By Rodney Stenning Edgecombe
While Thomas Hood has lengthy been considered as a minor comedian poet, this book--the first to dedicate itself solely to his verse--provides an in depth research of 2 'serious' poems ('Hero and Leander' and 'The Plea of the Midsummer Fairies') which will provide a greater feel of his variety. so much commentators have pointed to the effect of Keats on such events, yet shut exam finds an excellent higher debt to Elizabethan and Metaphysical poets, whose occasionally playful deployment of the self-esteem struck a chord in his sensibility. even as, the e-book supplies Hood's comedian genius its due, offering special bills of the deftness and panache of his light-hearted oeuvre. One bankruptcy examines his expedition into the mock-heroic mode (Odes and Addresses to nice People), and one other his reliance on that airiest of varieties, the capriccio (Whims and Oddities). The learn concludes with an in depth exam of 'Miss Kilmansegg and Her priceless Leg,' displaying how Hood was once right here capable of inflect a jeu d'esprit with an outstanding Juvenalian ardour.
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Extra resources for A Self-divided Poet: Form and Texture in the Verse of Thomas Hood
20) Here, as nowhere else in the poem, the dance of the trisyllabic feet comes into its own, evoking a tableau both carefree and ordered. While anaphoraic parallelism patterns the lines, the rollicking feet strain against its rigour as the washing against its lines in turn. "). 40 —anticipates it and then cancels it: "Now all is dark—not a shirt's on a shrub" (21). "). Working in a similar way, a paradoxical syllepsis suggests that her children's nourishment can't really be distinguished from her poisonous washing agents ("And boils neither barley nor alkaline broth"), while their "foul faces" (they are weeping in hunger) correlate with the absence of "foul" laundry.
While a certain sameness arises from the puns that laminate the verbal surface throughout, there can also be no doubting that Hood explores almost every aspect of the mock-heroic ode, and repeatedly plunges his hand into its bag of tricks. Rochesterian paradox, static apostrophe that goes nowhere slowly, ludicrous metaphors, reductive similes—all can be found somewhere or other, and so can the full range of mock-heroic tone. The lame, hectoring insistence of Bridget Jones's remonstrance to the Steam Company recalls Bottom's clumsy "odes" in A Midsummer Night's Dream, but, at the same time, her anorthographic puns look forward to the most inventive and sophisticated satirist of the twentieth century.
134 ("What is honour? — And again, in imitation of Gray's "Ode on the Spring"— Yet hark, how through the peopled air The busy murmur glows! The insect youth are on the wing49 —he adjusts the moral to the physical scale: Oh! —what is fame? — (2) A Self-Divided Poet: Form and Texture in the Verse of Thomas Hood 17 As London recedes, so does the power of its literary establishment, and that of Edinburgh too. Punning on the nickname for a Scotsman ("Sandy"), Hood turns the pronouncements of Francis Jeffrey and John Wilson into so much expendable ballast: Look down!