A Child's Garden of Verses : A Classic Illustrated edition by Robert Louis Stevenson

By Robert Louis Stevenson

Here's a vintage, illustrated variation of 1 of the easiest enjoyed poetry collections on the planet. Lavishly illustrated with greater than a hundred photos through the main unusual kid's e-book artists of the past due 19th and early 20th centuries, this variation of A kid's backyard of Verses comprises all of the poems that seemed within the unique e-book, released over a hundred years in the past. it is a quantity to be adored for a life-time: via mom and dad and by means of grandparents who grew up with the poems and, such a lot of all, through little ones who're being brought to this amazing assortment for the 1st time.

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Know I not how long I strayed In the pleasant leafy shade; But the trees had gradually Grown more rare, the air more free, The sun hotter overhead. 60 Soon the birds no more were seen Glancing through the living green, And a blight had passed upon All the trees; and the pale sun Shone with a strange lurid sheen. Then a darkness spread around: I saw nought; I heard no sound: Solid darkness overhead, With a trembling cautious tread Passed I o’er the unseen ground. 70 But at length a pallid light Broke upon my searching sight; A pale solitary ray Like a star at dawn of day Ere the sun is hot and bright.

He answered not, and they went on. The glory of the heavens was gone; The moon gleamed not nor any star; Cold winds were rustling near and far, And from the trees the dry leaves fell With a sad sound unspeakable. 150 160 The air was cold; till from the South A gust blew hot, like sudden drouth, Into their faces; and a light Glowing and red, shone thro’ the night. A mighty city full of flame And death and sounds without a name. Amid the black and blinding smoke, The people, as one man, awoke. Oh!

2008), 49 – 51. 33 Poetical Works, pp. lxix – lxx. introduction xxxiii might expect. 34 It seems that the singlemindedness with which Gabriele pursued his often dubious theories about Dante’s work could become an obstacle to his children’s study of the poet. It is in a late sonnet sequence ‘Monna Innominata’ (published 1881) that we find Christina’s major engagement with Dante, in the context of an audacious appropriation of the tradition of courtly love poetry. Yet her response to Beatrice is ambivalent — doubtless, in part, because Dante’s earthly love of Beatrice in La Vita Nuova is less likely to excite a woman poet than a male poet, but perhaps also because the function of the heavenly Beatrice in the Commedia could be problematic to those with a Protestant suspicion of intermediaries between the individual and God.

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