DOCSLIB.ORG

Romantic Ends: Death and Dying, 1776-1835

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Romantic Ends: Death and Dying, 1776-1835 Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2017 Romantic Ends: Death and Dying, 1776-1835 Andrew J. Welch Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation Welch, Andrew J., "Romantic Ends: Death and Dying, 1776-1835" (2017). Dissertations. 2874. https://ecommons.luc.edu/luc_diss/2874 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. Copyright © 2017 Andrew J. Welch LOYOLA UNIVERSITY CHICAGO ROMANTIC ENDS: DEATH AND DYING, 1776-1835 A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN ENGLISH BY ANDREW JAMES WELCH CHICAGO, IL AUGUST 2017 Copyright by Andrew James Welch, 2017. All rights reserved. ACKNOWLEDGMENTS In which several debts are acknowledged, &c. The first I owe to the Loyola University Chicago English Department, and the second to the University at large. A Pre-Doctoral Teaching Scholars Fellowship and an Arthur J. Schmitt Dissertation Fellowship provided the material base upon which this airy superstructure has come to balance. Thanks to Tom Kaminski for sharing his erudition, which extends far, far beyond the British Isles, and for tolerating my unenrolled presence in his classroom on many occasions. I’ve benefited from his provocative ideas about the history of British verse. Thanks to Steve Jones, who is an exemplary scholar and a symbol of possibility, as well as the reason I’m a Romanticist. There are a lot of people in the world I don’t know, but it’s hard to imagine many of them read better than Jack Cragwall. I used to think he was generous with his energy until I realized it was limitless. Nonetheless, I feel preposterously lucky he has been willing to serve as the director of this dissertation. My committee: thank you. I owe Heath Valentine—and yet refuse to pay—for what’s approaching a lifetime of thought. It is a marvel to be doing this, after all. I’m grateful to Miriam Piilonen for ancient sagacity, for revolutionary ardor, for never shying from the asymptotic task of wording the unspeakable, and for indefinite life. iii My final thanks are to Allison, Jessica, Zachary, and Christine, and to Timothy, who taught me, in spite of himself (through the very force of his striving to prove otherwise), that there is no adequate recompense for death. iv TABLE OF CONTENTS ACKNOWLEDGMENTS iii ABSTRACT vi INTRODUCTION: THE STORY OF DEATH 1 CHAPTER ONE: THE THEATER OF THE FINAL MOMENT 18 CHAPTER TWO: DAVID HUME’S SECOND DEATH 54 CHAPTER THREE: WORDSWORTH AT DEATH’S END 112 CHAPTER FOUR: BLAKE, NATURAL RELIGION, AND THE IMPOSSIBILITY OF DEATH 142 CHAPTER FIVE: THE DEVOTIONAL POETRY OF FELICIA HEMANS 173 CHAPTER SIX: SUPERANNUATED GOVERNESSES AND IMAGINATIVE EUNUCHS: THE STERILITY OF ENDYMION 215 BIBLIOGRAPHY 248 VITA 271 v ABSTRACT Romantic Ends reinterprets of the origins and legacies of romantic death, the cultural spectacle exemplified by the dramatic deaths of young poets like John Keats. Against the widespread belief that romanticism ushered in a uniquely theatrical vision of death, Romantic Ends traces a long history of death as rhetorical performance, from the early modern ars moriendi (“art of dying”) to the neoclassical obsession with the good death. The poetic deaths of the romantic period established a new repertoire of tropes and figures out of these longstanding and disparate deathbed traditions, set within the emerging discursive arena of “poetry.” Yet while romantic death is a recognizable and potent archetype, an underexplored strain of romantic-period writing evinces a deep suspicion toward the conventions and meaning-making logics of death. The precise function for which romanticism has been credited and blamed—the exploitation of death as shorthand for the “poetic”—is in fact subject to strategies of evasion and disruption in romantic poetry. vi INTRODUCTION THE STORY OF DEATH In its “List of Deaths for the Year 1750,” the Gentleman’s Magazine included one Mrs Reed of Kentish Town, aged 81. She had kept a mahogany coffin and shroud by her 6 years, when thinking she should not soon have occasion for them she sold them, and dy’d suddenly the same evening. (20:188) This brief obituary captures a world of death remarkably distinct from our own. We could begin with the common practice of keeping articles of burial near to hand, signaling constant preparedness for death. Coffin and shroud are inmates, privileged with domestic intimacy. When it comes, death too will arrive like an intimate relation returning home1—until Mrs. Reed disposed of these accessories on the assumption that she would live. Though no agency is directly attributed, the significance of the fact that death came as soon as she ceased to fear it was powerful enough to be left unstated. Readers would understand what her lapse in preparation had cost her: sudden death remained an object of terror well into the nineteenth century, as it denied the deceased the benefit of last rites. Death may be unknowable, but it seems to have an eye for formal irony and narrative resolution. Where we nod, the Gentleman’s suggests, it comes winking. 1 Margaret Spufford’s study of sixteenth- and seventeenth-century chapbooks shows that “Death was a figure who was very well-known by, and very close to, their readers” (201). Historical demography bears out Spufford’s claim: life expectancy fell throughout the seventeenth century, hit a nadir in the 1680s, began to rise precipitously from 1691 to 1706, and then declined again until the 1730s. Taking a longer view, it was not until the seventeenth or eighteenth century that the English population recovered to its fourteenth century peak prior to plague and famine (Smith 200, 212-13; Wrigley and Schofield 240-244; Houlbrooke 5-6). Of the forty-six chapbooks Spufford surveys, seven even purport to be written from the deathbed. 1 2 Ars Moriendi in the Periodical Age As Mrs. Reed’s example shows, the early obituary was less a posthumous biography than a brief narrative of death.2 Seventy years after the passing of Mrs. Reed of Kentish Town, the New Monthly Magazine bore witness to the death of the poet John Keats: There is something very impressive about the death of genius, and particularly of youthful genius. Poets, perhaps, have shared most of this feeling from mankind; indeed their labours which survive themselves are for ever creating it. Not only By fairy hands their knell is rung, By forms unseen their dirge is sung, but the beautiful, the tender, and the wise, are perpetual sorrowers over their obsequies. (3:258) The space between these two obituaries seems to reflect a sea change in the representation of death, from austere description undergirded by a vast eschatology bound to preparation for death to the pathetic spectacle of a beautiful, wilting boy-poet. The New Monthly even suggests that the capacity to feel sorrow for Keats is itself a mark of beauty, tenderness, and wisdom, apportioning Keats’s own poetic genius out to his perpetual mourners, who inherit the mantle of poetic sensibility simply by grieving his death—an apt demonstration of sensibility’s trade in what Robert Markley calls the “affective spectacle of benign generosity” (211). The gap between Mrs. Reed and Mr. Keats thus registers a transformation from the solemn devotional paradigm of the ars moriendi (“art of dying”) to an emerging aestheticization of death, which valorized vicarious suffering and the performance of grief. Keats is the child of a sentimental revolution that continues into our present.3 2 In the eighteenth century the term obituary meant “register of deaths,” and was originally synonymous with necrology, “An ecclesiastical or monastic register containing entries of the deaths of persons connected with, or commemorated by, the church” (OED). 3 Placing Keats’s death within a long history of sensibility, I follow Christopher Nagle, Adela Pinch, Jerome McGann, Elizabeth Fay, and others who have argued, in Pinch’s words, “It may be more accurate 3 And yet there are important continuities between these two endings. Keats had sought “a grander system of salvation than the chryst<e>ain religion,” and had laughed at his friend Benjamin Bailey’s attempts to woo “with the Bible and Jeremy Taylor under his arm” (Letters 2:102, 2:67), but on his deathbed, he asked Joseph Severn to find a copy of Taylor’s 1651 The Rule and Exercises of Holy Dying, the central text in the English ars moriendi tradition. It came recommended by William Hazlitt as “more like fine poetry than any other prose whatever,” and was, as Severn recorded, “the book he has set his mind upon” (Complete Works 6:342; Keats Circle 1:181). Though they do not mention Taylor, his devotional discourse reverberates throughout Keats’s obituaries. Taylor framed the suffering that accompanies death as an opportunity to demonstrate submission to God’s will, and to share in the glory of Jesus’s suffering. “Sickness,” he writes, “is that agony in which men are tried for a crown” (3:327). Dying is a test of election: remain tranquil, detach yourself from worldly concerns, and resign yourself to judgment. Keats’s obituaries mute Taylor’s eschatology but amplify the sense of deathly suffering as a mark of election—to Parnassus, if not precisely heaven. Aglow with the fetching pallor of consumption,4 the poet “often talked of his approaching death, with the resignation of one who contemplated its certainty without anxiety, and seemed to wish to ‘steal from the world’ into silence and repose” (3:257).
Load more

Recommended publications
  • The Constitutional Status of Morals Legislation
    Kentucky Law Journal Volume 98 | Issue 1 Article 2 2009 The onsC titutional Status of Morals Legislation John Lawrence Hill Indiana University-Indianapolis Follow this and additional works at: https://uknowledge.uky.edu/klj Part of the Constitutional Law Commons, and the Law and Society Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Hill, John Lawrence (2009) "The onC stitutional Status of Morals Legislation," Kentucky Law Journal: Vol. 98 : Iss. 1 , Article 2. Available at: https://uknowledge.uky.edu/klj/vol98/iss1/2 This Article is brought to you for free and open access by the Law Journals at UKnowledge. It has been accepted for inclusion in Kentucky Law Journal by an authorized editor of UKnowledge. For more information, please contact [email protected]. TKenf]iky Law Jornal VOLUME 98 2009-2010 NUMBER I ARTICLES The Constitutional Status of Morals Legislation John Lawrence Hiff TABLE OF CONTENTS INTRODUCTION I. MORALS LEGISLATION AND THE HARM PRINCIPLE A. Some Difficulties with the Concept of "MoralsLegislation" B. The Near Irrelevance of the PhilosophicDebate C. The Concept of "Harm" II. DEFINING THE SCOPE OF THE PRIVACY RIGHT IN THE CONTEXT OF MORALS LEGISLATION III. MORALS LEGISLATION AND THE PROBLEMS OF RATIONAL BASIS REVIEW A. The 'RationalRelation' Test in Context B. The Concept of a Legitimate State Interest IV. MORALITY AS A LEGITIMATE STATE INTEREST: FIVE TYPES OF MORAL PURPOSE A. The Secondary or IndirectPublic Effects of PrivateActivity B. Offensive Conduct C. Preventingthe Corruptionof Moral Character D. ProtectingEssential Values andSocial Institutions E.
    [Show full text]
  • Christianity Unveiled; Being an Examination of the Principles and Effects of the Christian Religion
    Christianity Unveiled; Being An Examination Of The Principles And Effects Of The Christian Religion by Paul Henri d’Holbach - 1761 [1819 translation by W. M. Johnson] CONTENTS. A LETTER from the Author to a Friend. CHAPTER I. - Of the necessity of an Inquiry respecting Religion, and the Obstacles which are met in pursuing this Inquiry. CHAPTER II. - Sketch of the History of the Jews. CHAPTER III. - Sketch of the History of the Christian Religion. CHAPTER IV. - Of the Christian Mythology, or the Ideas of God and his Conduct, given us by the Christian Religion. CHAPTER V. - Of Revelation. CHAPTER VI. - Of the Proofs of the Christian Religion, Miracles, Prophecies, and Martyrs. CHAPTER VII. - Of the Mysteries of the Christian Religion. CHAPTER VIII. - Mysteries and Dogmas of Christianity. CHAPTER IX. - Of the Rites and Ceremonies or Theurgy of the Christians. CHAPTER X. - Of the inspired Writings of the Christians. CHAPTER XI. - Of Christian Morality. CHAPTER XII. - Of the Christian Virtues. CHAPTER XIII. - Of the Practice and Duties of the Christian Religion. CHAPTER XIV. - Of the Political Effects of the Christian Religion. CHAPTER XV. - Of the Christian Church or Priesthood. CHAPTER XVI. - Conclusions. A LETTER FROM THE AUTHOR TO A FRIEND I RECEIVE, Sir, with gratitude, the remarks which you send me upon my work. If I am sensible to the praises you condescend to give it, I am too fond of truth to be displeased with the frankness with which you propose your objections. I find them sufficiently weighty to merit all my attention. He but ill deserves the title of philosopher, who has not the courage to hear his opinions contradicted.
    [Show full text]
  • (#) Indicates That This Book Is Available As Ebook Or E
    ADAMS, ELLERY 11.Indigo Dying 6. The Darling Dahlias and Books by the Bay Mystery 12.A Dilly of a Death the Eleven O'Clock 1. A Killer Plot* 13.Dead Man's Bones Lady 2. A Deadly Cliché 14.Bleeding Hearts 7. The Unlucky Clover 3. The Last Word 15.Spanish Dagger 8. The Poinsettia Puzzle 4. Written in Stone* 16.Nightshade 9. The Voodoo Lily 5. Poisoned Prose* 17.Wormwood 6. Lethal Letters* 18.Holly Blues ALEXANDER, TASHA 7. Writing All Wrongs* 19.Mourning Gloria Lady Emily Ashton Charmed Pie Shoppe 20.Cat's Claw 1. And Only to Deceive Mystery 21.Widow's Tears 2. A Poisoned Season* 1. Pies and Prejudice* 22.Death Come Quickly 3. A Fatal Waltz* 2. Peach Pies and Alibis* 23.Bittersweet 4. Tears of Pearl* 3. Pecan Pies and 24.Blood Orange 5. Dangerous to Know* Homicides* 25.The Mystery of the Lost 6. A Crimson Warning* 4. Lemon Pies and Little Cezanne* 7. Death in the Floating White Lies Cottage Tales of Beatrix City* 5. Breach of Crust* Potter 8. Behind the Shattered 1. The Tale of Hill Top Glass* ADDISON, ESME Farm 9. The Counterfeit Enchanted Bay Mystery 2. The Tale of Holly How Heiress* 1. A Spell of Trouble 3. The Tale of Cuckoo 10.The Adventuress Brow Wood 11.A Terrible Beauty ALAN, ISABELLA 4. The Tale of Hawthorn 12.Death in St. Petersburg Amish Quilt Shop House 1. Murder, Simply Stitched 5. The Tale of Briar Bank ALLAN, BARBARA 2. Murder, Plain and 6. The Tale of Applebeck Trash 'n' Treasures Simple Orchard Mystery 3.
    [Show full text]
  • The Enlightenment, Special Ediction October 2010
    The Enlightenment The Newsletter of the Humanist Association of London and Area An Affiliate of Humanist Canada (HC) Volume 6 Number 8 Special Issue Two Contrasting Legacies of the Axial Age Grecian Philosophical Rationalism & Monotheistic Christianity From about 900 to 200 BCE (Before the Common Era) in different regions of the world, four great traditions came into being that have continued to influence humanity to this day. They were Confucianism and Taoism in China; Hinduism and Buddhism in India; monotheistic Judaism in Israel (followed by its offshoot Christianity); and philosophical rationalism in Greece. This was the period of Confucius, Buddha, Jeremiah and Socrates. During this era, which came to be known as The Axial Age, spiritual and philosophical geniuses pioneered intense creativity and generated new kinds of human experiences unlike anything that had occurred up until that time. This special issue of The Enlightenment will explore the outcomes of two of these historical entities, the glory that was Greece and the monotheistic Judaism in Israel that led to the invention of Christianity and the founding of the early Roman Catholic Church. In the centuries leading up to the beginning of the Common Era (CE) great things were happening in Greece. This was the civilization that spawned philosophy, democracy, and humanism, among other things, in a polytheistic society that honoured many gods and goddesses. At the same time, not far away in Palestine, the Jews were worshiping only one God called Yahweh. In the first century CE, one of these Jews who went by the name of Jesus, organized a band of twelve disciples and began preaching a reformed gospel that irritated the leaders in the Jerusalem Temple, and possibly the Roman civic authorities as well.
    [Show full text]
  • Rhode Island Historical Cemetery Commission Handbook
    Rhode Island Historical Cemetery Commission Handbook December 2014 Table of Contents 1. Opening Statement. .................................................................................................................................. 1 2. Working in a historical cemetery. ............................................................................................................ 2 3. Rhode Island General Laws pertaining to Cemeteries. CHAPTER 11-20 Graves and Corpses § 11-20-1 Disinterment of body. .................................................................................................... 3 § 11-20-1.1 Mutilation of dead human bodies – Penalties – Exemptions. ..................................... 3 § 11-20-1.2 Necrophilia. .................................................................................................................. 3 § 11-20-2 Desecration of grave. ...................................................................................................... 4 § 11-20-3 Removal of marker on veteran's grave........................................................................... 4 CHAPTER 19-3.1 Trust Powers § 19-3.1-5 Financial institutions administering burial grounds. ..................................................... 5 CHAPTER 23-18 Cemeteries § 23-18-1 Definitions. ..................................................................................................................... 6 § 23-18-2 Location of mausoleums and columbaria. ..................................................................... 6
    [Show full text]
  • The Church Militant: the American Loyalist Clergy and the Making of the British Counterrevolution, 1701-92
    The Church Militant: The American Loyalist Clergy and the Making of the British Counterrevolution, 1701-92 Peter W. Walker Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 © 2016 Peter Walker All rights reserved ABSTRACT The Church Militant: The American Loyalist Clergy and the Making of the British Counterrevolution, 1701-92 Peter W. Walker This dissertation is a study of the loyalist Church of England clergy in the American Revolution. By reconstructing the experience and identity of this largely-misunderstood group, it sheds light on the relationship between church and empire, the role of religious pluralism and toleration in the American Revolution, the dynamics of loyalist politics, and the religious impact of the American Revolution on Britain. It is based primarily on the loyalist clergy’s own correspondence and writings, the records of the American Loyalist Claims Commission, and the archives of the SPG (the Church of England’s missionary arm). The study focuses on the New England and Mid-Atlantic colonies, where Anglicans formed a religious minority and where their clergy were overwhelmingly loyalist. It begins with the founding of the SPG in 1701 and its first forays into America. It then examines the state of religious pluralism and toleration in New England, the polarising contest over the proposed creation of an American bishop after the Seven Years’ War, and the role of the loyalist clergy in the Revolutionary War itself, focusing particularly on conflicts occasioned by the Anglican liturgy and Book of Common Prayer.
    [Show full text]
  • Norfolk. Bishopric. Sonmdn: Yarii'outh Lynn Tmn'rl'oimfl
    11 0RF0LK LISTS W 1 Q THE PRESENT TIME; ‘ . n uu lj, of wuum JRTRAITS BLISHED, vE L l s T 0 F ' V INCIAL HALFPENNIES ' - R N ORFOLK LIS TS FROM THE REFORMATION To THE PRESENT TIME ; COMPRIS ING Ll" OP L ORD LIEUTEN ANT BARONET S , S , HIG HERIFF H S S , E B ER O F P A R L IA EN T M M S M , 0 ! THE COUNTY of N ORFOLK ; BIS HOPS DEA S CHA CELLORS ARCHDEAC S , N , N , ON , PREBE DA I N R ES , MEMBERS F PARLIAME T O N , MAYORS SHERIFFS RECORDERS STEWARDS , , , , 0 ? THE CITY OF N ORWIC H ; MEMBERS OF PARLIAMENT AND MAYORS 0 ? THE BOROUGHS OP MOUTH LYN N T T R YAR , , HE FO D, AN D C ASTL E RIS IN G f Persons connected with th e Coun Also a List o ty, of whom ENGRAVED PORTRAITS I HAV E B EEN PUBL SHED, A N D A D B S C R I P 'I‘ I V E L I S T O F TRADES MENS ’ TOKIBNS PROV INCIAL HA LFPENNIES ISS UED I” THE Y COUNT OF NORFOLK . + 9 NORWICH ‘ V ' PRINTED BY HATCHB IT, STE ENSON , AN D MATCHB", HARKBT PLACI. I NDEX . Lord Lieutenants ' High Sherifl s Members f or the County Nonw xcH o o o o o o o 0 0 0 0 0 0 0 0 0 0 0 0 Prebendaries Members f or th e City Ym ou'rn Mayors LYNN Members of Parliament Mayors Membersof Parliament CASTLERISING Members of Parliament Engraved Portraits ’ Tradesmans Tok ens ProvincialHalf pennles County and B orough Members elected in 1 837 L O RD L I EUT EN A N T S NORFOLK) “ ' L r Ratcli e Ea rl of us e h re d Hen y fl n S s x , e si ed at Attle borou h uc eded to th e Ea r d m1 1 g , s ce l o 542 , ch .
    [Show full text]
  • Tolstoy in Prerevolutionary Russian Criticism
    Tolstoy in Prerevolutionary Russian Criticism BORIS SOROKIN TOLSTOY in Prerevolutionary Russian Criticism PUBLISHED BY THE OHIO STATE UNIVERSITY PRESS FOR MIAMI UNIVERSITY Copyright ® 1979 by Miami University All Rights Reserved Library of Congress Cataloging in Publication Data Sorokin, Boris, 1922­ Tolstoy in prerevolutionary Russian criticism. Bibliography: p. Includes index. 1. Tolstoi, Lev Nikolaevich, graf, 1828-1910—Criticism and interpretation—History. 2. Criticism—Russia. I. Title. PG3409.5.S6 891.7'3'3 78-31289 ISBN 0-8142-0295-0 Contents Preface vii 1/ Tolstoy and His Critics: The Intellectual Climate 3 2/ The Early Radical Critics 37 3/ The Slavophile and Organic Critics 71 4/ The Aesthetic Critics 149 5/ The Narodnik Critics 169 6/ The Symbolist Critics 209 7/ The Marxist Critics 235 Conclusion 281 Notes 291 Bibliography 313 Index 325 PREFACE Leo Tolstoy (1828-1910) has been described as the most momen­ tous phenomenon of Russian life during the nineteenth century.1 Indeed, in his own day, and for about a generation afterward, he was an extraordinarily influential writer. During the last part of his life, his towering personality dominated the intellectual climate of Russia and the world to an unprecedented degree. His work, moreover, continues to be studied and admired. His views on art, literature, morals, politics, and life have never ceased to influence writers and thinkers all over the world. Such interest over the years has produced an immense quantity of books and articles about Tolstoy, his ideas, and his work. In Russia alone their number exceeded ten thousand some time ago (more than 5,500 items were published in the Soviet Union between 1917 and 1957) and con­ tinues to rise.
    [Show full text]
  • Dante Gabriel Rossetti - Poems
    Classic Poetry Series Dante Gabriel Rossetti - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Dante Gabriel Rossetti(12 May 1828 – 9 April 1882) Rossetti was born, the son of an Italian patriot and political refugee and an English mother, in England. He was raised in an environment of cultural and political activity that, it has been suggested, was of more import to his learning than his formal education. This latter was constituted by a general education at King's College from 1836 to 1841 and, following drawing lessons at a school in central London at the age of fourteen, some time as a student at the Royal Academy from 1845 onwards. Here he studied painting with William Hollman Hunt and John Everett Millais who, in 1848, would set up the Pre-Raphaelite Brotherhood with Rossetti, Rossetti's younger brother and three other students. The school's aspirations, in this its first incarnation, was to paint true to nature: a task pursued by way of minute attention to detail and the practice of painting out of doors. Rossetti's principal contribution to the Brotherhood was his insistence on linking poetry and painting, no doubt inspired in part by his earlier and avaricious readings of Keats, Shakespeare, Goethe, Sir Walter Scott, Byron, Edgar Allan Poe and, from 1847 onwards, the works of William Blake. 'The Germ' lasted however for only four issues, all published in 1850. In 1854 Rossetti met and gained an ally in the art critic John Ruskin and, two years later, meetings with Edward Burne-Jones and William Morris set a second phase of the Brotherhood into movement.
    [Show full text]
  • Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists
    1 • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 2 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works.
    [Show full text]
  • Performance Research Tissue to Text: Ars Moriendi and the Theatre
    This article was downloaded by: [Swansea Metropolitan University] On: 10 May 2010 Access details: Access Details: [subscription number 917209572] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Performance Research Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t716100720 Tissue to Text: Ars moriendi and the theatre of anatomy Karen Ingham Online publication date: 06 May 2010 To cite this Article Ingham, Karen(2010) 'Tissue to Text: Ars moriendi and the theatre of anatomy', Performance Research, 15: 1, 48 — 57 To link to this Article: DOI: 10.1080/13528165.2010.485763 URL: http://dx.doi.org/10.1080/13528165.2010.485763 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material.
    [Show full text]
  • Modern Teachers of Ars Moriendi
    religions Article Modern Teachers of Ars moriendi Agnieszka Janiak 1 and Marcin Gierczyk 2,* 1 Department of Media and Communication, University of Lower Silesia, 53-611 Wrocław, Poland; [email protected] 2 Faculty of Social Sciences, Institute of Pedagogy, University of Silesia in Katowice, 40-007 Katowice, Poland * Correspondence: [email protected] Abstract: It is evident that a change is happening, a breakthrough, in perceptions of death; the next episode is being unveiled. After the stages Philippe Aries named death of the tame and then death of the wild, people today are finally experiencing the humanizing of death, which we call sharing death, whose influence is worth deep analysis. Our hypothesis is that today, Ars moriendi, meeting the needs of the dying, may be learned from the so-called death teachers, whose message is growing noticeably in society. This research shows a certain reversal of social roles that are worth noting and accepting. In the past, a priest was a guide and a teacher in the face of dying and death; today, he has the opportunity to learn Ars moriendi from contemporary teachers of dying, to imagine an empty chair standing by a dying person. Keywords: priest; Ars moriendi; sharing death; death teacher 1. Introduction One of religion’s fundamental functions is the existential one. Each religious system Citation: Janiak, Agnieszka, and facilitates facing existential dilemmas and provides tools to deal with the most incompre- Marcin Gierczyk. 2021. Modern Teachers of Ars moriendi. Religions 12: hensible and tragic aspects of human existence. J.M. Yinger, the American psychologist of 695.
    [Show full text]