Letters of Edward John Trelawny;

Total Page:16

File Type:pdf, Size:1020Kb

Letters of Edward John Trelawny; tiTj-i ^•r '«-; 432^ A3r74 I 1/0 Letters of Edward John Trelawny Oxford : Horace Hart Printer to the University MEMORANDUM From The Bookman St. Pauls House, Warwick Square, EDITOR : W. ROBERTSON NICOLL, LL.D. y/ London ^^^ ^7 Z£! The Editor will he glad to have Review of the accompanying (Book Words. The Copy should reach the Editor not later " than the morning of the 2/ ><fe- C^ ^f^f^ic^ Jf't^^pu^^ Oxford University Amhn Corner/ Lond/bn, E.G. Jlf^;^^ Mil. Henry Frowde has pleasure in submitting for review a copy of ^a^. /^.^^4£^:^I^ Vvmt./d/.^ .^ij^..., He requests that ho notioo be printed before the/ of day pubheation r^^^/ ; aftd-Aat, when a review appears, a copy may be sent to him. Letters of Edward John Trelawnj Edited with a brief Introduction and Notes by H. Buxton Formaii C.B. Henry Frowde Oxford University Press London, Edinburgh, New York, Toronto and Melbourne 1910 DEDICATION. TO WILLIAM MICHAEL ROSSETTI. If there is any man living who knew Trelawny better than you did, and helped him more faithfully, I do not know that man. That there is none to whom I owe more than to you in regard to the prosecution of the present work is certain, and equally certain that to connect your name with it and record my gratitude for this latest of your many acts of disinterested friendship is, unlike most obvious duties, a pleasure dictated by the highest esteem and by sincere affection. H. Buxton Forman. 46 Marlborough Hill, St. John's Wood, 25 September 1910. LIST OF ILLUSTRATIONS. PAGE Trelawny as an OcTOGENARiAN^n Sir John Millais's picture "The North-West Passage": Photogravure by Emery Walker Frontispiece Portrait of Claire Clairmont : Photogravure by Emery Walker from an oil-painting by Amelia Curran 46 Facsimile of a Letter to Claire Clairmont written in the Cave of Odysseus ... 87 The Scene of Shelley's Cremation near Viareggio : Facsimile of a drawing by Trelawny's daughter . 252 Marianne Hunt's Posthumous Bust of Shelley: Burin-etching on steel by William Bell Scott . 270 Shelley's Grave as seen and painted in 1873 by William Bell Scott ; Etched by Arthur Evershed . 274 INTRODUCTION. In this attempt to bring together the letters of Edward John Trelawny, I have been actuated by the desire to illustrate his unique personality by means of his own utterances, and fill up as many gaps as possible in his life-record. Such indomitable force of character as Trelawny evinced up to the end of his long life could not fail to leave its impress upon every sheet of paper which he took up for the purpose of com- municating with man or woman. The very uncon- ventionality—nay, even the frequent incorrectness of his and a certain attractiveness style vocabulary, have ; and when one realizes how expressive of his character that style and that vocabulary are, one feels something akin to revolt against any endeavour to revise the text of his letters. For my part, I have never yet seen a letter or note of Trelawny's which was expressed just as other it nor is any man would have expressed ; there anything in the present collection which is not more or less redolent of the vigour and directness, the transparent honesty and complete fearlessness, of this traveller by sea and land, this warrior for the cause of freedom, in both the moral and the physical sense of those words. Conspicuous among the memorable figures of the nineteenth century, both as a public man and as a private individual, Trelawny was less tainted with the sordid commercialism and ever-increasing snobbery of that century than almost any man one X INTRODUCTION. could name as having lived through so large a part of it. " When by good hap I acquired that splendid pig- in-a-poke" the Clairmont collection of Shelley docu- ments and relics of various kinds, it was not wholly without disappointment that I found the sealed-up collection, on being opened, did not include certain items which, as I think rightfully, I had expected to find. There was, it is true, good value for my money, even at the comparatively low prices then current for such articles as I was buying without even a pre- of a one of but it liminary glimpse single them ; grieved me not to find the book of manuscript poems which Claire Clairmont possessed, or the miniature portrait of AUegra, daughter of Byron and Claire, or the long series of letters which I believed that lady to have received from Trelawny. I have never regretted that, in those circumstances, I made a pilgrimage to the gay city of Vienna in search of the coveted treasures in question, found the late Miss Paola Clair- mont, from whom I had bought the elder lady's collection, still in possession of two of the important items named, paid her her price for the annexation of them to the main body of the papers, books, and relics, and brought them home with joy to the house from which I am sending these belated remarks to press. Of the mutilated manuscript volume, containing Shelley's fair copies of many of his published poems, which also should be here, there is a sad tale to tell. An American who had been residing in the same house at Florence with the Clairmonts had been bidding for the collection as his rather free bids against me ; but, turned out to be only in bills at long date, the executrix INTRODUCTION. XI decided to accept my cash rather than his paper, in which she lacked confidence. This man, however, had "borrowed" and not restored the precious manuscript book,—which now graces the classic precincts of " Harvard College, while I am left lamenting." Leaving the unpleasant subject of this ancient grievance, I recall the pleasure and keen interest with which I first read the whole of the letters fromTrelawny, spreading over fifty- three years of his long life, the earliest indited shortly after Shelley's death in 1822, when Trelawny was just upon thirty years of age, the last written in 1875, when he was eighty-three. That perusal accomplished, I said to the other man who is me— "Well, if you don't know anything else, you it is bounden to know Trelawny now ; and your duty see that those letters are not lost to the world." From that position I have never for one moment but the other is me until the swerved ; man who had, summer of 1907, a position in the public service with ever-increasing demands upon his time and mental resources and the of the 1866 ; literary output years to 1907, though not inconsiderable in mass, was but the occupation of his so-called leisure, and, ipso facto, strictly limited. What wonder, then, if the golden moment for setting about the arrangement of that treasured bundle of letters for the press was put off and off by sheer stress of circumstances 1 Fifteen or it may be twenty years ago my son Maurice Buxton Forman them all out for five I had had copied me ; years ago made some attempt to fit and annotate them for and two I determined to omit publication ; years ago some portions that might still be obnoxious to the feelings of a few living persons, combine my letters Xll INTRODUCTION. with others of Trelawny's from all available sources, public or private, and publish without further delay than fate willed. Retarded once more by the return of the Garnett Shelley Note-books from America to be deciphered and edited, I had yet some luck with Trelawny. My son was once more under my roof after long absence from England, and was working upon his Meredith books at the British Museum, where he was able to help me in certain researches that it would have been very inconvenient to do single- and still old and valued friend handed ; better, my Mr. William Rossetti decided without hesitation, when I approached him cap in hand, that Trelawny's letters to him, the unpublished mass with the few already published, should form part of the present chronologically arranged collection, and thus greatly increase its autobiographic value. This decision was the more generous in that Mr. Rossetti had already allocated most of the unpublished letters to certain works of his own compiling, not yet added to that valuable row of books which, since his retirement from the public service, he has contributed to English literature, and especially to our knowledge of the lives and genius of the distinguished family of which he is the last of his generation. Equally if not even more deserving of gratitude has been his ready assistance in the removal of difficulties which need not now be specified, and his kindness in making me free of his knowledge of matters Trelawnian acquired in the period from 1869 up to the present time. The renewal of an acquaintanceship of long ago with Mrs. Julian Marshall, the author and editor of the Life and Letters of Mary Wollstonecraft Shelley, INTRODUCTION. XUl has proved fortunate as well as agreeable. Mrs. Marshall had access to those documents of prime importance which were in the hands of the late Sir Florence when her book came out Percy Shelley ; and I am indebted to her not only for the influence of her book in keeping me from too strong a leaning to Trelawny's side in the never-ending Trelawny- Mary discussion, but also for the frank alacrity with which she gave me helpful information apart from the book itself.
Recommended publications
  • Shelley's Heart and Pepys's Lobsters
    © 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. Chapter 1 Shelley’s Heart and Pepys’s Lobsters Biographies are full of verifiable facts, but they are also full of things that aren’t there: absences, gaps, missing evi- dence, knowledge or information that has been passed from person to person, losing credibility or shifting shape on the way. Biographies, like lives, are made up of con- tested objects—relics, testimonies, versions, correspon- dences, the unverifiable. What does biography do with the facts that can’t be fixed, the things that go missing, the body parts that have been turned into legends and myths? A few years ago, a popular biographer who had allowed doubts and gaps into the narrative of a historical subject was criticised for sounding dubious. “For ‘I think,’ read ‘I don’t know,’” said one of her critics crossly. But more recently, “biographical uncertainty” has become a re- spectable topic of discussion.1 Writers on this subject tend to quote Julian Barnes’s Flaubert’s Parrot: You can define a net in one of two ways, depending on your point of view. Normally, you would say that it is a meshed instrument designed to catch fish. But you could, with no great injury to logic, reverse the image and define a net as a jocular lexicographer once did: he called it a col- lection of holes tied together with string. For general queries, contact [email protected] © Copyright, Princeton University Press.
    [Show full text]
  • Conférence Théâtralisée
    Le Cœur à Barbe Frankenstein, le Monstre et MARY SHELLEY Conférence théâtralisée Portrait de Mary Wollstonecraft Shelley, avec de gauche à droite et de haut en bas : Lac de Thoun (J. M. WilliamTurner, 1806) ; William Godwin (H. W. Pickersgil) ; Mary Wollstonecraft (J. Odie, 1897) ; Fanny Imlay (?), Claire Clairmont (Amelia Curran, 1819); Mary Wollstonecraft Shelley (R.Rothwell,1840); Villa Diodati (W. Purser); Prométhée (P. P. Rubens); William Shelley (A. Curran (1819); Percy Bysshe Shelley (A. Clint); la Créature (Boris karloff), La mer de glace, Chamonix (J. M. William Turner) ; John William Polidori (F.G. Gainsford); Lord Byron (R. Westall, 1813). https://lecoeurabarbe.org / 07 82 75 44 77 / [email protected] Conférence théâtralisée : Frankenstein, le monstre et Mary Shelley Sommaire I La conférence : Frankenstein, le monstre et Mary Shelley P1 Durée Thèmes abordés Distribution Dates de représentation Résidences P2 Extrait de la préface de 1831 de Frankenstein ou le Prométhée moderne de Mary Shelley P3 Intention de mise en scène P4 Le roman de Mary Shelley : un livre monstre Mary Shelley et le cinéma II Autour de l’œuvre de Mary Shelley : Frankenstein ou le Prométhée moderne P5 Frankenstein le nouveau Prométhée P6 Un mythe fondateur de notre société P7 La première édition du roman de Mary Shelley P8 Résumé du roman de Mary Shelley Frankenstein ou le Prométhée moderne P9 Les circonstances de l’écriture de l’œuvre de Mary Shelley P10 Biographie de Mary Shelley P11 Références bibliographiques III Équipe artistique : P12 C.V. de l’équipe artistique IV Présentation de la compagnie : P13 Présentation Le Coeur à Barbe https://lecoeurabarbe.org / 07 82 75 44 77 / [email protected] Conférence théâtralisée : Frankenstein, le monstre et Mary Shelley La conférence théâtralisée Durée 45 minutes Thèmes de la conférence La naissance d’ une œuvre.
    [Show full text]
  • Over Mary's Dead Body
    __________________________________________________________________ Over Mary’s Dead Body Frankenstein, Sexism, & Socialism __________________________________________________________________ Julia Burke University of California, Berkeley Department of History Dr. Trevor Jackson 27 April 2018 “A king is always a king – and a woman is always a woman: his authority and her sex ever stand between them and rational converse.” – Mary Wollstonecraft1 On February 25, 1818, Thomas Jefferson Hogg, a close friend of Mary and Percy Shelley, wrote John Frank Newton a letter. Newton had been one of the few to receive a copy of Frankenstein before publication, and had shown his appreciation by enquiring of Hogg the book’s authorship – Percy, right? “[W]hen you guess the name of the author is Shelley you guess rightly,” responded Hogg, “but when you would prefix the words Percy Bysshe the infirmity of our nature interposes between you & the truth wch whispers Mary[.] In plain terms Frankenstein …is written by Mrs Shelley …. This is a profound secret & no more to be divulged without dread than the name of D-m-g-rg-n [Demogorgon].”2 Poor Newton was threatened, seriously or otherwise, with demonic retribution should he reveal the novel’s true authorship. History suggests he kept the secret to himself. Frankenstein was published – with successful anonymity – in three duodecimo volumes on the first day of 1818.3 At Mary’s request, Percy sent them to famed novelist Sir Walter Scott the next day, noting his “own share in them consists simply in having superintended them through the press during the Author’s absence. Perhaps it is the partial regard of friendship that persuades me that they are worthy of the attention of the celebrated person whom I have at present the honour to address.”4 February’s issue of Blackwood’s Edinburgh Magazine 1 Mary Wollstonecraft, A Vindication of the Rights of Women With Strictures on Political and Moral Subjects (London: J.
    [Show full text]
  • A Creative Biography of Mary Wollstonecraft Shelley Through the Lens of Her Interpersonal Relationships
    Portland State University PDXScholar University Honors Theses University Honors College 2-26-2021 Mary: A Creative Biography of Mary Wollstonecraft Shelley through the Lens of Her Interpersonal Relationships Julien-Pierre E. Campbell Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Part of the Fiction Commons Let us know how access to this document benefits ou.y Recommended Citation Campbell, Julien-Pierre E., "Mary: A Creative Biography of Mary Wollstonecraft Shelley through the Lens of Her Interpersonal Relationships" (2021). University Honors Theses. Paper 980. https://doi.org/10.15760/honors.1004 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Campbell 1 Mary A Creative Biography of Mary Wollstonecraft Shelley Through the Lens of her Interpersonal Relationships By Julien-Pierre “JP” Campbell Campbell 2 Percy Shelley 27 June 1814 Night falls slowly around us. The sky has rioted with all of God’s colors and at last succumbed to the pale blue of the gloaming. He stares hard at the sky. Who can know the exact thoughts that are stirred behind that princely brow? His eyes bear the faraway look I’ve come to associate with brilliance. He’s composing. Perhaps I stay quiet long enough -- Lord knows our ​ ​ sepulchral companions will -- he will speak verse. I’m sure I could observe him for rapturous eons. His cheeks are flushed and his curls are mussed.
    [Show full text]
  • Mary Shelley's Fair Copying of Don Juan
    1 MARY SHELLEY'S FAIR COPYING OF DON JUAN Peter Cochran (First published as Mary Shelley’s Fair Copying of Don Juan, Keats-Shelley Review, Spring 1996, pp.221-41; printed with permission.) (Don Juan is quoted by canto, stanza and line, thus: “VI, 45, 5”. BLJ: Byron’s Letters and Journals ed. Leslie A. Marchand, John Murray 1973-94. MWSL: Letters of Mary Wollstonecraft Shelley ed. Betty T. Bennett, Johns Hopkins 1980-8. JMS: Journals of Mary Shelley ed. Paula R. Feldman and Diana Scott-Kilvert, Clarendon 1987.) The role of Mary Shelley in the transmission of Byron’s work to posterity is second in importance to that of no-one else apart from William Gifford and the poet himself. She made copies of, among other things, The Prisoner of Chillon, Childe Harold’s Pilgrimage Canto III,1 Mazeppa, Lines to the Po, the Ode to Venice, Francesca of Rimini, The Age of Bronze, Werner, The Deformed Transformed, and last but hardly least, Don Juan Cantos VI-XVI.2 Her manuscripts of Mazeppa, the Ode to Venice, Werner, The Deformed Transformed, The Age of Bronze, The Island and Don Juan VI-XVI were used as printer’s copy for the first editions. Her copies of Chillon, Childe Harold III, Mazeppa, Francesca, the Ode to Venice, To the Po and Werner survive: of her work on Don Juan, only Cantos VI, VII and VIII remain.3 I wish principally in this essay to examine her Don Juan fair copies, and to consider the circumstances in which they were made. After Shelley’s death, on July 8th 1822, Byron’s presence was something about which Mary felt ambivalent.
    [Show full text]
  • Mary Shelley the Girl Who Wrote Frankenstein
    In Search of MARY SHELLEY The Girl Who Wrote Frankenstein FIONA SAMPSON PROFILE BOOKS In Search of Mary Shelley.indd 3 21/11/2017 17:13 First published in Great Britain in 2018 by PROFILE BOOKS LTD 3 Holford Yard Bevin Way London wc1x 9hd www.profilebooks.com Copyright © Fiona Sampson, 2018 1 3 5 7 9 10 8 6 4 2 Typeset in Caslon by MacGuru Ltd Printed and bound in Great Britain by Clays, St Ives plc The moral right of the author has been asserted. All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the publisher of this book. A CIP catalogue record for this book is available from the British Library. ISBN 978 1 78125 528 5 eISBN 978 1 78283 195 2 In Search of Mary Shelley.indd 4 21/11/2017 17:13 Contents Acknowledgements // ix List of Illustrations // xi Introduction // 1 Part One: The Instruments of Life 1 The Instruments of Life // 11 2 Learning to Look // 29 3 Through a Door Partly Opened // 54 4 Elopement // 75 5 Becoming a Couple // 97 6 At Villa Diodati // 118 7 A Young Writer // 137 8 Emigrants // 160 Part Two: Borne Away by the Waves 9 Le rêve est fini // 185 10 The Mona Lisa Smile // 213 Coda // 240 Notes // 251 Further Reading // 292 Index // 295 In Search of Mary Shelley.indd 5 21/11/2017 17:13 List of Illustrations 1.
    [Show full text]
  • The Invention of Mary Shelley: Fictional Representations of Mary Shelley in the Twentieth Century
    The Invention of Mary Shelley: Fictional Representations of Mary Shelley in the Twentieth Century Selina Packard Goldsmiths College Submitted for the degree of PhD in the University of London Abstract This thesis is an examination of fictional representations of the life of Mary Shelley. As such it forms a contribution to two main areas of study: the postmodern debate about the relationship between fictional and factual discourses, and also to the perception of Mary Shelley in criticism. Chapter 1 constitutes a historical survey of the biographies of Mary Shelley, from her death to the present, which are the factual sources for most of the fictional texts examined in the thesis. Chapter 2 goes on to examine the prose fictions in which Mary Shelley appears as a fictional character in the years from the 1930s to the 1960s. In these we find her determined by her role as wife to Percy Bysshe Shelley, and she is thus presented as the standard heroine of romance fiction. In Chapter 3, study of later prose fictions from the 1960s to the present reveals a figure determined more by her role as author of Frankenstein. In Chapter 4, I look at her representation on stage, and show how her persona is determined by developments in late twentieth-century theatre, and she thus becomes beleaguered wife to the radical Percy. In Chapter 5, which looks at her presentation on screen, it is her visual appearance that is the dominant force in her construction, and she appears as Pandora, beautiful but deadly releaser of evils. Finally, in Chapter 6, which looks at the more unusual media in which she has appeared as a fictional character, her construction as mother to Frankenstein, birther of literary monsters, is foregrounded.
    [Show full text]
  • Love (One Word Is Too Often Profaned)- Shelley
    Dr. Prem Prakash Pankaj Asst. Professor, English Dept Vanijya Mahavidyalaya, PU Mob-8210481859 [email protected] Topic for B.A. English Part-1 Hons. and Alternative English (50 mks) Love (One Word is too often Profaned)- Shelley Text One word is too often profaned For me to profane it, One feeling too falsely disdained For thee to disdain it; One hope is too like despair For prudence to smother, And pity from thee more dear Than that from another. 1 I can give not what men call love, But wilt thou accept not The worship the heart lifts above And the Heavens reject not,— The desire of the moth for the star, Of the night for the morrow, The devotion to something afar From the sphere of our sorrow? Percy Bysshe Shelley (1792 – 1822) was one of the major English Romantic poets, widely regarded as one of the finest lyric and philosophical poets in the English language. Shelley is best known for classic poems such as "Ozymandias", "Ode to the West Wind", "To a Skylark", "Music, When Soft Voices Die", "The Cloud" and The Masque of Anarchy. His other major works include a groundbreaking verse drama, The Cenci (1819), and long, visionary, philosophical poems such as Queen Mab (later reworked as The Daemon of the World), Alastor, The Revolt of Islam, Adonais, Prometheus Unbound (1820)— widely considered his masterpiece, Hellas: A Lyrical Drama (1821) and his final, unfinished work, The Triumph of Life (1822). 2 Shelley developed a very strong affection towards Jane Williams and addressed a number of poems to her.
    [Show full text]
  • The Life & Letters of Mary Wollstonecraft Shelley
    *#. >* ^%v*. ^T^Jr* 38? * |4\ -' "^ t" *'*$&<s ^ *^: sr%^' ^- *,\\^\ ^j -.j**[Al'..i j$ IVI OT R I ATtamBUNIVERsTTAS. "^gaElr- y / , '//// /'s' /.)///, // fy,fy, THE LIFE AND LETTERS OF MARY WOLLSTONECRAFT SHELLEY II ' . J. TRELA WNY. from, a portrait after Severn,, in, ?Ju>, possession, of Sir Percy f'Shelley. 73/rrf London. Richird BenUev i Son; 1889 THE LIFE & LETTERS OF oIlstonetraft BY MRS. JULIAN MARSHALL WITH PORTRAITS AND FACSIMILE IN TWO VOLUMES VOL. II LONDON RICHARD BENTLEY & SON in rttnarg to p?cr fHajcstg tfje uem 1889 ?R 5338 V-2 CONTENTS CHAPTER XVII JULY-SEPTEMBER 1822 1822 (July). Mary and Mrs. Williams go to Pisa They can learn nothing Trelawny accompanies them back to Casa Magni The bodies of Shelley and Williams are washed ashore Trelawny brings Mary, Jane, and Clare back to Pisa Mary's endurance Letters from Godwin Mary's letter to Mrs. Gisborne The bodies are cremated Dispute about Shelley's heart It remains with Mary Mary's decision to remain for a time with the Hunts, and to assist them and Byron with the Liberal Goes to Genoa Mrs. Williams goes to England Letter from Mary to Mrs. Gis- borne and Clare Letters from Clare and Jane Williams The Hunts and Byron are established at Albaro '-35 CHAPTER XVIII SEPTEMBER i822-JuLV 1823 1822 (October). Mary's desolate condition Her diary Extracts Discomfort with the Hunts Byron's antipathy to them all Note from him to Mary Trelawny's presence a refresh- ment Letters to and from him Letter from Godwin Journal Letter to Clare Mary's poem "The Choice." 1823.
    [Show full text]
  • L-G-0012258654-0035492395.Pdf
    The Life of Percy Bysshe Shelley BLACKWELL CRITICAL BIOGRAPHIES General Editor: Claude Rawson This acclaimed series offers informative and durable biographies of important authors, British, European, and North American, which will include substantial critical discussion of their works. An underlying objective is to re-establish the notion that books are written by people who lived in particular times and places. This objective is pursued not by programmatic assertions or strenuous point- making, but through the practical persuasion of volumes that offer intelligent criti- cism within a well-researched biographical context. Also in this series The Life of Geoffrey Chaucer The Life of W. B. Yeats Derek Pearsall Terence Brown The Life of Samuel Johnson The Life of Henry Fielding Robert DeMaria Jr. Ronald Paulson The Life of Robert Browning The Life of John Milton Clyde De L. Ryals Barbara K. Lewalski The Life of Joseph Conrad The Life of George Eliot John Batchelor Nancy Henry The Life of William Faulkner The Life of William Shakespeare Richard Gray Lois Potter The Life of Walter Scott The Life of William Wordsworth John Sutherland John Worthen The Life of Samuel Taylor Coleridge The Life of Daniel Defoe Rosemary Ashton John Richetti The Life of Evelyn Waugh The Life of D. H. Lawrence Douglas Lane Patey Andrew Harrison The Life of Thomas Hardy The Life of Robert Frost Paul Turner Henry Hart The Life of Goethe The Life of Percy Bysshe Shelley John R. Williams John Worthen The Life of Céline Nicholas Hewitt The Life of Percy Bysshe Shelley A Critical Biography John Worthen This edition first published 2019 © 2019 John Wiley & Sons Ltd All rights reserved.
    [Show full text]
  • King Library for Categories V & VI
    TechnoRomanticism (English 149) Dr. Katherine D. Harris TIMELINE ASSIGNMENT King Library Holdings for Categories V & VI AUTHOR LETTERS & DIARIES (Category V) AUTHOR Smith, Charlotte Turner, 1749-1806. TITLE The collected letters of Charlotte Smith [electronic resource] / [edited by] Judith Phillips Stanton. PUB INFO Bloomington : Indiana University Press, c2003. REPRODUCTION Electronic reproduction. Palo Alto, Calif. : ebrary, 2005. Available via World Wide Web. Access may be limited to ebrary affiliated libraries. SUBJECT Smith, Charlotte Turner, 1749-1806 -- Correspondence. SUBJECT Authors, English -- 18th century -- Correspondence. ADD TITLE Correspondence. An electronic book available to SJSU Students & Faculty http://libaccess.sjlibrary.org/login?url=http://site.ebrary.com/lib/sjsu/Doc?id=10084562 AUTHOR Wollstonecraft, Mary, 1759-1797. TITLE Collected letters of Mary Wollstonecraft / edited by Ralph M. Wardle. PUB INFO Ithaca : Cornell University Press, 1979. BIBLIOG. Includes bibliographical references and index. SUBJECT Wollstonecraft, Mary, 1759-1797 -- Correspondence. SUBJECT Authors, English -- 18th century -- Correspondence. ADD AUTHOR Wardle, Ralph Martin, 1909- King 7th Floor PR5841.W8 Z53 1979 CHECK SHELVES AUTHOR Wollstonecraft, Mary, 1759-1797. TITLE The love letters of Mary Wollstonecraft to Gilbert Imlay. With a prefatory memoir by Roger Ingpen. PUB INFO [Folcroft, Pa.] Folcroft Library Editions, 1974. NOTE Reprint of the 1908 ed. published by Hutchinson, London. SUBJECT Wollstonecraft, Mary, 1759-1797 -- Correspondence. SUBJECT Imlay, Gilbert, 1754?-1828? SUBJECT Authors, English -- 18th century -- Correspondence. ADD AUTHOR Imlay, Gilbert, 1754?-1828? 1 > King 7th Floor PR5841.W8 Z54 1974 CHECK SHELVES AUTHOR Sade, marquis de, 1740-1814. TITLE Letters from prison / Marquis de Sade ; translated and with an introduction and epilogue by Richard Seaver.
    [Show full text]
  • Percy Bysshe Shelley 1 Percy Bysshe Shelley
    Percy Bysshe Shelley 1 Percy Bysshe Shelley Percy Bysshe Shelley Portrait of Shelley by Alfred Clint (1819) Born 4 August 1792 [1] Field Place, Horsham, Sussex, England Died 8 July 1822 (aged 29) Lerici, Kingdom of Sardinia (now Italy) Occupation Poet, dramatist, essayist, novelist Literary movement Romanticism Signature Percy Bysshe Shelley (/ˈpɜrsiHelp:IPA for English#KeyˈbɪʃHelp:IPA for English#Keyˈʃɛli/;[2] 4 August 1792 – 8 July 1822) was one of the major English Romantic poets and is regarded by critics as among the finest lyric poets in the English language. A radical in his poetry as well as his political and social views, Shelley did not achieve fame during his lifetime, but recognition for his poetry grew steadily following his death. Shelley was a key member of a close circle of visionary poets and writers that included Lord Byron; Leigh Hunt; Thomas Love Peacock; and his own second wife, Mary Shelley, the author of Frankenstein. Shelley is perhaps best known for such classic poems as Ozymandias, Ode to the West Wind, To a Skylark, Music, When Soft Voices Die, The Cloud and The Masque of Anarchy. His other major works include long, visionary poems such as Queen Mab (later reworked as The Daemon of the World), Alastor, The Revolt of Islam, Adonaïs, the unfinished work The Triumph of Life; and the visionary verse dramas The Cenci (1819) and Prometheus Unbound (1820). His close circle of admirers, however, included some progressive thinkers of the day, including his future father-in-law, the philosopher William Godwin. Though Shelley's poetry and prose output remained steady throughout his life, most publishers and journals declined to publish his work for fear of being arrested themselves for blasphemy or sedition.
    [Show full text]