1333 TI.S December 2-8 1988 POETRY A conspiracy of strangeness

work of Tennyson, Dickens, Browning and nonsenSe, compared to which that would be as sensi­ Alan Hollinghurst others. ble as a dictionary!" The conspiracy into which Carroll draws us Pope, as an exorcist of nonsense, had a refined HUGH HAUGHTON, editor is not so inward, but very much more entertain­ nose for where it could be found. New from Chicago The Chatto Book oCNonsense Poetry ing. It is based on the subversion of the lesson­ The caustic, corrective nonsense of Augus­ 53Opp. Chatto and Windus. £12.95. giving impulse in children's literature, and the tan satire is, however, well represented by lines 0701131055 rendering absurd - in its various kings, queens, from Henry Carey's Namby-Pamby: or, A duchesses and so on - of figures of authority. Panegyric on the New Versification, parodying Carroll's world is alarming in its seeming arbit­ Ambrose Philips (also an Art ofSinking victim) When introducing his Faber Book of Nonsense rariness, but because he combines his logi­ with manic animus: Verse nine years ago Geoffrey Grigson de­ cian's sense of rules with the dissolving logics of clared that "It wouldn't be sensible to be too dreams its effect is benignly anarchic. As a Namby-Pamby PiJly-piss, serious or too historical about nonsense." poet, Carroll, like Lear, can exploit the non­ Rhimy pimed on Missy-Miss . Hugh Haughton evidently disagrees, and the sense potential of serious poetry, as in the Namby-Pamby's little rhymes, Little jingle, little chimes, long, punning and densely informed introduc­ Wordsworthian "White Knight's Song" or the tion to his Chatto Book of Nonsense Poetry , To repeat to little miss, Swinburnian "The Little Man That Had a Piddling ponds of pissy-piss though never solemn, takes its subject very Little Gun" from Sylvie and Bruno: seriously and historically indeed. To him non­ and so on. His distaste for what we now think sense is a form of controlled transgression, of He shall swathe him , like mists of the morning, of as Keatsian or neo-Elizabethan coinage of attractive if sometimes fearful estrangement, In platitudes luscious and limp. words ending in -y would have made short and he is at pains to show its social and political Such as deck , with a deathless adorning, The Song of the Shrimp! work of the infantilism of Lear as displayed in occasions, from medieval carnival to the in­ this same volume: "And when boats or ships voluntary obliquities of East European poetry But his preference is for putting nonsense to came near him I He tinkledy-binkledy-winkled today. He also believes that from immemorial the tune of the improving verse oUane Taylor, a bell" . While the procedures of nonsense re­ Freak Show children's jingles on, nonsense is an essential main similar over 600 years, the attitudes Presenting Human Oddities ingredient of literary experience: "I suspect which inform it are shown to have varied for Amusement and Profit there is a pleasure in nonsense at the core of all diametrically. ROBERT BOGDAN poetry." Here he is close to Auden, who stipu- . The playful, Scriblerian side of Augustanism Bogdan's fascinating social history explores lated that a good critic should like ("and by like is seen contributing to another tradition (ex­ the culture that nurtured and, later, aban­ I mean really like") "Long lists of proper emplified by the bench in the walks of St doned the freak show. "The story that names such as the Old Testament genealogies Catherine's College, Oxford, which bears the Freak Show tells us is an edifying one-the or the Catalogue of ships in the Iliad" and story of some extraordinary people who, inscription "ORE STABIT FORTIS ARARE "Riddles and all other ways of not calling a against heavy odds, approached the ordi­ PLACET ORE STAT" - "0 rest a bit, for 'tis a spade a spade". The combination of an ab­ nary. " -Cullen Murphy, The Atlantic rare place to rest at"): that of the cod transla­ stract pleasure in strange words and a formal Hbk 022606311 9 £23 .95 tion. Haughton gives us Swift's "Love Song"­ 336 pages Illus. relish for riddling indirections is a major part of "Apud in is almi des ire I Mimis tres Ine ver re the appeal and purpose of nonsense. qui re" - as a precursor of the homophonous If the gazetteer of nonsense is much ex­ Mots d'Heures; Gousses, Rames of the suspi­ The Python Killer panded by Haughton's researches, its principal ciously macaronic-sounding Luis d'Antin van Stories of Nzema Life features remain the Wonderland of Carroll and Rooten and of Ernst landI's delightful transli­ VINIGI l. GROTTANELli the Wanderland of Lear. These two dominate teration of Wordsworth: The Python Killer renders a vivid portrayal the book, and exemplify the strongly literary of the Nzema of southern Ghana. Their affiliation of nonsense - Lear's to Tennysonian mai hart Iieb zapfen eibe hold exotic world of coconut groves, nza (palm melancholy and Carroll's to the didactic chil­ er renn bohr in sees kai wine), cassava, and poisonous snakes is dren's verse of the previous hundred years that so was sieht wenn mai lauf! begehen inhabited by a people who believe in so es sieht nahe emma mahen sinister witches, oracles, jealous gods, he parodies. Even in the spare cautionary so biet wenn arschel grollt and angry nwomenle (ghosts) to whom world of the limerick, Lear's constitutional horleckmitei! they offer "sheep, some rice, eggs, and loneliness makes itself felt: scht steil dies fader rosse mahen drinks, including two bottles of Coca-Cola.· in teig kurt wisch mai desto bier Hbk 0226310051 £19.95 There was an Old Person of Bow, baum deutsche deutsch bajonett schur alp eiertier Whom nobody happened to know ; 240 pages Illus. So they gave him some soap, and said coldly, "We "Supporting each man on the top ofthe lide", 1896, The nonsense of " Un petit d'un petit I S'etonne hope one ofHtnry Holiday's illustrations 10 Lewis aux Hailes", of course, is heightened by the Dance, Sex, and Gender You will go back directly to Bow!" Carrol/'s The Hunting of the Snark, reproduced from critical apparatus which seeks to inflict sense Signs of Identity, Dominance, (Cold-soaping, as a term of censorious rejec­ the book r~iewed here. on the purely phonetic assemblage of words it Defiance, and Desire tion , is a Learism waiting to be coined.) But it Southey or Watts. He understands the contract annotates- and, after a fashion, succeeds. This JUDITH LYNNE HANNA is in the longer poems, such as "The Dong with whereby parody finds something nonsensical is nonsense at its most sophisticated. George From New York to New Guinea, from a Luminous Nose" and "The Yonghy-Bonghy­ in its victim and magnifies the nonsense for du Maurier's limericks, too, are enchanting - ballet to the bump, dance expresses erotic Bo" (which, amazingly, is not included by comic ends; as well as the proximity of solem­ especially fantasies, courtship rituals, and fluctuating Haughton) that Lear's itinerant misfit s and boundaries between the male and female nity and nonsense that is a running subtext of II existe une Espinstere a Tours, careworn escapees align themselves with worlds. Hanna's provocative analysis Haughton'S book and a vindication of the Un peu vite , et qui porte toujours draws upon semiotic and psychological Mariana and the Lady of Shalott: theory that the lure of poetry lies in its sound­ Un ulsteur peau-de-phoque, theory, anthropological models, dance ingness, and the more sounding the more Un chapeau bilicoque, criticism, and the history of dance in many And all who watch at the midnight hour, Et des nicrebocqueurs en velours From Hall or Terrace, or lofty Tower, prone to absurdity. cultures. Cry, as they trace the Meteor bright , What to Carroll was an opportunity for inno­ which exploits and augments the pre-Franglais Hbk 0226 31550 9 £31 .95 Moving along through the dreary night , cent play was in the Augustan period a target strain of French vocabulary responsible for 312 pages Illu s. "This is the hour when forth he goes, for fiercer satire than mere parody, though it words such as redingote and boule-dogue. Pbk 0 226 31551 7 £9.95 The Dong with a luminous Nose! " often embraced that and - as in much of Pope's Some nonsense procedures are pretty Lear's absorption in Tennyson's work, and his literary satire - derived a vicarious exhilaration rudimentary: Haughton includes items, such as The Poison in the Gift grand project to illustrate it , are now well from the imitation of what it deplored. Paul Scheerbart's "Monologue of the Crazed Ritual, Prestation, and known: he clearly felt an affinity for Tenny­ Haughton gives us the celebrated lines from Mastodon" ("ZCpke! ZCpke! I Mekkimapsi - the Dominant Caste in a son's enigmatic treatment of semi-legendary ~ Book One of The Dunciad: "On cold Decem­ muschibr6ps") and Christian Morgenstern's North Indian Village stories and reproduced in a simplified form the ber fragrant chaplets blow, I And heavy har­ "The Great Lalula" ("Kroklokwafzi ? GLORIA GOODWIN RAHEJA waning music with which he adumbrated the vests nod beneath the snow", . which are a Semememi!"), which are as pure as they are Advancing a powerful new theoretical hidden subjects of hi s poems. It is striking, parody of bad continuity in poetry and have crude. Other techniques which el(as p ~ r a t e but in terpretation of caste, Raheja shows that though, that Lear's poems make no attempt at their own surreal beauty; but nothing from The lack the estranging dimension of true nonsense patterns of centrality, rather than hierarchy, the virtuoso pictorialis m of Tennyson; a gifted Art of Sinking, which is in part a kind of anti­ are the interpolation of jingle lines into are the most salient in the ritual and social landscapist of the exotic in his professional life , poetics exalting poetry into nonsense, and straightforward ballads or of meaningless syl­ life of a Hindu village. Lear as nonsense-writer conjures up terrain as particularly into the nonsensicalness of grandi­ lables into words, as in Anthony Bonner's Hbk 0 226 70728 8 £33 .95 bleak and unvisitable as a geography Ie son: loquence. Pope's bits of cod "Profund" dic­ rendering of a poem by the fo urteenth-century 300 pages lIIus. Pbk 0 226 70729 6 £13 .50 the Coast of Coromandel, the Hills of the tion , such as the call to uncork a bottle - Cerveri de Gerona: " lflimit iflimis hafl amard Chankly Bore, the great Gromboolian Pl ain, " Apply thine Engine to the spungy Door, I Set foflomor mefl emen tofl omo eflemerr aflama­ The Cult of Draupadi the Torrible Zone - outposts of empire and of Bacchus from his gla sy Prison free" - are mioflomong [sicl goofloomood peofleomeo­ Volume 1 exile . prime examples of an intrinsic nonsense in pie" ("It is hard for men to err among good For all this there is a gaiety in the very im­ metaphor, while the lines people"), which is a chameleonic precursor of Mythologies: From Gingee pulse to write such nonsense for children, and the modern arp language, in which the syll able to Kuruksetra I'd call them Mountains, but can't call them so, ALF HlLTEBEITEL in the incongruous naming of persons - Aunt For fear to wrong them with a Name too low; arp arpis arpintrarpodarpuced barpefarpore This work, the first of a projected three­ Jobiska and her Runcible Cat, the Scroobious While the fair Vales beneath so humbly lie , arpevarperarpy varpowarpel sarpound. This is Pip - that offsets the adult sense of loss and a way, like gniklat sdrawkcab, in which chil­ volume study, examines the mythology of That even humble seems a Term too hi gh the South Indian cult of Draupadi, in insortability that is often the poems' drift. It is dren can scramble their conversation. But it were urely in Carroll' mind when he wrote which the heroine of India's great epic the this ambivalence that has allowed Lear to be­ does not make for very arpabsarporbarping the exchange in Through the Looking-Glass MaMbMrata is worshipped as a folk come, in Auden's words, "a land": hi non- that Haughton cites: varperse. goddess. The cult is singularly representa­ ense, springing from his isolation, turns out to Haughton remains optimistic for nonsense tive of the inner tensions and working encourage a conspiracy; written in term that "When you say 'hill '," the Queen interrupted, "I in our time, though the Surrealists' knowing dynamics of popular devotional Hinduism. don't make sense, it finds its audience: "chil­ cou ld show you hills , in comparison with which you 'd appropriation of its procedures has robbed Hbk 022634045 7 £59.95 dren swarmed to him like settlers". It is not just call that a valley. " them of some of their force , and memorable 520 pages Illus. "No, I houldn't", said Ali ce, surprised at contra­ film treatments of Alice by Jonathan Mille r and Pbk 022634046 5 £19 .95 that it tap the primal poetic plea ure of non­ dicting her at last: "a hill can't be a valley, you know. ense but that it is al 0 a symptomatic part of That would be nonsense - " Jan Svankmajer take the form of Freudian THE UNIVERSITY OF PRE SS the literature of it age, throwing light on com­ The Red Queen shook her head. "You may ca ll it glosses on texts to which a certain innocent CHI CAG 0 c::= 126 8uckinghOim Pal .. e ROOId londo n SW1W 9 ~ ] parable ~~~~ ip,n I ,,~.n~ •. fa!1 t a ~,tlc~r.i~~s'l ,in, \the -'non!;ense' if you like ;" she said , "but fve he-ard self-sufficiency is es entia!. Smilingly gnomic .1 I " ,t .. '* j r ..; .~ '1 I J ~ " • _ I • ).', I (c) 1988, Times Newspapers ~ , I I I 1.- '1 The Chatto Book of Nonsense Poetry Doc ref: TLS-1988-1202 Date: December 2, 1988 (Page 1333, 1 of 1). 1334 1LS December 2-41 1988 POETRY

tales by Vasko Popa, Marin Sorescu and Peter nonsense about these days, in poisonous - Trantum - German - Audrey - Ivy - Castanet - Hardy's "Ruined Maid"; and some of the Handke included here are intimations of doublespeak and self-reproducing jargon, that Bavard - Rust - Plaster - Buxbridge - Peachey - poems by Smart and Hood and Goldsmith be­ another whole context for the nonsense of rid­ it seems to have left nonsense poetry itself far Pillar - Pontifex - Trigg - Suchbury - Pinching - long in a book of comic but not nonsense verse. Pulse - Gleed - Constant - Six - Frowd - Terbot - dles "and all other ways of not calling a spade a behind; our age still awaits its Dunciad. The Wherry - Gamage - Fluid - Welcbford - Fancourt­ The advantage of the inclusiveness is that it spade": the personal fables of Lear become the real home of nonsense, perhaps, has been in Trinder - Trender. makes you think; but the appearance towards political fables of those living under totalitar­ the modernist novel - in Finnegans Wake, the end of the book of Elizabeth Bishop's ra­ The Chatto Book of Nonsense Poetry is a ianism. obviously, but also in the fantastical incon­ diantly sensical "Twelfth Morning" alerts one generous compilation, encompassing hun­ The combination of personal and public dis­ sequence of Firbank - and in more popular to a problem one had hardly liked to acknow­ dreds of pages of material untouched-on orientation in modernist art, and its frequent forms , such as Wodehouse's sweetly brainless ledge: that with the exception of Lear and Car­ by this review. Because Haughton wants to obscurantism, are subjects touched on, but lingo; though one could say that the way had roll the authors are rarely represented by their make the ' case that nonsense poetry is understandably not followed through. The been paved by James's protracted dissevera­ most important or characteristic work, but by contiguous with and contagious to the rest of procedures of The Waste Land owe something tion of writing from comprehensible speech. the scroobious dubia and miscellanea which poetry, he includes a fair amount of stuff that to the tradition of mad songs and centos in­ James, indeed, was a secret master of the non­ might have been omitted. Harry Graham's. are found on its margins. This is in part cluded in the book; and it would at least have sensical sonorities of society, as is testified to Haughton's point (writers of the grandeur of "Consolation" - been good to have Henry Reed's nonsense by his frequent notebook lists of names culled Blake, Coleridge and Yeats feel the affinity of from the press for possible use in novels and parody of Eliot, "Chard Whitlow". Much of Weep not for little Leonie, the nonsense-world); but it gives so big a book early Auden is nonsense - coli aged together, as stories: litanies of social mystique as well as Abducted by a French Marquis! a faintly debilitated air. None the less, it is the Isherwood has described it, from disjected prose poems of sheer onomastic delight which Though loss of honour was a wrench, best compilation of its kind there is, and worth fragments of other poems - and the surreal take us back to Auden's lists of ships in the Just think how its's improved her French! the very reasonable price for liugh Haughton's dislocations of The Ormors would have been Iliad: introduction alone. Everyone should give one worth representing. But there is so much more Lonely - Button - Ftler - Dolman - Rushout - Chad - is exemplary good sense, in the tradition of to someone. The taste of the time Marvell's "The Garden" leads him to admit to dad. Satire appeals to Amis hardly at all ; his being patronized: "Most of Yeats's poems, Douglas Dunn a love of "the constant play of classical-my tho­ liking is for the short lyrical poem, or the inci­ however appealing, are nonsense of one sort or logical-philosophical-religious reference here sive metrical performance of the order of . another, some of it ('Easter 1916') vicious non­ KINGSLEY AMIS, editor (as much as I understand of it, that is)". At the Davidson's stunning "A Runnable Stag", sense . .. ". Owen, Graves, Betjeman, Mac­ The Amis Anthology: A personal choice of same time it appears that that kind of English which stands high in his list of favourites, Neice, Auden and Larkin (twelve poems) are English verse poetry appeals to him less consistently than he although I find it hard to decide if it is better present in some strength, not always - Auden 36Opp. Century Hutchinson. £12.95 . makes out. Drayton's "Agincourt" is among than "Thirty Bob a Week". Augustanism, and MacNeice - with great conviction. Amer­ 0091735254 his favourites, but none of John Donne's which is, after all, an ism and like all such ican poetry gets short shrift - Longfellow, and poems has succeeded in attracting the same words ought to be banned, finds little space in John Crowe Ransom's "Captain Carpenter", An anthology that represents a literary figure's approval, while in his introduction (very short) his choices. So , too, with the Romantics: Shel­ which isn't as good as "Philomela" or "Blue favourite poems can be expected to resist most he explains the absence of Shakespeare's non­ ley is dismissed; there is no Byron. The "un­ Girls" (in my opinion). "Needless to sayan of the usual approaches to a review. Its pur­ dramatic verse by saying that he finds some­ fathomable" deviousness of mind and experi­ American", Amis says, pointing to "the first poses are pleasure and the sharing of it , or the thing missing, or wrong, in the sonnets. A per­ ence that leads him to choose one poem instead bad poet" (as opposed to congenital duffers), opportunity to preserve the record of one sonal choice is always likely to blush with of another obliges him to prefer Wordsworth's and indicating Poe. His business here is to man's taste. As Kingsley Amis says, a collec­ eccentricities, and one's own would be no ex­ "She was a phantom of delight" to the Immor­ censure Hopkins's "obsessive affectation of tion of favourites is not to be confused with its ception, but the taste that prefers Leigh Hunt tality Ode, "Tintern Abbey" or "The Solitary singularity", which is just, and unjust, in the compiler's decision on which English poems he to Donne and Dryden, and yet finds room for Reaper". Southey'S "After Blenheim" and same breath. happens to think are the best. A personal, Heber's "From Greenland's Icy Mountains" Thomas Campbell's battle poems enter his pri­ It is easy enough to acknowledge what "sing­ "unfathomable" element is what he points to as and Lyte's "Abide With Me" might be calcu­ vate canon, however, as does Keats with "Ode ularity" leads to - writing to theory, deliberate the explanation of his likes and dislikes. Yet lated to try the patience of literary readers, no to Melancholy" and "La Belle Dame Sans deformations of language, negligence of shape poetry in the English language is an important matter how it might console those who enjoy Merci". Victorians such as Tennyson and and melody, the replacement of style and feel­ subject, and Amis is an influential man, or, at the coincidence of piety and verse on a Sunday Browning do a bit better, but he opts for sim­ ing by novelty and alleged "innovations", reck­ least, he seems to speak to and for a particular afternoon. ple, anthology-Browning, not his best by a very less experiments and the worst of modernism . aspect of English taste. There could be some Gray's "Elegy" exerts a considerable pres­ long way - aboriginal English taste will resist But something puts the brakes on to prevent point in trying to identify that taste or Amis's ence in the collection. "A great poem, and Browning's best for ever, in my opinion - going the whole way with Amis's taste and personal expression of it. incidentally a great Rightie poem", he says of although Tennyson's "Tithonus" is best Tenny­ what it represents. Apart from his political By and large his choice of poems conveys it ; "no work of literature ever argued more son, undoubtedly. views (exercised on poems that don't deserve what looks like a preference for plain , honest persuasively that the poor and ignorant are Housman and Kipling attract thirteen and them) his taste seems to me grounded on a will­ feeling. In his note on Edward Thomas, who better off as they are." Amis's interpretation seven poems respectively. Amis's anti-socialist ingness to narrow mind, spirit and intelligence has eleven poems here, he writes: "How a poet does not overlap on mine - an insignificant particularity in his interpretation of Kipling's in favour of an exaggerated senseof native"feel ­ convinces you he will not tell you anything he discrepancy, perhaps - but what it might be "The Gods of the Copybook Headings" is as ing". It cramps and inhibits the Englishness for does not think or feel , since you have only his valid to deplore is that he glosses his reading of much a case of special pleading - that is , mi suse which otherwise he speaks. In the end, itis a word for it, is hard to discover, but Edward a great poem through a surrender to one of the - as what he draws from Gray's "Elegy". taste in poetry of which to be suspicious, even Thomas is one of those who do it." While this imperfect ideologies of the 1980s. Political mis­ Kipling's poem succeeds and provokes because when the individual poems that constitute it wins my approval - that is , I agree with Amis use of old verse has the effect of making of its deliberate timelessness - "As I pass are enjoyable and worthy. Chaucer, Henry­ that the trust he speaks of is harder to describe anachronisms of both the original poem and its through my incarnations in every age and son , Dunbar, Shakespeare, Donne, Jonson, than many critics would have us believe - I commentator. Time is disjointed, and that - it race". It is a vigorous riposte to sayers of sooths Milton, Dryden, Pope, Burns, Smart , Clare, doubt if gut-reaction is the whole story. What I is my view - has the same status as a lie , and a and upholders of maxims; it assaults·the human Wordsworth, Shelley, Byron, Clough , best think he might be dri ving at in his remarks on lie against poetry is a considerable thing. instinct for an inflexible order that betrays an Browning, Yeats, Eliot, Edwin Arlington Thomas and throughout his collection is the Pope finds himself here with "Elegy to the opposing instinct for better life in fluidity and Robinson, major Auden - these might not virtue of an Englishness in poetic writing, and Memory of an Unfortunate Lady", a remark­ imagination. be omissions merely, or fields for selecting its appreciation, that he would clai m is perma­ able poem , indeed , but perhaps less true of its Other prejudices intrude and guide Amis's minor poems, but embarrassments to Amis's nent and indigenous. It seems to make him author than the Epistles, Essays and The Dun- choice of favourites . Yeats slips in through taste. prefer simplicity and directness, but it is just as true th at some of the poems he incl udes are metrically ornamented or intellectually tricky . The fourteen-line fix wood), for r,nost of the first decade of their Spaniel" (CCCXIV), as well as many less Kath.erine Duncan-Jones marriage. According to the editors of this. the famil iar, such as "On finding a small fl y LlBRAIRIE firs t modern edition , "one of the stabilizing crushed in a book" (CCLXXIII ), "Cowper's CHARLES TENNYSON TURNER factors during the remainder of his life was three hares" (CCCXL) and "Cynotaphium" DROZ The Collected Sonnets of Charles Tennyson undoubtedly his habit of writing sonnets". (LXII). When he takes on more ambitious or Turner For the reader, the fix is often mild , though public subjects, such as the new theology of Edited by F. B. Pinion and M. Pinion sometimes of tear-jerking intensity. Unlike Strauss and Renan , he too often descends to Leading scholarly publications in the 25 1pp. Macmillan. £35. Alfred, Charles did not seek the challenge bluster, the poetic equivalent of "Disgusted, following fields: 0333436512 of great metrical complexity, adapting the Lincolnshire". Sometimes child and animal French literature relatively undemanding "English" , or successfu ll y combine, as in "Rose and Cushi e" •Renaissance and Humanism Charles (Tennyson) Turner's more famous Shakespearean, form of the sonnet, with sestet (CCCXXXII), in which Turner displays un­ History younger brother, Alfred , compared his com­ variations. He treats the form for the most part usual sympathy for the common lot of a cow Art History pulsive writing of In M emoriam lyrics to "dull like a loose-knit lyrical stanza, with little ten­ whose calf has been taken away for slaughter: Law, Economics and Sociology narcotics, numbing pain". For several of the sion or epigrammatic tautness. Both at best "But little Rose, who loved th e sheep and kine , linguistics talented Tennysons life was, in Johnson's and at worst, his sonnets are "period pieces", I Ran home to tell of Cushie's broken heart." ASK FOR OUR FREE CATALOGUE phrase, a pill too bitter to take without gilding, more inescapably rooted in their time and At best , Turner is an original rural and domestic miniaturist, who can achieve remark­ Please send me your comolete catalogue and alcohol, opiates and verse composition place than his Laureate brother's work . played alternate roles in their several attempts Among the embarrassing worst I would place able effects comparable to those of a Pre­ Name ...... ·········· ...... to brave the struggle of life. Charles, who the two-headed "The Vacant Cage" (LXIV, Raphaelite painter such as Ford Madox Address ...... abandoned the name of Tennyson for that of LXV) , describing a decision to take a dead Brown , with sharply observed details placed in Turner in order to receive an inheritance in canary to the taxidermist, and "Emmeline" a wide-sweeping frame of place and time. Like 1835, succeeding also to his uncle Samuel Tur­ (CCXLV), a prurient-seeming reflection on his Laureate brother, he shows remarkable sty­ ner's cure of souls at Grasby, had much of his the growth to womanhood of a child he has listic consistency in the course of forty or more To be sent to: young manhood blighted by severe opium known since she was two feet high . Yet chil ­ years' addiction to the sonnet-drug. Like his LlBRAIRIE DROZ addiction. It seems to have been because of this dren and animals are also the subjects of the brother, too, he is fortunate in his modern C.P.389 that he was separated from his wife, Louisa best sonnets, such as the rightly fa mous editors, who introduce, edit and annotate the CH-1211 Geneve 12 (1851 (sister of Alfred's future wife, Emily Sell- "Letty's Globe" (CCCVI) and "The Drowned sonnets with authority and good sense. (c) 1988, Times Newspapers The Chatto Book of Nonsense Poetry Doc ref: TLS-1988-1202 Date: December 2, 1988 (Page 1334, 1 of 1).