Puzzling the Reader establishes the place of charms and riddles in nineteenth-century British literature by exploring the literary and political work riddles performed at cultural thresholds: courtship, initiation, death rituals, moments of greeting, and intercultural relations. Furthermore, Puzzling the Reader investigates the new narrative genre that riddles uncover by transforming traditional narrative techniques. Far from disappearing from view, the oral tradition of the riddles rises into view alongside the literary narratives of William Blake, John Keats, and Charles Dickens. The folk tradition of the riddle is imported into print media and reaches its zenith in the nineteenth century. Through analyses of riddles in weekly literature and satire magazines, parlor game books, and popular collected riddles, such as Queen Victoria's «Windsor Enigma», this volume examines the literary and political roles riddles play as they migrate into mass print culture. Three crucial texts illustrate this argument: Blake's «Jerusalem», Keats's «The Eve of St. Agnes», and Dickens's Our Mutual Friend. Each is a work of formal experimentation and each typifies the full range of word play in the period. From Blake to Keats to Dickens, nineteenth-century British literature charts a «history» of the literary riddle.
The vibrant and enigmatic Exeter Riddles (ca. 960–980) are among the most compelling texts in the field of medieval studies, in part because they lack textually supplied solutions. Indeed, these ninety-five Old English riddles have become so popular that they have even been featured on posters for the London Underground and have inspired a sculpture in downtown Exeter. Modern scholars have responded enthusiastically to the challenge of solving the Riddles, but have generally examined them individually. Few have considered the collection as a whole or in a broader context. In this book, Patrick Murphy takes an innovative approach, arguing that in order to understand the Riddles more fully, we must step back from the individual puzzles and consider the group in light of the textual and oral traditions from which they emerged. He offers fresh insights into the nature of the Exeter Riddles’ complexity, their intellectual foundations, and their lively use of metaphor.
"The art of posing riddles is possibly as old as mankind and spans two apparent extremes which, nevertheless, converge in the riddlic form: that of wisdom and that of play. With this perspective in mind, the author examines the poetic enigmas present in the culture of Anglo-Saxon England, exploring both the Anglo-Latin riddles of Aldhelm and those recorded in the Exeter Book. His study investigates the Old English riddlic texts from a variety of angles, arguing for the possibility of establishing patterns of Anglo-Saxon riddlic composition as such. The author intends to prove that both the Exeter collection and the Aenigmata of Aldhelm are constructed on the grounds of an identifiable structure of interrelations and interdependencies. Additionally, he argues that the riddlic mode of literary representation is also visible in other Anglo-Saxon poetic compositions. The analysis of such an assumption leads to the conclusion that the predilection for the riddle form in Anglo-Latin and Anglo-Saxon poetry results from an Old English vision of the Christian world".--BOOKJACKET.
Thirteen poems pose riddles that challenge readers to "Name That Book." With a glass slipper here and a spiderweb there, Lynn Munsinger's illustrations lead young readers to the solutions.
What animal doesn't play fair? The Cheetah. What's worse than finding a worm in an apple? Finding half a worm. Hundreds of zany rib-ticklers to challenge puzzler lovers of all ages, with subjects ranging from animals, plants and fruits, to people, love and courtship, and eating and drinking. Hours of entertainment!
A collection of riddles, such as "When is a cook bad? When she beats an egg." and "What kind of coat should be put on when it is wet? A coat of paint."