This hilariously readable collection of classic nonsense poetry, delightfully illustrated throughout, is a showcase of comic talent and sheer silliness. The Everyman Book of Nonsense Verse features an eclectic spectrum of contributors ranging wildly from Edward Lear and Lewis Carroll to Hilaire Belloc, Ted Hughes, Ogden Nash, and Shakespeare, with illustrations by Mervyn Peake, Quentin Blake, Emma Chichester Clark, Spike Milligan, and the deliciously sinister Edward Gorey. Such old favorites as “The Owl and the Pussycat” are accompanied by “Macavity: The Mystery Cat” and “Jabberwocky,” while Ted Hughes’s “Wodwo” sits alone by the bank of a stream in a state of innocence and curiosity that mirrors a child’s sense of wonder at the universe. Whether sweetly funny or deliciously naughty, these masterpieces of the art of the absurd will charm readers both young and old.

An essential handbook for literary studies The Princeton Handbook of Poetic Terms—drawn from the latest edition of the acclaimed Princeton Encyclopedia of Poetry and Poetics—provides an authoritative guide to the most important terms in the study of poetry and literature. Featuring 226 fully revised and updated entries, including 100 that are new to this edition, the book offers clear and insightful definitions and discussions of critical concepts, genres, forms, movements, and poetic elements, followed by invaluable, up-to-date bibliographies that guide users to further reading and research. Because the entries are carefully selected and adapted from the Princeton Encyclopedia, the Handbook has unrivalled breadth and depth for a book of its kind, in a convenient, portable size. Fully indexed for the first time and complete with an introduction by the editors, this is an essential volume for all literature students, teachers, and researchers, as well as other readers and writers. Drawn from the latest edition of the acclaimed Princeton Encyclopedia of Poetry and Poetics Provides 226 fully updated and authoritative entries, including 100 new to this edition, written by an international team of leading scholars Features entries on critical concepts (canon, mimesis, prosody, syntax); genres, forms, and movements (ballad, blank verse, confessional poetry, ode); and terms (apostrophe, hypotaxis and parataxis, meter, tone) Includes an introduction, bibliographies, cross-references, and a full index

This volume focuses on the (de)canonization processes in children’s literature, considering the construction and cultural-historical changes of canons in different children’s literatures. Chapters by international experts in the field explore a wide range of different children’s literatures from Great Britain, Germany, Scandinavia, the Low Countries, Eastern and Central Europe, as well as from Non-European countries such as Australia, Israel, and the United States. Situating the inquiry within larger literary and cultural studies conversations about canonicity, the contributors assess representative authors and works that have encountered changing fates in the course of canon history. Particular emphasis is given to sociological canon theories, which have so far been under-represented in canon research in children’s literature. The volume therefore relates historical changes in the canon of children’s literature not only to historical changes in concepts of childhood but to more encompassing political, social, economic, cultural, and ideological shifts. This volume’s comparative approach takes cognizance of the fact that, if canon formation is an important cultural factor in nation-building processes, a comparative study is essential to assessing transnational processes in canon formation. This book thus renders evident the structural similarities between patterns and strategies of canon formation emerging in different children’s literatures.

Reference guide to poetry anthologies with descriptions and evaluations of each anthology.

“Doctor Foster went to Glo’ster, In a shower of rain; He stepped in a puddle right up to his middle, And never went there again.” A bumper crop of nursery rhymes for the delight of the very young. In his Introduction, Jerrold explains how his selection was based on earlier collections made by John Newbery, Joseph Ritson and James Orchard Halliwell. He goes on to add, “ Students divide our rhymes into narrative pieces, historical folk-lore, game rhymes, counting-out rhymes, jingles, fragments, etcetera, but for the children for whom and by whom they are remembered, and for whom they are here collected and pictured anew, they are just — Nursery Rhymes.”

Baum's story of Dorothy, carried by a cyclone from a Kansas farm to the land of the Tin Woodman, Scarecrow, and Cowardly Lion, was published in May 1900. By the following January, 100,000 copies had been sold, and the book has ever since been an undisputed favorite. The original illustrations by Denslow, which are reflected in the film and stage versions, have often been imitated but never surpassed.

Hansel and Gretel, Rumpelstiltskin, and Snow White are among the jewels we owe to the German brothers Grimm, who began in the first decade of the 19th century to seek out and listen to village storytellers. The best-loved of the tales they discovered are now brought together with the marvelous pictures that in 1900 first established the reputation of one of the greatest children's illustrators of all time, Arthur Rackham.

The story of the English folk hero and medieval outlaw Robin Hood who as legend would have it lived in the days of Richard the Lionheart and Prince John and, with his band of merry men, fought injustice and tyranny. This retelling of the stories, first published in 1956, has become an acknowledged classic: a literary mosaic in which Roger Lancelyn Green has brought together material from the old ballads, romances and plays, as well as retellings of Noyes, Tennyson, Peacock and Scott. “For Robin Hood’s is a story that can never die,” he wrote, “nor cease to fire the imagination. Like the old fairy tales it must be told and told again — for like them it is touched with enchantment...”

Peter, Wendy, Captain Hook, the lost boys, and Tinker Bell have filled the hearts of children ever since Barrie's play first opened in London in 1904 and became an immediate sensation. Now this funny, haunting modern myth is presented with Bedford's wonderful illustrations, which first appeared in the author's own day, have long been out of print, and have never been equaled.