century, in part due to the declining belief in witches and other supernatural agents among the educated classes, who embraced the rational approach to the world offered by the new science. Alexander Pope, notably, felt the need to explain and justify his use of elemental spirits in

pos: Michael (poem) famous Parable of the Prodigal Son in the Bible. Michael (poem) "Michael" is a pastoral poem, written by William Wordsworth in 1800 and first published in the 1800 edition of "Lyrical Ballads". The poem is one of Wordsworth's best known poems and the subject of much critical literature. It tells the story of an aging shepherd, Michael, his wife, and his only child Luke. Michael lost half his land when he used it as a surety for a nephew who had met with financial misfortune. When Luke reaches the age of 18, Michael sends Luke to stay in London with

pos: Michael (poem) Michael (poem) "Michael" is a pastoral poem, written by William Wordsworth in 1800 and first published in the 1800 edition of "Lyrical Ballads". The poem is one of Wordsworth's best known poems and the subject of much critical literature. It tells the story of an aging shepherd, Michael, his wife, and his only child Luke. Michael lost half his land when he used it as a surety for a nephew who had met with financial misfortune. When Luke reaches the age of 18, Michael sends Luke to stay in London with a merchant that he might learn a trade and

pos: The Spirit of the Age to have inaugurated the Romantic movement in English poetry with the publication in 1798 of their "Lyrical Ballads". Hazlitt was introduced to Wordsworth by Coleridge, and both had a shaping influence on him, who was privileged to have read "Lyrical Ballads" in manuscript. Though Hazlitt was never close with Wordsworth, their relationship was cordial for many years. As between Coleridge and Hazlitt, as well as Southey and Hazlitt, differences between Wordsworth and Hazlitt over politics were a major cause of the breakdown of their friendship. But there was another cause for the rupture. Hazlitt had reviewed Wordsworth's "The Excursion" in

pos: Early life of William Wordsworth introduced in Book XII of the 1805 edition. Early life of William Wordsworth William Wordsworth (7 April 1770 – 23 April 1850) was an English Romantic poet who, with Samuel Taylor Coleridge, helped launch the Romantic Age in English literature with their 1798 joint publication, "Lyrical Ballads". His early years were dominated by his experience of the countryside around the Lake District and the English moors. Dorothy Wordsworth, his sister, served as his early companion until their mother's death and their separation when he was sent to school. Wordsworth's parents were John Wordsworth, a legal agent for James Lowther, 1st

pos: Charles Lamb Vision of Repentance". Because of a temporary fallout with Coleridge, Lamb's poems were to be excluded in the third edition of the "Poems "though as it turned out a third edition never emerged. Instead, Coleridge's next publication was the monumentally influential "Lyrical Ballads" co-published with Wordsworth. Lamb, on the other hand, published a book entitled Blank Verse with Charles Lloyd, the mentally unstable son of the founder of Lloyds Bank. Lamb's most famous poem was written at this time and entitled "The Old Familiar Faces". Like most of Lamb's poems, it is unabashedly sentimental, and perhaps for this reason it

pos: The Lucy poems "Tintern Abbey", can be viewed as odes to his experience of nature. His poems can also be seen as lyrical meditations on the fundamental character of the natural world. Wordsworth said that, as a youth, nature stirred "an appetite, a feeling and a love", but by the time he wrote "Lyrical Ballads", it evoked "the still sad music of humanity". The five "Lucy poems" are often interpreted as representing Wordsworth's opposing views of nature as well as meditations on the cycle of life. They describe a variety of relationships between humanity and nature. For example, Lucy can be seen as

pos: Lucy Gray the visionary touch". Lucy Gray "Lucy Gray" is a poem written by William Wordsworth in 1799 and published in his "Lyrical Ballads". It describes the death of a young girl named Lucy Gray, who went out one evening into a storm. The poem was inspired by Wordsworth being surrounded by snow, and his sister's memory of a real incident that happened at Halifax. Wordsworth explained the origins when he wrote, "Written at Goslar in Germany in 1799. It was founded on a circumstance told me by my Sister, of a little girl who, not far from Halifax in Yorkshire, was

pos: Lucy Gray Lucy Gray "Lucy Gray" is a poem written by William Wordsworth in 1799 and published in his "Lyrical Ballads". It describes the death of a young girl named Lucy Gray, who went out one evening into a storm. The poem was inspired by Wordsworth being surrounded by snow, and his sister's memory of a real incident that happened at Halifax. Wordsworth explained the origins when he wrote, "Written at Goslar in Germany in 1799. It was founded on a circumstance told me by my Sister, of a little girl who, not far from Halifax in Yorkshire, was bewildered in a

pos: The Lucy poems letter from his friend Thomas Poole, who in his condolences mentioned Wordsworth's "A slumber": Later, the essayist Charles Lamb (1775–1834) wrote to Wordsworth in 1801 to say that "She dwelt" was one of his favourites from "Lyrical Ballads". Likewise Romantic poet John Keats (1795–1821) praised the poem. To the diarist and writer Henry Crabb Robinson (1775–1867), "She dwelt" gave "the powerful effect of the loss of a very obscure object upon one tenderly attached to it—the opposition between the apparent strength of the passion and the insignificance of the object is delightfully conceived." Besides word of mouth and opinions in

pos: Ode: Intimations of Immortality Walter Scott, wrote, "There are certainly some pieces there which are good for nothing... and very many which it was highly injudicious to publish... The Ode upon Pre-existence is a dark subject darkly handled. Coleridge is the only man who could make such a subject luminous." Francis Jeffrey, a Whig lawyer and editor of the "Edinburgh Review", originally favoured Wordsworth's poetry following the publication of "Lyrical Ballads" in 1798 but turned against the poet from 1802 onward. In response to Wordsworth's 1807 collection of poetry, Jeffrey contributed an anonymous review to the October 1807 "Edinburgh Review" that condemned Wordsworth's poetry

pos: Christabel (poem) Christabel (poem) Christabel is a long narrative poem by Samuel Taylor Coleridge, in two parts. The first part was reputedly written in 1797, and the second in 1800. Coleridge planned three additional parts, but these were never completed. Coleridge prepared for the first two parts to be published in the 1800 edition of "Lyrical Ballads", but on the advice of William Wordsworth it was left out; the exclusion of the poem, coupled with his inability to finish it, left Coleridge in doubt about his poetical power. It was published in a pamphlet in 1816, alongside "Kubla Khan" and "The Pains

pos: Raymond L. Brett Raymond L. Brett Raymond Laurence Brett (10 January 1917 – 6 December 1996) was Professor of English at University of Hull and a friend of Philip Larkin. He produced an edition of Wordsworth and Coleridge's "Lyrical Ballads" which went through two further editions. Some of his many other publications are listed below. He attended Bristol Cathedral School and University of Bristol and in 1940 received a B.Litt from University College, Oxford After working in the Admiralty, from 1940 to 1946, he was a Lecturer in English at the University of Bristol, from 1946 to 1952 and G. F. Grant Professor

pos: Lucy Gray snow-storm. Her footsteps were traced by her parents to the middle of the lock of a canal, and no other vestige of her, backward or forward, could be traced. The body however was found in the canal." "Lucy Gray" was first published in Volume 2 of the 1800 edition of "Lyrical Ballads". "Lucy Gray" is generally not included with Wordsworth's "Lucy" poems, even though it is a poem that mentions a character named Lucy. The poem is excluded from the series because the traditional "Lucy" poems are uncertain about the age of Lucy and her actual relationship with the narrator,

pos: James Humphreys (printer) with some of his sons and daughters. Humphreys published an 1802 edition of "Lyrical Ballads" by William Wordsworth and Samuel Taylor Coleridge. He died in Philadelphia and was buried in the cemetery of Christ Church. James Humphreys (printer) James Humphreys (January 15, 1748 – February 2, 1810) was a printer, publisher, merchant and politician in Nova Scotia and Pennsylvania. He represented Shelburne County in the Nova Scotia House of Assembly from 1793 to 1796. He was born in Philadelphia, the son of James Humphreys and Susanna Assheton. He studied medicine at the College of Philadelphia but left without completing his

pos: Lyrical Ballads of poetic pleasure. If the experiment with vernacular language was not enough of a departure from the norm, the focus on simple, uneducated country people as the "subject" of poetry was a signal shift to modern literature. One of the main themes of "Lyrical Ballads" is the return to the original state of nature, in which people led a purer and more innocent existence. Wordsworth subscribed to Rousseau's belief that humanity was essentially good but was corrupted by the influence of society. This may be linked with the sentiments spreading through Europe just prior to the French Revolution. Poems marked

neg: Kanteletar There are 60 historic poems, romances, legends, ballads and lyrical epic poems in the third book, which is called "Virsi-Lauluja" or "Hymns". There are 24 new poems in the preface. Lönnrot's third edition of "Kanteletar" in 1887 had the third book revised in full, as it contained 137 poems. Later editions adhered to the original printing with the exception of 10 poems which were taken from the third book as an appendix. The lyrical poetry of "Kanteletar" comes, for the most part, from Finnish Karelia. In his forward, Lönnrot makes note of Lieksa, Ilomantsi, Kitee, Tohmajärvi, Sortavala, Jaakkima and Kurkijoki

neg: Clémence Royer without informing me so that all the corrections to the 4th and 5th editions are lost. Besides her enormously long and blasphemous preface to the 1st edition she has added a 2nd preface abusing me like a pick-pocket for pangenesis which of course has no relation to "Origin". Her motive being, I believe, because I did not employ her to translate "Domestic animals". So I wrote to Paris; & Reinwald agrees to bring out at once a new translation for the 5th English Edition in Competition with her 3e edition — So shall I not serve her well? By the

neg: The Rime of the Ancient Mariner The Rime of the Ancient Mariner The Rime of the Ancient Mariner (originally The Rime of the Ancyent Marinere) is the longest major poem by the English poet Samuel Taylor Coleridge, written in 1797–98 and published in 1798 in the first edition of "Lyrical Ballads". Some modern editions use a revised version printed in 1817 that featured a gloss. Along with other poems in "Lyrical Ballads", it is often considered a signal shift to modern poetry and the beginning of British Romantic literature. "The Rime of the Ancient Mariner" relates the experiences of a sailor who has returned from a

neg: Bigger, Better Power Ballads II Bigger, Better Power Ballads II Bigger, Better Power Ballads II – The Greatest Driving Anthems in the World... Ever! is the 2nd edition in "The Greatest Driving Anthems in the World... Ever!" series, which is a part of The Best... Album in the World...Ever! brand. The album has also been released in an Australian and a New Zealand edition. These two versions have an album cover similar to those album covers in the 3rd edition of "The Greatest Driving Anthems in the World... Ever!" series. The 2nd edition of the Australian album series is called Bigger, Better Power Ballads, while

neg: Sir John Eardley-Wilmot, 2nd Baronet early 19th century. In 1893, the year after Sir John E. Eardley-Wilmot died, his son, William Assheton Eardley-Wilmot, who was named after the subject of the memoir, published a fifth edition of it. In the preface to the fifth edition, W.A. Eardley-Wilmot wrote: "The first edition appeared when I was a school boy at Old Charterhouse in the City, and I remember being sent to the office of the "Sporting Magazine" to copy out the verses on the celebrated Billesdon Coplow Run". On 17 April 1839 he married Eliza Martha Williams (1813–1887) at Leamington Priors in Warwickshire. She was the

neg: János Garay Kisfaludy Society, of which he became second secretary. Garay enriched Hungarian literature with numerous lyrical poems, ballads and tales. The first collection of his poems was published in Pest; and his prose tales appeared in 1845, under the title of "Tollrajzok" (Sketches with the Pen). His historical ballads and legends, styled Árpádok (Pest, 1847, 2nd ed. 1848), showed him to be a master in the art of ballad-writing. Some of his lyrical poems also are excellent, as, for example, "Balatoni kagylók" (Shells from Lake Balaton) (Pest, 1848). His legend "Bosnyák Zsófia" (Pest, 1847), and his poetical romance "Frangepán Kristófné" (Christopher

neg: Thomas Francis Carter is drawn from Dagny Carter's memoir of him in the preface to this edition. Carter, Thomas F., "The Invention of Printing in China and its Spread Westwards", Columbia University Press, New York, 1925. Carter, Thomas F. and Goodrich, Carrington, "The Invention of Printing in China and its Spread Westwards", 2nd edition, Ronald Press, New York, 1955. Thomas Francis Carter Thomas Francis Carter (1882–1925) was an American scholar who wrote the first book-length history in the West on the Chinese origins of printing. Thomas Francis Carter's early life is not well documented. The first we know of him is that he

neg: The Rime of the Ancient Mariner and begins to sink. The man is then seen adrift in a Lusitania lifeboat only to be picked up decades later by the SS "Andrea Doria". The Rime of the Ancient Mariner The Rime of the Ancient Mariner (originally The Rime of the Ancyent Marinere) is the longest major poem by the English poet Samuel Taylor Coleridge, written in 1797–98 and published in 1798 in the first edition of "Lyrical Ballads". Some modern editions use a revised version printed in 1817 that featured a gloss. Along with other poems in "Lyrical Ballads", it is often considered a signal shift to

neg: Bigger, Better Power Ballads II the 3rd edition of the Australian album series is called Bigger, Better Power Ballads II. Furthermore, there has been released a South African edition with 34 epic rock/pop love songs. Bigger, Better Power Ballads II Bigger, Better Power Ballads II – The Greatest Driving Anthems in the World... Ever! is the 2nd edition in "The Greatest Driving Anthems in the World... Ever!" series, which is a part of The Best... Album in the World...Ever! brand. The album has also been released in an Australian and a New Zealand edition. These two versions have an album cover similar to those album

neg: Power Ballads (compilation album) album covers in the 2nd edition of "The Greatest Driving Anthems in the World... Ever!" series. There is a South African edition with 36 rock love songs. Power Ballads (compilation album) Power Ballads - The Greatest Driving Anthems in the World... Ever! is the first edition in "The Greatest Driving Anthems in the World... Ever!" series, which is a part of The Best... Album in the World...Ever! brand. Each album includes power ballads from the 1960s onwards, while one album specifically includes Sixties Power Ballads. Two versions of this album were released in 2004 with 39 and 36 epic rock

neg: Hilbert's axioms 1902. This translation incorporated the changes made in the French translation and so is considered to be a translation of the 2nd edition. Hilbert continued to make changes in the text and several editions appeared in German. The 7th edition was the last to appear in Hilbert's lifetime. In the Preface of this edition Hilbert wrote: New editions followed the 7th, but the main text was essentially not revised. The modifications in these editions occur in the appendices and in supplements. The changes in the text were large when compared to the original and a new English translation was commissioned

neg: Romantic epistemology already extant in our surroundings. And these objective feelings, being linked to reality and the over-riding super-sensible determinant of that reality, act powerfully within the forms of nature and culture. As was expressed in the Preface to the Lyrical Ballads, "the power of the human imagination is sufficient to produce such changes even in our physical nature as might almost appear miraculous…" (This would point to the founder of the American New Thought movement, Phineas Parkhurst Quimby) In a famous passage from his "Biographia Literaria", Coleridge distinguishes between the primary imagination, which is the underlying agent of human perception, and

neg: Toru Dutt "Le Journal de Mademoiselle d’Arvers", written in French, were based outside India with non-Indian protagonists. Her poetry comprises "A Sheaf Gleaned in French Fields" consisting of her translations into English of French poetry, and "Ancient Ballads and Legends of Hindustan" which compiles her translations and adaptations from Sanskrit literature. "A Sheaf Gleaned in French Fields" was published in 1876 without preface or introduction. At first this collection attracted little attention. When her collection of Sanskrit translations "Ancient Ballads and Legends of Hindustan" was published posthumously in 1882 Edmund Gosse wrote an introductory memoir for it. In this he wrote of

neg: Bab Ballads new drawings, providing illustrations for the ten ballads that had previously lacked them, and replacing most of the others. He wrote: It was in this form that "The Bab Ballads" remained almost constantly in print until the expiration of the copyright at the end of 1961. James Ellis's new edition in 1970 restored the original drawings, retaining from the edition of 1898 only those drawings that went with the previously unillustrated ballads. There is no universally agreed list of poems that constitute "The Bab Ballads". The series clearly includes all the poems that Gilbert himself published under that title, but

neg: Animal Farm originally wrote a preface complaining about British self-censorship and how the British people were suppressing criticism of the USSR, their World War II ally: Although the first edition allowed space for the preface, it was not included, and as of June 2009 most editions of the book have not included it. Secker and Warburg published the first edition of "Animal Farm" in 1945 without an introduction. However, the publisher had provided space for a preface in the author's proof composited from the manuscript. For reasons unknown, no preface was supplied, and the page numbers had to be renumbered at the

neg: Marxism and Freedom: From 1776 Until Today to the Uprising of 1953 in East Germany and the 1956 Hungarian Revolution as more than revolts against Communism, because they based themselves on Marx's Humanism. Later editions added critical analyses of Mao Zedong and his Cultural Revolution. Marxist intellectual and Frankfurt School thinker Herbert Marcuse wrote the preface to the first edition of "Marxism and Freedom", and Scottish Socialist Harry McShane wrote a preface to the British edition. The 2000 edition featured a new foreword by U.S. Green Party activist and social theorist Joel Kovel. Marxism and Freedom: From 1776 Until Today Marxism and Freedom: from 1776 Until Today

neg: On Growth and Form not articulate his insights in the form of hypotheses that can be tested. He was aware of this, saying that "This book of mine has little need of preface, for indeed it is 'all preface' from beginning to end." The first edition appeared in 1917 in a single volume of 793 pages published by Cambridge University Press. A second edition, enlarged to 1116 pages, was published in two volumes in 1942. Thompson wrote in the preface to the 1942 edition that he had written "this book in wartime, and its revision has employed me during another war. It gave me

neg: Thomas Fortescue, 1st Baron Clermont edition London, 1880. He produced a Supplement in 1885 containing new information following his discovery of two 13th-century Fortescue charters in Eton College library. In the preface to the first edition he wrote of himself: In the preface to the second edition he wrote: Thomas Fortescue, 1st Baron Clermont Thomas Fortescue, 1st Baron Clermont (9 March 1815 – 29 July 1887) of Ravensdale Park in County Louth, Ireland, was an Irish Whig politician and was the historian of the ancient Fortescue family of 12th century Devonshire origins. He was born on 9 March 1815, the son of Chichester Fortescue (1777–1826)

neg: Hannah Cowley later wrote in her preface to the printed edition of "Albina", hers and More's plays do indeed have "wonderful resemblances." "Fatal Falsehood"'s opening on 6 May 1779, was followed by charges (perhaps written by Thomas Cowley) in the press that More stole her ideas from Cowley. On 10 August, More wrote to the "St. James Chronicle" to protest that she “never saw, heard, or read, a single line of Mrs. Cowley’s Tragedy.” In her preface to "Albina", Cowley allows that the theatre managers, who in those days also acted as script editors, may have inadvertently given More her ideas: “Amidst

neg: Joseph Ritson to a furious onslaught in the preface to a collection of "Ancient Songs" (printed 1787, dated 1790, published 1792). In a letter (14 March 1803) to Samuel Taylor Coleridge, Robert Southey wrote that “Ritson is the oddest, but most honest of all our antiquarians, and he abuses Percy and Pinkerton with less mercy than justice.” Ritson usually spared no pains himself to ensure accuracy in the texts of old songs, ballads and metrical romances which he edited. His collection of the Robin Hood ballads is perhaps his greatest single achievement. However, unlike the other works he edited, he gave in

neg: Idealism Davidson argued, contrary to Aristotle, that just as the soul cannot exist apart from the body, God cannot exist apart from the world. Idealist notions took a strong hold among physicists of the early 20th century confronted with the paradoxes of quantum physics and the theory of relativity. In "The Grammar of Science", Preface to the 2nd Edition, 1900, Karl Pearson wrote, "There are many signs that a sound idealism is surely replacing, as a basis for natural philosophy, the crude materialism of the older physicists." This book influenced Einstein's regard for the importance of the observer in scientific measurements.

neg: The Rime of the Ancient Mariner to sailors who thought it was a naval songbook. Coleridge made several modifications to the poem over the years. In the second edition of "Lyrical Ballads", published in 1800, he replaced many of the archaic words. The poem may have been inspired by James Cook's second voyage of exploration (1772–1775) of the South Seas and the Pacific Ocean; Coleridge's tutor, William Wales, was the astronomer on Cook's flagship and had a strong relationship with Cook. On this second voyage Cook crossed three times into the Antarctic Circle to determine whether the fabled great southern continent existed. Critics have also suggested

neg: Karl Robert Eduard von Hartmann 'Will' and Sigmund Freud's psychology of the 'unconscious'. In a sense his thought creates the bridge between the Post-Kantian views of Will (in particular Schopenhauer's) and the Zürich school of psychology. Rudolf Steiner, referring to Hartmann's "Critical Establishment of Transcendental Realism" ("Kritische Grundlegung des transzendentalen Realismus", 2nd Edition Berlin, 1875) gave his opinion, in the preface to his own book "Truth and Knowledge" (1892), that Hartmann's world-view was "the most significant philosophical work of our time". Carl Jung wrote in his autobiography, "Memories, Dreams, Reflections" (1963), that he had read von Hartmann "assiduously". Philipp Mainländer dedicated an essay to the

neg: Open Arms (Journey song) The song and its status as a power ballad has been remembered years following its original release. One critic praised "Open Arms" as "a lyrical rock ballad and one of the band's best-written songs", while the Associated Press wrote that the song was "fueled by Perry's operatic, high-flying vocal style." It has also been referred to as a "wedding anthem" (in a December 2005 "Lumino" article), and VH1 placed the song at number 1 on their "25 Greatest Power Ballads" list. AllMusic said "One of rock's most beautiful ballads, "Open Arms" gleams with an honesty and feel only Steve Perry

neg: Jean José Marchand as art critic for "Combat". Through this he met Pascal Pia, Albert Camus and Maurice Nadeau. As a Gaullist, in 1947 he joined the Rally of the French People (RPF: Rassemblement du peuple français). Marchand wrote the preface to the catalog of "L'Imaginaire", a group show at the Galerie Luxembourg in December 1947 in which he characterised the group's work as "lyrical abstraction". He connected poets such as Henri Michaux to André Breton's Surrealism, writing "In truth Michaux is the true Surrealist, the man who abolishes words and gives us, in their pure state, the subterranean products of the mind."

neg: Cheng-Gao versions Gao wrote this preface in appreciation of Cheng's offer of collaboration. The 1791 preface was replaced with a more impersonal, jointly written foreword, also in Classical Chinese: The foreword was dated March 5, 1792 (壬子花朝後一日). The gist of this lengthy foreword is that both editors, Cheng and Gao, felt the 1791 edition was marred by misprints and sloppy edits. They took more time this time round to collate and compare further versions in order to refine the present 1792 edition. The two friends discovered another manuscript of the last 40 chapters (善本) and based this 1792 edition on this superior

neg: Gulab Khandelwal dissertations were presented under the guidance of Shri Hans Raj Tripathi from Awadh University. Degree of Ph. D has been awarded to the following persons on his literature: US and Canada India Gulab Ji's Bhakti Geet and Ghazals are sung by lots of artists in India as well as in USA. Works of Gulab Khandelwal Gulab Khandelwal Gulab Khandelwal (21 February 1924-July 2017) was an Indian poet who wrote poetry in different forms such as "Lyrics", "Sonnets", "Rubais" (Quatrains), "Dohas" (Couplets), "Odes", "Elegies", "Lyrical Ballads", "Epics", "Poetic Dramas", "Ghazals", and "Masnavi" with equal felicity. He even introduced some of these

neg: Sefer haYashar (midrash) publisher, as well as playwright, diplomat, journalist, and utopian. The translator of the 1840 edition was not published, but indicated as an eminent Jewish scholar in Britain in the comments of one of the four certificating Hebraist scholars to the publisher in the preface to the 2nd editions: Subsequently, the translator identified himself as Moses Samuel of Liverpool (1795–1860), who obtained a copy of the 1625 Hebrew edition and became convinced that the core of this work truly was the self-same "Book of the Upright" referenced in Hebrew scriptures. He translated it into English, and in 1839 sold it to

neg: John Finlay (poet) merits and defects which we look for in the early compositions of true genius". In 1808 Finlay published "Scottish Historical and Romantic Ballads, chiefly ancient, with Explanatory Notes and a Glossary", As the title indicates, the majority of the ballads were not his own composition, but Sir Walter Scott nevertheless wrote of the book: "The beauty of some imitations of the old Scottish ballads, with the good sense, learning, and modesty of the preliminary dissertations, must make all admirers of ancient lore regret the early loss of this accomplished young man". Finlay also published an edition of Blair's "Grave", wrote

neg: Martin van den Hove et annuo etc. cosarcinnavit" ("Defense of the Astronomical Observations and Theses of Tycho Brahe against the accusations and false claims of Martinus Hortensius of Delft, which appear in his preface of the commentary by his teacher Philip van Landsberge, who wrote on the daily and annual motion of the earth"). Van den Hove had attacked many of Tycho Brahe's claims in his preface to his Latin translation of a work by Landsbergen. This was the "Commentationes in motum terrae diurnum, & annuum" (Middelburg, 1630). The first Latin edition of Landsberge's illustrated treatise, the "Commentationes" taught the probability of earth’s motion

neg: Gulab Khandelwal Gulab Khandelwal Gulab Khandelwal (21 February 1924-July 2017) was an Indian poet who wrote poetry in different forms such as "Lyrics", "Sonnets", "Rubais" (Quatrains), "Dohas" (Couplets), "Odes", "Elegies", "Lyrical Ballads", "Epics", "Poetic Dramas", "Ghazals", and "Masnavi" with equal felicity. He even introduced some of these forms into Hindi literature and, apart from Hindi, has also written poetry in Urdu and English. The span of his poetic language touches upon Sanskrit on one end and Urdu on the other. Gulab Khandelwal died in Ohio on 2 July 2017. Gulab Khandelwal was born in the town of Navalgarh, Rajasthan (India). He spent

neg: Pitching Sacred Harp music of "The Sacred Harp", the singing master Lazarus J. Jones published a competing volume, "The Southern Minstrel". An evaluative preface written by George McCormick praised Jones for including a method for pitching without the use of a pitch pipe: David Warren Steel summarizes the pitching method taught by Jones as follows: B. F. White, who (with E. J. King) was the originator of "The Sacred Harp", evidently judged that it was appropriate to pitch a song for the occasion. In his preface to the 1860 edition, he wrote: He includes a definition of "pitch pipe" in his musical glossary, but

neg: Frank Belknap Long of fantasy writers (along with Robert Bloch, August Derleth, Robert E. Howard, Henry Kuttner, Clark Ashton Smith, C. M. Eddy, Jr., and Donald Wandrei) who corresponded regularly with each other and influenced and critiqued each other's works. Long wrote a brief preface to the stillborn edition of Lovecraft's "The Shunned House" (1928). Lovecraft, in turn, ghostwrote for Long the preface to Mrs William B. Symmes' "Old World Footprints" (W. Paul Cook/The Recluse Press, 1928), a slim poetry collection by Long's aunt. Long's short novel "The Horror from the Hills" ("Weird Tales", Jan and Feb-March 1931; published in book from 1963)

neg: George Sturt Its style is of the presumed weight and sometimes elegance of his studied authors: Ruskin (4), Thoreau, Emerson and Carlyle (8). References 2 [needing source mode] (2) The Wheelwright's Shop publisher - Cambridge at the University Press, 1943 [First Edition 1923] (3) Preface, page v, ibid. (4) Contents ibid. (5) Page 12 ibid. (6) Page 11 ibid. (7) Page 3 ibid. (8) Preface, page vi,ibid. (9) Page 14 ibid. George Sturt George Sturt (1863-1927), who also wrote under the pseudonym George Bourne, was an English writer on rural crafts and affairs. He was born and grew up in Farnham, Surrey.

neg: David Conforte it was composed in Egypt, about the year 1683, if Cassel's conjecture be correct. Conforte was a mere compiler, and at times his data are contradictory. The original manuscript was brought from Egypt by R. David Ashkenazi of Jerusalem, who, to judge from a note in his preface, gave it the title "Ḳore ha-Dorot," and had it printed in Venice in 1746, without mentioning the name of the author. This poor edition has been critically reedited, and supplied with notes and index, by David Cassel (Berlin, 1846), who follows the pagination of the first edition. Conforte also wrote a volume

neg: Cheng-Gao versions (冯其庸). This 1982 edition was subsequently revised in 2008 and 2015. Original Cheng-Gao editions are now very rare and are highly prized collector's items – less than twenty copies are believed to be extant. Cheng Weiyuan and Gao E wrote prefaces for the 1791 Chengjia edition (程甲本) in Classical Chinese. Both prefaces were short and owing to the brevity of Classical Chinese, are reproduced here in full: Cheng Weiyuan's 1791 preface was as follows: In his 1791 preface Cheng Weiyuan stated that the novel, which he renamed "Dream of the Red Chamber", was originally entitled "The Story of the Stone".

neg: Sozomen Sozomen was first printed ("editio princeps") by Robert Estienne at Paris in 1544, on the basis of "Codex Regius," 1444. There are later editions by Christophorson and Ictrus (Cologne, 1612). A noteworthy edition was done by Valesius (Cambridge, 1720), who used, besides the text of Stephens, a "Codex Fucetianus" (now at Paris, 1445), "Readings" of Savilius, and the indirect traditions of Theodorus Lector and of Cassiodorus-Epiphanius. Hussey's posthumous edition (largely prepared for the press by John Barrow, who wrote the preface) is important, since in it the archetype of the "Codex Regius", the "Codex Baroccianus" 142, is collated for the

neg: Irving Berlin he knew so many hit songs, and Berlin modestly replied, "I wrote them." An important song that Berlin wrote during his transition from writing ragtime to lyrical ballads was "A Pretty Girl is Like a Melody," which became one of Berlin's "first big guns," says historian Alec Wilder. The song was written for Ziegfeld's "Follies of 1919" and became the musical's lead song. Its popularity was so great that it later became the theme for all of Ziegfeld's revues, and the theme song in the 1936 film "The Great Ziegfeld". Wilder puts it on the same level as Jerome Kern's

neg: Minstrelsy of the Scottish Border as he wrote it that it outgrew its intended place in the "Minstrelsy" and was instead published as "The Lay of the Last Minstrel", laying the foundation of Scott's tremendous fame as an original poet. The first edition, printed by James Ballantyne and published by Cadell and Davies, appeared in two volumes in January 1802. The print-run was 800 copies and the price for most copies 18 shillings. It included 53 ballads. That edition took only six months to sell out, but a second one, with additions to all three categories bringing it up to 87 ballads, was published in

neg: Pusapati Ananda Gajapati Raju Telugu at Pithapuram and Madras. The chief of the actors was Butchi Sastry and the society was also referred to as 'Butchi Sastry Troupe'. Ananda Gajapati has invited Gomatham Srinivasa Charyulu, known as Indian Garrick to his court and also patronized the play "Harischandra" he wrote in English. The Maharajah had a forward-looking temperament and progressive views. He it was who originally initiated social reform. Gurajada Appa Rao who wrote the epoch-making play Kanyasulkam dedicated it to the Maharajah. The writer declares in his preface to the first edition that the Maharajah inaugurated a brilliant epoch in the history of

neg: Joseph Noel Paton of the illustrations for his 1842 book "The Book of British Ballads". Other commissions to design book illustrations included the 1844 edition of Shelley's lyrical drama "Prometheus Unbound", an 1845 publication of Shakespeare's "The Tempest" and an 1863 version of Coleridge's poem "The Rime of the Ancient Mariner". In 1844 Paton's first painting, "Ruth Gleaning", was exhibited at the Royal Scottish Academy. He won a number of prizes for his work including for two of his most famous works "The Quarrel of Oberon and Titania" and "The Reconciliation of Oberon and Titania" (1847 – Westminster Hall), both of which are

neg: The Eve of Saint Venus The Eve of Saint Venus The Eve of Saint Venus is a novella, or, as author Anthony Burgess put it, "opusculum", on the theme of marriage. It was first published in 1964. A new edition of the book, which Burgess described as a "tribute to matrimony", was dedicated to the Prince and Princess of Wales, and published in 1981, the year of their marriage. The Prince and Princess separated in 1992, and were divorced in 1996. Burgess wrote in the preface to another edition, that of 1984: "I dedicate this work to all ... who, ... having achieved [marriage]... are

neg: Never Too Far/Hero Medley "Rainbow" (1999), which she wrote alongside David Foster and Diane Warren. After Carey abandoned work with longtime collaborator Walter Afanasieff, she began working with Foster throughout "Rainbow". During their many creative meetings, Foster introduced Carey to Warren, a song-writer in which he had collaborated several times in the past. Throughout the process of writing and producing the song, the female pair did not work well with each other, as Carey accused Warren of repeating lyrical phrases too often, while Warren did not agree with some of Carey's production choices. After they completed the song, Carey wrote two other ballads with

neg: Samuel G. Armistead on August 7, 2013, at 85 years old, in Davis, California, due to complications from surgery. Samuel G. Armistead wrote more than 30 books and 500 articles. Alone or in collaboration with colleagues, Samuel G. Armistead published exemplary studies and collections of medieval Spanish literature (epic, chronicles, and lyrical jarchas primitive ballads) and its modern oral survivals, as well as studies of the Pan-Hispanic Ballad and pan-European and language, culture and literature of the Sephardic Jews and other minority communities and cultures. He also wrote studies considered indispensable on the languages and oral literature of various Hispanic linguistic groups from

neg: Jiuhuang Bencao published (Swingle 1935: 195, Needham 1984: 334-5, Unschuld 1986: 221). In 1525, Bi Mengzhai (畢蒙齋), the governor Shanxi, ordered a second edition; the physician Li Lian (李譧) wrote the preface and Lu Dong (陸東) engraved the woodblocks. Li's preface explains the reason Zhu Xiao wrote the book. The climate and soil of the five regions (he said) is not at all the same, so the local plants are also quite different in form and quality. The names are numerous and complicated, and it is difficult to distinguish one from another, the true from the false. If one did not have

neg: Holy Dragons the band. In 1999 the band gave a lot of live performances, starred in the TV show, wrote half an hour live video for the TV- program "City Jazz, City Blues", then recorded an album "Rock Ballads / Dragon Ballads" - consisting entirely of ballads, 8 songs, some of them were included into the compilation album "The Best" and some of them were also released as a bonus track to the earlier versions of CD- edition of "Judgment Day" and "Gotterdammerung", and a little later – "House of The Winds" (album, which is based on the songs composed in the