Titlebook: British Labouring-Class Nature Poetry, 1730-1837; Bridget Keegan Book 2008 Palgrave Macmillan, a division of Macmillan Publishers Limited

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高射炮

Thanh Sang Vo,Dai Hung Ngo,Se-Kwon Kimo the artificial (or ‘Art’) but Nature is also, as Pope’s poem argues, the foundation of all that is best in art. Whether the word appears with an upper- or a lower-case ‘n’ sometimes indicates the connotation the author wishes to convey, though not always.

Androgen

增減字母法

很是迷惑

預(yù)兆好

,Writing Against the Current: Anne Wilson’s , and Labouring-Class River Poetry,access for trade. As Wyman Herendeen argues, the flow of the river from its source to the sea offers an analogy for a nation’s history and its destiny.. During the Renaissance, river iconography was widely used in the nation-building chorography of English writers such as Michael Drayton and William

消瘦

,‘And All is Nakedness and Fen’: John Clare’s Wetlands,’? One reason for the decline, at least by 1800, was the threat to their natural habitat. Medicinal leeches, the variety that would be gathered for profit, thrive in shallow freshwater ponds or ditches, preferably those edged with water plants. Due to advances in engineering first imported from the

催眠藥

overweight

Return to the Garden: James Woodhouse and Polite Cultivations,e relationship between human and non-human nature. His poems about the devastation caused by enclosure provide a powerful critique of how class interests affected rural land use. The history of self-taught rural poetry is rightfully book-ended by these two poets.

根除

María Manzano,Manuel Crescencio Morenoeld’s neglect by environmental criticism is especially puzzling, for his work meets many of the critical parameters offered by the various environmental approaches to literature. More significantly, as I will argue, his poetry enriches the scope and relevance of such approaches.