Limericks, in general, are not meant to be interpreted for their literary meaning. Carroll’s work showcases the uniqueness of limerick as a poetic form in that the enjoyment for the reader is much more about the patterns of rhyme and rhythm than the subject matter. Lewis Carroll, most famous for his work Alice’s Adventures in Wonderland, is known for his clever word play and contributions to the genre of “literary nonsense.” His limerick “Lucy O’Finner” is an excellent example of this literary device in terms of its content, which is nonsense and not meant to be understood at all on a literal level. Auden’s use of limerick to acknowledge the literary works of others in this way is, perhaps, a slight “wink” to readers with regard to both the importance of literature as well as its nonsensical value. This turnabout is well-suited to the limerick in that it is satirizing the “knowledge” and understanding that some people believe they possess regarding literature and authors. Eliot, but by George Eliot (Mary Ann Evans). Alfred Prufrock” by mentioning “clubwomen” at “literary teas.” This refers to the angst Eliot expresses in his poem, symbolized in part by the poet witnessing women passing through a room and “talking of Michelangelo.”Īuden then turns the limerick in a different direction by mentioning “The Mill on the Floss,” a novel written not by T.S. Eliot and alludes to his poem “ The Love Song of J. In addition to composing a successful limerick, Auden manages to utilize this literary device as a means of acknowledging the literary works of two other writers. Apart from the subject matter, Auden’s composition fits the required structure and pattern of limerick as a literary form, and his use of language is creative and artistic. Creative ExpressionĪuden, a well-known and significant British poet, demonstrates his poetic talent on many levels with this limerick. This literary device can encourage writers to use words and phrases in an unusual and artistic way. With the structure of this poetic form and its generally humorous and light-hearted nature, writers must be especially creative in their word choice for meeting the rhythm and rhyme scheme. Like all poetry, limericks allow for the artistic use of language. Here are some ways that writers benefit from composing limericks: Artistic Use of Language Most limericks follow a story arc with a brief plot, primary character, and quick resolution.

It’s also essential that writers consider the narrative aspect of limerick. One way to ensure adherence to limerick structure and patterns is for writers to read their lines aloud.

It’s important that writers follow the rhyme scheme of limerick and it’s anapestic rhythm/meter pattern. Since limericks are generally intended to be nonsensical and even silly, poets can utilize this form to expand the impact and use of words to convey meaning while following stipulated patterns. Limerick is often a starting point for amateur poets as a means of learning the craft of rhyme and meter, while using poetry as a vehicle for telling a brief story. However, its intention to provide humor, levity, and entertainment for readers, both young and old, makes it an effective form of literary and creative expression. Overall, as a literary device, limerick functions as poetic form that is specifically structured in terms of rhyme, rhythm, and meter. Isle of man is the true explanation.” (Lewis Carroll)īut we don’t call this cold in Quebec.” ( Rudyard Kipling) She replied, “When Ah itchez, Ah scratchez.” (Ogden Nash) Many famous writers and poets have tried their hands at limerick. Here are some examples of limericks made popular by Edward Lear:Īre welcome to sit on my bonnet!’ Famous Examples of Limerick Lear intended his limerick poetry to be humorous and silly, while still adhering to the strict structure of this literary device. As a nod to the genre “literary nonsense,” Lear published a collection of 117 limericks in 1846, entitled A Book of Nonsense. Edward Lear, a nineteenth century British poet, is perhaps the most well-known writer of limericks–though he did not originate this poetic form.

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