Walter Savage Landor
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Fearless Therefore Powerful» Sociability and Emotions in Mary Shelley’S Frankenstein
«FEARLESS THEREFORE POWERFUL» SOCIABILITY AND EMOTIONS IN MARY SHELLEY’S FRANKENSTEIN Cristina Paoletti Università di Bologna, Dipartimento di Filosofia, [email protected] Abstract. «Fearless therefore Powerful». Sociability and Emotions in Mary Shelley’s Frankenstein This paper analyses the role played by fear as the motive of both Victor Frankenstein and his monster’s behaviour. Moving from the natural horror the monster excites, fear is mostly considered by Mary Shelley as a normal reaction, and its absence marks pathological circumstances, such as cruelty or unsympathetic and antisocial feelings. Referring to the philosophical debate on moral sympathy and to the scientific discussion on Erasmus Darwin’s account of animal instincts, Shelley also provided remarkable criticis Keywords: Enlightenment, Emotions, English Literature, Seventeenth Century. So should young SYMPATHY, in female form, Climb the tall rock, spectatress of the storm; Life's sinking wrecks with secret sighs deplore, And bleed for others' woes, Herself on shore; To friendless Virtue, gasping on the strand, Governare la paura – 2008, giugno Cristina Paoletti Bare her warm heart, her virgin arms expand1. An essay on Mary Shelley’s Frankenstein might perhaps appear an obvious choice when dealing with fear and its literary and artistic representations. Victor Frankenstein’s odd and shocking story was firstly received with dismay and disappointment and an early reviewer explained the terror produced by the novel with the folly of the author. The [author’s] dreams of insanity are embodied in the strong and striking language of the insane, and the author, notwithstanding the rationality of his preface, often leaves us in doubt whether he is not as mad as his hero. -
Home Editorial Authors' Responses Guidelines For
Home Search Every Field Editorial Search Authors' Landor's Cleanness Responses By Adam Roberts (Oxford, 2014) 208 pp. Guidelines Reviewed by David Chandler on 2015-05-21. For Click here for a PDF version. Reviewers Click here to buy the book on Amazon. About Us Masthead Between 1927 and 1936, Chapman and Hall of London brought out the sixteen volumes of Walter Savage Landor's complete (well, more or less complete) prose and poetry in English as edited by T. Earle Welby and Stephen Wheeler Feedback respectively. As collected editions go, it is not very impressive, yet it remains a remarkable monument both to Landor's immense achievement and the critical recognition of that achievement in days gone by. In 1933, for example, T. S. Eliot acknowledged Landor as "one of the very finest poets of the first part of the nineteenth century" (The Use of Poetry and the Use of Criticism, 79). But changing critical tastes have not been kind to him. Little new work has been done on Landor since the 1960s, and it is easy to find (though not excuse) graduate students specializing in Romanticism who have never even heard of him. Neither female nor gay nor plebian, not a dedicated poet like Wordsworth or Keats, not a dedicated philosopher like Coleridge, not a crowd-pleaser and molder of national ideology like Walter Scott, not a dandy and self- conscious celebrity like Byron, not a great essayist like Lamb or Hazlitt, not a good example of "the Romantic ideology," indeed not a typical Romantic nor yet a typical Victorian, but with a career straddling those standard periods, Landor has somehow fallen between all the critical stools that might have arrested his fall into comparative obscurity. -
John Keats and Fanny Brawne Pages of an Enduring Love
John Keats and Fanny Brawne Pages of an enduring love Source images: http://englishhistory.net/keats/fannybrawne.html “When shall we pass a day alone? I have Read this short account of John Keats’s and Fanny Brawne’s thwarted love story. had a thousand Keats and Fanny, who were newly neighbours, first met in a troubled time for the poet: his mother had died of tuberculosis, soon to be followed by his youngest brother Tom. The teenaged Fanny was not considered beautiful, but she was spirited and kind and Keats was struck by her coquettish sense of fun. Her family’s financialkisses, difficulties influencedfor her with a strong sense of practicality. However, she did fall for young Keats, who was neither well off nor making money through his writing. Her mother against better economical judgement could not prevent a love match, though not without the opposition of Keats’s friends, the two got engaged. Yet, further obstacles were to come. Keats knew his only hope of marrying Fanny was to succeed in writing, since he was often asked by his brother George for moneywhich loans. Inwith February my1820, however, the couple’s future was threatened by illness: Keats had been troubled by what looked like a cold, but later turned out to be a sign of tuberculosis. He was well aware of his worsening condition so at some point he wrote to Fanny that she was free to break their engagement, but she passionately refused to Keats’s relief: “How hurt I should have been hadwhole you ever acceded soul to what I is, notwithstanding, very reasonable!” In an attempt not to upset the poet with too strong emotions, his friend Charles Brown nursed him diligently and kept Fanny at a distance. -
Select Letters of Percy Bysshe Shelley
ENGLISH CLÀSSICS The vignette, representing Shelleÿs house at Great Mar lou) before the late alterations, is /ro m a water- colour drawing by Dina Williams, daughter of Shelleÿs friend Edward Williams, given to the E ditor by / . Bertrand Payne, Esq., and probably made about 1840. SELECT LETTERS OF PERCY BYSSHE SHELLEY EDITED WITH AN INTRODUCTION BY RICHARD GARNETT NEW YORK D.APPLETON AND COMPANY X, 3, AND 5 BOND STREET MDCCCLXXXIII INTRODUCTION T he publication of a book in the series of which this little volume forms part, implies a claim on its behalf to a perfe&ion of form, as well as an attradiveness of subjeâ:, entitling it to the rank of a recognised English classic. This pretensión can rarely be advanced in favour of familiar letters, written in haste for the information or entertain ment of private friends. Such letters are frequently among the most delightful of literary compositions, but the stamp of absolute literary perfe&ion is rarely impressed upon them. The exceptions to this rule, in English literature at least, occur principally in the epistolary litera ture of the eighteenth century. Pope and Gray, artificial in their poetry, were not less artificial in genius to Cowper and Gray ; but would their un- their correspondence ; but while in the former premeditated utterances, from a literary point of department of composition they strove to display view, compare with the artifice of their prede their art, in the latter their no less successful cessors? The answer is not doubtful. Byron, endeavour was to conceal it. Together with Scott, and Kcats are excellent letter-writers, but Cowper and Walpole, they achieved the feat of their letters are far from possessing the classical imparting a literary value to ordinary topics by impress which they communicated to their poetry. -
Handbook for Visitors to Stratford-Upon-Avon PDF Book
HANDBOOK FOR VISITORS TO STRATFORD-UPON- AVON PDF, EPUB, EBOOK Edward Adams | 54 pages | 01 Jan 2010 | Nabu Press | 9781141786749 | English | Charleston SC, United States Handbook for Visitors to Stratford-Upon-Avon PDF Book The old town of Stratford is synonymous in the minds of most travellers with the name of its most famous citizen, playwright William Shakespeare. Your online school trip organiser - My Tour Manager. Exhibitions programme. Stratford-upon-Avon is usually shortened to Stratford but when buying tickets and checking train times the full name avoids confusion with Stratford station in London. With a keen interest in History — and a BA degree to match — Margaret prides herself on her knowledge of the amazing city she calls home and she's been guiding here now for nearly a decade. No one is more than 50 feet from the action! Each workshop is led by RSC Education Associate Practitioners all of whom have first-hand experience of RSC rehearsal room practice, working either as actors, directors or theatre education specialists. Shakespeare was born in this lovely half-timbered house in , his descendants continuing to live here until the 19th century. View my complete profile. A joint entry ticket is thus available for all 5 properties, which comprise:. Buses also operate from Warwick. Side 14 - On the upper border of the plinth are these words— " Take him for all in all We shall not look upon his like again," On the plinth is the following inscription— " The corporation and inhabitants of Stratford, assisted by the munificent contributions of the nobility and gentlemen of the neighbourhood, rebuilt this edifice in the year His wife was the daughter of one Hathaway, said to have been a substantial yeoman in the neighbourhood of Stratford. -
The “Ill Kill'd” Deer: Poaching and Social Order in the Merry Wives of Windsor
The “ill kill’d” Deer: Poaching and Social Order in The Merry Wives of Windsor Jeffrey Theis Nicholas Rowe once asserted that the young Shakespeare was caught stealing a deer from Sir Thomas Lucy’s park at Charlecote. The anecdote’s truth-value is clearly false, yet the narrative’s plausibility resonates from the local social customs in Shakespeare’s Warwickshire region. As the social historian Roger Manning convincingly argues, hunting and its ille- gitimate kin poaching thoroughly pervaded all social strata of early modern English culture. Close proximity to the Forest of Arden and nu- merous aristocratic deer parks and rabbit warrens would have steeped Shakespeare’s early life in the practices of hunting and poaching whether he engaged in them or only heard stories about them.1 While some Shakespeare criticism attends directly or indirectly to the importance of hunting in the comedies, remarkably, there has been no sustained analysis of poaching’s importance in these plays.2 In part, the reason for the oversight might be lexicographical. The word “poaching” never occurs in any of Shakespeare’s works, and the first instance in which poaching means “to take game or fish illegally” is in 1611—a decade after Shakespeare composed his comedies.3 Yet while the word was not coined for another few years, Roger Manning proves that illegal deer killing was a socially and politically explosive issue well before 1611. Thus, the “ill kill’d deer” Justice Shallow refers to in Act One of The Merry Wives of Windsor situates the play within a socially resonant discourse where illegal deer killing brings to light cultural assumptions imbedded within the legal hunt. -
On the Rise and Progress of Popular Disaffection,” in Es- Says, Moral and Political, 2 Vols
Notes Introduction 1. Robert Southey, “On the Rise and Progress of Popular Disaffection,” in Es- says, Moral and Political, 2 vols. (1817; London: John Murray, 1832), II, 82. The identity of Junius remained a mystery, and even Edmund Burke was suspected. For an argument that he was Sir Philip Francis, see Alvar Ellegård, Who Was Junius? (The Hague, 1962). 2. Byron, “The Vision of Judgment” in Lord Byron: The Complete Poetical Works, ed. Jerome J. McGann and Barry Weller, 7 vols. (Oxford: Clarendon Press, 1980–92), VI, 309–45. 3. M. H. Abrams, Natural Supernaturalism: Tradition and Revolution in Ro- mantic Literature (New York: W. W. Norton, 1971), p. 13. 4. See Anne K. Mellor, English Romantic Irony (Cambridge: Harvard Univer- sity Press, 1980). 5. Jerome J. McGann, The Romantic Ideology: A Critical Investigation (Chicago and London: University of Chicago Press, 1983), pp. 23–24. 6. Jerome J. McGann, Towards a Literature of Knowledge (Oxford: Clarendon Press, 1989), p. 39. 7. McGann, Towards a Literature of Knowledge, p. 39. 8. McGann, “Literary Pragmatics and the Editorial Horizon,” in Devils and Angels: Textual Editing and Literary Theory, ed. Philip Cohen (Charlottesville and London: University Press of Virginia, 1991), pp. 1–21 (13). 9. Marilyn Butler, “Satire and the Images of Self in the Romantic Period: The Long Tradition of Hazlitt’s Liber Amoris,” in English Satire and the Satiric Tradition, ed. Claude Rawson (Oxford: Basil Blackwell, 1984), 209–25 (209). 10. Stuart Curran, Poetic Form and British Romanticism (New York and Oxford: Oxford University Press, 1986), pp. 12–13. 11. Gary Dyer, British Satire and the Politics of Style, 1789–1832 (Cambridge: Cambridge University Press, 1997). -
Teaching Eighteenth-Century French Literature: the Good, the Bad and the Ugly
Eighteenth-Century Modernities: Present Contributions and Potential Future Projects from EC/ASECS (The 2014 EC/ASECS Presidential Address) by Christine Clark-Evans It never occurred to me in my research, writing, and musings that there would be two hit, cable television programs centered in space, time, and mythic cultural metanarrative about 18th-century America, focusing on the 1760s through the 1770s, before the U.S. became the U.S. One program, Sleepy Hollow on the FOX channel (not the 1999 Johnny Depp film) represents a pre- Revolutionary supernatural war drama in which the characters have 21st-century social, moral, and family crises. Added for good measure to several threads very similar to Washington Irving’s “Legend of Sleepy Hollow” story are a ferocious headless horseman, representing all that is evil in the form of a grotesque decapitated man-demon, who is determined to destroy the tall, handsome, newly reawakened Rip-Van-Winkle-like Ichabod Crane and the lethal, FBI-trained, diminutive beauty Lt. Abigail Mills. These last two are soldiers for the politically and spiritually righteous in both worlds, who themselves are fatefully inseparable as the only witnesses/defenders against apocalyptic doom. While the main characters in Sleepy Hollow on television act out their protracted, violent conflict against natural and supernatural forces, they also have their own high production-level, R & B-laced, online music video entitled “Ghost.” The throaty feminine voice rocks back and forth to accompany the deft montage of dramatic and frightening scenes of these talented, beautiful men and these talented, beautiful women, who use as their weapons American patriotism, religious faith, science, and wizardry. -
08 North Italy 1816
1 BYRON’S CORRESPONDENCE AND JOURNALS 08: FROM NORTH ITALY, NOVEMBER 1816 Edited by Peter Cochran Work in progress, with frequent updates [indicated]. Letters not in the seventeen main files may be found in those containing the correspondences Byron / Annbella, Byron / Murray, Byron / Hobhouse, Byron / Moore, Byron / Scott, Byron / Kinnaird, Byron / The Shelleys , or Byron / Hoppner . UPDATED November 2010. Abbreviations B.: Byron; Mo: Moore; H.: Hobhouse; K.: Kinnaird; Mu.: Murray; Sh.: Shelley 1922: Lord Byron’s Correspondence Chiefly with Lady Melbourne, Mr Hobhouse, The Hon. Douglas Kinnaird, and P.B.Shelley (2 vols., John Murray 1922). BB: Byron’s Bulldog: The Letters of John Cam Hobhouse to Lord Byron, ed. Peter W.Graham (Columbus Ohio 1984) BLJ: Byron, George Gordon, Lord. Byron’s Letters and Journals . Ed. Leslie A. Marchand, 13 vols. London: John Murray 1973–94. Burnett: T.A.J. Burnett, The Rise and Fall of a Regency Dandy , John Murray, 1981. CSS: The Life and Correspondence of the Late Robert Southey , ed. C.C.Southey, Longman, Brown, Green and Longmans, 6 vols 1849-1850. J.W.W.: Selections from the letters of Robert Southey , Ed. John Wood Warter, 4 vols, Longman, Brown, Green, and Longmans, 1856. LJ: The Works of Lord Byron, Letters and Journals . Ed. R. E. Prothero, 6 vols. London: John Murray, 1899-1904. LJM: The Letters of John Murray to Lord Byron . Ed. Andrew Nicholson, Liverpool University Press, 2007. NLS: National Library of Scotland. Q: Byron: A Self-Portrait; Letters and Diaries 1798 to 1824 . Ed. Peter Quennell, 2 vols, John Murray, 1950. Ramos: The letters of Robert Southey to John May, 1797 to 1838. -
The Queen Caroline Affair: Politics As Art in the Reign of George IV Author(S): Thomas W
The Queen Caroline Affair: Politics as Art in the Reign of George IV Author(s): Thomas W. Laqueur Source: The Journal of Modern History, Vol. 54, No. 3 (Sep., 1982), pp. 417-466 Published by: The University of Chicago Press Stable URL: https://www.jstor.org/stable/1906228 Accessed: 06-03-2020 19:28 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Modern History This content downloaded from 130.132.173.181 on Fri, 06 Mar 2020 19:28:02 UTC All use subject to https://about.jstor.org/terms The Queen Caroline Affair: Politics as Art in the Reign of George IV* Thomas W. Laqueur University of California, Berkeley Seldom has there been so much commotion over what appears to be so little as in the Queen Caroline affair, the agitation on behalf of a not- very-virtuous queen whose still less virtuous husband, George IV, want- ed desperately to divorce her. During much of 1820 the "queen's busi- ness" captivated the nation. "It was the only question I have ever known," wrote the radical critic William Hazlitt, "that excited a thor- ough popular feeling. -
Classical Studies in England, 1810-1825 Horsfall, Nicholas Greek, Roman and Byzantine Studies; Winter 1974; 15, 4; Proquest Pg
Classical Studies in England, 1810-1825 Horsfall, Nicholas Greek, Roman and Byzantine Studies; Winter 1974; 15, 4; ProQuest pg. 449 Classical Studies in England, 1810-1825 Nicholas Horsfall N DECEMBER 1944, Lieut.-Col. Basil Elmsley Coke placed in the I hands of Westminster Schooll the surviving academic and personal papers of the Revd Peter Elmsley, his kinsman2 and an Old Westminster. Elmsley (1774-1825) was already in his mid-thirties "the best Greek scholar yet produced by Oxford," and in some respects was to be compared with Porson himself.3 Rich, obese, gossipy and genial, he corresponded widely: John Franklin the ex plorer and Francis Jeffrey of the Edinburgh Review were alike on cordial terms with him, though Jeffrey's free-thinking later became intolerable.4 Accidents of transmission and survivalS have dictated that the letters of classical interest in the Westminster collection should be largely from the hands of J. H. Monk, C. J. Blomfield and Thomas Gaisford. There are slightly under a hundred letters from these three correspondents; I select, excerpt and omit without hesitation: the letters contain much that is trivial and tedious. We learn little about Gaisford (1779-1855) from his letters, contain ing as they do little gossip and less odium philologicum. They are con cerned largely with the scholarly problems of the moment, problems which the thoroughness of German editors and the scope of modern libraries have rendered capable of immediate solution. One comment, 1 To whose successive headmasters, John Carleton and John Rae, I am most grateful for access to these papers and for permission to publish from them. -
John Keats 1 John Keats
John Keats 1 John Keats John Keats Portrait of John Keats by William Hilton. National Portrait Gallery, London Born 31 October 1795 Moorgate, London, England Died 23 February 1821 (aged 25) Rome, Italy Occupation Poet Alma mater King's College London Literary movement Romanticism John Keats (/ˈkiːts/; 31 October 1795 – 23 February 1821) was an English Romantic poet. He was one of the main figures of the second generation of Romantic poets along with Lord Byron and Percy Bysshe Shelley, despite his work only having been in publication for four years before his death.[1] Although his poems were not generally well received by critics during his life, his reputation grew after his death, so that by the end of the 19th century he had become one of the most beloved of all English poets. He had a significant influence on a diverse range of poets and writers. Jorge Luis Borges stated that his first encounter with Keats was the most significant literary experience of his life.[2] The poetry of Keats is characterised by sensual imagery, most notably in the series of odes. Today his poems and letters are some of the most popular and most analysed in English literature. Biography Early life John Keats was born in Moorgate, London, on 31 October 1795, to Thomas and Frances Jennings Keats. There is no clear evidence of his exact birthplace.[3] Although Keats and his family seem to have marked his birthday on 29 October, baptism records give the date as the 31st.[4] He was the eldest of four surviving children; his younger siblings were George (1797–1841), Thomas (1799–1818), and Frances Mary "Fanny" (1803–1889) who eventually married Spanish author Valentín Llanos Gutiérrez.[5] Another son was lost in infancy.