| Preface: Joining Music with Reason |
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17 | (4) |
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21 | (14) |
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Caedmon, Draw Me Something |
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23 | (1) |
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24 | (2) |
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26 | (1) |
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27 | (2) |
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29 | (3) |
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32 | (2) |
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34 | (1) |
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35 | (12) |
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37 | (2) |
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39 | (1) |
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40 | (1) |
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41 | (1) |
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42 | (2) |
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44 | (1) |
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What Shall We Do with Your Subconscious? |
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45 | (1) |
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46 | (1) |
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47 | (12) |
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49 | (2) |
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51 | (2) |
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53 | (1) |
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54 | (1) |
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Acciecati dalla Meraviglia |
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55 | (1) |
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56 | (1) |
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57 | (1) |
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58 | (1) |
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59 | (12) |
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61 | (1) |
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62 | (1) |
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63 | (1) |
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64 | (1) |
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65 | (1) |
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66 | (1) |
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67 | (1) |
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68 | (1) |
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69 | (1) |
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70 | (1) |
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71 | (12) |
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There Are No Ploughs on Ikaria |
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73 | (1) |
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74 | (1) |
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75 | (1) |
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The God's Final Words to Antony |
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76 | (1) |
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77 | (1) |
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78 | (3) |
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81 | (1) |
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82 | (1) |
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83 | (12) |
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85 | (1) |
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86 | (1) |
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87 | (1) |
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88 | (1) |
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89 | (1) |
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90 | (1) |
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91 | (1) |
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92 | (1) |
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93 | (1) |
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94 | (1) |
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95 | (14) |
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97 | (1) |
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98 | (2) |
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100 | (1) |
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101 | (1) |
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102 | (1) |
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103 | (1) |
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No 3 from Uses for the Thames |
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104 | (1) |
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105 | (1) |
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106 | (3) |
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109 | (14) |
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The Guest Ellen at the Supper for Street People |
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111 | (2) |
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113 | (2) |
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115 | (1) |
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116 | (2) |
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118 | (2) |
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Translation of Virgil, Aeneid VI, II. 305-329 |
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120 | (2) |
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That Now Are Wild and Do Not Remember |
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122 | (1) |
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123 | (14) |
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125 | (3) |
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128 | (2) |
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130 | (1) |
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131 | (2) |
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133 | (2) |
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135 | (2) |
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137 | (16) |
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139 | (1) |
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140 | (2) |
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142 | (2) |
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144 | (1) |
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145 | (1) |
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146 | (1) |
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147 | (3) |
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150 | (3) |
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153 | (12) |
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155 | (1) |
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156 | (1) |
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157 | (1) |
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158 | (1) |
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159 | (1) |
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From Night-Jar, I, II, III, IV |
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160 | (4) |
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After `Gewritu secgao pæt seo wiht sy' |
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164 | (1) |
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165 | (12) |
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Leopardi: Saturday Night in the Village |
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167 | (2) |
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Lucretius: Atomic Movement |
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169 | (3) |
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Mandelstam: As I Was Washing Myself in the Dark |
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172 | (1) |
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Selections from Camus: Carnets, 5, 32, 66 |
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173 | (3) |
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176 | (1) |
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177 | (12) |
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179 | (1) |
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180 | (2) |
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182 | (1) |
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183 | (1) |
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184 | (1) |
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185 | (1) |
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186 | (1) |
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187 | (1) |
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188 | (1) |
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189 | (14) |
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191 | (1) |
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192 | (2) |
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Those Birds Fly Well Which Have Little Flesh |
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194 | (1) |
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195 | (1) |
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196 | (1) |
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197 | (1) |
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198 | (1) |
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199 | (1) |
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200 | (1) |
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201 | (2) |
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203 | (12) |
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205 | (1) |
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206 | (1) |
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207 | (1) |
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208 | (1) |
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209 | (1) |
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210 | (4) |
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214 | (1) |
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215 | (14) |
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217 | (1) |
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218 | (1) |
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219 | (1) |
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220 | (1) |
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221 | (1) |
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222 | (1) |
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223 | (1) |
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224 | (1) |
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225 | (1) |
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Ontogeny Recapitulates Phylogeny |
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226 | (3) |
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229 | (12) |
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231 | (1) |
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232 | (1) |
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233 | (1) |
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234 | (1) |
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235 | (1) |
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The Age of the Empty Chair |
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236 | (1) |
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237 | (1) |
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The Museum of Archaeology |
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238 | (1) |
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239 | (1) |
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240 | (1) |
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241 | (12) |
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243 | (1) |
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244 | (1) |
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245 | (1) |
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246 | (1) |
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247 | (1) |
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248 | (1) |
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249 | (1) |
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250 | (1) |
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251 | (1) |
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252 | (1) |
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253 | (14) |
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255 | (1) |
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256 | (1) |
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257 | (1) |
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258 | (2) |
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260 | (1) |
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261 | (1) |
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262 | (2) |
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264 | (2) |
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266 | (1) |
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267 | (14) |
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269 | (2) |
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271 | (1) |
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O'Regan the Amateur Anatomist |
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272 | (1) |
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273 | (1) |
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274 | (1) |
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The Iron-Age Boat at Caumatruish |
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275 | (1) |
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276 | (1) |
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277 | (1) |
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278 | (1) |
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279 | (2) |
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281 | (12) |
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283 | (1) |
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284 | (1) |
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285 | (1) |
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286 | (1) |
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287 | (1) |
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288 | (1) |
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289 | (1) |
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290 | (1) |
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291 | (1) |
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292 | (1) |
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293 | (20) |
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295 | (5) |
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300 | (3) |
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303 | (3) |
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306 | (3) |
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309 | (2) |
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311 | (2) |
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313 | (14) |
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315 | (1) |
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316 | (2) |
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318 | (2) |
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320 | (1) |
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321 | (1) |
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322 | (1) |
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323 | (1) |
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324 | (1) |
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325 | (2) |
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327 | (14) |
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329 | (1) |
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330 | (1) |
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331 | (5) |
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336 | (1) |
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337 | (1) |
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338 | (1) |
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339 | (2) |
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341 | (14) |
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343 | (1) |
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344 | (1) |
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345 | (1) |
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346 | (1) |
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347 | (2) |
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349 | (2) |
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351 | (1) |
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352 | (1) |
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353 | (2) |
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355 | (14) |
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357 | (1) |
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358 | (2) |
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360 | (1) |
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The House of the Customs Men |
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361 | (1) |
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362 | (1) |
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363 | (1) |
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The Little Girl of Pompeii |
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364 | (2) |
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366 | (3) |
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369 | (12) |
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371 | (1) |
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372 | (1) |
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373 | (1) |
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374 | (1) |
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375 | (1) |
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376 | (1) |
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377 | (1) |
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378 | (1) |
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379 | (1) |
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380 | (1) |
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381 | (12) |
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383 | (1) |
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384 | (2) |
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386 | (1) |
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Short Ode to Screwball Women |
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387 | (1) |
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At the Zen Mountain Monastery |
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388 | (1) |
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389 | (1) |
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390 | (2) |
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392 | (1) |
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393 | (14) |
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The Gentleman Bowls Along |
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395 | (1) |
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From the Steamer Back Across Ullswater |
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396 | (1) |
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397 | (1) |
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398 | (1) |
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A Victorian Dreams of Heaven |
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399 | (1) |
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400 | (1) |
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401 | (1) |
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402 | (1) |
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403 | (1) |
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404 | (3) |
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Coda: Oxford Poets of the 1950s |
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407 | (6) |
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409 | (1) |
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410 | (1) |
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411 | (2) |
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413 | (6) |
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415 | (1) |
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416 | (1) |
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417 | (2) |
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419 | (6) |
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Ten Ways to Avoid Lending Your Wheel-barrow to Anybody |
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421 | (2) |
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423 | (1) |
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424 | (1) |
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425 | (6) |
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A Considered Reply to a Child |
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427 | (1) |
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428 | (1) |
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429 | (2) |
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431 | (8) |
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433 | (2) |
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435 | (2) |
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437 | (2) |
| A Note about Christopher Ricks |
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439 | |
