Poems for Young Ladies: In Three Parts; Devotional, Moral, and Entertaining; The Whole Being a Collection of the Best Pieces in Our Language (Classic Reprint)

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Fb&c Limited, 31.01.2018 - 260 Seiten
Excerpt from Poems for Young Ladies: In Three Parts; Devotional, Moral, and Entertaining; The Whole Being a Collection of the Best Pieces in Our Language

It will be eafier to condemn a compilat this kind, than to prove its inutility. Young ladies are readers, and while their dians are follicitous that they {hall only re bell books, there can be no danger of a v this kind's being difagreeable. It offers, in fmall compafs, the very flower of our poet: that of a ltind adapted to the fest fuppofe. Its readers. Poetry is an art, which no lady can, or ought to be wholly ignorz The pleafure which it gives, and indeed cellity of knowing enough of it to mix i dern eonverfation, will evince the ufefulnefi defign; which is to fupply the highell moit innocent entertainment at the (mall pence; as the poems in this collection, lingly, would amount to ten times the p what I am able to afford the prefent.

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As Samuel Johnson said in his famous epitaph on his Irish-born and educated friend, Goldsmith ornamented whatever he touched with his pen. A professional writer who died in his prime, Goldsmith wrote the best comedy of his day, She Stoops to Conquer (1773). Amongst a plethora of other fine works, he also wrote The Vicar of Wakefield (1766), which, despite major plot inconsistencies and the intrusion of poems, essays, tales, and lectures apparently foreign to its central concerns, remains one of the most engaging fictional works in English. One reason for its appeal is the character of the narrator, Dr. Primrose, who is at once a slightly absurd pedant, an impatient traditional father of teenagers, a Job-like figure heroically facing life's blows, and an alertly curious, helpful, loving person. Another reason is Goldsmith's own mixture of delight and amused condescension (analogous to, though not identical with, Laurence Sterne's in Tristram Shandy and Johnson's in Rasselas, both contemporaneous) as he looks at the vicar and his domestic group, fit representatives of a ludicrous but workable world. Never married and always facing financial problems, he died in London and was buried in Temple Churchyard.

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