Edwin Muir - Works

Works

  • We Moderns: Enigmas and Guesses, under the pseudonym Edward Moore, London, George Allen & Unwin, 1918
  • Latitudes, New York, B. W. Huebsch, 1924
  • First Poems, London, Hogarth Press, 1925
  • Chorus of the Newly Dead, London, Hogarth Press, 1926
  • Transition: Essays on Contemporary Literature, London, Hogarth Press, 1926
  • The Marionette, London, Hogarth Press, 1927
  • The Structure of the Novel, London, Hogarth Press, 1928
  • John Knox: Portrait of a Calvinist, London, Jonathan Cape, 1929
  • The Three Brothers, London, Heinemann, 1931
  • Poor Tom, London, J. M. Dent & Sons, 1932
  • Variations on the Time Theme, London, J. M. Dent & Sons, 1934
  • Scottish Journey London, Heinemann in association with Victor Gollancz, 1935
  • Journeys and Places, London, J. M. Dent & Sons, 1937
  • The Present Age from 1914, London, Cresset Press, 1939
  • The Story and the Fable: An Autobiography, London, Harrap, 1940
  • The Narrow Place, London, Faber, 1943
  • The Scots and Their Country, London, published for the British Council by Longman, 1946
  • The Voyage, and Other Poems, London, Faber, 1946
  • Essays on Literature and Society, London, Hogarth Press, 1949
  • The Labyrinth, London, Faber, 1949
  • Collected Poems, 1921-1951, London, Faber, 1952
  • An Autobiography, London : Hogarth Press, 1954
  • Prometheus, illustrated by John Piper, London, Faber, 1954
  • One Foot in Eden, New York, Grove Press, 1956
  • New Poets, 1959 (edited), London, Eyre & Spottiswoode, 1959
  • The Estate of Poetry, Cambridge, MA, Harvard University Press, 1962
  • Collected Poems, London and New York, Oxford University Press, 1965
  • The Politics of King Lear, New York, Haskell House, 1970

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    The man who builds a factory builds a temple, that the man who works there worships there, and to each is due, not scorn and blame, but reverence and praise.
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    His character as one of the fathers of the English language would alone make his works important, even those which have little poetical merit. He was as simple as Wordsworth in preferring his homely but vigorous Saxon tongue, when it was neglected by the court, and had not yet attained to the dignity of a literature, and rendered a similar service to his country to that which Dante rendered to Italy.
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