‘Let’s hear it,’ said Humpty Dumpty. ‘I can explain all the poems that were ever invented — and a good many that haven’t been invented just yet.’
As I’ve talked about in previous posts, I think the epic poem is the greatest, noblest form in literature. One reason is the discipline required simply to complete writing one at all. Even a short poem demands much from a writer, and extending that over a lengthy narrative makes for an extraordinary quality filter, and is also why there are relatively few epics out there.
‘As to poetry, you know,’ said Humpty Dumpty, stretching out one of his great hands, ‘I can repeat poetry as well as other folk, if it comes to that — '
‘Oh, it needn’t come to that!’ Alice hastily said, hoping to keep him from beginning.
‘The piece I’m going to repeat,’ he went on without noticing her remark, ‘was written entirely for your amusement.’
Alice felt that in that case she really ought to listen to it, so she sat down, and said ‘Thank you’ rather sadly.
William Shakespeare’s renown in the English-speaking world knows no bounds. He gets his own section in most libraries and bookstores, he’s assigned in every English curriculum, and in any major city there’s almost always a production of one of his plays going on at any time. Take a poll asking for the greatest poet, dramatist, or even general writer in English, and the Bard will win almost every time. In fact, he’s so famous that we don’t even need to call him by his name; just say “the Bard,” and people know who you’re talking about, like how St.
It’s October and Halloween is just around the corner, so now’s a perfect time to bring out Tales of Mystery and Imagination. Not the Alan Parsons Project album, though that’s good, too, but Calla Editions' reprint of the classic collection of Edgar Allan Poe’s short stories.
Now, among the authors typically assigned for high school English, Poe stands out a bit from other members of the literary canon because, though many other canonical authors wrote for popular audiences, Poe’s stories come across as essentially pulp.
Last weekend I wrote up a recommended reading list as a permanent page, and as I came to the end I briefly considered adding a section for comics, but decided against it because my goal was to direct people to higher art; pop culture already has enough promotion.
While thinking about some of the graphic novels I may have added, I noticed that most of them were works that I’d only really recommend to someone specifically interested in the medium.
Compared to 2015, I’ve spent much of 2016 so far writing more about literature. Those who started following this blog last year, when non-fiction covered the bulk of my material, at least aside from comics I used largely to pad out the 75 Book Challenge, may see this as a slight change of course. However, it’s a return to what I’ve always considered my primary academic focus, and honestly I think that my discussions of literature are more important than those on history or political science.
The Homeric Hymns, traditionally attributed to Homer but with much controversy over that attribution, is another one of those works that shouldn’t really need much of an introduction. Since I know I’m not the only one whose formal education has failed me, though, there’s probably no harm in offering a brief overview of this, as well.
As one may guess from the title, this is a collection of poems praising several of the Greeks' various gods.
Whenever I think of English poetry, the first style to come to mind is something like the Cavalier poets. For me, their work is the good stuff; no multi-page bouts of navel-gazing in free verse here. Nope, this is good old-fashioned metrical writing with regular rhyme schemes, and what does a good Cavalier write about? Put simply, the good life - the love of beautiful women, a comfortable home in the country, close friends, duty, and at times, the loss of those things.
Though I’d heard that Titus Andronicus is one of William Shakespeare’s most violent works, I wasn’t really expecting the story of Procne and Philomela via the Elizabethan Tarantino. Nothing can really shock a modern audience, regardless of how intense a story is by Elizabethan standards, but the revenge, rape, and sadistic violence was enough to make a couple scenes a bit difficult to watch even for me. It’s the type of work where, when characters consider whether they should kill an infant, it seems completely plausible that they might actually do it.
So, at last we come to Henry VI Part III, or The True Tragedy of Richard Duke of York and the Good King Henry the Sixth, even though Richard’s brother Edward seems like a more central character than Richard, and historians would contest how much of it is true, but whatever; far be it from me to question the Bard or Oxford’s editors, and The Historically Dubious Tragedy… isn’t as catchy a title, anyway.