DOCSLIB.ORG

(London, 1988), P. 125. PROLOGUE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(London, 1988), P. 125. PROLOGUE NOTES PREFACE 1. William Empson, Arguejying (London, 1988), p. 125. PROLOGUE: FAMILY TIES 1. Dame Felicitas Corrigan, Siegfried Sassoon: Poet's Pilgrimage (London, 1973), p. 17. 2. See Keith Middlemass, Edward VII (London, 1975), p. 44. 3. See Stanley Jackson, The Sassoons: Portrait of a Dynasty (London, 1968), pp. 84-88. 4. Jackson (1968), p. 75. 5. In 1871 her sister Laura became the second wife of Lawrence Alma- Tadema (1836-1912), the Dutch-born painter who in the 1880s and 90s achieved popular successes with his imaginary scenes from classical Greece, Rome and ancient Egypt. 6. Jackson (1968), p. 76. 7. In The Old Century there is mention of a cook and two maids, with a nurse - later replaced by a German governess - to look after the boys. The male element consisted of the head-gardener, two under-gardeners and Richardson the groom. 8. Philip Hoare, Serious Pleasures: the Life of Stephen Tennant (London, 1990), p. 88. 9. His book collecting may have reminded him of his grandfather Sassoon David Sassoon, who had spent his leisure hours building up a library of rare Hebrew manuscripts. Cf. Jackson (1968), p. 38. 10. Cf. Sassoon's own account of this venture in The Old Century, pp. 279-82. 11. Corrigan (1973), pp. 55-6. 12. Rupert Brooke's last girlfriend, the actress Cathleen Nesbitt (1888-1982) records in her memoirs, A Little Love (London, 1977), that she met Brooke later that same day and that he was full of indignation about Sassoon's remark. That she should recall such a trivial incident over sixty years later (and at the time Sassoon was still a complete unknown) is hard to believe, especially since, according to Sassoon's version, Brooke did not really make an issue out of it. 268 NOTES 269 CHAPTER 1: YOUNG NIMROD 1. Holbrook Jackson (1913), The Eighteen-Nineties (Harmondsworth, 1939), p. 53. It is extremely doubtful whether Swinburne can simply be regarded as one of the Pre-Raphaelites. He did count many of them among his friends (his 1866 Poems and Ballads were dedicated to Burne Jones and he greatly admired Rossetti), but unlike his Pre-Raphaelite friends he was well-read in French literature: he was considerably influenced by the French aesthetes, an influence that dated back to his first reading of Baudelaire's Les Fleurs du Mai in the expurgated edition of 1861. Cf. William Gaunt, The Aesthetic Adventure (London, 1945), p. 35. 2. Michael Thorpe, Siegfried Sassoon: a Critical Study (London, 1966), p. 5. 3. Corrigan (1973), p. 15. 4. Robert Graves, In Broken Images: Selected Letters 1914-1946, ed. by Paul O'Prey (London, 1982), pp. 73, 74. 5. In Broken Images, p. 28. 6. Cf. 'The Merciful Widow', 'If Wordsworth Had Written "The Everlasting Mercy'" and 'If Mr. Masefield Had Written "Casabianca"', all reprinted in J.C.Squire, Collected Parodies (London, 1921). 7. Harold Williams, Modern English Writers: Being a Study of Imaginary Literature (London, 1918), p. 97. 8. D.H. Lawrence's Love Poems and Others (Duckworth, 1913), published the same year as Sassoon's 'Daffodil Murderer', contains such poems as 'The Collier's Wife' and 'Violets', which show that he had a better ear for local dialect. 9. Four poems from The Old Huntsman were deleted from the Collected Poems: 'Special Constable', 'Liquor-Control', 'Policeman' and "Gibbet' (which had been first published in the privately printed Melodies, 1912). 10. Virginia Woolf in a review of The Old Huntsman in the T.L.S. (31 May 1917). Wilfred Owen in a letter to his father, 26 August 1917 (Wilfred Owen, Collected Letters, ed. by Harold Owen and John Bell (London, 1967), Letter no. 543, p. 456). Sassoon himself referred to the poem as "a mere verse exercise", cf. Corrigan (1973), p. 203. 11. First published in The Listeners and Other Poems (1912). 12. Quoted from Elaine Showalter, Sexual Anarchy (New York, 1990), p. 174. 13. Letter to Edward Carpenter, 27 July 1911. Quoted in Tsuzuki, Edward Carpenter (Cambridge, 1980), pp. 147-48. CHAPTER 2: AN OFFICER AND TEMPORARY REBEL 1. See Tony Ashworth, Trench Warfare 1914-1918 (London, 1980), p. 21. 2. Ivor Gurney, War Letters, ed. by R.K.R. Thornton (London, 1984), p. 29. Cf. also p. 130, where he refers to four sonnets that were intended as a 1917 answer to Brooke's sonnets. 270 NOTES 3. 'War Diary', 12 June 1917. In: Herbert Read, The Contrary Experience (New York, 1973), p. 89. 4. Robert Graves (1929), Goodbye to All That (Harmondsworth, 1982), p. 146. Graves' autobiography, though always readable, is not always reliable. For one thing 'To Victory' was written in January 1916, and Sassoon was first in the trenches in November 1915 (though admittedly before March 1916 only with working parties). 5. See Ottoline at Garsington: Memoirs of Lady Ottoline Morrell 1915-1918, ed. by Robert Gathorne-Hardy (London, 1974), pp. 90-1. 6. Organizational tables of the British Army are given in Haythornthwaite, A Photohistory of World War One (London, 1993). For Sassoon's experiences, cf. his contribution to J.C. Dunn's, The War the Infantry Knew 1914-1919 (London, 1989), p. 306. 7. Raymond Asquith: Life and Letters, John Joliffe, ed. (London, 1987), p. 206. 8. Charles Carrington, Soldier from the Wars Returning (London, 1965), pp. 159-60. 9. Henri Barbusse: Le Feu (1916). An English translation by W. Fitzwater Wray appeared in 1917 under the title Under Fire. Page reference is to the Everyman edition (London, 1965), p. 44. 10. Cf. Sassoon's footnote to 'In the Pink' in The War Poems, ed. by Sir Rupert Hart-Davis (London, 1983), p. 22, where he adds that the poem was refused by the Westminster "as they thought it might prejudice recruiting!!". 11. This first draft is included in the Diaries 1915-1918, pp. 49-50. That he omitted the final stanza when he revised 'A Working Party' for publication in The Old Huntsman was probably due to the fact that he considered it too sentimental, going on as it does about "widows grieving down the streets in black / And faded mothers dreaming of bright sons". 12. Jon Silkin, Out of Battle: the Poetry of the Great War (Oxford, 1978), p. 132. 13. Corrigan (1973), p. 21. 14. War Poems, p. 47. The somewhat apologetic tone of these lines is probably due to the fact that they were written after Sassoon's conversion to Roman Catholicism. 15. Herbert Read, Collected Poems (London, 1966), pp. 37-40. First published in Naked Warriors (1919), the volume singled out by T.S. Eliot in the July 1919 issue of the Egoist as containing "the best war poetry that I can remember having seen". 16. Permission had been granted, but it was soon discovered that Graves' nerves had suffered so badly that on 7 June he was sent to Osborne Palace on the Isle of Wight (once Queen Victoria's summer retreat where Sassoon's grandmother Mary Thomycroft had gone to paint portraits of the Royal Family and now another convalescent home for officers). 17. Ottoline at Garsington, p. 181. NOTES 111 18. The Collected Letters of Katherine Mansfield 1903-1917 (Oxford, 1984), p. 310. 19. In Diaries 1915-1918, pp. 173-74. 20. Sassoon gives his own account of this action in the final chapter of Memoirs of an Infantry Officer. For a discussion of this account, cf. pp. 134-35. 21. Cf. Paul Levy, G.E. Moore and the Cambridge Apostles (Oxford, 1981), p. 289. Lytton Strachey based his defence on these grounds when he appeared for a tribunal in March 1916; cf. Michael Holroyd, Lytton Strachey: a Biography (New York: Holt, 1980), p. 626. 22. Cf. Bennett's second judicious letter, reprinted in Sassoon's Diaries 1915- 1918, pp. 180-81. Bennett agreed with Robert Ross that Sassoon must have been " a little deranged", cf. his letter to Ross in Bennett, Letters Vol. Ill (London, 1970), pp. 36-7. 23. Robert Hanmer's letter in Dl, 178; for Graves' response, cf. In Broken Images (London, 1982), p. 77. 24. The War the Infantry Knew 1914-1918, p. 372. 25. Five days earlier, on 4 June 1916, Wilfred Owen had joined the 5th (reserve) Battalion of the Manchester Regiment at Milford Camp, Surrey, as a newly commissioned 2nd Lieutenant. 26. Cf. Frank Swinnerton, The Georgian Literary Scene (London, 1946), p. 244. 27. Denis Winter, Death's Men, pp. 59-60. 28. Wilfred Owen, Collected Letters (London, 1967), p. 484. 29. Ibid., p. 485. 30. The first time Owen's mother heard about his meeting with Sassoon was in a letter dated 22 August (the same date as the Leslie Gunston letter), but in this letter Owen only mentions the second meeting, without referring to the first one. In his Wilfred Owen: the Last Year (London, 1992), p. 39, Dominic Hibberd places this first meeting "on about 16 August", though he does not explain why he mentions this particular date. Sassoon's own suggestion that it was "One morning at the beginning of August" (SJ, 58), would seem to be incorrect, in spite of its vagueness. 31. Hibberd (1992), p. 10. 32. For the first letter, cf. Collected Letters, p. 486; Sassoon's remarks about Gunston's poetry were omitted from the Collected Letters, but quoted in Hibberd (1992), p. 42. 33. Collected Letters, pp. 487, 547. 34. Ibid., p. 496. 35. Cf. Sassoon's pencilled in changes to 'Anthem for Doomed Youth', in The Collected Poems of Wilfred Owen, ed. by C. Day Lewis (London, 1984), pp. 185-88. 36. Sassoon also described this scene in a letter to E.M.
Load more

Recommended publications
  • 93708615 Bloom S Shakespeare Through the Ages Othello Harold
    Bloom’s Shakespeare Through the Ages Antony and Cleopatra As You Like It Hamlet Henry IV (Part I) Julius Caesar King Lear Macbeth The Merchant of Venice A Midsummer Night’s Dream Othello Romeo and Juliet The Sonnets The Taming of the Shrew The Tempest Twelfth Night Bloom’s Shakespeare Through the Ages OTHELLO Edited and with an introduction by Harold Bloom Sterling Professor of the Humanities Yale University Volume Editor Neil Heims Bloom’s Shakespeare Through the Ages: Othello Copyright © 2008 by Infobase Publishing Introduction © 2008 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Othello / edited and with an introduction by Harold Bloom ; volume editor, Neil Heims. p. cm. — (Bloom’s Shakespeare through the ages) Includes bibliographical references and index. ISBN 978-0-7910-9575-1 (acid-free paper) 1. Shakespeare, William, 1564-1616. Othello. 2. Othello (Fictitious character) I. Bloom, Harold. II. Heims, Neil. III. Shakespeare, William, 1564–1616. Othello. PR2829.O77 2008 822.3’3—dc22 2007026815 Bloom’s Literary Criticism books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755.
    [Show full text]
  • Introduction
    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. introduction Nothing can exceed the energy and magnificence of the character of Satan in “Paradise Lost.” It is a mistake to suppose that he could ever have been intended for the popular personification of evil. —shelley, The Defence of Poetry 1. “Too full of the Devill” Paradise Lost is not an orthodox poem and it needs to be rescued from its orthodox critics. This book contends that the best way back to the poem Milton composed, rather than the one the orthodox would have us read, is to reassert the importance of Satan, heretic and hater. I shall be doing this in various ways. One is through revising the history of the Satan that Milton reimagines for us, since a mistaken idea about it has been widely accepted in recent years. It is the combat myth, I argue, that has always been at the center of that history, and Milton knew it. His more perceptive readers have kept it there, for the opposition is central to the poem. “The reason Milton wrote in fetters when he wrote of Angels and God, and at liberty when of Devils and Hell, is because he was a true poet and of the Devils party without knowing it.”1 Blake’s aphorism has become so famous that it is hard to hear what it says. I think that, like much Romantic criticism, it is right, or at least helpful, except for the implied accusation of ignorance.
    [Show full text]
  • SIBL. . V^'- ' / Proquest Number: 10096794
    -TÂ/igSEOBSIAW p o e t s : A. CBIIXCÆJEaaMIBA!ElûIif--CÆJ^ POETRY '' ARD POETIC THEORY. “ KATHARIKE COOKE. M. P h i l . , SIBL. v^'- ' / ProQuest Number: 10096794 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10096794 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 SYNOPSIS. As the Introduction explains this thesis sets out to look at the Georgians* achievement in poetry in the light of their intentions as avowed in prose and their methods as exemplified hy their poems. This is chiefly a critical exercise hut history has heen used to clear away the inevitable distortion which results from looking at Georgian poetry after fifty years of Eliot- influenced hostility. The history of the movement is dealt with in Chapter 2. The next three chapters examine aspects of poetry which the Georgians themselves con­ sidered most interesting. Chapter 3 deals with form, Chapter 4 with diction and Chapter 5 with inspiration or attitude to subject matter. Chapter 6 looks at the aspect of Georgianism most commonly thought by later readers to define the movement, th a t is i t s subjects.
    [Show full text]
  • William Empson: Genius of Ambiguity Charles I
    j_ WILLIAM EMPSON: GENIUS OF AMBIGUITY CHARLES I. GLtCKSDERG* W ILLIAM EMPSON employs a method that is highly technical and specialized, but it must be admitted that it yields some astonishingly fruitful rosults. At least, it pro­ vides in the field of literary criticism an effective cure for glib generalizations. Instead of offering us brilliant theorizing and un­ focused emotional reactions, the stock-in-trade of the impres­ sionist, this enterprising scholar-critic patiently undertakes the task of disentangling the ambiguities of meaning in the skein of poetic context. He uses the word "ambiguity" in a special sense as any "consequence of language, however slight, which adds some nuance to the direct statement of prose". He is thus in­ terested in catching overtones of expression, hidden nuances and implications not revealed by a superficial reading of the text, subtleties and indirections precipitated by means of protracted analysis and the developed technique of free association. In­ herent in poetry is the process of diffused association, and the richer, the more varied and original the diffuson, the greater the genius of the poet. And greater, too, by implication, it would seem, is the genius of the critic who can bring this diffused glory to light. Words may possess, as I. A. Richards has taught us on nu­ merous occasions, a number of distinct meanings- meanings I ·l that cluster together in a system of interanimation. The in­ .1, dwelling ambiguity springs from an indecision as to the meaning . ~ intended. Frequently the meaning branches off in different di­ r ections, and it is a nice question for the reader to determine I which road to take.
    [Show full text]
  • A MEDIUM for MODERNISM: BRITISH POETRY and AMERICAN AUDIENCES April 1997-August 1997
    A MEDIUM FOR MODERNISM: BRITISH POETRY AND AMERICAN AUDIENCES April 1997-August 1997 CASE 1 1. Photograph of Harriet Monroe. 1914. Archival Photographic Files Harriet Monroe (1860-1936) was born in Chicago and pursued a career as a journalist, art critic, and poet. In 1889 she wrote the verse for the opening of the Auditorium Theater, and in 1893 she was commissioned to compose the dedicatory ode for the World’s Columbian Exposition. Monroe’s difficulties finding publishers and readers for her work led her to establish Poetry: A Magazine of Verse to publish and encourage appreciation for the best new writing. 2. Joan Fitzgerald (b. 1930). Bronze head of Ezra Pound. Venice, 1963. On Loan from Richard G. Stern This portrait head was made from life by the American artist Joan Fitzgerald in the winter and spring of 1963. Pound was then living in Venice, where Fitzgerald had moved to take advantage of a foundry which cast her work. Fitzgerald made another, somewhat more abstract, head of Pound, which is in the National Portrait Gallery in Washington, D.C. Pound preferred this version, now in the collection of Richard G. Stern. Pound’s last years were lived in the political shadows cast by his indictment for treason because of the broadcasts he made from Italy during the war years. Pound was returned to the United States in 1945; he was declared unfit to stand trial on grounds of insanity and confined to St. Elizabeth’s Hospital for thirteen years. Stern’s novel Stitch (1965) contains a fictional account of some of these events.
    [Show full text]
  • Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell
    Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan)
    [Show full text]
  • Ii the New Criticism and Leavisian Criticism
    II THE NEW CRITICISM AND LEAVISIAN CRITICISM Though the New Criticism had its ongms in Britain in the criticism of T. S. Eliot, the theory of I. A. Richards and the practice of William Empson, its most powerful impact has been in America. John Crowe Ransom, who published a book entitled The New Criticism in 1941, was the leading American influence and he acknowledged a debt to Eliot and Richards. The other major American New Critics were Cleanth Brooks, Allen Tate, Robert Penn Warren and W. K. Wimsatt. Indirectly related to the New Criticism are such important figures as Kenneth Burke and R. P. Blackmur. The early New Critics were politically conservative and their attitudes to literature were shaped by their opposition to certain twentieth-century tendencies of thought, such as Marxism. The fundamental aim of American New Criticism was to create a critical alternative to impressionism and historical scholarship, and thus there are some parallels with Russian Formalism. It advocated 'intrinsic' criticism - an impersonal concern for the literary work as an independent object - and opposed 'extrinsic' critical approaches, which concerned themselves with such matters as authorial intention, historical, moral or political considerations, and audience response. The earlier New Criticism was primarily interested in lyric poetry and regarded most highly forms of poetry in which irony, tension, paradox and ambiguity interact with the semantics of language in such a way, they believed, as to render poetic meaning unique and un­ paraphrasable. They claimed, however, that poetry could impart knowledge but a form of knowledge radically different from knowledge in the scientific sense.
    [Show full text]
  • Walter Runciman and the Decline of the Liberal Party
    WaltER RUNCIMAN AND thE DECliNE of thE LIBERal PARTY Historians remain divided about the contribution that biography can make to their craft. Those who believe that the study of individuals is important because the decisions of those individuals affect the course of events and that the replacement of one key player in the historical mosaic can significantly change the way in which history evolves are matched by others who argue that biography inevitably exaggerates the role and significance of the individual and distorts the reality of the historical narrative. By David Dutton.1 26 Journal of Liberal History 84 Autumn 2014 WaltER RUNCIMAN AND thE DECliNE of thE LIBERal PARTY etween someone like parliament alongside his own father seafaring family. Two of his great- Thomas Carlyle, who and even of having preceded him grandfathers fought as midshipmen Bwrote that ‘history is the there. A governmental colleague at Trafalgar, while his father, also essence of innumerable biogra- offered a very fair assessment of him called Walter, rose from humble phies’, and the committed Marxist in 1912. ‘Runciman,’ he wrote, ‘is beginnings to own a major ship- who views the individual as a help- able, honest, hard-working, coura- ping company in the north-east. less cork bobbing up and down on geous, but while a good speaker, The traditional Liberal commit- the remorseless tides of economic just lacks that touch of genius which ment to free trade was part of the determinism, there can be no meet- Churchill has got, and that charm young Walter’s thinking as a pros- ing of minds.2 But somewhere which Lloyd George abounds in.
    [Show full text]
  • ASQUITH, Raymond
    Research Page 1 Name: Lieut Raymond ASQUITH 3rd Grenadier Guards Age Parents: Right Hon. Herbert Henry ASQUITH K.C., M.P., Prime Minister (born 12 Sep 1852 in Morley, YKS, ENG - died 15 Feb 1928) and Helen Kelsall MELLAND (born Dec Qu. 1854 in Rochdale, Lancashire - died in Dec 1891) 37 Life Range 6 Nov 1878- 15 Sep 1916 -26 12 Sep 1852 Birth of Father: Right Hon. Herbert Henry ASQUITH K.C., M.P., Prime Minister (born 12 Sep 1852 in Morley, YKS, ENG - died 15 Feb 1928). In Morley, YKS, ENG. -24 Dec Qu. 1854 Birth of Mother: Helen Kelsall MELLAND (born Dec Qu. 1854 in Rochdale, Lancashire - died in Dec 1891). In Rochdale, Lancashire. 0 6 Nov 1878 Birth: Hampstead, MDX, ENG. 3 1881 Census: Hampstead, MDX, ENG. At 12 John Street: Herbert Henry ASQUITH, 28, Barrister (in practice) BA Oxford, born Morley, Yorkshire Helen Kelsall, 26, born Rochdale, Lancashire Raymond, 2, born Hampstead, Middlesex Gilbert (Herbert?), under 1 month, born Hampstead, Middlesex [Plus a visitor (Nurse) & 3 servants] ~8 Abt 1886 Birth of Spouse: Katharine Frances HORNER (born about 1886 in London, ENG - died in 1976 in SOM, ENG). 13 1891 Mother: Dead. 13 1891 Census: Winkfield, Berkshire. At Lambrook School, Winkfield Row: Raymond ASQUITH, boarder, 12, pupil, born Hampstead Parents: 27 Mansfield Gardens, Hampstead Herbert H., 38, Barrister QC MP, born Morley, Yorkshire Helen K., 36, born Rochdale, Lancashire Herbert, 10, born Hampstead Arthur M., 7, born Hampstead Helen V., 3, born Hampstead Cyril, 1, born Hampstead (Plus a Governess & 4 Servants) 13 1891 School: Lambrook School.
    [Show full text]
  • Churchill Book Collector Extra Ink!
    EXTRA INK! Signed or Inscribed Books, Ephemera, and Correspondence 2019 Churchill Book Collector specializes in material by and about Sir Winston S. Churchill, who was not just an iconic statesman, but also one of the twentieth century’s Item 9 Captain James Humphrey Cotton Minchin and H.R.H. The Prince of Wales most prolific and accomplished writers, Among the 40 items herein you will find the signatures of 167 distinguished (later Edward VIII, later Prince Edward Duke of Windsor) earning the Nobel Prize in Literature. individuals, including Nobel prize winners, Pulitzer prize winners, prime Item 10 Field Marshal Alan Brooke 1st Viscount Alanbrooke, Sir Arnold Bax, Laurence Binyon, Charles Bathurst 1st Viscount Bledisloe, John Buchan 1st Baron ministers, presidents, a surfeit of sirs and other titular honorifics, generals, Tweedsmuir, George Earl Buckle, Stanley Buckmaster 1st Viscount Buckmaster, Alexander Cambridge 1st Earl of Athalone, H. E. Baron de Cartier de We also offer noteworthy first and collectible editions by other authors ranging from Xenophon admirals, air marshals, sculptors, painters, novelists, cartoonists, historians, Marchienne, Prime Minister Neville Chamberlain, Admiral of the Fleet Ernie Chatfield 1st Baron Chatfield, Group Captain Leonard Cheshire Baron journalists, poets, composers, and architects. to T. E. Lawrence, spanning exploration Cheshire, Clementine Churchill Baroness Spencer-Churchill, Prime Minister Sir Winston S. Churchill, Admiral Andrew Cunningham 1st Viscount and empire to twentieth century literature. The items in which you will find these signatures are nearly as diverse as the Cunningham of Hyndhope, Air Chief Marshal Hugh Dowding 1st Baron Dowding of Bentley Priory, William Ebor (Temple) Archbishop of York, Sir Whatever authors you collect, we are able to help signers.
    [Show full text]
  • Copyright 2014 Renée Chérie Clark
    Copyright 2014 Renée Chérie Clark ASPECTS OF NATIONAL IDENTITY IN THE ART SONGS OF RALPH VAUGHAN WILLIAMS BEFORE THE GREAT WAR BY RENÉE CHÉRIE CLARK DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Associate Professor Christina Bashford, Chair Associate Professor Gayle Sherwood Magee Professor Emeritus Herbert Kellman Professor Emeritus Chester L. Alwes ABSTRACT This dissertation explores how the art songs of English composer Ralph Vaughan Williams (1872-1958) composed before the Great War expressed the composer’s vision of “Englishness” or “English national identity”. These terms can be defined as the popular national consciousness of the English people. It is something that demands continual reassessment because it is constantly changing. Thus, this study takes into account two key areas of investigation. The first comprises the poets and texts set by the composer during the time in question. The second consists of an exploration of the cultural history of British and specifically English ideas surrounding pastoralism, ruralism, the trope of wandering in the countryside, and the rural landscape as an escape from the city. This dissertation unfolds as follows. The Introduction surveys the literature on Vaughan Williams and his songs in particular on the one hand, and on the other it surveys a necessarily selective portion of the vast literature of English national identity. The introduction also explains the methodology applied in the following chapters in analyzing the music as readings of texts. The remaining chapters progress in the chronological order of Vaughan Williams’s career as a composer.
    [Show full text]
  • Roll of the Peerage Created Pursuant to a Royal Warrant Dated 1 June 2004
    THE ROLL OF THE PEERAGE CREATED PURSUANT TO A ROYAL WARRANT DATED 1 JUNE 2004 © Crown copyright Latest revision: 1 October 2013 The Roll of the Peerage is produced and administered by: Ian Denyer, Esq., M.V.O., and Grant Bavister, Esq. Crown Office Ministry of Justice Rm C2/13 House of Lords LONDON, SW1A 0PW. CAMBRIDGE His Royal Highness the Prince William Arthur Philip Louis Duke of Cambridge. CORNWALL See WALES. EDINBURGH His Royal Highness the Prince Philip Duke of Edinburgh. GLOUCESTER His Royal Highness Prince Richard Alexander Walter George Duke of Gloucester. KENT His Royal Highness Prince Edward George Nicholas Paul Patrick Duke of Kent. ROTHESAY See WALES. WALES His Royal Highness the Prince Charles Philip Arthur George Prince of Wales (also styled Duke of Cornwall and Duke of Rothesay). WESSEX His Royal Highness the Prince Edward Antony Richard Louis Earl of Wessex. YORK His Royal Highness the Prince Andrew Albert Christian Edward Duke of York. * ABERCORN Hereditary Marquess in the Peerage of the United Kingdom: James Marquess of Abercorn (customarily styled by superior title Duke of Abercorn). Surname: Hamilton. ABERDARE Hereditary Baron in the Peerage of the United Kingdom (hereditary peer among the 92 sitting in the House of Lords under the House of Lords Act 1999): Alaster John Lyndhurst Lord Aberdare. Surname: Bruce. ABERDEEN AND TEMAIR Hereditary Marquess in the Peerage of the United Kingdom: Alexander George Marquess of Aberdeen and Temair. Surname: Gordon. ABERGAVENNY Hereditary Marquess in the Peerage of the United Kingdom: Christopher George Charles Marquess of Abergavenny. Surname: Nevill. ABINGER Hereditary Baron in the Peerage of the United Kingdom: James Harry Lord Abinger.
    [Show full text]