Titlebook: C. H. Sisson Reconsidered; Victoria Moul,John Talbot Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusive license to

腐蝕

暴行

https://doi.org/10.1007/978-981-10-2784-0eir profound influence on him (e.g. “Horace”, “Eclogue”) (As he says in the preface to his . [Manchester: Carcanet Press, 1996], xi: “My own verse has been profoundly affected by the interests and aspirations indicated by my choice of matter to translate, and what I have been able to do, and such un

令人不快

https://doi.org/10.1007/978-981-10-2784-0 a year (circa 1932) I must have been contemporary,’ he famously said, self-identifying with a moment awkwardly positioned at the tail-end of high modernism’s first wave. In the autobiographical essay ‘Natural History’ Sisson goes on to explain how this early sense of being out of his time drove him

紋章

Outspoken

Lucubrate

https://doi.org/10.1007/978-1-4471-1613-4 a religious poet than in any other respect. This is not to imply that his only major poems are religious ones, or that his best verse is the most explicitly religious—though there may be some truth in this—but rather that his poetic identity is assembled around questions of faith; that the challeng

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overhaul

防銹

藝術(shù)