Samuel Johnson, who did not like Swift, said that A Tale of a Tub ?exhibits a vehemence and rapidity of mind, a copiousness of images, and vivacity of diction such as he afterwards never possessed or never exerted.? And in his old age ?looking over the Tale, ? Swift called out to Mrs. Whiteway, ?Good God! What a genius I had when I wrote that book!? Harold Bloom says that A Tale of a Tub ?is one of the handful of totally original works in the language.? This new edition presents the work as ?an amazing comic book? which puts it in a class with Rabelais’ Pantagruel. Both of these works became banned books, greatly increasing the sales. In this edition for the first time the Narrator of the text is discovered to be an authentic comic-pathetic character, with cropped ears, ill-cured syphilis, and suicidal impulses, waiting to be admitted to Bedlam, the new insane asylum, as a terminal patient. This edition is also the first to recognize that the text of A Tale of a Tub is a mosaic, composed of quotations from other texts, which incidentally accounts for the necessity of many end notes.
A Tale of a Tub: The Battle of the Books ; The Mechanical Operation of the Spirit
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Categories: Books, Open Access Books Tags: english, English; Irish; Scottish; Welsh, European, Literary Criticism, Satire
Song and Legend From the Middle Ages
Excerpt: ...Shall always dwell, And evermore Delights enjoy. 1 Fimbultyr, Odin. 2 Balder, the god of the summer. 3 Hauthr, Hoder, the brother of Balder. 4 Hropt, Odin. of Odinic morality and precepts of wisdom, in the form of social and moral maxims. -Tr. by Henderson. HAVAMAL. The High-Song of Odin. This is the second song in the Elder Edda. Odin himself is represented as its author. It contains a pretty complete code. All door-ways Before going forward, Should be looked to; For difficult it is to know Where foes may sit Within a dwelling. . . . . Of his understanding No one should be proud, But rather in conduct cautious. When the prudent and taciturn Come to a dwelling, Harm seldom befalls the cautious; For a firmer friend No man ever gets Than great sagacity. . . . . One's own house is best, Small though it be; At home is every one his own master. Though he but two goats possess, And a straw-thatched cot, Even that is better than begging. One's own house is best, Small though it be; At home is every one his own master. Bleeding at heart is he Who has to ask For food at every meal-tide. . . . . A miserable man, And ill-conditioned, Sneers at everything: One thing he knows not, Which he ought to know, That he is not free from faults. . . . . Know if thou hast a friend Whom thou fully trustest, And from whom thou would'st good derive; Thou should'st blend thy mind with his, And gifts exchange, And often go to see him. If thou hast another Whom thou little trustest, Yet would'st good from him derive, Thou should'st speak him fair, But think craftily, And leasing pay with lying. But of him yet further Whom thou little trustest, And thou suspectest his affection, Before him thou should'st laugh, And contrary to thy thoughts speak; Requital should the gift resemble. I once was young, I was journeying alone And lost my way; Rich I thought myself When I met another: Man is the joy of man. Liberal and brave Men live best, They seldom cherish sorrow; But a...
War Poems of Siegfried Sassoon
At the dawn of World War I, poet Sassoon exchanged his pastoral pursuits of cricket, fox-hunting, and romantic verse for army life amid the muddy trenches of France. This collection of his epigrammatic and satirical poetry conveys the shocking brutality and pointlessness of the Great War and includes "Counter-Attack," "'They," "The General," and "Base Details."
History of Elizabethan Literature, A
As Shakespere is by far the greatest of all writers, ancient or modern, so he has been the subject of commentorial folly to an extent, which dwarfs the expense of that folly on any other single subject... [T]here is always the danger either that some mischievous notions may be left undisturbed by the neglect to notice them, or that the critic himself may be presumed to be ignorant of the foolishness of his predecessors. These inconveniences, however, must here be risked, and it may perhaps be thought that the necessity of risking them is a salutary one.-from "The Second Dramatic Period-Shakespere"George Saintsbury, one of the finest Victorian thinkers on literature, called the output of British writers in the years between 1560 and 1660 "the greatest period of the greatest literature of the world," and his insight and enthusiasm fills this sweeping survey of that era. The words of the Elizabethan writers alone-Marlowe, Spenser, Shakespeare, Bacon, Raleigh, Milton-would be a grand enough evocation of their brilliance, but Saintsbury's singing of their praises, for all its erudition and knowledge, is a glorious tribute to their genius. Poets, playwrights, and pamphleteers, all get their just due here, in a book that will thrill lovers of magnificent literature.British journalist and critic GEORGE EDWARD BATEMAN SAINTSBURY (1845-1933) was a regular contributor to the Saturday Review. His books include A Primer of French Literature (1880), the two-volume Essays in English Literature, 1780-1860 (1890-1895), and the three-volume A History of Criticism (1900-1904).
The Annotated Wind in the Willows
"Believe me, my young friend, there is nothing,absolutely nothing,half so much worth doing as simply messing about in boats.",the Water Rat to the MoleAn instant bestseller upon its initial publication in 1908, The Wind in the Willows has become one of the beloved stories of all time. How could Ratty and Mole have known when they took to the river over one hundred years ago that they would begin a phenomenon that would produce one of the most oft-quoted lines in British literature, and inspire everyone from the creator of Winnie-the-Pooh to Pink Floyd? Drawing from more than a decade of research, Annie Gauger, one of the world's leading experts on Kenneth Grahame and The Wind in the Willows, now presents a fascinating new annotated edition that reintroduces readers to Otter, curmudgeonly Badger, and rollicking, boastful Toad, while revealing the secrets behind this treasured classic.In The Annotated Wind in the Willows, readers will discover the sheer joy of the original text, restored to the original 1908 version, illustrated with hundreds of full-color images,including the beloved drawings by E. H. Shepard and Arthur Rackham. This edition also includes Shepard's famous map of the Wild Wood and rarely seen images by illustrators Graham Robertson, Paul Bransom, Nancy Barnhart, and Wyndham Payne.In an illuminating preface, Gauger explains how Grahame came to write the novel, which began as a bedtime story and then became a series of letters he wrote to his son, Alastair. This edition reproduces the original letters in their entirety and includes nearly a thousand delightful annotations on everything from automobiles (Toad drove an Armstrong Hardcastle Special Eight) and early motorcar etiquette to modern manifestations (Disneyland's Mr. Toad's Wild Ride). She reveals how William John Cavendish Bentinck-Scott, the peculiar Fifth Duke of Portland, built an extensive network of underground tunnels, thus inspiring the character of Badger, and she puts Grahame's work in literary context, comparing him to Dickens, Rudyard Kipling, A. A. Milne, and Sir Arthur Conan Doyle. Finally, new to this edition, long buried in the Kenneth Grahame papers, are the notes, letters, and writings by Alastair Grahame and his governess, including several pieces by Kenneth Grahame himself that have never been published before.With a stunning, lyrical tribute to Grahame by Brian Jacques, the internationally best-selling author of the Redwall series, The Annotated Wind in the Willows should prove a most beautiful and enduring tribute to Grahame's masterpiece.
The Witch of Atlas Notebook: A Facsimile of Bodleian MS. Shelly Adds., E.6
This volume traces the modern critical and performance history of this play, one of Shakespeare's most-loved and most-performed comedies. The essay focus on such modern concerns as feminism, deconstruction, textual theory, and queer theory.
The Tinker’s Wedding: A Comedy in Two Acts
J. M. Synge (1871 – 1909) was an Irish poet and playwright. He participated in the founding of the Abbey
Samuel Pepys and the World He Lived In
Henry Benjamin Wheatley (1838-1917) was an eminent bibliographer, author and editor who served as assistant secretary to the Royal Society of Arts between 1879 and his retirement in 1908. He also had a particular interest in the life of Samuel Pepys (1633-1703), founding the Samuel Pepys Club in 1903 and producing the most reliable edition of Pepys' diary until the Latham edition (1970-1983). This volume, first published in 1880, contains a detailed biography of Pepys. Using contemporary sources, Wheatley discusses Pepys' achievements during the period his diary was kept, his progression in the Navy Board and his resignation in 1689. Wheatley also provides fascinating descriptions of Restoration society, manners and customs, exploring the historical context of Samuel Pepys' life through discussions of various incidents taken from his diary. This volume remains a standard reference for the historical context of Pepys' diary and life.
Annajanska the Bolshevik Empress
STRAMMFEST [snatching the telephone and listening for the answer]. Speak louder, will you: I am a General I know that, you dolt. Have you captured the officer that was with her?... Damnation! You shall answer for this: you let him go: he bribed you. You must have seen him: the fellow is in the full dress court uniform of the Panderobajensky Hussars. I give you twelve hours to catch him or...what's that you say about the devil?
The VEGETABLE, OR FROM PRESIDENT TO POSTMAN
The Wolves and the Lamb
Classic play. According to Wikipedia: “Thackeray is most often compared to one other great novelist of Victorian literature, Charles Dickens.
Sir Sidney Colvin (1845-1927) was the obvious choice to write a book on John Keats (1795-1821) for the first series of English Men of Letters. At various times Slade Professor of Fine Art at Cambridge, Director of the Fitzwilliam Museum, and Keeper of Prints and Drawings at the British Museum, Colvin had a long-standing interest in the poet, publishing an edition of his letters to family and friends in 1891, and later writing a longer biography, published in 1917. This introduction to the poet, which used print and manuscript sources not available to earlier biographers, was first published in 1887. In his preface, Colvin admits that 'I have not attempted to avoid saying over again much that in substance has been said already, and better, by others ... I hope to have contributed something of my own towards a fuller understanding both of Keats's art and life'.