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James Williams's account, the first book-length critical study of the poet since the 1980s, sets out to re-introduce Lear and to accord him his proper place: as a major Victorian figure of continuing appeal and relevance, and especially as a poet of beauty, comedy, and profound ingenuity.
The absurd and fanciful verses of Edward Lear-from "The Owl and the Pussy-cat" to "The Jumblies," from "The Scroobious Pip" to countless limericks-have enchanted generations of readers, children and adults alike. This delightful collection, the most comprehensive ever compiled of his work, presents all of Lear's verse and other nonsense writings, including stories, letters, and illustrated alphabets, as well as previously unpublished material. Featuring Lear's own line drawings throughout and an introduction by leading Lear authority Vivien Noakes, this captivating volume reveals a complex man of ample talents, achievements, and influence-and is teeming with timeless nonsense.
Of all the Victorian poets, Edward Lear has a good claim to the widest audience: admired and championed by critics and poets from John Ruskin to John Ashbery, he has also been read, heard, and loved by generations of children. As a central figure in the literature of nonsense, Lear has also shaped the evolution of modern literature and his work continues to influence and inspire writers and readers today. This collection of essays, the first ever devoted solely to Lear, builds on a recent resurgence of critical interest and asks how it is that the play of Lear's poetry continues to delight, and to challenge our sense of what poetry can be. These seventeen chapters, written by established and emerging critics of poetry, seek to explore and appreciate the playfulness embodied in the poems and to provide contexts in which it can be better understood and enjoyed. They consider how Lear's poems play off various inheritances (the literary fool, Romantic lyric, his religious upbringing), explore particular forms in which his playful genius took flight (his letters, his queer writings about love), and trace lines of Learical influence and inheritance by showing how other poets and thinkers across the nineteenth and twentieth centuries played off Lear in their turn (Stein, Eliot, Auden, Smith, Ashbery, and others).
The tracer's goals are to identify the source of a quotation, to find or to produce detailed citation based on a reliable edition of the work, to find an authoritative text of the passage being traced, and to do all this in the shortest time possible and with the least possible amount of effort.
This book offers an analysis of nonsense literature in translation, examining specifically the way in which the works of Lewis Carroll and Edward Lear are conveyed and enjoyed by those of different linguistic, historical and cultural backgrounds. This work should appeal to scholars interested in British literature, nonsense literature, and translation theory. have never been out of print since they first appeared and have gone through numerous editions and translations in many major languages. The reality of this universal appeal is perplexing due to the fact that the nonsense literatures of both of these men are filled with historical allusions to and parodies of Victorian era England. Without an understanding of their historical background, one would assume that these works lose a considerable amount of their original appeal. international readership both in English and in translations. The purpose of this enquiry is to explore the many different ways in which nonsense has been translated. Once this is done, differences among translations of the same source text have to be observed and noted. At this stage, it may be appropriate to bring in external considerations of history, culture and publishers' intentions, which can suggest motivations for existing differences in approaches and techniques of translation.