manual of traditional Icelandic poetic diction, containing a list of kennings. The list is systematized so as to function as a practical thesaurus for the use of poets wishing to write in the genuine old manner, and structured as an FAQ. Snorri gives traditional examples and also opens the way for creating correct new kennings: In Britain the distinctively Germanic spirit of Anglo Saxon prosody placed particular emphasis on elaborate, decorative and controlled use of strongly ornate language, such as in consistent and sustained alliteration, as exemplified by the anonymous Pearl Poet of North-West England. In Scotland this spirit continued through to the renaissance so that in Middle Scots diction the 15th and 16th century Makars achieved a rich and varied blend of characteristically Germanic Anglic features with newer Latinate and aureate language and principles. Asia In Japanese poetry, the rules for writing traditional haiku require that each poem include a reference to a specific season. For the renga linked-verse form from which haiku derived, the rules specify that certain stanzas should have seasonal references. In both cases, such references are achieved by inclusion of a kigo (season word). Japanese poets regularly use a Saijiki, a kigo dictionary that contains lists of season words, organized by season, together with examples of haiku using those kigo. In English In English, poetic diction has taken multiple forms, but it generally mirrors the habits of Classical literature. Highly metaphoric adjective use, for example, can, through catachresis, become a common "poetic" word (e.g. the "rosy-fingered dawn" found in Homer, when translated into English, allows the "rose fingered" to be taken from its Homeric context and used generally to refer not to fingers, but to a person as being dawn-like). In the 16th century, Edmund Spenser (and, later, others) sought to find an appropriate language for the Epic in English, a language that would be as separate from commonplace English as Homeric Greek was from koine. Spenser found it in the intentional use of archaisms. (This approach was rejected by John Milton, who sought to make his epic out of blank verse, feeling that common language in blank verse was more majestic than difficult words in complex rhymes.) William Wordsworth also believed in using the language of the common man to portray a certain image and display his message. In the Preface to the Lyrical Ballads, Wordsworth says "I have proposed to myself to imitate,