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'The New Oxford Book of English Verse' is now firmly established as a classic anthology of English poetry. Chosen by the distinguished scholar and critic, Dame Helen Gardner, the book makes available in one volume the full range and variety of English non-dramatic verse.
- Sales Rank: #863208 in Books
- Published on: 1972-10-26
- Original language: English
- Number of items: 1
- Dimensions: 5.50" h x 2.06" w x 8.75" l, 2.57 pounds
- Binding: Hardcover
- 992 pages
Review
`If one had to say where can you find in fewer than 1,000 pages the best of English poetry, here it is. Daily Telegraph
`by far the most balanced and most wide-ranging [anthology] we have, offering superlative value to almost every taste' The Times
`Dame Helen has seen through this enormous task with affection, wit and wonderful thoroughness.' Times Literary Supplement
`Her knowledge of English poetry is both extensive and intensive; her critical standards are eminently worthy of respect...The reading public has every reason to be grateful to her.' Critical Quarterly
`The book remains a continuous and rewarding pleasure...It is a cause of wonder how easily poems of the recent past fit with those written centuries ago without jarring or disturbance.' New York Times
About the Author
Dame Helen Gardner was Emeritus Professor of English Literature at the University of Oxford, a distinguished scholar and author of books including The Metaphysical Poets, In Defence of the Imagination, and The Art of T. S. Eliot.
Most helpful customer reviews
64 of 65 people found the following review helpful.
Old "New" vs. New "Old"
By James A. Boa
The appearance of the 1999 Oxford Book of English Verse, edited by Christopher Ricks, makes us ask about the 1972 New Oxford Book of English Verse, edited by Helen Gardner. Since they are both anthologies of centuries of poetry, there is a lot of overlap. But there are a lot of differences too. In order to include modern poems (Gardner stops at 1950), Ricks has had to cut, and some of my favorite poems did not make the cut: Tennyson's "Crossing the Bar", Keats's Last Sonnet, and Yeats's "An Irish Airman Foresees his Death", to name just three.
With "Verses on the Death of Dr. Swift", both books excerpt, and just what is excerpted is instructive. I prefer Ricks here. And Ricks's preservation of spelling and punctuation is in my opinion a better choice, though he then goes and leaves out Coleridge's marginal notes in "The Rime of the Ancient Mariner."
So, if you care about poetry, you need both books. Where they are different, they are both valuable. Where they are the same, they are not quite the same, and a comparison proves instructive. Or at least it has so proved to me.
41 of 42 people found the following review helpful.
An old favorite, a good beginning
By A Customer
My nightstand is small, so only a few books can fit. The space is reserved for those trusted friends that I turn to late at night, or when I'm sick. Gardner's volume is among them.
This anthology covers 900 pages of verse from Great Brittain, in a variety of styles and subjects. As an introduction to the deep range of English poetry, it had very few peers, and the only rival in taste in selection (both what is included and excluded) is the 5-volume anthology Auden & Pearson did for the Viking/Penguin Portables. Buy it; read it, a little at a time or straight through; reread it. You won't be disappointed.
9 of 9 people found the following review helpful.
A good standard anthology
By Jon Corelis
Dame Helen Gardner in her introduction stated that The New Oxford Book of English Verse is "not a revision of Q's [Quiller-Couch's original Oxford anthology] but a new anthology," though she admits that "I have in many ways followed my predecessor's example." Both remarks are justified: G's vision of English poetry, though recognizably the same as Q's, is from a different historical and critical perspective. For instance, in this anthology there is more churchgoing at the expense of dallying in the greenwood: it is significant that though G's opening triad shares with Q's the "Cuckoo Song" and "The Irish Dancer," G has substituted for the exquisitely passionate "Alison" the exquisitely chaste "In Praise of Mary." Individual readers may welcome this or not, but one can only approve most of the revisions G has made. Consider Donne, who in Q's selection and contexting seems a metaphysical curiosity, a poet who developed an eccentric, albeit interesting, version of Elizabethan lyric. G's Donne is revealed as one of the most vibrantly alive human beings who ever lived. But it is after Keats, the section of Q's book which as G remarks with diplomatic mildness "had always given least satisfaction," where G has done what Q should have done in 1939. Most of the clunky Victorian poetic furniture has been hauled off to the Sally Ann (though G could not steel herself to throw out dear old "they told me, Heraclitus ...", and that great enforcer of yawns Matthew Arnold is still droning on about his carefree Oxford days), and the nervous splendors of twentieth century verse are intelligently grafted onto tradition according to a program which clearly and properly divides them into the build-up to "The Waste Land", "The Waste Land", and the aftermath of "The Waste Land."
One of the magical characteristics of great poetry is that it can alter the earlier poetry which influenced it. No one who grew up reading "The Waste Land" will be able to rid Spenser or Shakespeare or Webster of the overtones which Eliot drew from them, and nobody who knows or cares anything about poetry would want to try. The greatest achievement of G's edition is to give us modernism not only as an extension of tradition but as the climax of it, and the impact of "The Waste Land" in G's setting is the prime example of this: the song of Eliot's nightingale arising from the frightening darkness of the urban wilderness, however tragic, is also consoling, since we realize we have been hearing it forever.
And yet the advantages of G's critical perspective have ominous implications exactly because it is a critic's perspective. In G, Q's balancing act between the critic as summarizer of taste and as the prescriptor of it has shifted in favor of the latter. We can see this for instance in G's determination to open up the anthology to "satiric, political, epistolary, and didactic verse," a decision which however justifiable surely is not based on any growing popularity of those forms among the public between 1939 and 1972. It is based instead on the fact that the search of scholars for new topics to write about which do not already bear a crushing weight of commentary has resulted in those genres becoming recognized English department specializations. Since academic politics requires that no one in the department be left out, it is necessary that representatives of all these genres be included in the poetic canon, and anthologies are the primary means of communicating this judgment to the public. We may see G's edition as standing at a crossroads, or perhaps a better metaphor would be a hilltop, a critical vantage point from which a broader and more judicious survey may be made than previously, but which is also farther removed from the ordinary social world.
But despite these criticisms, I'd recommend this book as one of the handful of poetry anthologies which should find a place in every personal library, and as a good guide to the received canon of great poetry in English.
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