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“... has now disappeared to be replaced by another, this time by the succeeding general editors, John Barnard and Paul Hammond. They claim fidelity to Bateson except where he has come to seem fallible. For instance, he insisted on modernising spelling and punctuation; but why modernise Browning, and why meddle with Marvell’s punctuation, which is important ...”

“... in his Ciuile Conuersation (1586), simply part of his master; and ‘to be no part of any body’, John Donne wanly observed – having failed to secure a place to which he had ‘submitted himself’ – was ‘to be nothing’. By the same token, the public identity of a lord was dependent on his retinue of servants, whose principal function was to ...”

“... No man is an island; unless, Donne might have added, he becomes a whale: ‘Every man is a piece of the continent, a part of the main. If a clod be washed away by the sea, Europe is the less, as well as if a promontory were.’ But even if the whole feels the loss of a part, the part may not feel the loss of the whole ...”

“... with a hand on his penis, as in Veronese’s Holy Family with St Barbara and the Infant St John in the Uffizi, and in at least twenty other paintings of the Cinquecento – ‘a gesture unknown to devotional art before or since’, and later deplored. Steinberg has a long and brilliant excursus on bowdlerism, the practice of eliminating or toning down ...”

“... turning on a pound of flesh.The pound of flesh brings us in sight of that ‘Tunne of Man’, Sir John Falstaff. I’ve been arguing that, throughout Shakespeare’s developing power of characterisation, the physical has a special place: from Crab the dog to Richard Crookback, then to Bottom, then to the magnificently delineated yet isolated Shylock, and ...”

“... and where by the early 1920s both the poet laureate Robert Bridges and the future poet laureate John Masefield had established themselves in suburban comfort. Graves lived from 1919 to 1921 in Dingle Cottage at the bottom of Masefield’s garden. I walk my dog past the cottage quite often. It’s set down in a marshy hollow which has a faint air of primal ...”

“... terms of Anglican tradition. There is nothing Elizabethan about them, nothing of the sharpness of Donne or the mysterious sweetness of Herbert. He does not think in his poems, as they did or seemed to do; he does not even ruminate, as Philip Larkin so impressively does in his poem ‘Church Going’. But why should he? His faith is in the ongoing power of ...”

“... close of World War II. He attended Harvard, where he began a close friendship with his classmate, John Ashbery. After a year (1950-51) in Michigan writing and translating poetry, he moved to New York, where he rejoined his Harvard friends and their friends – among them the poets Kenneth Koch, James Schuyler and Barbara Guest – becoming part of a social ...”

“... Eliot in the Houghton Library; Tennyson’s In Memoriam; Lyndall Gordon’s Eliot’s Early Years; John Mayer’s T.S. Eliot’s Silent Voices; Laforgue’s Hamlet, Mélanges posthumes, Le Concile féerique, and ‘Esthét-ique’; Symons’s The Symbolist Movement in Literature; Maeterlinck’s essay ‘Silence’; Boswell’s Johnson; the OED; Paradise ...”

“... The iterative wit of the phantom bibliography is at work in the best-known early English example: John Donne’s Catalogus librorum aulicorum incomparabilium et non vendibilium, or The Courtier’s Library of Rare Books Not for Sale. Unpublished until 1650, Donne wrote the text between about 1603 and 1611, and it ...”

“... verse (from Anon on the structure of the cosmos – ‘as appel the eorthe is round’ – to John Updike on cosmic gall), is therefore fighting a lost battle. The editors make out a brave case for the similarity of poet and scientist (‘the starting-point for both of their activities is the imagination’), dispute old distinctions between ...”

“... poetry: novels, plays, stories, philosophy, aesthetics, politics and criticism.’ Of his hero Donne, he writes in The School of Donne (1961), that ‘the continual impression his poems make is of the mind in action, its resources insisted upon, even in the teeth of technique.’ This is poetry as unarmed combat. There ...”

“... our way through Ronsard, Tennyson, Edward Lear, Wendy Cope, Baudelaire, Verlaine, Yeats, Herbert, Donne, Larkin, Housman (who, I discover, admitted to his French translator that he had never spent much time in Shropshire), John Clare, A.A. Milne, Shelley, Blake, Eliot (Macavity, not Prufrock) and – thanks to Seamus Heaney ...”

“... and his own diagnosis of Larkin’s virtues. Long ago, the Poet Laureate referred to him as ‘the John Clare of the building estates’, a decidedly quaint though no doubt a heartfelt compliment, in line with Eric Homberger’s later summing-up of Larkin as ‘the saddest heart in the post-war supermarket’, or the more magisterial pronouncement that his ...”

“... it derives somewhat from Yeats and from Eliot, and in this country friends of mine, Allen Tate and John Crowe Ransom. And a rather strange position was built up. There were great arguments that poetry was a form of knowledge, at least as valid as scientific knowledge, and in certain ways more so, because it didn’t abstract from experience. We claimed any ...”