The Keats-Shelley Review the Journal of the Keats-Shelley Memorial Association

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The Keats-Shelley Review The Journal of the Keats-Shelley Memorial Association A journal of major literary and cultural significance, embracing Romanticism, English literature and Anglo-Italian relations www.keats-shelley.co.uk The Keats-Shelley Review The Journal of the Keats-Shelley Memorial Association The Keats-Shelley Review is a long-established journal of major literary and cultural significance, embracing Romanticism, English literature and Anglo-Italian relations. Its unique and diverse scope includes Association news, prize-winning essays and contemporary poetry alongside peer-reviewed scholarly contributions, notes, and reviews. The Keats-Shelley Review is the official journal of the Keats-Shelley House in Rome, which celebrates its centenary in 2009. EDITOR SCOPE Professor Nicholas Roe I John Keats, Percy Bysshe Shelley and their circle Address for contributions: I Romanticism School of English, I English literature University of St Andrews, KY16 9AR, UK I Literary criticism Email: [email protected] I Contemporary poetry I Cultural studies I Anglo-Italian studies and relations KEY ARTICLES I The Friendship of Charles Brown and Joseph Severn, Sue Brown I Romantic Poetry and the Idea of the Dream, Grevel Lindop I The Gleam of those Words: Coleridge and Shelley, Michael O'Neill Above: John Keats by Joseph Severn, 1819 Front image: Keats-Shelley House, I Mediating Vision: Shelley’s Prose Encounters Piazza di Spagna, Rome, 2008 with Visual Art (1818–1820), Sarah Peterson (Keats-Shelley Memorial Association) I Resurrecting Frankenstein, Sharon Ruston I ‘Slippery Steps of the Temple of Fame’: Friends of the Keats-Shelley Barry Cornwall and Keats’s Reputation, Memorial Association receive Richard Marggraf Turley The Keats-Shelley Review as part I The Degrading Intrusiveness of Commerce, of their annual membership. with Reference to Shelley’s Queen Mab V, For information on other benefits Alan Weinberg and how to join please visit: mkksr09 www.keats-shelley.co.uk 1 issue per year ISSN: 0952-4142 REF: For more information, to subscribe online or to recommend this journal to your library please visit: www.maney.co.uk/journals/keatsshelley Tel: +44(0)113 386 8168 Email: [email protected].

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The Grave of John Keats Revisited
The Keats-Shelley Review ISSN: 0952-4142 (Print) 2042-1362 (Online) Journal homepage: https://www.tandfonline.com/loi/yksr20 The Grave of John Keats Revisited Nicholas Stanley-Price To cite this article: Nicholas Stanley-Price (2019) The Grave of John Keats Revisited, The Keats- Shelley Review, 33:2, 175-193, DOI: 10.1080/09524142.2019.1659018 To link to this article: https://doi.org/10.1080/09524142.2019.1659018 Published online: 18 Sep 2019. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=yksr20 THE KEATS-SHELLEY REVIEW 2019, VOL. 33, NO. 2, 175–193 https://doi.org/10.1080/09524142.2019.1659018 ARTICLE The Grave of John Keats Revisited Nicholas Stanley-Price Advisory Committee, Non-Catholic Cemetery for Foreigners, Rome ABSTRACT KEYWORDS Many visitors in the nineteenth century to the grave of John Keats in John Keats; Rome; Rome thought it ‘neglected’ or ‘solitary’ and ‘unshaded’.Today’scritics Protestant cemetery; poet’s often characterize the grave as ‘marginal’, both literally and metaphori- grave; Percy Bysshe Shelley; cally, while ignoring the city authorities’ proposal to demolish it in the Joseph Severn; Romantics 1880s. An analysis of the grave’s original setting and its subsequent renovations suggests instead that it enjoyed a privileged position. Historical descriptions, when considered together with visitors’ accounts – avaluablesourceifusedcritically– and little-known artists’ depictions of Keats’s grave prompt a re-assessment of ideas of its ‘marginality’ and ‘neglect’ in the nineteenth century. The grave lies quite alone, and is evidently much neglected.
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Some Remarks on Keats and His Friends
SOME REMARKS ON KEATS AND HIS FRIENDS By SIR ROBERT ARMSTRONG-JONES, C.B.E., M.D., D.L. LONDON, ENGLAND HE function of poetry is to of short stature, with a long and oval express and embody beautiful face, arresting features even to the and elevated ideas in language casual passer-by, every lineament that can stir the emotions and strongly cut and delicately alive. His Tit has an orderly, methodical wayhead of was well shaped, his eyes were presenting its creations, generally with dark, sensitive, large and glowing. His metrical and rhythmic periods. Ebe hair was golden brown, thick and curly. poet is a creator, who begins with the Severn said his eyes were like the hazel concrete and leads on to abstract eyes of a wild gipsy maid. Haydon said thought, so as to arouse pleasurable he had an eye that had an inward look sentiments in combination with a feel perfectly divine like a Delphic priestess ing of power, wonder, curiosity, respect, that had visions. affection, exaltation and love or some He was born on October 31, 1795, in times of envy and hatred. a posting-house, the Swan and Hoop, Probably no poet has ever kindled now 85 Moorgate, London; opposite a deeper feeling of pity and sympathy the entrance to Finsbury Circus, and for than Keats, mingled as this has been this accident he was taunted as the with a compelling admiration for his “cockney” poet as contrasted with the brilliant but short life’s work, shorter “Lakists.” His father, Thomas Keats, than that of any noted English poet.
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Sometimes Boswell Can Be As Interesting As Johnson. the Artist
Boston pale by comparison. Rather than 50, there turned out to be nearly 700 Sometimes it took days to transcribe a sill letters from Severn to his wife, spanning the years from 1833 to 1861. And they gle letter and weeks to identify specific were in extraordinarily good condition, despite d1e fact that they had been held words and annotate names and references. together by twine, bundled into aprons and shitt boxes and stored for years in the In the end it was the correspondence family horse stables. with Severn's descendants that proved as The excitement of discove1y was considerable, though nothing matched with rewarding as the labor of making the the experience of unfolding one day a letter written in January 1841. At this time book. On publication, I was invited to the Severn family was preparing for a move to London after 20 years in Italy. In give a talk at Keats House ill London. May 1840, Elizabeth had gone ahead to England to house hunt and to see about There I was delighted to find myself in the schools for their two boys. Severn had stayed in Rome to continue his painting. midst of a Severn family reunion. They By January, Elizabeth had been gone for eight months and Severn missed her had come from all corners of the British deeply. In the letter he tells of a trip he takes to the verdant grounds of the Villa Isles to hear about their famous ancestor. Doria-Pamphili on the outskitts of Rome and reminisces about "the many delightful Afterwards we dilled at an Italian restau visits we have made there with our dear little ones scrambling for the flowers ." As rant in Hampstead, toasted our man and a memento of his visit, he illcludes "an Anemone & a Violet & I hope they may drank happily illto the night.
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Shelley's Poetic Inspiration and Its Two Sources: the Ideals of Justice and Beauty
SHELLEY'S POETIC INSPIRATION AND ITS TWO SOURCES: THE IDEALS OF JUSTICE AND BEAUTY. by Marie Guertin •IBtlOrHEQf*' * "^ «« 11 Ottawa ^RYMtt^ Thesis presented to the School of Graduate Studies of the University of Ottawa as partial fulfillment of the requirements for the degree of Master of Arts in English Literature Department of English Ottawa, Canada, 1977 , Ottawa, Canada, 1978 UMI Number: EC55769 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform EC55769 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 SHELLEY'S POETIC INSPIRATION AND ITS TWO SOURCES: THE IDEALS OF JUSTICE AND BEAUTY by Marie Guertin ABSTRACT The purpose of this dissertation is to show that most of Shelley's poetry can be better understood when it is related: (1) to each of the two ideals which constantly inspired Shelley in his life, thought and poetry; (2) to the increasing unity which bound these two ideals so closely together that they finally appeared, through most of his mature philosophical and poetical Works, as two aspects of the same Ideal.
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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.
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Percy Bysshe Shelley (1792 – 1822)
Percy Bysshe Shelley (1792 – 1822) Biography: ercy Bysshe Shelley, (born Aug. 4, 1792, Field Place, near Horsham, Sussex, Eng.— died July 8, 1822, at sea off Livorno, Tuscany [Italy]), English Romantic poet whose P passionate search for personal love and social justice was gradually channeled from overt actions into poems that rank with the greatest in the English language. Shelley was the heir to rich estates acquired by his grandfather, Bysshe (pronounced “Bish”) Shelley. Timothy Shelley, the poet’s father, was a weak, conventional man who was caught between an overbearing father and a rebellious son. The young Shelley was educated at Syon House Academy (1802–04) and then at Eton (1804–10), where he resisted physical and mental bullying by indulging in imaginative escapism and literary pranks. Between the spring of 1810 and that of 1811, he published two Gothic novels and two volumes of juvenile verse. In the fall of 1810 Shelley entered University College, Oxford, where he enlisted his fellow student Thomas Jefferson Hogg as a disciple. But in March 1811, University College expelled both Shelley and Hogg for refusing to admit Shelley’s authorship of The Necessity of Atheism. Hogg submitted to his family, but Shelley refused to apologize to his. 210101 Bibliotheca Alexandrina-Library Sector Compiled by Mahmoud Keshk Late in August 1811, Shelley eloped with Harriet Westbrook, the younger daughter of a London tavern owner; by marrying her, he betrayed the acquisitive plans of his grandfather and father, who tried to starve him into submission but only drove the strong-willed youth to rebel against the established order.
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The Unfamiliar Shelley
THE UNFAMILIAR SHELLEY Proof Copy in gratitude for his major contribution to the understanding of Shelley To Don Reiman Proof Copy The Unfamiliar Shelley Edited by ALAN M. WEINBERG University of South Africa, RSA TIMOTHY WEBB University of Bristol, UK Proof Copy © Alan M. Weinberg and Timothy Webb 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Alan M. Weinberg and Timothy Webb have asserted their moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the editors of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Gower House Suite 420 Croft Road 101 Cherry Street Aldershot Burlington, VT 05401-4405 Hampshire GU11 3HR USA England www.ashgate.com British Library Cataloguing in Publication Data The unfamiliar Shelley. – (The nineteenth century series) 1. Shelley, Percy Bysshe, 1792–1822 – Criticism and interpretation I. Webb, Timothy II. Weinberg, Alan M. (Alan Mendel) 821.7 Library of Congress Cataloging-in-Publication Data The unfamiliar Shelley / edited by Timothy Webb and Alan M. Weinberg. p. cm. – (The nineteenth century series) Includes bibliographical references and index. ISBN 978-0-7546-6390-4 (alk. paper) 1. Shelley, Percy Bysshe, 1792–1822–Criticism and interpretation. I. Webb, Timothy. II. Weinberg, Alan M. (Alan Mendel) PR5438.U64 2008 821'.7–dc22 2007052262 ISBN 978-0-7546-6390-4Proof Copy Contents General Editors’ Preface vii List of Illustrations ix Notes on Contributors xi Acknowledgements xv List of Abbreviations xvii Editorial Note xix Introduction 1 Timothy Webb and Alan M.
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Moriah Speciale Early and First Editions of Percy Bysshe Shelley's
Moriah Speciale Early and First Editions of Percy Bysshe Shelley’s Works Percy Bysshe Shelley was one of the major Romantic Poets who wrote with strong social and political convictions. While he did not rise to popularity during his lifetime, his wife and editor, Mary Shelley, made sure that he would leave behind an expansive repertoire in print. The items I presented on were two early and first editions of Shelley’s poems, Queen Mab and The Masque of Anarchy, which can both be found in the 19th Century Collection of Baylor’s Armstrong Browning Library. Shelley drew much of his inspiration from the political upheavals of his day, and I chose to focus most of my presentation on the history behind his famous work, The Masque of Anarchy. Shelley wrote this political poem in 1819, while he was living in Italy after having been pushed out of England due to family and relationship drama. The poem is written in response to the infamous Peterloo Massacre, which took place in August of 1819. The massacre was the first event to merit large scale journalism across Britain and Europe, which is how Shelley was able to learn of it so quickly even though he was away in Italy. The massacre took place just after the Napoleonic wars, during a time of paranoia and some terror. After the Napoleonic wars, large majorities of people were not well due to famine and unemployment and by the time 1819 rolled around pressures and tensions were rising due to the poor economic climate. In addition, the English government instated “Corn Laws” which were tariffs on foreign grain meant to protect English grain farmers.
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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.
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The Art of Sensation in Shelley's Poetics of Sensibility
Durham E-Theses The Pleasure of the Senses: The Art of Sensation in Shelley's Poetics of Sensibility KITANI, ITSUKI How to cite: KITANI, ITSUKI (2011) The Pleasure of the Senses: The Art of Sensation in Shelley's Poetics of Sensibility, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1399/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Abstract This thesis examines Shelley‘s art of sensuous imagery, or poetics of sensibility. To elucidate Shelley‘s concept of sensibility which links his poetry to its ethical and aesthetic concerns, I combine close textual readings of Shelley‘s imagery of the senses with his intellectual and cultural inheritance from the ‗Age of Sensibility‘ which encompasses ‗moral philosophy‘ (ethics and aesthetics) and ‗natural philosophy‘ (science). Chapter I focuses on Shelley‘s notions of sensuous pleasure and sympathy.
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John Platt (1842-1902), a Late Victorian Extra-Illustrator, and His Collection
J. M. W. Turner and his World: John Platt (1842-1902), a Late Victorian Extra-illustrator, and his Collection Felicity Myrone 1. Introduction In August 2007 the British Library Press Office was able to announce the ‘discovery’ of a ‘missing Constable sketch’.1 This had come to light by chance during cataloguing a few months earlier in an extra-illustrated copy of George Walter Thornbury’s The Life of J. M. W. Turner: Founded on letters and papers furnished by his friends and fellow academicians (London: Hurst and Blackett, 1862). The Constable is just one of over 1,600 additions to Thornbury’s text, collected and inserted by a businessman and justice of the peace from Warrington, John Platt (1842-1902). This essay will briefly examine the collection, its collector and his library. Extra-illustration was a popular activity from the mid-eighteenth to the early twentieth century. It involves the embellishing of an existing text with complementary illustrations and documents.2 Thornbury’s biography of Turner is an excellent choice for extra- illustration, as a large number of Turner’s predecessors and contemporaries are mentioned in the text, as well as places Turner visited and painted. Thornbury’s text also relies on quoting long passages from letters by Turner as well as the writings, letters and reminiscences of his friends and acquaintances or their descendants, and Platt collected manuscript material to match. Most accounts of extra-illustration or ‘grangerization’, as it was often known in the past, have concentrated on the extra-illustrator’s use of portraits and topographical images.
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The Transmission and Reception of P. B. Shelley in Owenite and Chartist Newspapers and Periodicals
The Transmission and Reception of P. B. Shelley in Owenite and Chartist Newspapers and Periodicals Jen Morgan A thesis submitted to the University of Salford for the degree of Doctor of Philosophy in the School of Arts and Media 2014 i Contents List of Illustrations iv Acknowledgements v List of Abbreviations vi A Note on the Texts Used vii Abstract viii Introduction 1 Was Shelley’s Queen Mab the Gospel of the Owenites and the Bible of 3 the Chartists? Feeling and futurity 7 Raymond Williams’s ‘structure of feeling’ 9 Periodical studies and print culture 18 Research methodology in print and digital archives 23 The differences between Owenite and Chartist ‘Shelleys’ 26 Owenism and Chartism 29 Shelley 32 Overview of the chapters 34 Section One: Shelley and Owenism, 1828–1845 Chapter One: Shelley in the American Owenite periodical the Free Enquirer Introduction 39 The publication history of Shelley’s poetry for Owenism and Chartism 40 The first American edition of Queen Mab 49 Robert Dale Owen’s use of Shelley in the Free Enquirer 53 Robert Dale Owen, property, and class 61 Shelley in the Free Enquirer under subsequent editors 67 Conclusion 73 Chapter Two: Truth without Mystery, Agitation without Violence in the Crisis Introduction 75 ii Truth without mystery, agitation without violence 76 The problem with language in general 82 The problem with poetry in particular 85 Shelley in the Crisis 94 The origins of A Fable for the Times 95 ‘Commerce’ in Queen Mab 97 A Fable for the Times in the Crisis 101 Co-operation, Owenite socialism, and radicalism
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