By Rodney Stenning Edgecombe
While Thomas Hood has lengthy been considered as a minor comedian poet, this book--the first to commit itself solely to his verse--provides an in depth research of 2 'serious' poems ('Hero and Leander' and 'The Plea of the Midsummer Fairies') that allows you to provide a greater feel of his diversity. such a lot commentators have pointed to the impact of Keats on such events, yet shut exam finds an excellent higher debt to Elizabethan and Metaphysical poets, whose occasionally playful deployment of the vanity struck a chord in his sensibility. even as, the booklet supplies Hood's comedian genius its due, offering specific debts of the deftness and panache of his light-hearted oeuvre. One bankruptcy examines his day trip into the mock-heroic mode (Odes and Addresses to nice People), and one other his reliance on that airiest of kinds, the capriccio (Whims and Oddities). The research concludes with an in depth exam of 'Miss Kilmansegg and Her priceless Leg,' exhibiting how Hood was once right here capable of inflect a jeu d'esprit with a very good Juvenalian ardour.
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Additional resources for A Self-divided Poet: Form and Texture in the Verse of Thomas Hood
At each verbal coincidence, at each elated cry of "snap," the poetry jigs in a high-spirited way, carrying the reader over all the potholes and runnels that time has eroded in the topicality of the Odes and Addresses. CHAPTER TWO HOOD AND THE CAPRICCIO: WHIMS AND ODDITIES. FIRST AND SECOND SERIES Although the "capriccio" hasn't found its way into literary taxonomies, musicians have been using the term since the sixteenth, and painters since the eighteenth century. According to Percy A. Scholes, the musical capriccio: is almost always in quick tempo (though Haydn has in one of his 'Salomon' Symphonies a capriccio marked 'largo'), but there is no essential quality except the general one indicated by the name.
The tone of such sermons colours the next stanza as well, full of Schadenfreude in the fate of the damned: But how will they come off, poor motleys, when Sins wages paid down, and they stand in The Evil presence? You and I know, then How all the party colours will begin, To part—the Pittite hues will sadden there, 28 Chapter One Whereas the Foxite shades will all show fair! 11). In a move that anticipates conversational tournure of Browning's verse, Hood "writes in" a stage direction for his interlocutor, converting his address into a dramatic monologue avant la lettre.
He prefaces each item with the phrase "I like," a sort of stanzaic anaphora that helps anchor and shape this rather shambling catalogue. The personal, unprofessional note of all these "likes" serves to relax our expectations, for the criticism isn't very trenchant, even if puns that couch it are. Its chief interest lies in what it tells us about Hood rather than about Scott. His dismissal of Ivanhoe, for example, shows the extent to which he anticipated Dickens's anti-medieval values, and, when he compares Mause Headrigg (in Old Mortality) to Rae Wilson, he reveals another proto-Dickensian aversion—the canting Evangelical: I like dear Mrs.
A Self-divided Poet: Form and Texture in the Verse of Thomas Hood by Rodney Stenning Edgecombe