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The Year's Music
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c. -
104 Papers of the Bibliographical Society of Canada 39/2 Been
104 Papers of the Bibliographical Society of Canada 39/2 been fruitfully informed by recent theoretical and sociological accounts of the eighteenth-century reader, as well as by other studies of individual readers. While I have registered some minor disappointments with these essays, they result from the inevitable limitations of the discrete essay format and of the book's brevity. This limitation is in itself valuable, in that it points to the need for scholarship focussed squarely on the print culture of eighteenth-century Scotland, as opposed to studies such as Robert Crawford's Devolving English Literature and Leith Davis's Acts of Union: Scotland and the Literary Negotiation of the British Nation, z7o7-183o, which have made us aware of Scottish contributions to the formation of British cultural institutions. It is to be hoped that Volume II: z7o7-18oo of the projected four-volume History of the Book in Scotla~nd will further address this gap. In the interim, this handsome, well-written collection and catalogue is admirable in what it does accomplish, in putting both the Scottish culture of the book, and Canadian contributions to the study of that culture, into the hands of readers. BETT"Y A. SCHELLENBERG Simon Fraser Unziversity James G. Nelson. Publisher to the Decadents: Leonard Smithers in the Careers of Aubrey Beardsley, Wilde, Dowson. University Park: Pennsylvania State University Press, zooo. xvi, 431PP-; $35.oo (hardcover). ISBN o-271-oI974-3. Literary scholars of the r890s era know about Leonard Smithers, and one of the things they know is that he was a publisher of low octane pornography in limited editions, or as Oscar Wilde observed, "one for the author, one for [him]self, and one for the police." On another occasion, Wilde wrote that Smithers "is so fond of suppressed books that he suppresses his own."' James G. -
Charles Elkin Mathews Collection MS
University Museums and Special Collections Service Charles Elkin Mathews Collection MS 392 The bulk of the collection consists of around 500 letters. Most were written to Mathews and concern some aspect of his work. Some were collected by Mathews and relate to literary and antiquarian matters 1811-c.1870. There are 48 letters from John Lane. Other major correspondents include Ernest Radford, Jack Butler Yeats and Richard Le Gallienne. There are also letters from William Butler Yeats, John Trivett Nettleship, Robert Bridges, Charles Henry Daniel, Roden Noel, William Watson and John Davidson, along with three letters from Ezra Pound and one from James Joyce. There is a variety of personal material, including draft reminiscences of Mathews' life and career. The rest of the collection relates to works published and consists of proofs, cuttings, publicity material, photographs of authors, prints of illustrative material including several by Jack Butler Yeats, and associated printed material. The collection of Elkin Mathews' papers is supported by around 400 books which were published under the Elkin Mathews imprint. The Collection covers the year’s c.1800 - 1938. The physical extent of the collection is 3 boxes containing c.650 items. Introduction Charles Elkin Mathews was born in Gravesend in 1851. As a young man, he served his apprenticeship in the book trade working for Charles John Stewart in London, managing Peach's library in Bath, and then returning to London to work for the firm of Messrs Sotheran in Piccadilly. In 1884 he opened an antiquarian and general bookshop at 16 Cathedral Close, Exeter, where he also began his publishing career, joining with other local booksellers in his first venture. -
A Voice of English-Montreal the First Twenty Years of Véhicule Press
A Voice of English-Montreal The First Twenty Years of Véhicule Press, 1973–1993 Amy Hemond Department of English McGill University, Montreal April 2019 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts © Amy Hemond 2019 Hemond ii Table of Contents Abstract ................................................................................................................................................................ iii Résumé ................................................................................................................................................................. iv Acknowledgements ............................................................................................................................................... v Introduction ........................................................................................................................................................... 6 The Véhicule fonds .................................................................................................................................................. 13 The History of English-Quebec Publishing ............................................................................................................... 16 Discussion ................................................................................................................................................................ 26 Chapter 1: The Poetic Prelude to a Small Press, 1972–1976 ................................................................................ -
SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com SirArthurSullivan ArthurLawrence,BenjaminWilliamFindon,WilfredBendall \ SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences. From the Portrait Pruntfd w 1888 hv Sir John Millais. !\i;tn;;;i*(.vnce$. i-\ !i. W. i ind- i a. 1 V/:!f ;d B'-:.!.i;:. SIR ARTHUR SULLIVAN : Life-Story, Letters, and Reminiscences. By Arthur Lawrence. With Critique by B. W. Findon, and Bibliography by Wilfrid Bendall. London James Bowden 10 Henrietta Street, Covent Garden, W.C. 1899 /^HARVARD^ UNIVERSITY LIBRARY NOV 5 1956 PREFACE It is of importance to Sir Arthur Sullivan and myself that I should explain how this book came to be written. Averse as Sir Arthur is to the " interview " in journalism, I could not resist the temptation to ask him to let me do something of the sort when I first had the pleasure of meeting ^ him — not in regard to journalistic matters — some years ago. That permission was most genially , granted, and the little chat which I had with J him then, in regard to the opera which he was writing, appeared in The World. Subsequent conversations which I was privileged to have with Sir Arthur, and the fact that there was nothing procurable in book form concerning our greatest and most popular composer — save an interesting little monograph which formed part of a small volume published some years ago on English viii PREFACE Musicians by Mr. -
The New Age Under Orage
THE NEW AGE UNDER ORAGE CHAPTERS IN ENGLISH CULTURAL HISTORY by WALLACE MARTIN MANCHESTER UNIVERSITY PRESS BARNES & NOBLE, INC., NEW YORK Frontispiece A. R. ORAGE © 1967 Wallace Martin All rights reserved MANCHESTER UNIVERSITY PRESS 316-324 Oxford Road, Manchester 13, England U.S.A. BARNES & NOBLE, INC. 105 Fifth Avenue, New York, N.Y. 10003 Printed in Great Britain by Butler & Tanner Ltd, Frome and London This digital edition has been produced by the Modernist Journals Project with the permission of Wallace T. Martin, granted on 28 July 1999. Users may download and reproduce any of these pages, provided that proper credit is given the author and the Project. FOR MY PARENTS CONTENTS PART ONE. ORIGINS Page I. Introduction: The New Age and its Contemporaries 1 II. The Purchase of The New Age 17 III. Orage’s Editorial Methods 32 PART TWO. ‘THE NEW AGE’, 1908-1910: LITERARY REALISM AND THE SOCIAL REVOLUTION IV. The ‘New Drama’ 61 V. The Realistic Novel 81 VI. The Rejection of Realism 108 PART THREE. 1911-1914: NEW DIRECTIONS VII. Contributors and Contents 120 VIII. The Cultural Awakening 128 IX. The Origins of Imagism 145 X. Other Movements 182 PART FOUR. 1915-1918: THE SEARCH FOR VALUES XI. Guild Socialism 193 XII. A Conservative Philosophy 212 XIII. Orage’s Literary Criticism 235 PART FIVE. 1919-1922: SOCIAL CREDIT AND MYSTICISM XIV. The Economic Crisis 266 XV. Orage’s Religious Quest 284 Appendix: Contributors to The New Age 295 Index 297 vii LIST OF ILLUSTRATIONS A. R. Orage Frontispiece 1 * Tom Titt: Mr G. Bernard Shaw 25 2 * Tom Titt: Mr G. -
The Matter of Glassco on the R
tt rg ly no proof of REYIEWS in Dublin con- The Matter of Glassco on the R. Rob- ltismal records Pleasure: One Life of John Glassco, Poet, :tized not only Busby, Brian. A Gentleman of Memoirist, Translator, Pornographer. Montreal and Kingston: 5. At that time, and pp. rning from the McGill-Queen's tIP,20l1. 398 2, and Stephen expected not only to know John Glassco better when I finished reading act destroYs the I Brian Busby's handsome new biography A Gentleman of Pleasure: One as Day.) Emma Life of John Glassco but to like him better as well. The interlacing and 1 a supposition as read on made me reflect on my lge on the shiP estrangement of these expectations I naivet6 as a reader (a loving reader) ofbiographies. I find that I expect a biography to leave me feeling nearer to the subject, though of course such improved intimacy might sharpen dislike to revulsion as easily as in another case it raises admiration to affection. The biographer's means of prompting such a sense of nearness seem obvious: he or she supplies a compendium ofbiographical facts and details, to at least some of which his v19.1.1MQQ6-52F or her readers had no easy access until the book was published, and then d9.1.1M473-JPB. submits those discrete materials to some goveming interpretation or finite [9.1.1,&{vF3-BT5 range of major insights that re-constitutes the subject personality in our il.ancestory.com. feelings and understanding. The biography ofa writer has a special chance lentry number N/R . -
JOHN GLASSCO (1909-1981) and His Erotic Muse
JOHN GLASSCO (1909-1981) and his Erotic Muse Leon Edel IΌΗΝ GLASSCO CULTIVATED THE LYRIC and erotic muses — Euterpe and Erato. He was, above all, in his later years, a tough-minded poet who mingled reflection with satire, and most of his reflections were on the wear- and-tear of life, the crumbling of man's creations, old houses — like the body — disintegrating in a mournful landscape, mixed with sweet and bitter memories and delicate observations; the triumph of the dust and yet somehow out of death and decay the hardness of reality : It is the world that counts, the endless fever And suffering that is its own and only end. The elegance and polish, rhythm and cadence, the perfect pitch, as it were, is curiously to be found also in his erotic writings which are largely in prose. John Glassco — he had been Buffy to us from his earliest years — made a distinction between "porno" written as art and that which is scribbled as commerce. Yet even when he attempted to write for commerce he proved unfailingly delicate and aristocratic: he wrote in the tradition of Cleland, or the Contes drolatiques, or the French elegants. He captured the spirit of the conte leste, the frivolous and "improper" fantasy, for which the Gallic world has so many more synonyms than we have. The phallus was for Buffy a wanton and pretty bird of flight and repose ; the libido an exquisite gift of nature. His erotic muse was forever young, born of pre-adolescent titillation and exposure. There are brief backward glances in various of Buffy's prose writings — "in view of my own upbringing" and "my own early memories supplied much of the psychology," and an allusion to "that susceptible teen-ager who could never say no to anyone." These brief autobio- graphical references allow us to extrapolate some early governess in Montreal's Simpson Street, where Buffy was born, who perhaps administered spankings that had erotic overtones; or some early housemaid taken with the charms of the juvenile Buffy — he had so many. -
Introduction 1 a New Order
Notes Introduction 1. Alex Owen, The Place of Enchantment: British Occultism and the Culture of the Modern (Chicago: University of Chicago Press, 2004), 120. 2. Corinna Treitel, A Science for the Soul: Occultism and the Genesis of the German Modern (Baltimore: Johns Hopkins University Press, 2004), 3–4. Such scientists included Karl Friedrich Zöller, a well-respected professor of astrophysics at the University of Leipzig, physicists William Edward Weber and Gustav Theodor Fechner, mathematician Wilhelm Scheibner and the psychologist Wilhelm Wundt. 3. Owen, The Place of Enchantment. 4. Treitel, A Science for the Soul. 5. David Allen Harvey, Beyond Enlightenment: Occultism and Politics in Modern France (Dekalb: Northern Illinois University Press, 2005). 6. For a thorough discussion of the struggle by historians to establish the enchanted nature of the modern see Michael Saler ‘Modernity and Enchantment: A Historiographic Review,’ American Historical Review, 2006 111 (3): 629–716. 7. Nicola Bown, ‘Esoteric Selves and Magical Minds,’ History Workshop Journal, 2006 61 (1): 281–7, 284, 286. Similar criticism comes from Michael Saler. Michael Saler, review of The Place of Enchantment: British Occultism and the Culture of the Modern, by Alex Owen, American Historical Review 2005 110 (3): 871–2, 872. 1 A New Order 1. R.A. Gilbert, Revelations of the Golden Dawn: The Rise and Fall of a Magical Order (London: Quantum, 1997), 34. 2. Gilbert, Revelations, 45. 3. Ellic Howe, The Magicians of the Golden Dawn: A Documentary History of a Magical Order 1887–1923 (London: Routledge and Kegan Paul, 1972; York Beach, Maine: Samuel Weiser, 1978). Gilbert, Revelations. -
W. S. Gilbert & a Classic in Humour
W. S. GILBERT A MID-VICTORIAN ARISTOPHANES BY EDITH HAMILTON & THE ENGLISH ARISTOPHANES BY WALTER SICHEL & A CLASSIC IN HUMOUR BY MAX BEERBOHM Edited 2011 by David Trutt Los Angeles, California, USA email: [email protected] Web Site: www.haddon-hall.com 2 INTRODUCTION Included herein are two lengthy essays which seek to relate the Victorian comic playwright W. S. Gilbert to the Greek comic poet Aristophanes. Aristophanes lived from about 450 BC to 385 BC, mostly under the shadow of the Peloponnesian War between Greece and Sparta, which eventually led to the downfall of Greece. He was the most celebrated writer of what is known as Old Comedy and the only one whose plays have survived in more than fragmentary form. Aristophanes is credited with writing at least forty plays, of which eleven have survived to the present. One critic states that “Savoy opera captures some of Aristophanes’ mingling of topsy- turvy fantasy and tripping rhythm. But in sheer poetic invention Aristophanes’ lacks a real successor.” This critic considers Aristophanes a master satirist, but the two authors, Edith Hamilton and Walter Sichel make a distinction between satire and irony. They claim that the plays of Aristophanes and Gilbert were displays of masterful irony; further they claim that in this genre Gilbert is on the same high level as Aristophanes. As Sichel writes, “Both Aristophanes and Gilbert were pure ironists. Direct satire maps out the country which it invades, but irony is always on the confines of ambiguous territory. As we survey its inhabitants they seem to be in perpetual somersaults — and yet they are always standing on their feet.” AND “That is Gilbert’s irony. -
The Oscar Wilde Collection Author Index 1
The Oscar Wilde Collection Author Index A.N.S. to Christopher Millard regarding the Archer, William. caricature of Sir William Wilde which appeared in "About the theatre. The English drama in German the periodical, Ireland's Eye. -- A talk with Dr. Meyerfield -- Oscar Wilde, Bernard August 29, 1974.; English; Wildeiana Box 7.8B. Shaw, Gordon Craig -- German managers and Reel: 39, Item No. 12 authors -- The kaiser and the theatre.". From an unknown newspaper, 1906. Clipping "According to the Pall Mall gazette, aestheticism has concerning German translations and productions of broken out again, and in the interval since the last Oscar Wilde's plays.; English; Wildeiana Box 2.17C. outbreak its devotees have grown mortal and stout.". Reel: 36, Item No. 55 December 18, 1890. Caricature from Moonshine (?).; English; Wildeiana Box 7.27A. Archer, William. Reel: 39, Item No. 40 "A drama and its story.". [Review for the German translation of A Duchess of "All London' at the Haymarket.". Padua, translated by Max Meyerfield]. In an In The Westminister budget, April 28, 1893, p. 17. unknown newspaper, 1904. Bibliographical material, (Review of the costume designs in the Haymarket 1880-1939.; English; Wildeiana Box 4.1J. Theatre production of A woman of no importance. Reel: 37, Item No. 28 With 3 illustrations of the actors).; English; Wildeiana Box 2.15A. Archer, William. Reel: 36, Item No. 47 "Lord Arthur Savile's crime.". From an unknown magazine, 1891? (Review of "The American lady who purchased our Oscar's Oscar Wilde's Lord Arthur Savile's crime and other tresses and banged the chignon with them.". -
Oscar Wilde Against the Marquess of Bannard, 1899
CHAPTER 5 ‘I HAVE GOT AS FAR AS THE HOUSE OF DETENTION’ LEFT: The Boulevard from Quelques On 5 April 1895, the jury at the Old Bailey returned a verdict of ‘not aspects de la vie de Paris, by Pierre guilty’ in the libel trial brought by Oscar Wilde against the Marquess of Bannard, 1899. On his release from prison Queensberry. The verdict indicated that Queensberry had been justified in in May 1897, Oscar Wilde settled for a calling Wilde a sodomite in the public interest. The packed court room time in Berneval-sur-Mer, claiming: ‘If I had cheered and the judge passed Queensberry’s counsel, Edward Carson, live in Paris I may be doomed to things I a note congratulating him on his ‘searching crossXam’ and having ‘escaped don’t desire. I am afraid of big towns.’ Less the rest of the filth’. Within minutes of the collapse of the case, the trial than a year later, however, a letter to the papers had been sent to the Director of Public Prosecutions. publisher Leonard Smithers from Naples The press almost universally crowed at the result: announced ‘I shall be in Paris on Sunday next. It is my only chance of working. I There is not a man or woman in the English-speaking world possessed of the miss an intellectual atmosphere, and I am treasure of a wholesome mind…not under a deep debt of gratitude to the tired of Greek bronzes...My life has gone to Marquess of Queensberry for destroying the High Priest of the Decadents.