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This anthology brings together three powerfully original figures who vividly capture the spirit and anxieties of their age. Thomas Hood and Winthrop Mackworth Praed write with a self-conscious playfulness about literary history and traditions as well as an active and often satirical engagement with contemporary social and political culture. Thomas Lovell Beddoes has always held the interest of the "dark" Victorianists for his lushly lurid imagination and of the modernists for his ironic, frequently caustic verses. Most of all, these are three amazingly interesting poets--full of verbal wit, evocative imagery, compelling imaginations. Although he started by writing in the style of Keats, Thomas Hood (1799-1845) declared, "I have to be a lively Hood for a livelihood," and devoted most of his career to comic verse. But his sheer verbal ingenuity and endlessly inventive punning do not conceal his phobias and fears, nor overshadow the emerging social protest that was to shape the impressive poems in his later years. Winthrop Mackworth Praed (1802-1839) observed the social scene of his day--the flirtations, political intrigues, elegant chit-chat, and parliamentary procedures--with sparkling, self-deprecating wit. Having read law, Praed was called to the Bar in 1829 and entered Parliament as a Conservative in 1830. Even so, he wrote to his school friend and future editor, "Having been favoured by Nature with a long face, a short purse, and two elder Brothers, I find no way of making myself popular in the circle in which she has placed me, except versifying." Thomas Lovell Beddoes (1803-1849), who committed suicide, was, in the editors' words "brilliant, solitary, eccentric, erratic, homosexual, politically radical, a poet of powerful, haunting imagination, and, like the other morbidly witty poets in this volume, is most characteristic for his defiance of easy characterization." He has been called the last Elizabethan, a Jacobean scion, an original interpreter of gothic terror, the first modernist, and, with his comic grotesqueries, a precursor of the twentieth-century theater of the absurd. The editors' introductions to each poet are lively and accessible to the non-specialist, while their editorial work, both in establishing the texts and in their annotation and apparatus, makes this an ideal text for specialist study as well.
Miss Kilmansegg, injured after a riding accident, wears a golden leg.
The 2017 winner of the Robert and Vineta Colby Scholarly Book Prize Providing a comprehensive, interdisciplinary examination of scholarship on nineteenth-century British periodicals, this volume surveys the current state of research and offers researchers an in-depth examination of contemporary methodologies. The impact of digital media and archives on the field informs all discussions of the print archive. Contributors illustrate their arguments with examples and contextualize their topics within broader areas of study, while also reflecting on how the study of periodicals may evolve in the future. The Handbook will serve as a valuable resource for scholars and students of nineteenth-century culture who are interested in issues of cultural formation, transformation, and transmission in a developing industrial and globalizing age, as well as those whose research focuses on the bibliographical and the micro case study. In addition to rendering a comprehensive review and critique of current research on nineteenth-century British periodicals, the Handbook suggests new avenues for research in the twenty-first century. "This volume's 30 chapters deal with practically every aspect of periodical research and with the specific topics and audiences the 19th-century periodical press addressed. It also covers matters such as digitization that did not exist or were in early development a generation ago. In addition to the essays, readers will find 50 illustrations, 54 pages of bibliography, and a chronology of the periodical press. This book gives seemingly endless insights into the ways periodicals and newspapers influenced and reflected 19th-century culture. It not only makes readers aware of problems involved in interpreting the history of the press but also offers suggestions for ways of untangling them and points the direction for future research. It will be a valuable resource for readers with interests in almost any aspect of 19th-century Britain. Summing Up: Highly recommended" - J. D. Vann, University of North Texas in CHOICE