The Book of Humorous Verse — Edition Insights

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Wells, Carolyn, 1862-1942 [Editor] Project Gutenberg 2007 Not confirmed
Humorous poetry, English; Humorous poetry, American Readers of public-domain and historical texts
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Edition facts

Words 222,184
Reading time 967 min
Text sections 31

The catalog record for The Book of Humorous Verse — Edition Insights provides practical reading context through 222,184 words, 16 hr 7 min estimated reading time, and 31 detected text sections.

The text analysis averages about 21.8 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Humorous poetry, English,” connecting these edition facts with the source record’s subject description.

Carolyn Wells' 1907 anthology of humorous verse, organized by theme, features parodies, limericks, and nonsense poems. The introduction candidly discusses the compiler's challenges, and the collection includes playful parodies like 'The Purple Cow' variations.
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Editorial Edition Score 4.9/5

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Read the Text

They were so queer, so very queer, I laughed as I would die; Albeit, in the general way, A sober man am I.

I called my servant, and he came; How kind it was of him, To mind a slender man like me, He of the mighty limb!

"These to the printer," I exclaimed, And, in my humorous way, I added (as a trifling jest), "There'll be the devil to pay."

He took the paper, and I watched, And saw him peep within; At the first line he read, his face Was all upon a grin.

He read the next, the grin grew broad, And shot from ear to ear; He read the third, a chuckling noise I now began to hear.

The fourth, he broke into a roar; The fifth, his waistband split; The sixth, he burst five buttons off, And tumbled in a fit.

Ten days and nights, with sleepless eye, I watched that wretched man, And since, I never dare to write As funny as I can.

_Oliver Wendell Holmes._

SHAKE, MULLEARY AND GO-ETHE

I have a bookcase, which is what Many much better men have not. There are no books inside, for books, I am afraid, might spoil its looks. But I've three busts, all second-hand, Upon the top. You understand I could not put them underneath-- Shake, Mulleary and Go-ethe.

Shake was a dramatist of note; He lived by writing things to quote, He long ago put on his shroud: Some of his works are rather loud. His bald-spot's dusty, I suppose. I know there's dust upon his nose. I'll have to give each nose a sheath-- Shake, Mulleary and Go-ethe.

Mulleary's line was quite the same; He has more hair, but far less fame. I would not from that fame retrench-- But he is foreign, being French. Yet high his haughty head he heaves, The only one done up in leaves, They're rather limited on wreath-- Shake, Mulleary and Go-ethe.

Go-ethe wrote in the German tongue: He must have learned it very young. His nose is quite a butt for scoff, Although an inch of it is off. He did quite nicely for the Dutch; But here he doesn't count for much. They all are off their native heath-- Shake, Mulleary and Go-ethe.

They sit there, on their chests, as bland As if they were not second-hand. I do not know of what they think, Nor why they never frown or wink, But why from smiling they refrain I think I clearly can explain: They none of them could show much teeth-- Shake, Mulleary and Go-ethe.

Man is for woman made, And woman made for man: As the spur is for the jade, As the scabbard for the blade, As for liquor is the can, So man's for woman made, And woman made for man.

As the sceptre to be sway'd, As to night the serenade, As for pudding is the pan, As to cool us is the fan, So man's for woman made, And woman made for man.

Be she widow, wife, or maid, Be she wanton, be she staid, Be she well or ill array'd, So man's for woman made, And woman made for man.

The prospect is bare and white, And the air is crisp and chill; While the ebon wings of night Are spread on the distant hill.

The roar of the stormy sea Seem the dirges shrill and sharp That winter plays on the tree-- His wild Æolian harp.

In the pool that darkly creeps In ripples before the gale, A star like a lily sleeps And wiggles its silver tail.

My dear young friend, whose shining wit Sets all the room a-blaze, Don't think yourself a "happy dog," For all your merry ways; But learn to wear a sober phiz, Be stupid, if you can, It's such a very serious thing To be a funny man!

You're at an evening party, with A group of pleasant folks,-- You venture quietly to crack The least of little jokes,-- A lady doesn't catch the point, And begs you to explain-- Alas for one that drops a jest And takes it up again!

You're talking deep philosophy With very special force, To edify a clergyman With suitable discourse,-- You think you've got him--when he calls A friend across the way, And begs you'll say that funny thing You said the other day!

You drop a pretty _jeu-de-mot_ Into a neighbor's ears, Who likes to give you credit for The clever thing he hears, And so he hawks your jest about, The old authentic one, Just breaking off the point of it, And leaving out the pun!

Carolyn Wells opens her 1907 anthology with a disarmingly frank introduction, admitting that classification is 'vexation' and that her selections are governed by personal taste: 'no opinion seemeth good unto an honest compiler, save his own.' This self-awareness sets the tone for a collection that embraces the messy, overlapping categories of humorous verse—parody, satire, romance, cynicism—without pretending to be exhaustive. Wells aims for a volume where 'a majority of seekers' will find their favorites, acknowledging the impossibility of pleasing everyone.

The Compiler's Candid Confessions

Wells' introduction is a model of editorial humility. She contrasts her ambition—to include every reader's favorite humorous poem—with the reality of space constraints, settling for a 'compilation, not a collection.' She invokes the classical Scylla and Charybdis to describe the twin perils of popularity and canonicity, steering by 'good taste' alone. The result is a personal anthology, one that openly admits its biases. Wells even quotes Shakespeare on the listener's role in a jest's success, shifting responsibility to the reader. This transparency invites trust, as the compiler's voice remains present throughout, not hidden behind a facade of objectivity.

Parody as a Structural Principle

The excerpted section on 'The Purple Cow' reveals a key structural device: the anthology groups poems by theme or form, then presents variations. Here, Gelett Burgess's original quatrain is followed by parodies in the styles of Milton, Shelley, Wordsworth, Gray, Riley, Tennyson, Browning, Keats, Rossetti, Aldrich, Poe, and Longfellow. Each imitation mimics the poet's characteristic diction and meter—Shelley's 'Hail to thee, blithe spirit! Cow thou never wert' or Poe's raven-like 'Purple Cow' perching on a bust of Dante. This technique showcases both the parodist's skill and the range of English verse, turning a single joke into a lesson in literary voice.

Recurring Images: The Cow and the Limerick

Beyond the Purple Cow sequence, the anthology returns to certain images and forms. The limerick, exemplified by Edward Lear, appears as a recurring structure—short, rhythmic, and absurd. Wells includes multiple limericks, creating a pattern of compression and punch. The cow itself becomes a motif, appearing in various guises: 'brindle and brown' in Riley's parody, 'purplest ray serene' in Gray's. These repeated images tie the collection together, offering readers familiar touchstones amid the diversity of authors and styles. The cow, like the limerick, is a vessel for humor that transcends its literal subject.

Movement Between High and Low

Wells orchestrates a deliberate movement between registers. The anthology juxtaposes canonical poets (Milton, Shelley) with popular humorists (Burgess, Lear), and classical forms with nonsense. This juxtaposition is itself a source of humor: the solemnity of Milton's blank verse applied to a purple cow. The structure encourages readers to shift between expectations, finding comedy in the collision of high art and low subject. Wells' arrangement—by theme rather than chronology or author—emphasizes these contrasts, making the volume a curated experience rather than a dry reference. The reader moves from parody to limerick to satire, each transition a small surprise.

Wells' anthology rewards browsing rather than linear reading. The thematic groupings invite comparison across poems, and the parodies gain depth when read alongside their originals. Readers may find it useful to start with a familiar poem—say, a limerick by Lear—and then explore adjacent sections. The compiler's own voice, candid and self-deprecating, provides a steady guide through the shifting tones of English humorous verse.

That rainy afternoon, the 1907 Wells anthology felt like shelter, its playful parodies—even the Purple Cow squibs—turning cozy rather than clever. Yet one limerick about a restless heart lingered, and afterwards I found myself not searching, but simply opening Heart Utterances at Various Periods of a Chequered Life — Background and Themes, as if the rain had already chosen my next quiet companion.

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