Edward Lear can be considered as one of the most versatile artists of the Victorian Age: he started his career as a natural illustrator (he worked with John Gould, the most famous Victorian ornithologist) and travel writer and, although he aspired all his life to make his name as a landscape painter, he became known as a nonsense poet, as the author of the popular A Book of Nonsense (1846). My paper aims to show Lear as a “brachylogical writer” and examine some of his Italian limericks in light of a brief discussion of the main features of nonsense as a genre and of its ‘parodic’ quality.
Parodic Brachylogy and Semantic Density in Edward Lear’s ‘Volcanic’ Italian Limericks
Antinucci Raffaella
2019-01-01
Abstract
Edward Lear can be considered as one of the most versatile artists of the Victorian Age: he started his career as a natural illustrator (he worked with John Gould, the most famous Victorian ornithologist) and travel writer and, although he aspired all his life to make his name as a landscape painter, he became known as a nonsense poet, as the author of the popular A Book of Nonsense (1846). My paper aims to show Lear as a “brachylogical writer” and examine some of his Italian limericks in light of a brief discussion of the main features of nonsense as a genre and of its ‘parodic’ quality.File in questo prodotto:
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