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 ofPoetrymagazine (Madrid), a five-line skewering of Stalin is tucked into a recentNew York Timesobituary (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 magnificentIllustrations 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 inA Book of Nonsense“picture-limericks” (Dilworth 42), “imagetexts” (Mitchell,Picture Theory89), or “iconotexts” (Louvel). As the labels all suggest, the core issue is the proximity of two media and whether or how they converge.

中文翻译：

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“它在嗡嗡作响吗？”：爱德华李尔的打油诗中的图像和文字

爱德华李尔的打油诗（1812-1888）引发了维多利亚时代中期的热潮，这种热潮一直持续到今天。华丽插图的新打油诗出现在 2015 年的一期诗歌杂志（马德里），斯大林的五行串串被塞进最近的纽约时报讣告（格兰姆斯）。新成立的爱德华李尔协会在诺斯利庄园庆祝，爱德华李尔网站的管理员在李尔和漫画上增加了一个新功能。英国学院的查特顿讲师关注李尔的鸟类，包括“抓住”人鼻子的鹦鹉和“跳四轮舞”的乌鸦（Bevis 39, 41）——必须记住，李尔的第一部作品是壮丽的鹦鹉科或鹦鹉科的插图（1832 年）。当然，他今天最出名的是胡说八道的作家（Peck 15）。插图打油诗是他对双重流派的轻松冒险，经常在他的崇拜者和学者中引发关于连接其组成部分的内部动力的问题。借用最近对各种画诗组合的讨论，人们可以将插图中的打油诗称为胡说八道的书“图片打油诗”（Dilworth 42），“图像文本”（米切尔，图像理论89）或“iconotexts”（Louvel）。正如所有标签所暗示的那样，核心问题是两种媒体的接近程度以及它们是否或如何融合。