One of the best-known living literary critics.

The W. H. Auden quotation (see Full Description) is from a review of Ricks's Longman edition of Tennyson. He writes: 'Reading Professor Ricks's comments and observations convinces me that he is exactly the kind of critic every poet dreams of finding. No poet wants either uncritical admirers or decoders who discover in his poems secret symbols and meanings which never entered his mind. But every poet thinks of himself as a craftsman, a maker of verbal objects: what he hopes for is that critics will notice the technical means by which he secures his effects. Alas, so few critics do. Professor Ricks is a happy exception.'

With its fresh and glittering choice of the jewels of English poetry, Christopher Ricks's Oxford Book of English Verse -- third in succession, after Arthur Quiller-Couch's original volume (1900) and Helen Gardner's new selection (1972) -- is a treasury from more than seven centuries of the poet's art. Ampler in range -- up to Hughes and Heaney -- it combines celebrated poems with a wealth of newly-chosen works, giving us 'Sumer is icumen in' and Anna Seward's 'Old Cat's Dying Soliloquy', Keats's 'To Autumn' and Christina Rossetti's 'Goblin Market', Hugh MacDiarmid's 'O Wha's the Bride?', Stevie Smith's 'Not Waving but Drowning', Larkin's 'Mr Bleaney', and hundreds more. For the first time, wonderful poems that are also translations are included, likewise nursery rhymes, clerihews, and the great dramatic verse of Shakespeare and his contemporaries. Lyric, laughter, song, satire, story: this is an anthology to move and delight all who find themselves loving English verse.

Here is a treasure-house of over seven centuries of English poetry, chosen and introduced by Christopher Ricks, whom Auden described as 'exactly the kind of critic every poet dreams of finding'. The Oxford Book of English Verse, created in 1900 by Arthur Quiller-Couch and selected anew in 1972 by Helen Gardner, has established itself as the foremost anthology of English poetry: ample in span, liberal in the kinds of poetry presented. This completely fresh selection brings in new poems and poets from all ages, and extends the range by another half-century, to include many twentieth-century figures not featured before -- among them Philip Larkin and Samuel Beckett, Thom Gunn and Elaine Feinstein -- right up to Ted Hughes and Seamus Heaney.

Here, as before, are lyric (beginning with medieval song), satire, hymn, ode, sonnet, elegy, ballad . . . but also kinds of poetry not previously admitted: the riches of dramatic verse by Marlowe, Shakespeare, Jonson, Webster; great works of translation that are themselves true English poetry, such as Chapman's Homer (bringing in its happy wake Keats's 'On First Looking into Chapman's Homer'), Dryden's Juvenal, and many others; well-loved nursery rhymes, limericks, even clerihews. English poetry from all parts of the British Isles is firmly represented -- Henryson and MacDiarmid, for example, now join Dunbar and Burns from Scotland; James Henry, Austin Clarke, and J. M. Synge now join Allingham and Yeats from Ireland; R. S. Thomas joins Dylan Thomas from Wales -- and Edward Taylor and Anne Bradstreet, writing in America before its independence in the 1770s, are given a rightful and rewarding place. Some of the greatest long poems are here in their entirety -- Wordsworth's 'Tintern Abbey', Coleridge's 'Rime of the Ancient Mariner', and Christina Rossetti's 'Goblin Market' -- alongside some of the shortest, haikus, squibs, and epigrams.

Generous and wide-ranging, mixing familiar with fresh delights, this is an anthology to move and delight all who find themselves loving English verse.