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(Biography) Sir Arthur (Thomas), known as Q. 1863–1944, British critic and novelist, who edited the Oxford Book of English Verse (1900)


(ˈkwɪl ərˈkutʃ)

Sir Arthur Thomas ( “Q” ), 1863–1944, English novelist and critic.
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The book, which went for pounds 32,400, contains a dedication to the daughter of Cornish author Sir Arthur Quiller-Couch, the man said to have inspired the character of Ratty.
Writer Arthur Quiller-Couch adopted which single letter as his pseudonym?
Iris was also a plagiarist of a particularly uninspired kind, filching bits from figures as diverse as Quiller-Couch, Santayana and Eliot.
The most useful and heartbreaking advice I've read about writing is a quote attributed to writer Sir Arthur Quiller-Couch that goes: "Murder your darlings".
The book is The Sleeping Beauty and Other Fairy Tales by Sir Arthur Quiller-Couch and illustrated by Edmund Dulac.
When the Empire went Quiller-Couch, Palgrave and Wavell might be
The Syndics of Cambridge University Press, blithely unaware of the New Bibliography, invited Sir Arthur Quiller-Couch to be the general editor, and Murphy relates an amusing story of this enthusiast deciding to edit The Tempest not "because it was his favorite play, but rather because, as he put it, 'I know a little about ships'" (231).
Ebbatson (Loughborough University, UK) critically analyzes ideas about England and Englishness in poetry and fiction by Alfred Lord Tennyson, Charles Tennyson Turner, Richard Jeffries, Thomas Hardy, Florence Henniker, Arthur Quiller-Couch (Q), Rupert Brooke, Edward Thomas, and D.
In 1934, Sir Arthur Quiller-Couch followed that with an anthology of the poet's work entitled Felicities.
He was not alone in this of course: Professors of literature at this stage of English studies (Saintsbury, Raleigh, and Quiller-Couch are good examples) often gave the impression of being involved in academic labors at odds with their love of literature, of being caught up in a business which, in Quiller-Couch's words, too often made "the accident the substance" (p.
Following its version of the series mandate, Aspinall's volume is much less historically based than is Murphy's: the criticism begins with Arthur Quiller-Couch in 1928 and we are into the 1980s by the third essay, less than twenty pages in.
Oxford, lately in disgrace due to the mismanagement of its contemporary poetry list, soil knows how to design a book: the present anthology, which succeeds earlier collections by Arthur Quiller-Couch (1900, revised 1939) and Helen Gardner (1972), is nicely bound and handsomely presented, from the spine's golden filigree down to the silky magenta bookmark.