Reprint of the original, first published in 1873. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.

This study explores the history of tramp-shipping in the United Kingdom, between 1750 and 1914. It defines ‘tramp’ as steamships exclusively hulled with iron or steel. The purpose of the journal is to keep the history of tramp-shipping from fading into obscurity, as the author believes the tramp steamer does not invoke sentimentality nor provide enough glamour to sustain the same level of maritime interest enjoyed by sailing ships or ocean liners. The study is split into four major sections, the first concerning tramp-shipping, ownership, and capital formation; the second concerning trade, specifically copper ore and African guano; the third studies tramp seamen - particularly sea masters; and the final and largest section considers individual tramp-shipping regions, further subdivided by region - Wales, the Northwest, the West Country, the Northeast, the Southeast, and Canada. The volume is punctuated with statistics, tables, charts, glossaries, and concludes with a bibliography of author Robin Craig’s further maritime writing.

Renowned Hopkins expert Joseph J. Feeney, SJ, offers a fresh take on Gerard Manley Hopkins which shakes our understanding of his poetry and his life and points towards the next phase in Hopkins studies. While affirming the received view of Hopkins as a major poet of nature, religion, and psychology, Feeney finds a pervasive, rarely noticed playfulness by employing both the theory of play and close reading of his texts. This new Hopkins lived a playful life from childhood till death as a student who loved puns and jokes and wrote parodies, comic verse, and satires; as a Jesuit who played and organized games and had "a gift for mimicry;" and most significantly, as a poet and prose stylist who rewards readers with unexpected displays of whimsy and incongruity, even, strikingly, in "The Wreck of the Deutschland," "The Windhover," and the "Terrible Sonnets." Feeney convincingly argues that Hopkins's distinctive playfulness is inextricably bound to his sense of fun, his creativity, his style, and his competitiveness with other poets. In unexpected images, quirky metaphors, strange perspectives, puns, coinages, twisted syntax, wordmusic, and sprung rhythm, we see his playful streak burst forth to adorn those works critics consider his most brilliant. No one who absorbs this book's radical readings will ever see and hear Hopkins's poetry and prose quite the way they used to.