Matthew Bevis – författare

Of all the Victorian poets, Edward Lear has a good claim to the widest audience: admired and championed by critics and poets from John Ruskin to John Ashbery, he has also been read, heard, and loved by generations of children. As a central figure in the literature of nonsense, Lear has also shaped the evolution of modern literature, and his work continues to influence and inspire writers and readers today. This collection of essays-the first ever devoted solely toLear-builds on a recent resurgence of critical interest and asks how it is that the play of Lear''s poetry continues to delight, and to challenge our sense of what poetry can be. These seventeen chapters, written by established and emerging critics of poetry, seek to explore and appreciate theplayfulness embodied in the poems, and to provide contexts in which it can be better understood and enjoyed. They consider how Lear''s poems play off various inheritances (the literary fool, Romantic lyric, his religious upbringing), explore particular forms in which his playful genius took flight (his letters, his queer writings about love), and trace lines of Learical influence and inheritance by showing how other poets and thinkers across the nineteenth and twentieth centuries played off Learin their turn (Joyce, Stein, Eliot, Auden, Smith, Ashbery, and others).

Of all the Victorian poets, Edward Lear has a good claim to the widest audience: admired and championed by critics and poets from John Ruskin to John Ashbery, he has also been read, heard, and loved by generations of children. As a central figure in the literature of nonsense, Lear has also shaped the evolution of modern literature, and his work continues to influence and inspire writers and readers today. This collection of essays-the first ever devoted solely to Lear-builds on a recent resurgence of critical interest and asks how it is that the play of Lear's poetry continues to delight, and to challenge our sense of what poetry can be. These seventeen chapters, written by established and emerging critics of poetry, seek to explore and appreciate the playfulness embodied in the poems, and to provide contexts in which it can be better understood and enjoyed. They consider how Lear's poems play off various inheritances (the literary fool, Romantic lyric, his religious upbringing), explore particular forms in which his playful genius took flight (his letters, his queer writings about love), and trace lines of Learical influence and inheritance by showing how other poets and thinkers across the nineteenth and twentieth centuries played off Lear in their turn (Joyce, Stein, Eliot, Auden, Smith, Ashbery, and others).

''In the course of these fifty years we have become a nation of public speakers. Everyone speaks now. We are now more than ever a debating, that is, a Parliamentary people'' (The Times, 1873).The Art of Eloquence considers how Byron, Dickens, Tennyson, and Joyce responded to this ''Parliamentary people'', and examines the ways in which they and their publics conceived the relations between political speech and literary endeavour. Drawing on a wide range of sources - classical rhetoric, Hansard, newspaper reports, elocutionary manuals, treatises on crowd theory - this book argues that oratorical procedures and languages were formative influences on literary culturefrom Romanticism to Modernism.Matthew Bevis focuses attention on how the four writers negotiated contending political demands in and through their work, and on how they sought to cultivate forms of literary detachment that could gain critical purchase on political arguments. Providing a close reading of the relations between printed words and public voices as well as a broader engagement with debates about the socio-political inflections of the aesthetic realm, this is a major study of how styles of writing can explore andembody forms of responsible political conduct.

William Empson was one of the most important poet-critics of the twentieth century, and continues to influence and inspire writers from many divergent critical traditions. Following on recent scholarly developments, this timely collection of essays provides a fully-rounded examination of Empson''s life, work, inheritance, and influence.This is the first volume of critical essays on Empson to be published in over a decade, and the first to consider the full range of his work, studying his poetry alongside his criticism in order to reassess the scale of his achievement. It also includes the first publication of a substantial interview with Empson in 1970, in which he looks back over his career and discusses the composition and reception of his work. The collection examines Empson''s oeuvre from a variety of angles - aesthetic,philosophical, psychological, linguistic, scientific, socio-political, religious, and sexual - and features essays from an outstanding line-up of emerging and established scholars.Some Versions of Empson demonstrates the poet-critic''s continuing importance for literary and cultural criticism, and sets the agenda for studies of his work in the twenty-first century.

''In the course of these fifty years we have become a nation of public speakers. Everyone speaks now. We are now more than ever a debating, that is, a Parliamentary people'' (The Times, 1873).The Art of Eloquence considers how Byron, Dickens, Tennyson, and Joyce responded to this ''Parliamentary people'', and examines the ways in which they and their publics conceived the relations between political speech and literary endeavour. Drawing on a wide range of sources - classical rhetoric, Hansard, newspaper reports, elocutionary manuals, treatises on crowd theory - this book argues that oratorical procedures and languages were formative influences on literary culturefrom Romanticism to Modernism.Matthew Bevis focuses attention on how the four writers negotiated contending political demands in and through their work, and on how they sought to cultivate forms of literary detachment that could gain critical purchase on political arguments. Providing a close reading of the relations between printed words and public voices as well as a broader engagement with debates about the socio-political inflections of the aesthetic realm, this is a major study of how styles of writing can explore andembody forms of responsible political conduct.

To consider comedy in its many incarnations is to raise diverse but related questions: what, for instance, is humour, and how may it be used (or abused)? When do we laugh, and why? What is it that writers and speakers enjoy - and risk - when they tell a joke, indulge in bathos, talk nonsense, or encourage irony? This Very Short Introduction explores comedy both as a literary genre, and as a range of non-literary phenomena, experiences and events. Matthew Bevis studies the classics of comic drama, prose fiction and poetry, alongside forms of pantomime, comic opera, silent cinema, popular music, Broadway shows, music-hall, stand-up and circus acts, rom-coms, sketch shows, sit-coms, caricatures, and cartoons. Taking in scenes from Aristophanes to The Office, from the Roman Saturnalia to Groundhog Day, Bevis also considers comic theory from Aristotle to Freud and beyond, tracing how comic achievements have resisted as well as confirmed theory across the ages. This book takes comedy seriously without taking it solemnly, and offers an engaging study of the comic spirit which lies at the heart of our shared social and cultural life. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

To consider comedy in its many incarnations is to raise diverse but related questions: what, for instance, is humour, and how may it be used (or abused)? When do we laugh, and why? What is it that writers and speakers enjoy - and risk - when they tell a joke, indulge in bathos, talk nonsense, or encourage irony? This Very Short Introduction explores comedy both as a literary genre, and as a range of non-literary phenomena, experiences and events. Matthew Bevis studies the classics of comic drama, prose fiction and poetry, alongside forms of pantomime, comic opera, silent cinema, popular music, Broadway shows, music-hall, stand-up and circus acts, rom-coms, sketch shows, sit-coms, caricatures, and cartoons. Taking in scenes from Aristophanes to The Office, from the Roman Saturnalia to Groundhog Day, Bevis also considers comic theory from Aristotle to Freud and beyond, tracing how comic achievements have resisted as well as confirmed theory across the ages. This book takes comedy seriously without taking it solemnly, and offers an engaging study of the comic spirit which lies at the heart of our shared social and cultural life. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

''I am inclined to think that we want new forms . . . as well as thoughts'', confessed Elizabeth Barrett to Robert Browning in 1845. The Oxford Handbook of Victorian Poetry provides a closely-read appreciation of the vibrancy and variety of Victorian poetic forms, and attends to poems as both shaped and shaping forces. The volume is divided into four main sections. The first section on ''Form'' looks at a few central innovations and engagements--''Rhythm'', ''Beat'', ''Address'', ''Rhyme'', ''Diction'', ''Syntax'', and ''Story''. The second section, ''Literary Landscapes'', examines the traditions and writers (from classical times to the present day) that influence and take their bearings from Victorian poets. The third section provides ''Readings'' of twenty-three poets by concentrating on particular poems or collections of poems, offering focused, nuanced engagements with the pleasures and challenges offered by particular styles of thinking and writing. The final section, ''The Place of Poetry'', conceives and explores ''place'' in a range of ways in order to situate Victorian poetry within broader contexts and discussions: the places in which poems were encountered; the poetic representation and embodiment of various sites and spaces; the location of the ''Victorian'' alongside other territories and nationalities; and debates about the place - and displacement - of poetry in Victorian society. This Handbook is designed to be not only an essential resource for those interested in Victorian poetry and poetics, but also a landmark publication--provocative, seminal volume that will offer a lasting contribution to future studies in the area.

''I am inclined to think that we want new forms . . . as well as thoughts'', confessed Elizabeth Barrett to Robert Browning in 1845. The Oxford Handbook of Victorian Poetry provides a closely-read appreciation of the vibrancy and variety of Victorian poetic forms, and attends to poems as both shaped and shaping forces. The volume is divided into four main sections. The first section on ''Form'' looks at a few central innovations and engagements--''Rhythm'', ''Beat'', ''Address'', ''Rhyme'', ''Diction'', ''Syntax'', and ''Story''. The second section, ''Literary Landscapes'', examines the traditions and writers (from classical times to the present day) that influence and take their bearings from Victorian poets. The third section provides ''Readings'' of twenty-three poets by concentrating on particular poems or collections of poems, offering focused, nuanced engagements with the pleasures and challenges offered by particular styles of thinking and writing. The final section, ''The Place of Poetry'', conceives and explores ''place'' in a range of ways in order to situate Victorian poetry within broader contexts and discussions: the places in which poems were encountered; the poetic representation and embodiment of various sites and spaces; the location of the ''Victorian'' alongside other territories and nationalities; and debates about the place - and displacement - of poetry in Victorian society. This Handbook is designed to be not only an essential resource for those interested in Victorian poetry and poetics, but also a landmark publication--provocative, seminal volume that will offer a lasting contribution to future studies in the area.

Of all the Victorian poets, Edward Lear has a good claim to the widest audience: admired and championed by critics and poets from John Ruskin to John Ashbery, he has also been read, heard, and loved by generations of children. As a central figure in the literature of nonsense Lear has also shaped the evolution of modern literature, and his work continues to influence and inspire writers and readers today. This collection of essays, the first ever devoted solely to Lear, builds on a recent resurgence of critical interest and asks how it is that the play of Lear's poetry continues to delight, and to challenge our sense of what poetry can be. These seventeen chapters, written by established and emerging critics of poetry, seek to explore and appreciate the playfulness embodied in the poems, and to provide contexts in which it can be better understood and enjoyed. They consider how Lear's poems play off various inheritances (the literary fool, Romantic lyric, his religious upbringing), explore particular forms in which his playful genius took flight (his letters, his queer writings about love), and trace lines of Learical influence and inheritance by showing how other poets and thinkers across the nineteenth and twentieth centuries played off Lear in their turn (Stein, Eliot, Auden, Smith, Ashbery, and others).

'I am inclined to think that we want new forms . . . as well as thoughts', confessed Elizabeth Barrett to Robert Browning in 1845. The Oxford Handbook of Victorian Poetry provides a closely-read appreciation of the vibrancy and variety of Victorian poetic forms, and attends to poems as both shaped and shaping forces. The volume is divided into four main sections. The first section on 'Form' looks at a few central innovations and engagements--'Rhythm', 'Beat', 'Address', 'Rhyme', 'Diction', 'Syntax', and 'Story'. The second section, 'Literary Landscapes', examines the traditions and writers (from classical times to the present day) that influence and take their bearings from Victorian poets. The third section provides 'Readings' of twenty-three poets by concentrating on particular poems or collections of poems, offering focused, nuanced engagements with the pleasures and challenges offered by particular styles of thinking and writing. The final section, 'The Place of Poetry', conceives and explores 'place' in a range of ways in order to situate Victorian poetry within broader contexts and discussions: the places in which poems were encountered; the poetic representation and embodiment of various sites and spaces; the location of the 'Victorian' alongside other territories and nationalities; and debates about the place - and displacement - of poetry in Victorian society. This Handbook is designed to be not only an essential resource for those interested in Victorian poetry and poetics, but also a landmark publication--provocative, seminal volume that will offer a lasting contribution to future studies in the area.

Of all the Victorian poets, Edward Lear has a good claim to the widest audience: admired and championed by critics and poets from John Ruskin to John Ashbery, he has also been read, heard, and loved by generations of children. As a central figure in the literature of nonsense, Lear has also shaped the evolution of modern literature, and his work continues to influence and inspire writers and readers today. This collection of essays-the first ever devoted solely to Lear-builds on a recent resurgence of critical interest and asks how it is that the play of Lear's poetry continues to delight, and to challenge our sense of what poetry can be. These seventeen chapters, written by established and emerging critics of poetry, seek to explore and appreciate the playfulness embodied in the poems, and to provide contexts in which it can be better understood and enjoyed. They consider how Lear's poems play off various inheritances (the literary fool, Romantic lyric, his religious upbringing), explore particular forms in which his playful genius took flight (his letters, his queer writings about love), and trace lines of Learical influence and inheritance by showing how other poets and thinkers across the nineteenth and twentieth centuries played off Lear in their turn (Joyce, Stein, Eliot, Auden, Smith, Ashbery, and others).

'In the course of these fifty years we have become a nation of public speakers. Everyone speaks now. We are now more than ever a debating, that is, a Parliamentary people' (The Times, 1873).The Art of Eloquence considers how Byron, Dickens, Tennyson, and Joyce responded to this 'Parliamentary people', and examines the ways in which they and their publics conceived the relations between political speech and literary endeavour. Drawing on a wide range of sources - classical rhetoric, Hansard, newspaper reports, elocutionary manuals, treatises on crowd theory - this book argues that oratorical procedures and languages were formative influences on literary culture from Romanticism to Modernism. Matthew Bevis focuses attention on how the four writers negotiated contending political demands in and through their work, and on how they sought to cultivate forms of literary detachment that could gain critical purchase on political arguments. Providing a close reading of the relations between printed words and public voices as well as a broader engagement with debates about the socio-political inflections of the aesthetic realm, this is a major study of how styles of writing can explore and embody forms of responsible political conduct.

William Empson was one of the most important poet-critics of the twentieth century, and continues to influence and inspire writers from many divergent critical traditions. Following on recent scholarly developments, this timely collection of essays provides a fully-rounded examination of Empson's life, work, inheritance, and influence. This is the first volume of critical essays on Empson to be published in over a decade, and the first to consider the full range of his work, studying his poetry alongside his criticism in order to reassess the scale of his achievement. It also includes the first publication of a substantial interview with Empson in 1970, in which he looks back over his career and discusses the composition and reception of his work. The collection examines Empson's oeuvre from a variety of angles - aesthetic, philosophical, psychological, linguistic, scientific, socio-political, religious, and sexual - and features essays from an outstanding line-up of emerging and established scholars. Some Versions of Empson demonstrates the poet-critic's continuing importance for literary and cultural criticism, and sets the agenda for studies of his work in the twenty-first century.

'I am inclined to think that we want new forms . . . as well as thoughts', confessed Elizabeth Barrett to Robert Browning in 1845. The Oxford Handbook of Victorian Poetry provides a closely-read appreciation of the vibrancy and variety of Victorian poetic forms, and attends to poems as both shaped and shaping forces. The volume is divided into four main sections. The first section on 'Form' looks at a few central innovations and engagements -- 'Rhythm', 'Beat', 'Address', 'Rhyme', 'Diction', 'Syntax', and 'Story'. The second section, 'Literary Landscapes', examines the traditions and writers (from classical times to the present day) that influence and take their bearings from Victorian poets. The third section provides 'Readings' of twenty-three poets by concentrating on particular poems or collections of poems, offering focused, nuanced engagements with the pleasures and challenges offered by particular styles of thinking and writing. The final section, 'The Place of Poetry', conceives and explores 'place' in a range of ways in order to situate Victorian poetry within broader contexts and discussions: the places in which poems were encountered; the poetic representation and embodiment of various sites and spaces; the location of the 'Victorian' alongside other territories and nationalities; and debates about the place - and displacement - of poetry in Victorian society. This Handbook is designed to be not only an essential resource for those interested in Victorian poetry and poetics, but also a landmark publication -- a provocative, seminal volume that will offer a lasting contribution to future studies in the area.

'In the course of these fifty years we have become a nation of public speakers. Everyone speaks now. We are now more than ever a debating, that is, a Parliamentary people' (The Times, 1873).The Art of Eloquence considers how Byron, Dickens, Tennyson, and Joyce responded to this 'Parliamentary people', and examines the ways in which they and their publics conceived the relations between political speech and literary endeavour. Drawing on a wide range of sources - classical rhetoric, Hansard, newspaper reports, elocutionary manuals, treatises on crowd theory - this book argues that oratorical procedures and languages were formative influences on literary culture from Romanticism to Modernism. Matthew Bevis focuses attention on how the four writers negotiated contending political demands in and through their work, and on how they sought to cultivate forms of literary detachment that could gain critical purchase on political arguments. Providing a close reading of the relations between printed words and public voices as well as a broader engagement with debates about the socio-political inflections of the aesthetic realm, this is a major study of how styles of writing can explore and embody forms of responsible political conduct.

To consider comedy in its many incarnations is to raise diverse but related questions: what, for instance, is humour, and how may it be used (or abused)? When do we laugh, and why? What is it that writers and speakers enjoy - and risk - when they tell a joke, indulge in bathos, talk nonsense, or encourage irony? This Very Short Introduction explores comedy both as a literary genre, and as a range of non-literary phenomena, experiences and events. Matthew Bevis studies the classics of comic drama, prose fiction and poetry, alongside forms of pantomime, comic opera, silent cinema, popular music, Broadway shows, music-hall, stand-up and circus acts, rom-coms, sketch shows, sit-coms, caricatures, and cartoons. Taking in scenes from Aristophanes to The Office, from the Roman Saturnalia to Groundhog Day, Bevis also considers comic theory from Aristotle to Freud and beyond, tracing how comic achievements have resisted as well as confirmed theory across the ages.This book takes comedy seriously without taking it solemnly, and offers an engaging study of the comic spirit which lies at the heart of our shared social and cultural life. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

"The next day Wordsworth arrived from Bristol at Coleridge's cottage.... He answered in some degree to his friend's description of him, but was more quaint and Don Quixote-like." These words from William Hazlitt present a Wordsworth who differs from the one we know--and as Matthew Bevis argues in his radical new reading of the poet, a Wordsworth who owed his quixotic creativity to a profound feeling for comedy. Wordsworth's Fun takes us on a journey through the poet's debts to the ludic and the ludicrous in classical tradition; his reading and reworking of Ariosto, Erasmus, and Cervantes; his engagement with forms of English poetic humor; and his love of comic prose. Bevis travels many untrodden ways, examining the relationship between Wordsworth's metrical practice and his interest in laughing gas, his fascination with pantomime, his investment in the figure of the fool, and his response to discussions about the value of play. Intrepid, immersive, and entertaining, Wordsworth'sFun not only sheds fresh light on debates about the causes, aims, and effects of humor, but also on the contribution of Wordsworth's peculiar humor to the shaping of the modern poetic experiment.

“The next day Wordsworth arrived from Bristol at Coleridge’s cottage,” William Hazlitt recalled, “He answered in some degree to his friend’s description of him, but was more quaint and Don Quixote- like . . . there was a convulsive inclination to laughter about the mouth.” Hazlitt presents a Wordsworth who differs from the one we know—and, as Matthew Bevis argues in his radical new reading of the poet, this Wordsworth owed his quixotic creativity to a profound feeling for comedy. Wordsworth’s Fun explores the writer’s debts to the ludic and the ludicrous in classical tradition; his reworkings of Ariosto, Erasmus, and Cervantes; his engagement with forms of English poetic humor; and his love of comic prose. Combining close reading with cultural analysis, Bevis travels many untrodden ways, studying Wordsworth’s interest in laughing gas, pantomime, the figure of the fool, and the value of play. Intrepid, immersive, and entertaining, Wordsworth’s Fun sheds fresh light on how one poet’s strange humor helped to shape modern literary experiment.    

Collected here are the biographies which revealed aspects of their subjects that the more favourable "official" accounts tended to hide. The life of the author of each text is described, and their relation to the writers they portray is sketched in.

Thomas Love Peacock (1785‒1866) is one of the most distinctive prose satirists of the Romantic period. The Cambridge Edition of the Novels of Thomas Love Peacock offers the first complete text of his novels to appear for more than half a century. Crotchet Castle (1831), his sixth novel, contains all the humour and social satire for which Peacock is famous. Its lively farce is more ambitious than that of the earlier works in its range of cultural and intellectual targets, including progressivism, dogmatism, liberalism, sexism, mass education and the idiocies of the learned. The book constitutes an artistic, political and philosophical miscellany of sorts, thematically unified in its satirical emphasis on folly and dispute - and on the folly of dispute itself. This edition provides a full introduction, chronology, annotations and detailed textual and scholarly apparatus.

Collected here are the biographies which revealed aspects of their subjects that the more favourable "official" accounts tended to hide. The life of the author of each text is described, and their relation to the writers they portray is sketched in.

'The School of Life offers radical ways to help us raid the treasure trove of human knowledge' – Independent on SundayBorn in 1788, Lord Byron was an English poet and a leading figure of the Romantic movement. A prodigious poetic gift and a scandalous private life made him famous throughout Europe, and his masterpiece, Don Juan, became the biggest-selling work of the period. He remains one of the most provocative, seductive voices of world literature.The Life Lessons series from The School of Life takes a great thinker and highlights those ideas most relevant to ordinary, everyday dilemmas. These books emphasize ways in which wise voices from the past have urgently important and inspiring things to tell us.'Thoroughly welcoming and approachable ... [Life Lessons from Byron is] a ringing affirmation of the power of poetry to reach down tot the essence, or at least the essences, of life ... If the six books in the Life Lessons series can teach even a few readers to pay passionate heed to the world - to notice things - they will have been an unquestionable success' – John Banville, Prospect'There is a good deal to be learned from these little primers' – Observer

'The School of Life offers radical ways to help us raid the treasure trove of human knowledge' – Independent on SundayBorn in 1788, Lord Byron was an English poet and a leading figure of the Romantic movement. A prodigious poetic gift and a scandalous private life made him famous throughout Europe, and his masterpiece, Don Juan, became the biggest-selling work of the period. He remains one of the most provocative, seductive voices of world literature.The Life Lessons series from The School of Life takes a great thinker and highlights those ideas most relevant to ordinary, everyday dilemmas. These books emphasize ways in which wise voices from the past have urgently important and inspiring things to tell us.'Thoroughly welcoming and approachable ... [Life Lessons from Byron is] a ringing affirmation of the power of poetry to reach down tot the essence, or at least the essences, of life ... If the six books in the Life Lessons series can teach even a few readers to pay passionate heed to the world - to notice things - they will have been an unquestionable success' – John Banville, Prospect'There is a good deal to be learned from these little primers' – Observer