Literary Works
Parkes's literary work includes six volumes of verse, Stolen Moments (1842), Murmurs of the Stream (1857), Studies in Rhyme (1870), The Beauteous Terrorist and Other Poems (1885), Fragmentary Thoughts (1889), Sonnets and Other Verses (1895). It has been the general practice to laugh at Parkes's poetic efforts, and it is true that his work could sometimes be almost unbelievably bad. Yet though he had no real claims to be a poet he wrote some weak, sincere verse which has occasionally been included in Australian anthologies. His prose work includes Australian Views of England (1869), and his autobiographical Fifty Years in the Making of Australian History (1892), extremely interesting in places but necessarily giving a partial view of his own work. A collection of his Speeches on Various Occasions, delivered between 1848 and 1874, was published in 1876, and another collection dealing mostly with federation appeared in 1890 under the title of The Federal Government of Australasia. In 1896, shortly after his death, An Emigrant's Home Letters, a small collection of Parkes's letters to his family in England between 1838 and 1843, was published at Sydney, edited by his daughter, Annie T. Parkes.
Read more about this topic: Henry Parkes
Famous quotes containing the words literary works, literary and/or works:
“There is a difference between dramatizing your sensibility and your personality. The literary works which we think of as classics did the former. Much modern writing does the latter, and so has an affinity with, say, night-club acts in all their shoddy immediacy.”
—Paul Horgan (b. 1904)
“Much literary criticism comes from people for whom extreme specialization is a cover for either grave cerebral inadequacy or terminal laziness, the latter being a much cherished aspect of academic freedom.”
—John Kenneth Galbraith (b. 1908)
“Was it an intellectual consequence of this rebirth, of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (18751955)