Background
Arthur Burdett Frost was born on January 17, 1851, in Philadelphia, and was the youngest son of John Frost and his wife Sarah Ann Burdett.
(Excerpt: To My Pupil. Beloved pupil! Tamed by thee, Add...)
Excerpt: To My Pupil. Beloved pupil! Tamed by thee, Addish-, Subtrac-, Multiplica-tion, Division, Fractions, Rule of Three, Attest thy deft manipulation! Then onward! Let the voice of Fame From Age to Age repeat thy story, Till thou hast won thyself a name Exceeding even Euclid's glory! PREFACE. This Tale originally appeared as a serial in The Monthly Packet, beginning in April, 1880. The writer's intention was to embody in each Knot (like the medicine so dexterously, but ineffectually, concealed in the jam of our early childhood) one or more mathematical questions—in Arithmetic, Algebra, or Geometry, as the case might be—for the amusement, and possible edification, of the fair readers of that Magazine. L. C. October, 1885.
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(Excerpt from Stuff and Nonsense (65h? Pea qleo 1°11n ghm...)
Excerpt from Stuff and Nonsense (65h? Pea qleo 1°11n ghmugb; 5116. P29 fined Ghfiou the dew°er°€abme qgtéfor $35; Lfiikewige Fora she goal. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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(This book was originally published prior to 1923, and rep...)
This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
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(This is a pre-1923 historical reproduction that was curat...)
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("Phantasmagoria" is a poem written by Lewis Carroll and f...)
"Phantasmagoria" is a poem written by Lewis Carroll and first published in 1869 as the opening poem of a collection of verse by Carroll entitled Phantasmagoria and Other Poems. The collection was also published under the name Rhyme? And Reason? It is Lewis Carroll's longest poem. Both the poem and the collection were illustrated by A.B. Frost."Phantasmagoria" is a narrative discussion written in seven cantos between a ghost (a Phantom) and a man named Tibbets. Carroll portrays the ghost as not so different from human beings: although ghosts may jibber and jangle their chains, they, like us, simply have a job to do and that job is to haunt. Just as in our society, in ghost society there is a hierarchy, and ghosts are answerable to the King (who must be addressed as “Your Royal Whiteness”) if they disregard the "Maxims of Behaviour”. Ghosts, our Phantom tells the narrator, fear the same things that we often fear, only sometimes in the reverse: “Allow me to remark That ghosts has just as good a right, In every way to fear the light, As men to fear the dark.”... Charles Lutwidge Dodgson (27 January 1832 – 14 January 1898), better known by his pen name Lewis Carroll , was an English writer, mathematician, logician, Anglican deacon, and photographer. His most famous writings are Alice's Adventures in Wonderland, its sequel Through the Looking-Glass, which includes the poem "Jabberwocky", and the poem The Hunting of the Snark, all examples of the genre of literary nonsense. He is noted for his facility at word play, logic and fantasy. There are societies in many parts of the world dedicated to the enjoyment and promotion of his works and the investigation of his life. Dodgson's family was predominantly northern English, with Irish connections, conservative and High Church Anglican. Most of Dodgson's male ancestors were army officers or Church of England clergy. His great-grandfather, also named Charles Dodgson, had risen through the ranks of the church to become the Bishop of Elphin.His paternal grandfather, another Charles, had been an army captain, killed in action in Ireland in 1803 when his two sons were hardly more than babies.The older of these sons – yet another Charles Dodgson – was Carroll's father. He went to Westminster School and then to Christ Church, Oxford. He reverted to the other family tradition and took holy orders. He was mathematically gifted and won a double first degree, which could have been the prelude to a brilliant academic career. Instead, he married his first cousin Frances Jane Lutwidge in 1827 and became a country parson. Dodgson was born in the small parsonage at Daresbury in Cheshire near the towns of Warrington and Runcorn,the eldest boy but already the third child of the four-and-a-half-year-old marriage. Eight more children followed. When Charles was , his father was given the living of Croft-on-Tees in North Yorkshire, and the whole family moved to the spacious rectory. This remained their home for the next 25 years. Charles's father was an active and highly conservative cleric of the Church of England who later became the Archdeacon of Richmond and involved himself, sometimes influentially, in the intense religious disputes that were dividing the church. He was High Church, inclining to Anglo-Catholicism, an admirer of John Henry Newman and the Tractarian movement, and did his best to instil such views in his children. Young Charles was to develop an ambiguous relationship with his father's values and with the Church of England as a whole..... Arthur Burdett Frost (January 17, 1851 – June 22, 1928), was an American illustrator, graphic artist and comics writer.
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Arthur Burdett Frost was born on January 17, 1851, in Philadelphia, and was the youngest son of John Frost and his wife Sarah Ann Burdett.
Frost studied at the Pennsylvania Academy of the Fine Arts under Thomas Eakins.
Frost's father, a Harvard graduate and a compiler of textbooks, died in 1859, leaving his family without adequate provision, and young Frost went to work at the age of fifteen, first in a wood-engraver’s shop and later in the office of a lithographer.
He sketched in the evenings, studying for a time under Thomas Eakins at the Philadelphia Academy of the Fine Arts, but was mainly, as he later insisted, “self-taught. ”
His first opportunity to do illustrating came through William J. Clark, who perceived his comic talent and arranged for him to cut wood-engravings for a book by his brother, Charles H. Clark (Max Adeler), called Out of the Hurly Burly (1874).
Although crude in comparison with his later work, these sketches marked the beginning of Frost’s career as an illustrator. The following year, he was on the staff of the New York Graphic and in 1876 entered the studio of Harper & Brothers.
From that time his drawings appeared frequently, and by the end of the century, he was probably the most popular illustrator in the country. In 1877, he went to London for work and study, but returned in 1878, finding England uncongenial to his entirely American genius.
Frost’s early illustrations cover a wide range of subjects, from romantic pictures for an 1882 edition of The Lady of the Lake to humorous sketches for Lewis Carroll’s Rhyme? and Reason? (1883) and utility drawings for Harper’s Magazine. It appeared, however, that his true talent was for American folk pictures, to which he soon devoted himself.
They fell mainly into two groups, comic line sketches in story sequence, and finished illustrations in pen and ink, oils, or water-color. Some of his humorous sketches appeared in book form as Stuff and Nonsense (1884), The Bull Calf and Other Tales, and Carlo (1913), but most of them were published in periodicals.
Flis's more formal illustrations appeared in Scribner’s Magazine, Harper’s Magazine and Collier’s, from which representative sketches were selected for the publication of his Book of Drawings in 1904.
He was probably known best as the visual creator of Joel Chandler Harris’s Uncle Remus, Brer Rabbit, Aunt Minervy Ann, and a whole gallery of animal characters. His first illustrations of this series appeared in Uncle Remus and His Friends (1892), followed by Uncle Remus, His Songs and His Sayings (1895), The Chronicles of Aunt Minervy Ann (1899), The Tar-Baby and Other Rhymes of Uncle Remus (1904), Told by Uncle Remus ( 1905), and finally Uncle Remus Returns (1918). Two of his pictures, “What Happened?” and “Somebody Blundered” were entered in the Paris Exposition of 1900.
Frost remained throughout his life an illustrator.
After his marriage to Emily Louise Phillips in 1883, he established himself on a small farm in Convent Station, New Jersey.
He died there in the home of his son, John Frost, a California landscape-painter.
("Phantasmagoria" is a poem written by Lewis Carroll and f...)
(This book was originally published prior to 1923, and rep...)
(This is a pre-1923 historical reproduction that was curat...)
(Excerpt from Stuff and Nonsense (65h? Pea qleo 1°11n ghm...)
(Excerpt: To My Pupil. Beloved pupil! Tamed by thee, Add...)
Although Frost had an adequate knowledge of design, his talent was for dramatic incident rather than decorative compositions. His chin-whiskered farmers, his plantation negroes, his sportsmen and animals are picturesque in their own right but are interesting mainly as specific characters confronted by specific situations. His hold on the affections of his public was certainly due to his sense of comedy.
His humor never depended upon cheap wit or incongruity, but upon a knowledge and appreciation of character. He was acutely observant, and skilful in exaggerating and simplifying the facts he observed to suit his purposes.
Moreover, he was so intensely interested in the people he created that he was able to engender in the spectator an attitude of actual participation. As a result, his drawings by their homely fidelity to nature and dramatic emphasis retained their freshness and flavor after the work of more pretentious contemporaries had become stale and uninteresting.
With Mark Twain and Joel Chandler Harris, Frost definitely crystallized the tang and gusto of the American countryside.
In 1908, he removed to Paris where his two sons received artistic training, but returned to America in 1916, residing in New Jersey and Pennsylvania until 1924 when he went to Pasadena.
Frost married Emily Louise Phillips in 1883. He had a son, John Frost, a California landscape-painter.