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_aCody, Sherwin, _d1868-1959 |
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| 245 | 1 | 4 | _aThe art of writing & speaking the English language |
| 246 | 1 | _aThe art of writing and speaking the English language : How to read and what to read | |
| 264 | 1 |
_aSalt Lake City, UT : _bProject Gutenberg, _c2025 |
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_a1 online resource : _bmultiple file formats |
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_atext _btxt _2rdacontent |
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_acomputer _bc _2rdamedia |
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_aonline resource _bcr _2rdacarrier |
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| 500 | _aRelease date is 2025-05-15 | ||
| 505 | 0 | _aPreface -- General introduction to the study of literature -- What constitutes a good poem? -- What constitutes a good essay? -- What constitutes a good novel? -- Landmarks in modern literature -- The best poetry and how to read it -- How to study Shakspere -- The best English essays -- Old novels that are good -- The romantic novelists: Scott, Hugo, Dumas -- The realistic novelists: Dickens, Thackeray, Balzac -- The short story: Poe, Hawthorne, Maupassant -- Classic stories for young people. | |
| 508 | _aAaron Adrignola, Laura Natal and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) | ||
| 520 | _a"The art of writing & speaking the English language : How to read and what to…." by Sherwin Cody is a guidebook on reading and literature written in the early 20th century. It aims to help the average reader choose, enjoy, and judge “the best” books efficiently, emphasizing pleasure, usefulness, and clear standards. The volume explains what makes poetry, essays, and novels good, and offers selective, practical recommendations (including how to approach Shakespeare) rather than long lists. The opening of the book states its purpose: to guide busy, non-scholarly readers toward interesting, inspiring works and away from dutiful but lifeless “classics,” proposing three tests for literature—beauty, truth, and nobility—plus a balanced view of amusement as true recreation. It illustrates poetry’s aims through close readings (Tennyson for pure beauty, Shelley for beauty with thought, Longfellow for moral uplift, Browning for intellectual courage, Wordsworth for the union of all three). It defines the essay’s appeal—rhythmical prose, suggestive imagery, and especially humour as a health-giving corrective—showcased by a lively Lamb letter; then traces the novel from epic and stage to the modern, conversational “tavern tale,” laying out what makes a good novelist (sincerity, friend-like tone, characters proved by action) and comparing major figures (Shakespeare, Balzac, Thackeray, Dickens, Scott). A concise timeline of “landmarks” maps the Romantic and Realist movements in Britain and key American contributions (Irving, Poe, Longfellow, Hawthorne, etc.). Practical how-to sections follow: a method for reading poetry (start with a few beloved pieces; Longfellow as an entry, then Tennyson and Browning; selective lists across poets) and an accessible plan for studying Shakespeare (see performances when possible, then read selected plays—Merchant of Venice, Romeo and Juliet, Hamlet, Lear, Othello, Macbeth, key comedies and histories—and the sonnets). The final lines begin a survey of great essayists (Bacon, Addison, Swift), signaling the next phase of the guide. (This is an automatically generated summary.) | ||
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_pOriginally published: _cChicago: The Old Greek Press, 1905 |
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| 653 | _aBooks and reading | ||
| 653 | _aLiterature -- History and criticism | ||
| 856 | 4 | _uhttps://archive.org/details/howtoreadandwha00codygoog/ | |
| 856 | 4 | 0 | _uhttps://www.gutenberg.org/ebooks/76097 |
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