Edward Lear's Limericks: The Function of Children's Nonsense Poetry

Rieder, John

doi:10.1353/chl.0.0040

Cited by 9 publications

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“…(2007, p. xxiv). Rieder (1998) mentions that nonsense works "consistently address some of the most basic social conventions with which children struggle, such as those governing eating, dressing, grooming and talking" (p. 51). In Ogd too, Ravishankar addresses the activities of eating, sitting, learning, etc.…”

Section: The Messiah Of Ogd: An Ode To Nonsensementioning

confidence: 99%

“…The latter, not as a direct attack on a text or an author, but as an attack on sense in general (Eliot, 1971, p. 29). Rieder (1998) writes; "Lear's approach to these [social] conventions are "meta-cultural", in that it manipulates and explores the limits of social codes (Boussac)" (p. 51). Hence, Anushka Ravishankar says, "This is the quintessential nature of nonsense -the ability to be nothing and something at the same time" (2007, p. liii).…”

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The Messiah of Ogd: An Ode to Nonsense

Saji¹

2022

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Sometimes it takes nonsense to understand sense. And sometimes, it takes a child and his/her nonsensical question for the whole sense of the world to collapse. This paper is an attempt to study Anushka Ravishankar’s nonsensical children’s novel Ogd. Ravishankar through her novel, deconstructs religion, science, logic and language; entities looked upon as the final end of meaning. And in doing so, she sheds light on the process of meaning-making. Using Edward Lear’s Limericks and Lewis Carroll’s novel Alice’s Adventures in Wonderland, the paper attempts to understand the genre of nonsense in its act of deconstruction. And the paper tries to analyse the novel through the lens of what has been understood from Lear’s and Carroll’s works of nonsense. Using some of Derrida’s ideas, the paper attempts to understand Ravishankar’s novel in detail.

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Section: The Messiah Of Ogd: An Ode To Nonsensementioning

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The Messiah of Ogd: An Ode to Nonsense

Saji¹

2022

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Nonsense

McGillis¹

2008

A Companion to Victorian Poetry

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“Does It Buzz?”: Image and Text in Edward Lear's Limericks

Hassett

2017

Victorian Literature and Culture

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The limericks of Edward Lear (1812–1888) prompted a mid-Victorian craze that flourishes to this day. Gorgeously illustrated new limericks appear in a 2015 issue of Poetry magazine (Madrid), a five-line skewering of Stalin is tucked into a recent New York Times obituary (Grimes). The newly founded Edward Lear Society celebrates at the Knowsley estate, and the keeper of the Edward Lear website adds a new feature on Lear and Comics. The British Academy's Chatterton lecturer attends to Lear's birds, including the parrot that “seized” a man's nose and the raven that “danced a quadrille” (Bevis 39, 41) – Lear's first work, it must be remembered, was the magnificent Illustrations of the Family of Psittacidae, or Parrots (1832). Of course he is best known today as a writer of nonsense (Peck 15). The illustrated limerick, his lighthearted venture into a double genre, perennially raises questions among his admirers and scholars about the internal dynamics linking its components. Borrowing from recent discussions of various picture-poem combinations, one might call the illustrated limericks in A Book of Nonsense “picture-limericks” (Dilworth 42), “imagetexts” (Mitchell, Picture Theory 89), or “iconotexts” (Louvel). As the labels all suggest, the core issue is the proximity of two media and whether or how they converge.

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Edward Lear's Limericks: The Function of Children's Nonsense Poetry

Cited by 9 publications

References 10 publications

The Messiah of Ogd: An Ode to Nonsense

The Messiah of Ogd: An Ode to Nonsense

Nonsense

“Does It Buzz?”: Image and Text in Edward Lear's Limericks

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