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	Augustan poetry - Wikipedia, the free encyclopedia
		Augustan poetry is the poetry that flourished during the reign of Caesar Augustus as Emperor of Rome, most notably including the works of Virgil, Horace, and Ovid.
		In English literature, Augustan poetry is a branch of Augustan literature, and refers to the poetry of the eighteenth-century, specifically the first half of the century.
		It was a poem wholly consonant with the poetry of the Scribblerians.
	en.wikipedia.org /wiki/Augustan_poetry (3026 words)

	Augustan literature - Wikipedia, the free encyclopedia
		Augustan literature is a style of English literature whose origins correspond roughly with the reigns of Queen Anne, King George I, and George II.
		In philosophy, it was an age increasingly dominated by empiricism, while in the writings of political-economy it marked the evolution of mercantilism as a formal philosophy, the development of capitalism, and the triumph of trade.
		This new Augustan period exhibited exceptionally bold political writings in all genres, with the satires of the age marked by an arch, ironic pose, full of nuance, and a superficial air of dignified calm that hid sharp criticisms beneath.
	en.wikipedia.org /wiki/Augustan_literature (8613 words)

	Encyclopedia :: encyclopedia : Poetry (Site not responding. Last check: 2007-10-21)
		Poetry may use condensed form to convey an emotion or idea to the reader or listener, or it may use devices such as assonance, alliteration and repetition to achieve musical or incantatory effects.
		Plays, for example, may be written in prose or poetry, or in a mixture of the two In this context, poetry is defined purely by the use of the poetic line in the play as opposed to the use of prose.
		Poetry is as precise as geometry." ~ Gustave Flaubert
	www.hallencyclopedia.com /Poetry (2690 words)

	Poetry
		Anglo-Welsh poetry Anglo-Welsh poetry is a subset of Dylan Thomas is the most famous exponent of the genre, and it is th...
		Dramatic poetry Dramatic poetry is poetry that uses the discourse of the characters involved to tell a story or portray...
		The New Poetry The New Poetry was a Ted Hughes.
	www.brainyencyclopedia.com /topics/poetry.html (1534 words)

	Introduction to 18th Century (U. K.)
		Augustan poets use traditional forms to explore clearly defined “general truths”: their subject was frequently “Man” and “Nature” and their poetry a demonstration of the orderly and logical arrangement of the universe and the place of “Man” and “Nature” within it.
		Poetry of Sensibility, like Augustan poetry, is in part a response to the primary issues concerning the poets and their readers.
		Augustan poets and poets of sensibility, in other words, try to write poetry which will offend no one by avoiding direct commentary on the divisive issues of class conflict, religious strife, and the political world.
	www.unlv.edu /faculty/droisen/UK_18C_Intro.html (1073 words)

	The Augustan Age
		The term 'the Augustan Age' comes from the self-conscious imitation of the original Augustan writers, Virgil and Horace, by many of the writers of the period.
		Dryden forms the link between Restoration and Augustan literature; although he wrote ribald comedies in the Restoration vein, his verse satires were highly admired by the generation of poets who followed him, and his writings on literature were very much in a neoclassical spirit.
		This 'nature' of the Augustans, however, was not the wild, spiritual nature the romantic poets would later idealize, but nature as derived from classical theory: a rational and comprehensible moral order in the universe, demonstrating God's providential design.
	www.ruthnestvold.com /Augustan.htm (2266 words)

	[No title]
		While the emphasis will be on the Augustan age proper, another useful dimension of the seminar will be to provide a model, pertinent to the teaching of the seminar members, for adopting a similarly synoptic approach to the study of other historical and cultural periods.
		Small wonder that from the perspective of later ages, including Augustan France and Augustan England, the age of Augustus seemed one of unshakable solidity, reinforced by "classicism," and its achievements in poetry, art, and architecture were considered as static givens.
		In brief, many Augustan phenomena--such as the form of government (the "principate"), poetic and artistic conventions, and the imperial religion-- were in a state of nascence and evolution, a fact that tends to be obscured by their routinization in later times.
	www.utexas.edu /depts/classics/faculty/Galinsky/NEHfull.html (2952 words)

	03-19lev (Site not responding. Last check: 2007-10-21)
		O'Gorman is interested in the relationship of poetry to historical time and the challenge that the literary aesthetic poses to its function as a form of history (historiography?).
		She argues that its closest parallels may be found in poetry of the Augustan period which reveal similar concerns with variation and careful attention to symmetry.
		Pagán, 'Actium and Teutoburg: Augustan Victory and Defeat in Vergil and Tacitus' (pp.
	www.classics.und.ac.za /reviews/0319lev.htm (2332 words)

	University of Wales, Lampeter - Department of Classics
		The brilliant and innovative poetry of this relatively short period can rightly be considered to be one of the great literary achievements of the Romans.
		The poetry produced in this period is frequently self-conscious, offering reflections on the art of writing poetry and what it means to be a poet.
		To introduce students to recent critical advances in the study of Augustan poetry and develop their appreciation of the complexity of these works.
	www.lamp.ac.uk /classics/undergrad_modules/part2/augustan_poetry.htm (376 words)

	Call for Papers Flavian Poetry (Site not responding. Last check: 2007-10-21)
		We intend to begin by concentrating on the Latin poetry of one specific period, that of the Flavian emperors (69–96).
		Our reason for this (apart from practical considerations) is that the various genres of Flavian poetry (epic, Silvae, epigram), although written within the same cultural context and in one case (Statius) even by the same person, are often studied in isolation, and that it would be worth while to promote more communication and coherence.
		Scholars who wish to attend are invited to express their interest by an e-mail to R.R.Nauta@let.rug.nl; those who wish to contribute a paper should send a 1-page abstract to the same address before 1 February 2003; they will be informed whether their paper is accepted before 1 March 2003.
	odur.let.rug.nl /~nauta/flavianpoetry/callforpapers.htm (463 words)

	"Sinister Appetites" and Heroic Couplets: (Site not responding. Last check: 2007-10-21)
		Whereas the pastoral was, to the Augustans, a poem that had as its main function the creation of an ideal image of rural innocence and happiness, the georgic was a poem that purported to teach its readers, in a pleasurable manner, about an activity or process connected with rural life.
		In the Augustan georgic, then, Heaney finds a traditional form, a genre, that he can retrieve and use, suitably modified, for his present purpose of celebrating and preserving those traditional aspects of rural Irish life—thatching, potato digging, water divining, flsmithing—that are threatened with extinction.
		In its realistic portrayal of country life, the georgic is related to mock-pastoral, or anti-pastoral, a genre almost as popular as the pastoral in Augustan poetry.
	libweb.sfasu.edu /real/vol26-1/SApp.htm (3687 words)

	LATN 3002
		The didactic theme of all Augustan poetry is that the old world and the old ways are not only immoral but destructive.
		The dominant imagery of all Augustan poetry is that of a new Rome rising from the ashes of the old yet morally "immature" world.
		This suggests a world of lyric poetry (traditionally personal and light in theme) informed both by a didactic strain (Hesiod) as well as by a sort of scientific knowledge of man, nature, and god: Vergil's conception of techne is to be a poet philosopher.
	personal.ecu.edu /stevensj/latn3002 (2270 words)

	[No title]
		Iubere, for instance, which has occasioned many a grim view of Augustan "pressure" on Vergil, is shown (there is an appendix detailing its relevant occurrences from Cicero to Probus) to have been a rather conventional term in discourse about literary instigation--certainly not an "order" in the modern sense of the word.
		As I am arguing elsewhere, many of the themes in Augustan poetry were part of contemporary discourse and could be taken up from different perspectives even in the oeuvre of the same poet (this is not quite the same as more "voices").
		It was a time (and poetry) of evolution and experimentation with none of the statism and fixity that was imposed on it by later "Augustan" ages.
	www.utexas.edu /depts/classics/faculty/Galinsky/white.html (1186 words)

	[No title]
		As far as epic poetry was concerned, Rome had poor material with which to deal: neither her mythology--the most prosaic and business-like of all mythologies--nor her history seemed to give any real scope for the epic writer.
		Even in a saner society poetry written primarily for recitation must have run to rhetoric; in a rhetorical age the result was disastrous.
		There is evidence to show that all the poets of the Augustan age gave recitations.[74] But the practice gradually increased and became a nuisance to all save the few who had the courage to stand aloof from these mutual admiration societies.
	www.gutenberg.org /dirs/etext05/8pagp10.txt (17839 words)

	history [cont. 2] (Site not responding. Last check: 2007-10-21)
		Neoclassical poetry is sometimes called Augustan poetry because these poets lived during the time of the Roman emperor Augustus.
		Romantic poetry started in 1798 with the publication of Lyrical Ballads [a collection of poems by the English poets William Wordsworth and Samuel Taylor Coleridge.] Wordsworth defined poetry as "the spontaneous overflow of powerful feelings." A contrast with the neoclassical ideal of controlled, restrained poetry.
		Wordsworth argued that good poetry results only from the imaginative expression of emotions that the poet has actually experienced.
	www.1loveps.com /geninfo_history_cont2.html (190 words)

	Bryn Mawr Classical Review 98.1.26
		In regard to the former, it is a basic characteristic of Augustan culture in general, and not just Augustan poetry, to exhibit fluidity and more than one dimension.
		The simplification of Augustan phenomena to serve as convenient foils for Ovid's manipulations runs the risk of weakening B.'s interpretations when they could be strengthened with a more refined approach.
		The "Augustans," for their part, are welcomed with a smile and escorted to the empty seat of the privileged spectator, who is seized unawares by the narrative and its theatrical games" (p.
	ccat.sas.upenn.edu /bmcr/1998/98.1.26.html (3181 words)

	Poetry Booklist April 2006- McQuade Library - Merrimack College (Site not responding. Last check: 2007-10-21)
		Ricardian poetry : Chaucer, Gower, Langland and the 'Gawain' poet
		Poetry & contemplation, a new preface to poetics,
		Latin poetry; the new poets & the Augustans
	www.noblenet.org /merrimack/booklists/poetry06.htm (3550 words)

	Alexander Pope
		Pope is often denied originality of thought, but it may be fairer to call his thought conventional but nuanced by metrical variety and apt illustration — a very different tradition to Romanticism and its present-day derivatives.
		The poetry was also modelled on the classical authors, dealing with matters of public or perennial concern — truth, friendship, patriotism — which again can sound remote or inauthentic now.
		Pope was not straightforward in his business dealings, and made enemies too quickly, however, and the later satires need an exact understanding of eighteenth century mores, and knowledg of its personalities, to come alive.
	www.poetry-portal.com /poets48.html (995 words)

	[No title]
		He also provides immensely useful documentation on such subjects as the connections of all the Augustan poets, or the social status and income of all the known Roman poets from the beginnings of Roman literature to the middle of the second century CE.
		White sums up his viewpoint in a sentence of deliberately provocative blandness: 'Augustus approached poetry and poets in the same benign and patronizing spirit as did other Roman aristocrats, and poets in their turn experimented to devise overtures which would please him' (95).
		For some piece of poetry to count as 'political' or 'propagandistic' according to White, Augustus or Maecenas need to have stipulated a particular subject and its treatment, they need to have applied pressure to ensure its delivery, and the result has to be fulsomely orientated towards the interests of the regime.
	www.infomotions.com /serials/bmcr/bmcr-9406-feeney-promised.txt (1484 words)

	Bryn Mawr Classical Review 2004.07.08
		The text is aimed at beginners with little or no background in Augustan poetry and provides an excellent assortment of translations suitable for undergraduate courses in Roman civilization and classical literature.
		The introduction continues with brief essays on the characteristics and style of the six authors whose works are represented (Virgil, Horace, Propertius, Tibullus, Sulpicia, and Ovid), a chronological table from the founding of Rome to the death of Ovid, and four maps.
		Each selection from an author's works is prefaced by a brief opening paragraph explaining the style and aim of the genre, which will give readers a general sense of the contents without exhausting the subject or getting into fine points that may or may not be relevant for the instructor's purposes.
	ccat.sas.upenn.edu /bmcr/2004/2004-07-08.html (1281 words)

	Publisher description for Library of Congress control number 84017061
		Augustan poetry has too often been thought of as uniform, staidly classical, even dull.
		She shows it to be poetry of great energy and diversity: of extravagant conceits, subversive parody, incessant stylistic and formal experimentation; a self-consciously innovative poetry that sought to express and extend the perpetual, restless activity of the human mind.
		Both the principles and techniques of the verse are related to similar elements in the novels of the period; the book's numerous illustrations help to show how the poems were presented and interpreted in their own time.
	www.loc.gov /catdir/description/cam031/84017061.html (218 words)

	Reading HO 2
		Norlin Reserve under “Week 4” Passages from Augustan Poetry (Vergil, Horace, Ovid) in K. Chisholm and J. Ferguson Rome.
		The Augustan age is commonly referred to as the "Golden Age" of Latin poetry.
		Finally we are reading Ovid, youngest of the Augustan poets (43 BC - AD 17).
	www.colorado.edu /Classics/clas4091/Text/ReadingHO2.htm (779 words)

	Honors English III - College Level Course
		Types of poetry were important in the 18th century.
		Mention four ways in which the beliefs of the Augustan Age came to be challenged in the later eighteenth century.
		Describe two ways in which the Romantics moved away from the literature of the Augustan Age.
	members.aol.com /gdepartmen/page2 (1570 words)

	Gregory Colomb: Designs on Truth
		back: $24.95 SH Designs on Truth provides a reinterpretation of Augustan poetry, not as works to be defended before the court of Matthew Arnold and the Romantic tradition but as works that examine the rich relationships among text, culture, and world.
		By demonstrating how these poems are supported by the genre's poetics, he brings out ways these poems differ from other "Augustan" poems such as the Horatian epistles that are often discussed with them.
		Focusing chiefly on the mock-epic's representations in terms of class and "kind," this study returns historical particulars to the central role that the poets had always given them and seeks to understand how they are made poetic.
	www.psupress.org /books/titles/0-271-00805-9.html (294 words)

	'Promised Verse': Poetry, influence and power
		But the Augustan era was a very fluid literary society, and artists influenced patrons as much as patrons influenced artists.
		What patrons wanted was poetry that represented all facets of contemporary life, not just poems in praise of themselves.
		In "Promised Verse," White shows that the interpretation of Augustan poetry as "manipulated" by the emperor actually dates from 1675, when a French abbot named Rene Le Bossu published a six-book treatise that sought to apply Aristotelian principles to every aspect of the criticism of epic poetry.
	chronicle.uchicago.edu /940217/white.shtml (888 words)

	GradeSaver: Ovid: The Love Poems Essay: Ovid and Horace: Poetry for Augustus
		Ovid, on the other hand, in his poetry before 8 AD, chose to write about the more universally intriguing subject of love, and he did so in a way that flouted Augustan morality reforms and Augustus himself.
		Both Horace in Epistle II.1 and Ovid in his Tristia explain necessary qualities of poetry under Augustus's rule---Horace enumerating virtues of the poet and his art, and Ovid using his own prior writing as a negative example for what Augustan poetry ought to be like.
		Ovid too recognizes what ought not be in Augustan poetry by admitting his past mistakes and humbling himself to beg for Augustus's pardon in Tristia.
	www.gradesaver.com /classicnotes/titles/ovid/essay1.html (1127 words)

	[No title]
		Augustan Satire: Intention and Idiom in English Poetry, 1660-1750.
		The late Augustans: longer poems of the later eighteenth century, ed.
		A Poetics of Augustan Elegy: Studies of Poems by Dryden, Pope, Prior, Swift, Gray, and Johnson.
	www.chass.utoronto.ca /~cpercy/courses/442poetr.htm (589 words)

	[No title]
		Traditions of Western literature, as exemplified by the poetry of Augustan Rome and Elizabethan England, have perpetuated the alienation of man's spiritual existence from the natural world around him, and yet, are filled with allusions to man's yearning for the very natural world that his finer spiritual self has been taught to abhor.
		If, as is illustrated by the themes of Roman and Elizabethan poetry, man sees himself as existing outside of the natural realm, he will not be as inclined to preserve his environment and fully harmonize himself with it.
		The poetry of Augustan Rome and the poetry of Elizabethan England both portray the natural world as a mere physical realm that stands separate and apart from the spiritual domain, although the manner in which these two periods depicted this separation differed.
	www.nyu.edu /classes/keefer/nature/Scarpa.html (2565 words)

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