Both Collingwood and Wittgenstein link philosophy with poetry. Collinwood thought that “good philosophy and good poetry are not two different kinds of writing, but one,” while Wittgenstein wrote that “philosophy ought to be written only as a poetic composition.” In this chapter, I present what these two philosophers say about the relation between philosophy and poetry and argue that, their differences notwithstanding, both want philosophers to express their times, just like poets, and lead their audience to the future in a process of self-knowledge and reform. Finally, I comment on Richard Rorty’s remarks on the relation between philosophy and poetry. I argue that, unlike Collingwood and Wittgenstein, Rorty wants poetry to replace, and perhaps even eliminate, philosophy, but agrees with them and Nietzsche that poets ought to act as prophets, not in the sense of foretellers, but in the sense of inspiring leaders and groundbreakers.

Chapter 3 approaches Guru Nanak’s poetic artistry in “the language of infinite love – bhākhiā bhāo apāru” from seven angles: (1) the pluralistic medieval north-Indian linguistic context, (2) theophilial heteroglossia comprising infinite names of the singular truth, (3) anthropophilial commercial configurations (4) somatophilial signifiers of the formless One, (5) female-embodied theophilia, (6) biophilial worship (Arati, Samā’), (7) Kristeva’s materiality of language in the guru-bāṇī identity. The chapter explores how Guru Nanak’s images, symbols, paradoxes, metaphors, and allusions materialize the transcendent One. The message and the medium seamlessly coalesce to reveal the shared humanity usurped by age-old dualities, theological conflicts, and colonial mechanisms. The finale analyzes the guru-bāṇī (language) identity birthed by the founder Guru Nanak and embodied in the textual Guru (the GGS) – the sovereign presiding at all Sikh ceremonies and rites of passage, the sacrosanct body circulating with the flow of Sikh gurus, Hindu bhagats, and Muslim sufis.

J. Blake Couey, in “Isaiah as Poetry,” begins with the basic fact that nearly all of the book is written as poetry and encourages readers to approach it as such. He surveys its erudite vocabulary, its creative use of sound, and its parallelism and larger strophic structures. He closes with an extended appreciation of the “imaginative worlds” evoked in the book through the use of imagery and metaphors. He observes of its poetic vision that “its scope is nearly boundless.”

Lucian is an author inextricably connected to prose. In this chapter, I argue that poetry is a crucial and overlooked aspect of his literary identity. After an initial account of the striking presence of poetry in Lucian’s oeuvre and in wider Second Sophistic intellectual production, which operates beneath and beyond statements of disdain and disavowal, I turn to a close examination of three very different pieces of Lucian’s verse writing – from remixed tragic and epic ‘quotations’ in the Menippus and Zeus Tragoedus, to the ghostly new Homeric compositions in the True Histories – and highlight some key features of a Lucianic poetics. I ultimately suggest how this poetics articulates Lucian’s wider approach to the literary tradition, and his perception of his own role in continuing it. Lucian’s new-old verse provides him with a self-constructed mandate to reanimate the genres and conventions of the inherited past, to deflate them, disrupt them, and ultimately repossess them.

As a result of French colonization, Haiti is a nation-state with a predominantly French-speaking written tradition. However, there is also a smaller body of Haitian texts written in Creole, dating back to the eighteenth century. Based on their linguistic and aesthetic characteristics, we can divide the corpus of Haitian Creole letters into two main chronological stages: the great period of emergence that stretches from colonial times to the middle of the twentieth century, and the period of emulation. The first period was dominated by texts of a mainly religious, administrative, and political nature. Written for the most part by high-ranking white settlers, these texts, using the local language, were intended for Creole-speaking slaves with a poor command of French. The second period, that of the autonomy of Creole letters or the beginnings of an authentic Creole literary tradition, began in the mid-twentieth century, in parallel with linguistic work to standardize the written code of the national language. This advance in the standardization of Creole led to a significant development of the language’s written code, particularly in the field of literature.

Haitian writers produced a broad array of compelling texts during the nineteen years their country was under direct US rule. Today, it has become commonplace to identify Haitian literary production during that time as one of resistance. However, Haiti’s occupation-era literature is incredibly diverse. Many works from the period do not engage with the occupation at all, focusing instead on historical events, domestic dramas, or romance. In addition to thematic diversity, texts of this period reflect a variety of genres and forms. Some poets chose to experiment formally whereas others chose to create within the confines of fixed forms such as sonnets. Essayists displayed diverse ideological and political positions. This chapter offers a brief overview of Haitian literary works published during the US occupation of the country, from 1915 to 1934.

This chapter addresses the repeated appearances of the sublime in Clare’s verse – including his deployment of the word itself – as well as the ambivalent relationship Clare’s understanding and practice of the sublime has to eighteenth-century and Romantic aesthetic discourse. This entails consideration of major theorizations of the sublime in the period prior to Clare and the reception in the English tradition of classical conceptions of literary sublimity or ‘grandeur’. The example of Milton is significant here, as is the genre of epic and Clare’s apparent aversion to it. A number of examples from Clare’s poetry and prose are considered in detail. The chapter concludes with a reading of Clare’s famous ‘I am’ poems, suggesting that they do in fact continue the tradition of Milton’s Satan, his resistance to oppression, and ambivalent insistence on the power of the mind.

Clare had the good fortune to be born into a period of excitement and experimentation in poetry. Ideas about poetry were changing, as were practices of reading and writing. This chapter examines how Clare participated in these changes. He helped to elevate the meditative lyric to the pinnacle of literary prestige by showing how everyday experiences yield pleasure and insight; by using forms with roots in oral and folk cultures, including popular song; and by modelling his poems on the music of nature and the structure of bird nests. He took part in contemporary experiments with form, language, and voice. His poems draw on the philosophical atmosphere of the Romantic age by offering readers opportunities carefully to observe Clare’s world and, by doing so, to come to know it.

This chapter argues that twenty-first-century poetry, notably by Port-au-Prince-based poets takes up the vexed theorization of contemporary Haitian public life, deploying and recuperating the centuries-old knowledge of the Vodou lwa Papa Loko and his avatars (the butterfly and the wind). The chapter considers poet and writer James Noël’s challenge to readers of contemporary Haitian poetry to grapple with the troubling quotidian realities of present-day Haitian civil society. In particular, I examine the fugacity of what I refer to as Lokoian ethics as a means of, first, advocating for an ethos of the non-predatory through an ecocritical analysis of the butterfly (in contrast with the dragonfly); and, second, decoupling the binary of staying/leaving, debunking the longstanding debate over whether staying or leaving Haiti is ‘better’ for the country, for one’s family, for one’s own future. In particular, the chapter works with the poetry of James Noël and Lyonel Trouillot, putting them into conversation with poetry by Getro Bernabé, Georges Castera, and Ida Faubert.

This chapter traces John Clare’s unusual lifelong sympathy with plants. The bard of wildflowers wrote about the botanical world again and again, not only drawing on plants for numerous poems, but also recording his observations in botanical lists and Natural History Letters. Other men’s flowers, which he came across in his reading, cross-fertilized with his own habitual experience of local flora, to create poetry of startling freshness. The chapter draws primarily on Clare’s writings on flowers, trees, and grass but is also indebted to the work of key botanical critics and writers such as Molly Mahood and Richard Mabey, as well as recent environmental trends in Clare studies. Clare’s closely observed, celebratory, and elegiac poetry of plants demonstrates his vital importance for the twenty-first century, by alerting us to the irreplaceable value of the natural world.

Was the stylistic exuberance and formal ambition of twelfth-century classicizing prose linked to the unprecedented study of ancient poetry during this period? Why would aspiring prose writers have been nurtured largely in verse? Long accustomed to regard Byzantine interest in ancient poetry as culturally antiquarian in nature, we have been less alert to the formal lessons available to aspiring Byzantine authors, most of whom would go on to compose in prose instead of verse. By tracing the long history of poetry as the school of prose, this chapter draws examples from Eustathios’ Parekbolai or ‘commentaries’ on Homeric epic in a bid to illustrate attempts to render Byzantine prose more ‘poetic’. The author thus hopes to underline the reciprocal and often seamless relation between prose and verse in the twelfth century and what this may teach us about both during what is widely regarded as the most innovative period in Byzantine literature.

The word ‘Klavier’ occurs only twice in the texts of Schubert’s lieder, but both times in a prominent position – namely, in the titles of Christian Daniel Friedrich Schubart’s ‘An mein Klavier’ and Friedrich Schiller’s ‘Laura am Klavier’, both set to music in 1816 (respectively D342 and D388). The first poem deals with two figures – the narrative persona and his piano; the second with three – Laura, the piano and the narrative persona. In Schubart, the emphasis falls on the piano’s expressive potential; in Schiller, mainly on the impression it imparts. The two poems thus present the instrument in quite different, even antithetical, guises: introverted versus extroverted. Although Schubert turned to poems that were already a generation old (they were first published in 1785 and 1782, respectively) and had a different sound in mind compared to the two poets (this was an age of rapid evolution in keyboard instrument construction), the instrumental aesthetic displayed in Schubart’s and Schiller’s poems still applied with undiminished force in 1816. The antitheses marked by the poems Schubert chose with respect to the Klavier reveal the breadth of notions associated with the instruments that went by that name around 1800.

This chapter takes the history of literary history beyond the confines of the classical period, and past the formal parameters of prose. Its focus is Philostratus’ depiction of the Second Sophistic, one of most instrumental and contentious ancient models of epoch-making. The Second Sophistic is conventionally considered a world of prose. I make the case for the central role of poetry in Philostratus’ conception of its literary identity. After some preliminary remarks on the complex construct of the Second Sophistic as a cultural phenomenon, and the undoubtable but controversial role of Philostratus at the centre of it, I offer a close reading of the multiple moments of poetry within the Vitae Sophistarum, which shed new light on Philostratus’ approach to the textuality and temporality of this milieu. The chapter ends by discussing the Heroicus, which contains Philostratus’ most elaborate verse compositions, and sees the voices of ancient poets resurrected into new sophistic poetry. This close encounter with Philostratean verse reveals an active and experimental approach to the poetic tradition which treats canonical verse texts as both bounded and closed, and inherently unfinished, and where the lines between old and new, verse and prose, exegesis and literature are interrogated and undermined.

This chapter explores Kerouac’s poetic output, arguing that he should be considered an important twentieth-century poet and poetic innovator. In particular, this chapter explores Kerouac’s book-length poetic masterwork, Mexico City Blues, and his development of an American form of haiku, as found in Book of Haikus and elsewhere. The poetic forms of Mexico City Blues and Book of Haikus are very different, and yet taken together, they demonstrate Kerouac’s range as a poet. With these major works as its focus, this chapter aims to reassess Kerouac’s poetry by reading its formal and thematic preoccupations in terms of the advent of the mid-century “New American Poetry,” which rebuked the norms of the reigning poetic establishment centered in universities and their associated anthologies and quarterlies.

The image is at once easy to identify and difficult to define. If the image is, in a basic sense, the visual language of poems, the concept also extends to modes of meaning making which sometimes have little to do with visuality, as well as to related concepts such as metaphor and conceit. This chapter explores this complex conceptual field by considering examples by Amy Clampitt, Bernadette Meyer, Hope Mirrlees, Sylvia Plath, and others. It shows that the image serves often to unify a poem or structure its narrative, and it proposes that we approach the image as both procedural and constructed. A single poem's presentation of an image in process or the repetition of an image across multiple poems may, in this way, represent a psychological drama or a narrative of intellectual understanding. From this perspective, images are not merely found; they are made.