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| Seventeenth And Eighteenth Centuries | |
| The World The Mughals Made | |
| from The Memoirs of Babur | |
| Jahangir (1569-1627) | |
| from The Memoirs of Jahangir | |
| Mirza Muhammad Rafi "Sauda" (1713-1781) | |
| from Satires[How to Earn a Living in Hindustan] | |
| Mir Muhammad Taqi "Mir" (1723-1810) | |
| Selected Couplets | |
| from The Autobiography | |
| Barnarsidass (Mid-17th Century) | |
| from Half a Tale | |
| Love Suicide at Amijima | |
| Resonance | |
| Houzumi Ikan: Chikamatsu on the Art of Puppet Theatre | |
| from The Story of the Stone | |
| Resonance | |
| Shen Fu: from Six Records of a Floating Life | |
| The Ottoman Empire | |
| I opened my eyes from sleep | |
| At times, my longing for the beloved slays me | |
| My heart burns in flames of sorrow | |
| Fuzuli (1480-1556) | |
| Oh God, don't let anyone be like me | |
| If my heart were a wild bird | |
| For long years we have been haunting the quarter | |
| The pointed reproach of the enemy | |
| Nedîm (1681-1730) | |
| At the gathering of desire | |
| When the east wind leaves that curl | |
| As the morning wind blows | |
| Take yourself to the rose garden | |
| Delicacy was drawn out like the finest wine | |
| Lady Mary Wortley Montagu (1689-1762) | |
| The Turkish Embassy Letters | |
| To Alexander Pope (1 April 1717) | |
| To Sarah Chiswell (1 April 1717) | |
| To Lady Mar (18 April 1717) | |
| The Age Of Enlightenment | |
| Tartuffe | |
| Perspectives: Court Culture and Female Authorship | |
| from Clélie | |
| Marie-Madeline Pioche de La Vergne, Comtesse de Lafayette (1634-1693) | |
| The Countess of Tende | |
| Marie de Rabutin-Chantal | |
| from Selected Letters | |
| Elisabeth Charlotte von der Pfalz | |
| from Letters | |
| To my Excellent Lucasia, on Our Friendship | |
| An Answer to Another Persuading a Lady to Marriage | |
| from The Ladies Defence | |
| Countess of Winchilsea (1661-1720) | |
| The Introduction | |
| Friendship between Ephelia and Ardelia | |
| from The Spleen | |
| The Lady's Dressing Room | |
| The Reasons that Induced Dr. S. to write a Poem called The Lady's Dressing Room | |
| To Mr., an Unlettered Poet, on Genius Unimproved | |
| Crosscurrents | |
| Oroonoko | |
| Resonance | |
| George Warren: from An Impartial Description of Surinam | |
| Gulliver's Travels | |
| A Voyage to the Country of the Houyhnhnms | |
| Perspectives: Journeys In Search of the Self | |
| from The Book of Travels | |
| [Selected Haiku] | |
| from Narrow Road to the Deep North | |
| Translations | |
| from Persian Letters | |
| from Supplement to the Voyage of Bougainville | |
| from The Interesting Narrative of the Life of Olaudah Equiano | |
| Crosscurrents | |
| Candide | |
| Resonances | |
| Gottfried Wilhelm von Leibniz: from Theodicy | |
| Alexander Pope: from An Essay on Man | |
| Translations | |
| The Rape of the Lock | |
| Perspectives: Liberty and Libertines | |
| from Life of a Sensuous Woman | |
| from Love Poems of the Sixth Dalai Lama | |
| Earl of Rochester (1647-1680) | |
| The Imperfect Enjoyment | |
| A Satyr Against Reason and Mankind | |
| Fantomina: or, Love in a Maze | |
| from The Social Contract | |
| (1759-1797) | |
| from A Vindication of the Rights of Woman | |
| (1743-1825) | |
| The Rights of Women | |
| (1724-1804) | |
| An Answer to the Question: What Is Enlightenment? | |
| Crosscurrents | |
| Bibliography | |
| Credits | |
| Index | |
| The Nineteenth Century | |
| Lines Written a Few Miles above Tintern Abbey | |
| Nutting | |
| from Preface to Lyrical Ballads | |
| Composed Upon Westminster Bridge | |
| My heart leaps up | |
| Ode: Intimations of Immortality from Recollections of Early Childhood | |
| To the Cuckoo | |
| Mark the concen'tred hazels that enclose | |
| from The Prelude | |
| from Book Fifth: Books (The Dream of the Arab) | |
| from Book Sixth: Cambridge and the Alps (Crossing the Alps) | |
| from Book Eleventh: France | |
| from Book Fourteenth: Conclusion (Ascent of Snowdon) | |
| Perspectives: Romantic Nature | |
| from Reveries of a Solitary Walker - Fifth Walk | |
| from Critique of Practical Reason | |
| The Ecchoing Green | |
| The Tyger | |
| Ode to a Nightingale | |
| To Autumn | |
| The Man on the Heath | |
| In the Grass | |
| The Infinite | |
| Dialogue Between Nature and an Icelander | |
| from Nature | |
| from Self-Reliance | |
| from Walden | |
| Crosscurrents | |
| Faust | |
| Part I | |
| Dedication | |
| Prelude on the Stage | |
| Prologue in Heaven | |
| Night | |
| from Outside the Town Wall | |
| Faust's Study (1) | |
| from Faust's Study (2) | |
| A Witch's Kitchen | |
| Evening | |
| A Promenade | |
| The Neighbor's House | |
| A Street | |
| A Garden | |
| A Summerhouse | |
| from A Forest Cavern | |
| Gretchen's Room | |
| Martha's Garden | |
| At the Well | |
| By a Shrine Inside the Town Wall | |
| Night. The Street Outside Gretchen's Door | |
| A Cathedral | |
| from A Walpurgis Night | |
| Part II | |
| Act 1 | |
| A Beautiful Landscape | |
| A Dark Gallery | |
| Act 5 | |
| Open Country | |
| A Palace | |
| Deep Night | |
| Midnight | |
| The Great Forecourt of the Palace | |
| Burial Rules | |
| from Mountain Gorges | |
| Translations: Goethe's Faust | |
| To the Moon (trans. Jane K. Brown) | |
| Erlking | |
| Dusk Descended from on High | |
| Blissful Yearning | |
| Translations | |
| from Don Juan, Cantos 2-4 | |
| I'm neither the loosening of song nor the close-drawn tent of music | |
| Come now: I want you: my only peace | |
| When I look out, I see no hope for change | |
| If King Jamshid's diamond cup breaks, that's it | |
| One can sigh, but a lifetime is needed to finish it | |
| When the Great One gestures to me | |
| For tomorrow's sake, don't skimp with me on wine today | |
| I'm confused: should I cry over my heart, or slap my chest? | |
| She has a habit of torture, but doesn't mean to end the love | |
| For my weak heart this living in the sorrow house | |
| Religious people are always praising the Garden of Paradise | |
| Only a few faces show up as roses | |
| I agree that I'm in a cage, and I'm crying | |
| Each time I open my mouth, the Great One says | |
| My heart is becoming restless again | |
| Resonances | |
| Agha Shahid Ali: Ghalib's Ghazal | |
| Agha Shahid Ali: Of Snow | |
| I visited Again | |
| The Bronze Horseman | |
| from Eugene Onegin | |
| Perspectives: The National Poet | |
| Reading Hsiao-ching | |
| from The Tale of Kieu | |
| Resonance | |
| Che Lan Vien, Thoughts on Nguyen | |
| The Mouse's Petition to Dr. Priestly | |
| Washing Day | |
| Eighteen Hundred and Eleven | |
| Resonance | |
| John Wilson Croker, from A Review of Eighteen Hundred and Eleven | |
| Chatir Dah | |
| The Ruins of the Castle of Balaklava | |
| Zosia in the Kitchen Garden | |
| The Lithuanian Forest | |
| Hands That Fought | |
| To a Polish Mother | |
| Song of the Bard | |
| The Free Besieged | |
| from The Poet | |
| I Hear America Singing | |
| from Song of Myself | |
| Crossing Brooklyn Ferry | |
| As I Lay with My Head in Your Lap camerado | |
| O Captain! My Captain! | |
| Prayer of Columbus | |
| Crosscurrents | |
| Perspectives: On the Colonial Frontier | |
| from A Hero of our Time | |
| from Life of Juan Facundo Quiroga: Civilization and Barbarism | |
| from From the Deep Woods to Civilization | |
| Hawaiian Poems | |
| Forest Trees of the Sea | |
| Piano at Evening | |
| Bill the Ice Skater | |
| The Pearl | |
| A Feather Chant for Ka-pi'o-lani at Wai-mãnalo | |
| The Sprinkler | |
| from Noli Me Tangere | |
| Crosscurrents | |
| The Romantic Fantastic | |
| The Rime of the Ancient Mariner | |
| Fair-haired Eckbert | |
| Sarrasine | |
| The Pit and the Pendulum | |
| A Simple Heart | |
| from Travels in Egypt | |
| Perspectives: Occidentalism - Europe Through Foreign Eyes | |
| from Journal of a Residence in England | |
| On the General Conditions of Europe | |
| from The Western Peep Show | |
| The Cup of Humanity | |
| Resonance | |
| Chiang Yee: from The Silent Traveller in London | |
| Crosscurrents | |
| from Aurora Leigh | |
| from Les Fleurs Du Mal | |
| To the Reader | |
| The Albatross | |
| Correspondences | |
| The Head of Hair | |
| Carrion | |
| Invitation to the Voyage | |
| Spleen (II) | |
| The Swan | |
| In Passing | |
| Twilight: Daybreak | |
| Ragpickers' Wine | |
| A Martyr | |
| Travelers | |
| from The Painter of Modern Life | |
| from Paris Spleen | |
| To Each His Chimera | |
| Crowds | |
| Invitation to the Voyage | |
| Get High | |
| Any Where Out of the World | |
| Let's Beat Up the Poor! | |
| Resonances | |
| Jules and Edmund Goncourt: from Journal | |
| Stephane Mallarmé: The Tomb of Charles Baudelaire | |
| Arthur Rimbaud: Vowels, City, Departure | |
| The Death of Ivan Ilych | |
| Notes from Underground | |
| Resonances | |
| Friedrich Nietzsche: from Daybreak | |
| Ishikawa Takuboku: The Romaji Diary | |
| Other Americas | |
| The Story of Emergence | |
| Resonance | |
| Nicholas Black Elk and John G. Neihardt: from Black Elk Speaks | |
| Bartleby the Scrivener | |
| Narrative of the Life of Frederick Douglass | |
| from Incidents in the Life of a Slave Girl | |
| I never lost as much but twice | |
| Title divine-is mine! | |
| There came a day at summer's full | |
| It was not Death, for I stood up | |
| After great pain, a formal feeling comes | |
| I died for Beauty | |
| I dwell in Possibility | |
| I heard a Fly buzz-when I died | |
| I live with Him-I see His face | |
| My Life had stood-a Loaded Gun | |
| Further in Summer than the Birds | |
| Tell all the Truth but tell it slant- | |
| The Psychiatrist | |
| The Yellow Wallpaper | |
| First, A Look | |
| Walt Whitman | |
| To Roosevelt | |
| I Pursue a Form.... | |
| What Sign Do You Give...? | |
| A Doll's House | |
| Separate Ways | |
| Lady with Pet Dog | |
| The Conclusion | |
| Bibliography | |
| Credits | |
| Index | |
| The Twentieth Century | |
| Perspectives: The Art of the Manifesto | |
| The Foundation and Manifesto of Futurism | |
| Unpretentious Proclamation | |
| The Surrealist Manifesto | |
| Feminist Manifesto | |
| Sensation and New Sensation | |
| Cannibalist Manifesto | |
| Manifesto: Towards a Free Revolutionary Art | |
| Some Modest Proposals for the Reform of Literature | |
| Preface to the Nigger of the Narcissus | |
| Heart of Darkness | |
| Resonances | |
| Joseph Conrad: from Congo Diary | |
| Sir Henry Morton Stanley: from Address to the Manchester Chamber of Commerce | |
| My Big Brother | |
| Preface to A Call to Arms | |
| A Madman's Diary | |
| A Small Incident | |
| Dubliners | |
| Araby | |
| The Dead | |
| Mrs. Dalloway on Bond Street | |
| The Lady in the Looking Glass: A Reflection | |
| from A Room of One's Own | |
| RashMmon | |
| In a Grove | |
| A Note Forwarded to a Certain Old Friend | |
| Perspectives: Modernist Memory | |
| The Love Song of J. Alfred Prufrock | |
| The Waste Land | |
| Days of 1908 | |
| Ithaka | |
| The Tropics in New York | |
| Flame Heart | |
| Outcast | |
| Unsleeping City | |
| In the Middle of the Road | |
| from The Secret Life of Saeed, the Ill-Fated Pessoptimist | |
| A Wind Called Bob Rauschenberg | |
| Central Park | |
| Crosscurrents | |
| The Metamorphosis | |
| Parables | |
| The Trees | |
| The Next Village | |
| The Cares of a Family Man | |
| Give it Up! | |
| On Parables | |
| Translations: Kafka | |
| The Muse | |
| I am not with those... | |
| Boris Pasternak | |
| Why is this century worse | |
| Requiem | |
| Resonance | |
| Osip Mandelstam (1891-1938): To A.A.A. (Akhmatova) | |
| The Lake Isle of Innisfree | |
| Who Goes with Fergus? | |
| No Second Troy | |
| The Wild Swans at Coole | |
| Easter 1916 | |
| Resonance | |
| Proclamation of the Irish Republic | |
| The Second Coming | |
| Sailing to Byzantium | |
| Byzantium | |
| Under Ben Bulben | |
| Perspectives: Poetry About Poetry | |
| A Pact | |
| Rhymes | |
| Poetry | |
| This | |
| Today I read nearly two pages | |
| The ancients used to invoke | |
| Translations: Pessoa's Autopsychography | |
| Tonight I can write the saddest lines | |
| Ars Poetica | |
| Anecdote of the Jar | |
| Of Modern Poetry | |
| Of Mere Being | |
| Regarding Art | |
| He Opens Wide a Third Eye | |
| Old Snow | |
| The Line | |
| Crosscurrents | |
| Mother Courage And Her Children | |
| Perspectives: Echoes of War | |
| I Beg You, Brother: Do Not Die | |
| Peace | |
| The Soldier | |
| Anthem for Doomed Youth | |
| Strange Meeting | |
| Dulce et Decorum Est | |
| Patriotism | |
| The Two Flags | |
| Death Fugue | |
| Report from the Besieged City | |
| Like the Night | |
| Giaconda and Si-Ya-U | |
| Youth in an Austrian Town | |
| Seven Laments for the War-Dead | |
| Little Ruth | |
| Crosscurrents | |
| Endgame | |
| Perspectives: Cosmopolitan Exiles | |
| Agape | |
| Our Daily Bread | |
| Good Sense | |
| Black stone on a white stone | |
| An Evening of Russian Poetry | |
| Child of Europe | |
| Encounter | |
| Dedication | |
| Fear-Dream | |
| from Prologue to an Autobiography | |
| Adonis (Ali Ahmad Sa'id), (b. 1930) | |
| A Mirror to Khalida | |
| Crosscurrents | |
| The Garden of Forking Paths | |
| The Library of Babel | |
| Borges and I | |
| Cult of the Phoenix | |
| The Web | |
| Resonance | |
| Gabriel García Marquez: I Sell My Dreams | |
| Zaabalawi | |
| Arabian Nights and Days | |
| Shahriyar | |
| Shahrzad | |
| The Sheikh | |
| The Cafe of the Emirs | |
| Sanaan al-Gamali | |
| Perspectives: The 1001 Nights in the Twentieth Century | |
| from On the Road to Baghdad | |
| Dunyazadiad | |
| from Invisible Cities | |
| from A Sister to Sheherazade | |
| Crosscurrents | |
| Letter to a Poet | |
| Nocturne (She Flies She Flies) | |
| Black Woman | |
| To New York | |
| Correspondence | |
| Notebook of a Return to a Native Land | |
| Ice Tricksters | |
| Shadows | |
| Perspectives: Indigenous Cultures in the Twentieth Century | |
| Oodgeroo of the Tribe Noonuccal (1920-1993) | |
| We Are Going | |
| Going Home | |
| Pocahontas to Her English Husband | |
| Taking a Visitor to See the Ruins | |
| Yellow Woman | |
| from The Way to Rainy Mountain | |
| Dear John Wayne | |
| The Golden Bird of Misfortune | |
| Crosscurrents | |
| Stale Mates | |
| Breast-Giver | |
| Perspectives: Gendered Spaces | |
| Preciousness | |
| The Harem Within | |
| No Sweetness Here | |
| A Season of Madness | |
| from Makbara | |
| Artificial Roses | |
| My Mother | |
| Crosscurrents | |
| Things Fall Apart | |
| from The African Writer and the English Language | |
| Resonances | |
| Ngugi wa Thiong'o: from The Language of African Literature | |
| Mbwil a M. Ngal: from Giambatista Viko; or, The Rape of African Discourse | |
| Jeremy Cronin: To learn how to speak.... | |
| Death and the King's Horseman | |
| Perspectives: Post-Colonial Conditions | |
| The Defeated | |
| In the Aging City | |
| In the Flux | |
| Face Lost in the Wilderness | |
| A Poem Which Is Not Green, from My Country | |
| Diary of a Palestinian Wound | |
| Sirhan drinks his coffee in the cafeteria | |
| Birds die in Galilee | |
| Resonance | |
| Agha Shahid Ali: Ghazal | |
| Black Out | |
| No Sign of Blood | |
| Solitary Confinement | |
| The Unrecognized | |
| Answers to an Interrogation | |
| A Poem for You | |
| A Far Cry from Africa | |
| Volcano | |
| The Fortunate Traveller | |
| Chekov and Zulu | |
| Crosscurrents | |
| Perspectives: Literature, Technology, and Media | |
| from The Storyteller | |
| from Accident: A Day's News | |
| from Cities of Salt | |
| TV People | |
| Burning Chrome | |
| Crosscurrents | |
| Bibliography | |
| Credits | |
| Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |
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