Introduce your child to rhyming words and the fun of playing withlanguage and sounds - with flaps on every spread.

Bard the gecko loves to rhyme. he sees rhymes everywhere -- in his bedroom, his backyard, at the lake, and at the farm. Flaps on every page make learning about rhyming words fun, and will encourage children to find things that rhyme all about them.

Bard Bart - Poetic Rhymes and Punchlines won the Pinnacle Book Achievement Award as Best Book-Poetry Category from the North American Bookdealers Exchange (NABE) in 2017, and has received top critical reviews. It is a book of carefully structured poems, with rhythm, rhyme, and meticulous wordsmithing, which invariably offer critical life lessons in the form of powerful poetic punchlines.

After Jack becomes apprenticed to a Druid bard, he and his little sister Lucy are captured by Viking Berserkers and taken to the home of King Ivar the Boneless and his half-troll queen, leading Jack to undertake a vital quest to Jotunheim, home of the trolls.

Walt Whitman has long been regarded as the quintessential American bard, the poet who best represents all that is distinctive about life in the United States. Whitman himself encouraged this view, but he was also quick to remind his readers that he was an unlikely candidate for the office of national poet, and that his working-class upbringing and radical take on human sexuality often put him at odds with American culture. While American literary history has tended to credit Whitman with having invented the persona of the national outsider as the national bard, Edward Whitley recovers three of Whitman's contemporaries who adopted similar personae: James M. Whitfield, an African American separatist and abolitionist; Eliza R. Snow, a Mormon pioneer and women's leader; and John Rollin Ridge, a Cherokee journalist and Native-rights advocate. These three poets not only provide a counterpoint to the Whitmanian persona of the outsider bard, but they also reframe the criteria by which generations of scholars have characterized Whitman as America's poet. This effort to resituate Whitman's place in American literary history provides an innovative perspective on the most familiar poet of the United States and the culture from which he emerged.

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars. Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library T000481 With a half-title. London: printed for J. Dodsley, 1783. [4],38p.; 4°

The rhymes in poems are important to understanding how poets write; and in the nineteenth century, rhyme conditioned the ways in which poets heard both themselves and each other writing. Sound Intentions studies the significance of rhyme in the work of Wordsworth, Keats, Tennyson, Christina Rossetti, Hopkins and other poets, including Coleridge, Byron, Elizabeth Barrett Browning, Swinburne, and Hardy. The book's stylistic reading of nineteenth-century poetry argues for Wordsworth's centrality to issues of intention and chance in poets' work, and offers a reading of the formal choices made in poetry as profoundly revealing points of intertextual relation. Sound Intentions includes detailed consideration of the critical meaning of both rhyme and repetition, bringing to bear an emphasis on form as poetry's crucial proving-ground. In a series of detailed readings of important poems, the book shows how close formal attention goes beyond critical formalism, and can become a way of illuminating poets' deepest preoccupations, doubts, and beliefs. Wordsworth's sounding of his own poetic voice, in blank verse as well as rhyme, is here taken as a model for the ways in which later nineteenth-century poets attend to the most perplexing and important voicings of their own poetic originality.