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Significance of the Wandering Jew in Shelley's Work
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1996 Transforming a Legend: Significance of the Wandering Jew in Shelley's Work Matthew .D Landrus Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Landrus, Matthew D., "Transforming a Legend: Significance of the Wandering Jew in Shelley's Work" (1996). Masters Theses. 1922. https://thekeep.eiu.edu/theses/1922 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates (who have written formal theses) SUBJECT: Permission to Reproduce Theses The University Library is rece1v1ng a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. PLEASE SIGN ONE OF THE FOLLOWING STATEMENTS: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. I 1-\UtnOr Date I respectfully request Booth Library of Eastern Illinois University not allow my thesis to be reproduced because: Author Date Transforming a Legend: Significance of the Wandering Jew in Shelley's Work (TITLE) BY Matthew D. -
Jane Stabler, “Religious Liberty in the 'Liberal,' 1822-23”
Jane Stabler, Religious Liberty in the Lib... http://www.branchcollective.org/?ps_articles=jane-stabler-religious-liberty-in-the-liberal Jane Stabler, “Religious Liberty in the ‘Liberal,’ 1822-23” Figure 1: Thomas Philipps, Portrait of Lord Byron (1824) To think about the Liberal as an important event is to enter contentious territory. William Hazlitt (who was a contributor) described the journal as “obnoxious” in its day (Complete Works 12. 379), and in the following century, it was usually regarded as a failure or, at least, a disappointment—something that never really came together before it fell apart. In 1910, Barnette Miller described it as “a vague, up-in-the-air scheme, wholly lacking in coordination and common sense” (113). Metaphors of death and still-birth pervade the twentieth-century criticism: according to C. L. Cline “The Liberal died with the fourth number” (247); Leslie P. Pickering summarises the project thus: “in as meteoric a manner as it lived, so did the journal die, bearing with it to its untimely grave the ruined hopes of its progenitors, until now its name conveys but little to the minds of the many” (7-8). The seminal study by William H. Marshall declared, “the real question does not concern the causes of the failure of The Liberal but the reason that any of the participants thought that it could succeed” (212). In Richard Holmes’s biography of Shelley, the journal “folded quietly . after only four issues, the final collapse of Shelley’s original Pisan plan” (731); in Fiona MacCarthy’s biography of Byron, the Liberal was a “critical and financial disaster” and, after Byron’s final contribution, it simply “folded” (456). -
The Gothic Element in Shelley's Writings
31o/96 THE GOTHIC ELEMENT IN SHELLEY'S WRITINGS THESIS Presented to the Graduate Council of the North Texas State Teachers College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Olna Oatis Boaz, B. A. Denton, Texas January, 1948 151916 151916 TABLE OF CONTENTS Chapter Page I. SHELLEY'S INTRODUCTION TO GOTHICISM . 1 II. IMITATION OF GOTHICISM . 18 III. TRANSMUTATION OF GOTHICISM . 82 BIBLIOGRAPHY . 0 0.. 0 .0 0 .. 0 .0 .. .0 .. .124 1ii CHAPTER I SHETLLEY'S INTRODUCTION TO GOTHICISM A sense of wonder, a love of the strange, a desire to feel the icy touch of fear are deeply rooted instincts of man. All tellers of tales know the lure of the marvelous. The shadow of terror and the sense of wonder lurk in folk tales and ballads, in myths, and in legends. The myth makers of civilization's infancy, the story tellers of olden times, the court minstrels, singing of heroic exploits, the old housewives in chimney corners, telling their tales of fairies, ghosts, and goblins, have all made use of the strange, the terrible, and the wonderful. Shelley, as befitted any boy gifted with a lively curiosity and a vivid imagination, was interested in the wonderful, the mysterious, and the strange. He loved to relate wonder tales to his little sisters; and he invented a fabulous tortoise inhabiting Warnham Pond, an equally fabulous snake of great age, and an old alchemist, who lived in the attic of Field Place. These flights of his versatile imagination excited the children and filled their minds with a pleasurable dread. -
LORENZO BARTOLINI LORD BYRON Dried Raw Clay
LORENZO BARTOLINI 1777–1850 LORD BYRON Dried raw clay (terracruda) 19 ⅝ inches; 500 mm, excluding modern socle 1822 Collections: Milan, private collection; With Galleria Carlo Virgilio & Co to 2019 Literature: Thomas Medwin, Journal of the Conversations of Lord Byron. Noted During a Residence with his Lordship at Pisa, in the years 1821 and 1822, London, 1824, pp.5-7; Ed., Leslie Marchand, Byron’s Letters and Journals, Cambridge, 1979, vol.9, p.122; Ed. Richard Garnett, The Journal of Edward Elleker Williams, London, 1902. p.32; Ed. E. A. Stürzl, Teresa Guiccioli, La Vie de Lord Byron en Italie, Salzburg, vol.6, pp.978-979. By the end of March 1822 Lord Byron, the greatest living poet in Europe, had finished sitting to Lorenzo Bartolini for his bust, the result was this previously unpublished terracruda model. Preserved in spectacular condition, this forceful ad vivum study records Byron two years before his death at Missolonghi in 1824. The circumstances of this study are unusually well documented. Bartolini wrote to Byron in October 1821 asking him to sit for his portrait and permission to present Byron with the finished marble, sittings began on 3rd January 1822.1 Byron himself reported to his publisher John Murray the circumstances of the work: ‘Bartolini, the celebrated Sculptor, wrote to me to desire to make my bust: I consented on condition that he also took that of the Countess Guiccioli. He has taken both, I think it will be allowed that Her’s is beautiful...Of my own I can hardly speak, except that it is thought very like what I now am, which is different from what I was, of course, since you saw me. -
Curran Index Part a - Verse
Curran Index Part A - Verse Fraser's Magazine For a general introduction to Fraser's Magazine see the Wellesley Index, Volume II, pages 303-319. EDITORS: Correct typo, 2:315, 1st line under this heading: Maginn, if he was editor, held the office from February 1830, the first issue, not from 1800. [12/07] Volume 1, Feb 1830 3a, A Scene from the Deluge (from the German of Gesner), 24- 27, John Abraham Heraud. Signed. Verse. (03/15) 4a, The Standard-Bearer -- A Ballad from the Spanish, 38- 39, John Gibson Lockhart. possib. Attributed by Mackenzie in introduction to Fraserian Papers Vol I; see Thrall, Rebellious Fraser: 287 Verse. (03/15) 4b, From the Arabic, 39, Unknown. Verse. (03/15) 5a, Posthumous Renown, 44- 45, Unknown. Verse. (03/15) 6a, The Fallen Chief (Translated from the Arabic), 54- 56, Unknown. Verse. (03/15) Volume 1, Mar 1830 16b, A Hard Hit for a Damosell, 144, Unknown. Verse. (03/15) 16a, Song (Oh! I could whisper thee a tale), 144, Unknown. Verse. (03/15) 18a, The Bird-Messenger: A Ballad from the Limousin, 152, Unknown. Verse. (03/15) 20a, Stanzas (They scorn me when I weep for thee), 177, Unknown. Verse. (03/15) 24a, Am I to Blame?, 216, Nathaniel Thomas Haynes Bayly. Signed. Verse. (03/15) 24b, A Night-Thought. From the German of Göthe, 216, Unknown. Signed Y. Verse. (03/15) Volume 1, Apr 1830 27a, Our Belman's Address to his Public, -, Unknown. Umpaginated; signed Johnny Whistlecraft. Verse. (03/15) 27b, The Young Dragon, 255- 259, Robert Southey. -
Romanticism and Orientalism: Orientalizing the Orient in Romantic Poetry
ROMANTICISM AND ORIENTALISM: ORIENTALIZING THE ORIENT IN ROMANTIC POETRY A Thesis submitted to the faculty of San Francisco State University In partial fulfillment of the requirements for the Degree Master of Arts In English: Literature by Parminder Kaur Johal San Francisco, California August 2018 Copyright by Parminder Kaur Johal 2018 CERTIFICATION OF APPROVAL I certify that I have read Romanticism and Orientalism: Orientalizing the Orient in Romantic Poetry by Parminder Kaur Johal, and that in my opinion this work meets the criteria for approving a thes’s submitted in partial fulfillment of the requirement for the degree Master of Arts in English: Literature at San Francisco State University. -------------------- Wai-Leung Kwok, Ph.D. Associate Professor of English Lawrence Hanley, Ph.D. Professor of English ROMANTICISM AND ORIENTALISM: ORIENTALIZING THE ORIENT IN ROMANTIC POETRY Parminder Kaur Johal San Francisco, California 2018 This thesis examines Eastern representations in the works of Romantic poets that contributed to Orientalism. Even though there were many provocateurs that fueled stereotypes of the East, my study hones in on the poems Dy Samuel Taylor Coleridge and Percy Bysshe Shelley. Through a literary analysis of Coleridge's Kubla Khan and Sheliey’s Ozymandias, efforts are made to reach the conclusion whether Coleridge and Shelley misrepresent the Orient. 1 argue that the works of these highly celebrated poets adhere to the underlying stereotypes popular during the Romantic Era, thus raising issue with the reliability—or raiher unrenai'-liiy—of their works. In addition to analyzing representations, I examine travel literature within the cultural and historical context of their lives to better understand influences that shaped their perspectives and informed their writing. -
A TEI Transcription of Conversations with Lord Byron Melissa Ann Smith
A TEI Transcription of Conversations with Lord Byron Melissa Ann Smith Thesis submitted to the faculty of Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Arts in English David Radcliffe Peter Graham Shoshana Milgram Knapp May 5, 2010 Blacksburg, Virginia Keywords: Byron, Blessington, biography, conversation, New Monthly Magazine A TEI Transcription of Conversations with Lord Byron Melissa Ann Smith ABSTRACT This project accompanies a TEI transcription of Lady Blessington’s Conversations with Lord Byron, currently available on the Life and Times of Lord Byron online archive. Although often cited in biographies of Lord Byron, Lady Blessington’s Conversations of Lord Byron has received little critical attention. Further, the genre of Blessington’s work, the conversation as a biographical form, suffers the same dearth of critical material. My aims, then, are to 1) present a brief history of the conversation as biographical form; 2) examine the publication history of the Conversations and underscore the social dimensions of its publication; and 3) evaluate Blessington’s rhetorical strategies in the Conversations and to argue that Blessington’s work is superior to two other accounts of Byron (by James Kennedy and Thomas Medwin) in terms of its psychological depth. Table of Contents Introduction iv Chapter 1: The Conversation as a Biographical Form: A Brief History 1 Chapter 2: Publication History of Conversations with Lord Byron 11 Chapter 3: Blessington, Kennedy, and -
Universities of Leeds, Sheffield and York
promoting access to White Rose research papers Universities of Leeds, Sheffield and York http://eprints.whiterose.ac.uk/ This is the Author's Accepted version of an article published in the Journal for Eighteenth-Century Studies White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/id/eprint/78286 Published article: Davies, J (2011) The Shelleys and the Art of Suffering. Journal for Eighteenth- Century Studies, 34 (2). 267 – 280. http://dx.doi.org/10.1111/j.1754-0208.2011.00380.x White Rose Research Online [email protected] The Shelleys and the Art of Suffering JEREMY DAVIES Abstract: Mary Shelley’s posthumous editions of Percy Shelley’s poetry and prose have been regarded as striking examples of collaborative literary achievement, but in her editorial annotations Mary represents her husband’s work as the result of his innately solitary genius. She does so in particular by associating his creative power with his constitutional ill-health. Via a reading of Percy’s Julian and Maddalo, I argue that this connection between creativity and bodily debility does not imply that his poetry annuls the social context of its writing; instead, Mary seeks to ameliorate the conflict between philanthropy and sociability that she detects in Percy’s work. Keywords: collaboration, editing, illness, Julian and Maddalo, Mary Wollstonecraft Shelley, Percy Bysshe Shelley Seventeen years after she was widowed at the age of twenty-four, Mary Wollstonecraft Shelley published the first ‘complete’ edition of Percy Shelley’s poetry as a monument and eulogy to him. She justified her interventionist editorial presentation of his texts in part by reference to her lasting sorrow at his death. -
Lord Byron and Premature Ageing
Byron and Premature Aging By Jonathon Shears, Keele University I Lord Byron died on 19 April 1824 at the age of thirty-six in Messolinghi, Greece. By the calculations of the day – informed as much by the ninetieth Psalm’s ‘threescore and ten’ reckoning as by reliable social or medical information – he had just reached middle age. The impression he made upon Lady Blessington, who recorded her conversations with Byron during their time in Genoa the previous year, was often, however, of a much older man: ‘To hear Byron talk of himself, one would suppose that instead of thirty-six he was sixty years old: there is no affectation in this, as he says he feels all the languor and exhaustion of age’ (229). The evidently wearisome topic of his own life accentuates the impression that Byron makes of premature aging, even though that is only partially corroborated by his physical appearance because while he is ‘extremely thin’, ‘peculiarly pale’ and his hair ‘getting rapidly grey’, his ‘figure has an almost boyish air’ (2). For others who observed Byron during his later years, physical signs of aging were various and striking. Newton Hanson, the son of Byron’s lawyer, who visited him in Venice in 1818, remarked ‘Lord Byron could not have been more than 30, but he looked 40. His face had become pale, bloated, and sallow. He had grown very fat, his shoulders broad and round, and the knuckles of his hands were lost in fat’ (Marchand, BLJ, 6, 78[n4]; hereafter BLJ). At La Mira in 1819, Thomas Moore found a less boyish Byron than the one he remembered from England, whose features had coarsened, losing their ‘romantic character’ (410). -
Percy Bysshe Shelley Was One of the Major English Romantic Poets and Is Critically Regarded As Among the Finest Lyric Poets in the English Language
Submitted by:- Palak Batra Ruhani Khurana Percy Bysshe Shelley was one of the major English Romantic poets and is critically regarded as among the finest lyric poets in the English language. Considered too radical in his poetry and his political and social views to achieve fame during his lifetime, recognition of his significance grew steadily following his death. Percy Shelley was a key member of a close circle of visionary poets and writers that included George Gordon; Lord Byron; Leigh Hunt; Thomas Love Peacock; and his second wife, Mary Shelley, the author of Frankenstein. The eldest legitimate son of Timothy Shelley — a Whig Member of Parliament — and his wife, a Sussex landowner, Shelley was born 4 August 1792 at Field Place, Broadbridge Heath, nearHorsham, West Sussex, England. He had four younger sisters and one much younger brother. He received his early education at home, tutored by Reverend Evan Edwards of nearby Warnham. His cousin and lifelong friend Thomas Medwin, who lived nearby, recounted his early childhood in his "The Life of Percy Bysshe Shelley". It was a happy and contented childhood spent largely in country pursuits such as fishing and hunting In 1802, he entered the Syon House Academy of Brentford, Middlesex. In 1804, Shelley entered Eton College, where he fared poorly, subjected to an almost daily mob torment his classmates called "Shelley-baits". Surrounded, the young Shelley would have his books torn from his hands and his clothes pulled at and torn until he cried out madly in his high-pitched "cracked soprano" of a voice.[6] On 10 April 1810, he matriculated at University College, Oxford. -
The Dissipated Muse: Wine, Women, and Byronic Song
Colby Quarterly Volume 20 Issue 1 March Article 5 March 1984 The Dissipated Muse: Wine, Women, and Byronic Song Frederick W. Shilstone Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, Volume 20, no.1, March 1984, p.36-46 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Shilstone: The Dissipated Muse: Wine, Women, and Byronic Song The Dissipated Muse: Wine, Women, and Byronic Song by FREDERICK W. SHILSTONE URING THE later stages of his literary career, while he was residing D in Italy and composing Don Juan and a series of "closet" dramas, Lord Byron allegedly counseled Thomas Medwin on the course the lat ter should pursue in order to become a successful poet: "Why don't you drink, Medwin? Gin-and-water is the source of all my inspiration. If you were to drink as much as I do, you would write as good verses: de pend on it, it is the true Hippocrene."l The same years saw Byron attributing his literary genius to sexual activity, intoxication's com panion in the dissipated life. A bit of doggerel verse he shipped to his publisher John Murray from Venice in early 1818 contains the poet's wittiest claim on that subject: "There's a whore on my right / For I rhyme best at Night / When a C-t is tied close to my Inkstand."2 Few would dispute the authenticity of these statements. -
Byron, Conversation and Discord
CHATTERTON LECTURE ON POETRY Byron, Conversation and Discord JANE STABLER University of St Andrews ‘[H]ERE AT LAST I HAD FOUND A MAN who spoke only of what he had seen, and known; and spoke without exaggeration, without mystery, with- out enmity, and without mercy.’1 John Ruskin’s choice of the verb ‘to speak’ to explain Byron’s influence over him is not unusual, but it is pecu- liarly emphatic: ‘Byron . said plainly what he saw and knew’; ‘Byron told me of thieves with whom he had ridden’; ‘Byron told me of, . the real people whose feet had worn the marble I trod.’2 Ruskin thought he had found his man speaking to men, and he was not alone: Arthur Symons felt that ‘No poet had ever seemed to speak to men so directly’;3 H. J. C. Grierson called Byron ‘the most splendid talker and raconteur in English verse’.4 To what extent they were influenced by the conversational cast of nineteenth-century biographies and memoirs of Byron it is impos- sible to say: Hunt, Medwin, Kennedy, Trelawny, Moore and Lady Blessington all attempted records of Byron’s talk, and the same compul- sion is evident in Ernest J. Lovell’s His Very Self and Voice: Collected Conversations of Lord Byron, which set out to be nothing less than a new Read at the Academy 20 October 2005. 1 E. T. Cook and A. Wedderburn (eds.), The Works of John Ruskin, 39 vols. (London, 1908), 35. 149. 2 Ibid., 149; 151. 3 A. Symons, The Romantic Movement in English Poetry (London, 1909), p.