Walt Whitman in the context of "Transcendentalism"

Line engraving is a term for engraved images printed on paper to be used as prints or illustrations. The term is mainly used in connection with 18th- or 19th-century commercial illustrations for magazines and books or reproductions of paintings. It is not a technical term in printmaking, and can cover a variety of techniques, giving similar results.

Steel engraving is an overlapping term, for images that in fact are often mainly in etching, mostly used for banknotes, illustrations for books, magazines and decorative prints, often reproductive, from about 1820 to the early 20th century, when the technique became less used. Copperplate engraving is another somewhat outdated term for engravings. With photography long established, engravings made today are nearly all artistic ones in printmaking, but the technique is not as common as it used to be; more than other printmaking techniques, engraving requires great skill and much practice, even for an experienced artist.

The Anxiety of Influence: A Theory of Poetry is a 1973 book by Harold Bloom on the anxiety of influence in writing poetry. It was the first in a series of books that advanced a new "revisionary" or antithetical approach to literary criticism. Bloom's central thesis is that poets are hindered in their creative process by the ambiguous relationship they necessarily maintain with precursor poets. While admitting the influence of extraliterary experience on every poet, he argues that "the poet in a poet" is inspired to write by reading another poet's poetry and will tend to produce work that is in danger of being derivative of existing poetry, and, therefore, weak. Because poets historically emphasize an original poetic vision in order to guarantee their survival into posterity, the influence of precursor poets inspires a sense of anxiety in living poets. Thus Bloom attempts to work out the process by which the small minority of 'strong' poets manage to create original work in spite of the pressure of influence. Such an agon (a vain attempt by a writer to resolve the conflict between his ideas and those of a much more influential predecessor), Bloom argues, depends on six revisionary ratios, which reflect Freudian and quasi-Freudian defense mechanisms, as well as the tropes of classical rhetoric.

Before writing this book, Bloom spent a decade studying the Romantic poets of the early nineteenth century. This is reflected in the emphasis given to those poets and their struggle with the influence of John Milton, Robert Burns, and Edmund Spenser. Other poets analyzed range from Lucretius and Dante to Walt Whitman, Wallace Stevens, and John Ashbery. In The Anxiety of Influence and other early books, Bloom claimed that influence was particularly important for post-enlightenment poets. Conversely, he suggested that influence might have been less of a problem for such poets as Shakespeare and Ben Jonson. Bloom later changed his mind, and the most recent editions of The Anxiety of Influence include a preface claiming that Shakespeare was troubled early in his career by the influence of Christopher Marlowe. The book itself is divided into six major categories, called "six revisionary ratios" by Bloom. They are clinamen, tessera, kenosis, daemonization, askesis, and apophrades.

Ralph Waldo Emerson (May 25, 1803 – April 27, 1882), who went by his middle name Waldo, was an American essayist, lecturer, philosopher, minister, abolitionist, and poet who led the Transcendentalist movement of the mid-19th century. He was seen as a champion of individualism and critical thinking, as well as a prescient critic of the countervailing pressures of society and conformity. Friedrich Nietzsche thought he was "the most gifted of the Americans," and Walt Whitman called Emerson his "master".

Emerson gradually moved away from the religious and social beliefs of his contemporaries, formulating and expressing the philosophy of Transcendentalism in his 1836 essay, Nature. His speech "The American Scholar," given in 1837, was called America's "intellectual Declaration of Independence" by Oliver Wendell Holmes Sr.

American literature is literature written or produced in the United States of America and in the British colonies that preceded it. The American literary tradition is part of the broader tradition of English-language literature, but also includes literature produced in languages other than English.

The American Revolutionary Period (1775–1783) is notable for the political writings of Benjamin Franklin, Alexander Hamilton, Thomas Paine, and Thomas Jefferson. An early novel is William Hill Brown's The Power of Sympathy, published in 1791. The writer and critic John Neal in the early-to-mid-19th century helped to advance America toward a unique literature and culture, by criticizing his predecessors, such as Washington Irving, for imitating their British counterparts and by influencing writers such as Edgar Allan Poe, who took American poetry and short fiction in new directions. Ralph Waldo Emerson pioneered the influential Transcendentalism movement; Henry David Thoreau, the author of Walden, was influenced by this movement. The conflict surrounding abolitionism inspired writers, like Harriet Beecher Stowe, and authors of slave narratives, such as Frederick Douglass. Nathaniel Hawthorne's The Scarlet Letter (1850) explored the dark aspects of human nature, as did Herman Melville's Moby-Dick (1851). Major American poets of the 19th century include Walt Whitman, Melville, and Emily Dickinson. Mark Twain was the first major American writer to be born in the West. Henry James achieved international recognition with novels like The Portrait of a Lady (1881).

Leaves of Grass is a poetry collection by American poet Walt Whitman. After self-publishing it in 1855, he spent most of his professional life writing, revising, and expanding the collection until his death in 1892. Either six or nine separate editions of the book were produced, depending on how one defines a new edition. The continual modifications to Leaves of Grass resulted in vastly different copies of it circulating in Whitman's lifetime. The first edition was a slim tract of twelve poems, and the last was a compilation of over 400 poems.

The book represents a celebration of Whitman's philosophy of life and humanity in which he praises nature and the individual's role in it. He catalogues the expansiveness of American democracy. Rather than dwell on religious or spiritual themes, he focuses primarily on the body and the material world. With very few exceptions, Whitman's poems do not rhyme or follow conventional rules for meter and line length.

Modernist poetry in English started in the early years of the 20th century with the appearance of the Imagists. Like other modernists, Imagist poets wrote in reaction to the perceived excesses of Victorian poetry, and its emphasis on traditional formalism and ornate diction.

In Preface to the Lyrical Ballads, published in 1800, William Wordsworth criticized what he perceived to be the gauche and pompous nature of British poetry over a century earlier, and instead sought to bring poetry to the layman. Modernists saw themselves as looking back to the best practices of poets in earlier periods and other cultures. Their models included ancient Greek literature, Chinese and Japanese poetry, the troubadours, Dante and the medieval Italian philosophical poets, such as Guido Cavalcanti, and the English Metaphysical poets.

Accentual-syllabic verse is an extension of accentual verse which fixes both the number of stresses and syllables within a line or stanza. Accentual-syllabic verse is highly regular and therefore easily scannable. Usually, either one metrical foot, or a specific pattern of metrical feet, is used throughout the entire poem; thus one can speak about a poem being in, for example, iambic pentameter. Poets naturally vary the rhythm of their lines, using devices such as inversion, elision, masculine and feminine endings, the caesura, using secondary stress, the addition of extra-metrical syllables, or the omission of syllables, the substitution of one foot for another.

Accentual-syllabic verse dominated literary poetry in English from Chaucer's day until the 19th century, when the freer approach to meter championed by poets such as Samuel Taylor Coleridge and Ralph Waldo Emerson and the radically experimental verse of Gerard Manley Hopkins and Walt Whitman began to challenge its dominance. In the early 20th century, accentual-syllabic verse was largely supplanted by free verse in literary poetry through the efforts of Modernists such as Ezra Pound and Amy Lowell. Nonetheless, some poets, such as Robert Frost, W. H. Auden, Keith Douglas, Robert Lowell, Philip Larkin, Howard Nemerov, James Merrill, Derek Walcott, Geoffrey Hill, Seamus Heaney and Derek Mahon continued to work (though not exclusively) in accentual-syllabic meters throughout the century.

John Lawrence Ashbery (July 28, 1927 – September 3, 2017) was an American poet and art critic.

Ashbery is considered the most influential American poet of his time. Oxford University literary critic John Bayley wrote that Ashbery "sounded, in poetry, the standard tones of the age." Langdon Hammer, chair of the English Department at Yale University, wrote in 2008, "No figure looms so large in American poetry over the past 50 years as John Ashbery" and "No American poet has had a larger, more diverse vocabulary, not Whitman, not Pound." Stephanie Burt, a poet and Harvard professor of English, has compared Ashbery to T. S. Eliot, calling Ashbery "the last figure whom half the English-language poets alive thought a great model, and the other half thought incomprehensible".

A Passage to India is a 1924 novel by English author E. M. Forster set against the backdrop of the British Raj and the Indian independence movement in the 1920s. It was selected as one of the 100 great works of 20th-century English literature by the Modern Library and won the 1924 James Tait Black Memorial Prize for fiction. Time magazine included the novel in its "All Time 100 Novels" list. The novel is based on Forster's experiences in India, deriving the title from Walt Whitman's 1870 poem "Passage to India" in Leaves of Grass.

The story revolves around four characters: Dr. Aziz, his British friend Mr. Cyril Fielding, Mrs. Moore, and Miss Adela Quested. During a trip to the fictitious Marabar Caves (modelled on the Barabar Caves of Bihar), Adela thinks she finds herself alone with Dr. Aziz in one of the caves (when in fact he is in an entirely different cave; whether the attacker is real or a reaction to the cave is ambiguous), and subsequently panics and flees; it is assumed that Dr. Aziz has attempted to assault her. Aziz's trial, and its run-up and aftermath, bring to a boil the common racial tensions and prejudices between Indians and the British during the colonial era.