For Handy Dictionary of Poetical Quotations — Inside the Classic, the stored edition analysis reports 71,313 words, 5 hr 11 min estimated reading time, and 21 detected text sections.
The text analysis averages about 8.2 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 “Quotations, English,” connecting these edition facts with the source record’s subject description.
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Read on Project GutenbergThe preface to this 1901 compilation positions it as a practical reference, aiming to present 'a Dictionary of Poetical Quotations which will be a ready reference to many of the most familiar stanzas and lines of the chief poets of the English language.' The compiler, George W. Powers, acknowledges debts to earlier concordances and quotation collections, notably Anna L. Ward's work, while claiming independent examination of recent poets. The volume covers 2,138 topics drawn from 255 authors, with indexes prepared by Grace E. Powers.
Despite the catalog classification as 'Historical, Psychological & Social Fiction,' the text is a non-fiction reference work organized alphabetically by topic. The excerpts show entries ranging from 'Abashed' to 'Revolution,' each featuring a brief quotation with source attribution. Shakespeare appears frequently, but the selection also includes less canonical voices such as James Aldrich and Julia C.R. Dorr.
The dictionary is organized alphabetically by topic, with each entry containing one or two short quotations. The preface states that topics number 2,138, drawn from 255 authors. The excerpts show entries such as 'Repose' with two quotations—one from Thomson's Castle of Indolence and one from James Aldrich's 'A Death-Bed'—and 'Reputation' with lines from Shakespeare's Richard II and Pope's Rape of the Lock. The compiler notes that 'the great name of Shakespeare fills the largest space,' and the excerpts confirm this with multiple entries from his plays. The indexes, prepared by Grace E. Powers, provide access by author and by quotation, enhancing the book's utility as a reference tool.
Powers explicitly aims to include 'less familiar selections from more modern poets, which may in time become classic, or which at least have a contemporary interest.' The excerpts reflect this blend: alongside Milton, Pope, and Shakespeare, entries feature Owen Meredith (Edward Bulwer-Lytton), Julia C.R. Dorr, and Samuel Lover. The preface also notes that 'old ideas in a new dress are welcome to readers who might not have been attracted by the old forms,' suggesting a deliberate effort to balance tradition with novelty. The inclusion of Shelley's satirical 'Peter Bell the Third' under 'Revolution' exemplifies this mix of canonical and less expected sources.
The excerpts provide only a partial view of the dictionary's full contents. While the preface claims 2,138 topics, the sample covers only entries from A through R, with gaps in the sequence. The entries shown are brief—typically one or two lines—and the compiler notes that 'it has been necessary to confine the illustration of the topics selected to brief extracts from each author.' The excerpts do not reveal the full range of authors or topics, nor do they show the indexes. The catalog subject 'Quotations, English' accurately describes the work, but the category 'Historical, Psychological & Social Fiction' appears to be a misclassification, as the text is a non-fiction reference work.
Readers approaching this dictionary should treat it as a period-specific snapshot of late-Victorian quotation culture, where the compiler's choices reflect both enduring classics and contemporary tastes. The indexes are essential for navigating the 2,138 topics, and the preface offers insight into the editorial rationale. The work is best used as a browsing reference or a source for identifying common poetic touchstones of its era, rather than as a comprehensive anthology.
There’s something touching about a book meant to be handy, thumbed through in quiet moments. Leafing through those 2,138 topics feels like overhearing old conversations. It reminds me of John Baskerville, type-founder and printer, 1706-1775 — Text and Context and his patient, careful letters—craft meant to hold fleeting thoughts, making them feel lasting, even now.
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