Christabel's Complexity
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Erasmus Darwin - Poems
Classic Poetry Series Erasmus Darwin - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Erasmus Darwin(12 December 1731 – 18 April 1802) Erasmus Darwin was an English physician who turned down George III's invitation to be a physician to the King. One of the key thinkers of the Midlands Enlightenment, he was also a natural philosopher, physiologist, abolitionist, inventor and poet. His poems included much natural history, including a statement of evolution and the relatedness of all forms of life. He was a member of the Darwin–Wedgwood family, which includes his grandsons Charles Darwin and Francis Galton. Darwin was also a founding member of the Lunar Society of Birmingham, a discussion group of pioneering industrialists and natural philosophers. <b>Early Life</b> Born at Elston Hall, Nottinghamshire near Newark-on-Trent, England, the youngest of seven children of Robert Darwin of Elston (12 August 1682–20 November 1754), a lawyer, and his wife Elizabeth Hill (1702–1797). The name Erasmus had been used by a number of his family and derives from his ancestor Erasmus Earle, Common Sergent of England under Oliver Cromwell. His siblings were: Robert Darwin (17 October 1724–4 November 1816) Elizabeth Darwin (15 September 1725–8 April 1800) William Alvey Darwin (3 October 1726–7 October 1783) Anne Darwin (12 November 1727–3 August 1813) Susannah Darwin (10 April 1729–29 September 1789) John Darwin, rector of Elston (28 September 1730–24 May 1805) He was educated at Chesterfield Grammar School, then later at St John's College, Cambridge. He obtained his medical education at the University of Edinburgh Medical School. -
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LOVE'S EXCESS AND UNMEANT BITTERNESSa AMBIVALENT LOVE RELATIONSHIPS IN COLERIDGE'S "CHRISTABEL" A Thesis Presented in Partial Fulfillment of the Requirements for the Degree lJ!aster of Arts by Diane !2ewhurst, B. ·A. The Ohio State University 1975 Approved by fh. a>..et T. '-fl)~ Adviser Department of English 11 Table of Contents Page Introduction • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 1 I. The Parent/Child Relationship ••••••••••••••••• 8· II. Friendship ••••••••••••••••••••••••••••••••••• 32 III. The Sexual Relationship••••••••••••••••••••• 50 Conclusion••••••••••••••••••••••••••••••••••••••• ?8 Notes •••••••••••••••••••••••••••••••••••••••••••• SJ List of Works Cited •••••••••••••••••••••••••••••• 90 1 Introduction During the many years which intervened be tween the composition and the publication of CHRISTABEL, it became almost as well known among literary men as if it had been on common sale.... From almost all of our most celebrated Poets, and from some with whom I had no personal acquaintance, I either received or heard of expressions of admiration that (I can truly say) ap peared to myself utterly disproportionate to a work that pretended to be nothing more than a common Faery Tale.... -This before publication. And since then, with very few exceptions, I have heard no thing but abuse, and this too in a spirit of bitterness at least as disproportionate to the pretensions of the poem, had it been the most pitiably below mediocrity, as the previous eulogies and far more in explicable. l Surely -
A Twist in the Tale of “The Tyger”
MINUTE PARTICULAR A Twist in the Tale of “The Tyger” Desmond King-Hele Blake/An Illustrated Quarterly, Volume 23, Issue 2, Fall 1989, pp. 104-106 PAGE 104 BLAKE/AN ILLUSTRATED QUARTERLY FALL 1989 comprehension and expanse of thought which at once fills the whole mind, and of which the first effect is sudden astonishment, and the A Twist in the Tale of "The Tyger" second rational admiration." Here is a sampling of similar contem porary opinions: "The sublime . takes possession of our attention, Desmond KingHele and of all our faculties, and absorbs them in astonishment"; "[the sublime] imports such ideas presented to the mind, as raise it to an uncommon degree of elevation, and fill it with admiration and astonishment"; "objects exciting terror are . in general sublime; Most readers of "The Tyger" have their own ideas of its for terror always implies astonishment, occupies the whole soul, meaning: I shall not be adding my own interpretation, and suspends all its motions." See, respectively, Works of Joseph but merely offering a factual record of minute particu Addison, 6 vols. (London: T. Cadell and W. Davies, 1811) 4: 340; lars, by pointing to a number of verbal parallels with Samuel Johnson, "The Life of Cowley," Lives of the English Poets, ed. George Birkbeck Hill, 3 vols. (1905; Oxford: Clarendon P; New Erasmus Darwin's The Botanic Garden. A few of these York: Octagon Books, 1967) 1: 2021; James Usher, Clio: Or, a Dis were given in my book Erasmus Darwin and the Roman course on Taste, 2nd ed. (London: T. -
Samuel Taylor Coleridge: a Critical Biography (Cambridge, Mass.: Blackwell Publishers, 1996): Pp
Thematic Analysis of “Christabel” Published in 1816, “Christabel” is a poem written in two parts, Part I written in 1798 and Part II in 1800. The poem was influenced by Percy’s Reliques of Ancient Poetry, a collection of medieval ballads— short, highly dramatic poems that originated in the folk tradition. These ballads were at one time transmitted orally among illiterate people, and they included pieces of Gothic horror such as vampirism, violence, eroticism, and strange, gloomy settings. The Gothic influence is plain in the work of novelist Matthew Lewis, whose book The Monk Coleridge discussed in an article for The Critical Review of February 1797. In his introduction to The Monk, John Berryman states that “this grotesque school helped usher in the English Romantic Movement and debauched taste without ever really participating in the glories of the movement unless in the book before us.” These tales also contain elements of medieval literature, such as haunted castles, magic spells, and treacherous journeys. “Medievalism” was much concerned with stories of unrequited love as an essential part of the Middle Ages’ courtly love tradition. The poem’s central character, Christabel, who searches for her long- absent lover, is very much in the same tradition. Part I begins with the tale of “the lovely lady” Christabel, the daughter of the rich but ineffectual Baron, Sir Leoline. (This name is ironic, for it implies all the attributes that the character lacks, namely the strength and courage of a lion.) In the poem’s opening scene, Christabel is in a dark and foreboding forest that is transformed into a unnatural landscape when the distinction between night and day is ominously disturbed. -
Prefiguring Modern Sexuality in ST Coleridge's ''Christabel'' (1797-180
Deconstructing Gender Stereotypes: Prefiguring Modern Sexuality in S.T. Coleridge’s ”Christabel” (1797-1800) Charles Ngiewith Teke To cite this version: Charles Ngiewith Teke. Deconstructing Gender Stereotypes: Prefiguring Modern Sexuality in S.T. Coleridge’s ”Christabel” (1797-1800). Alizés : Revue angliciste de La Réunion, Faculté des Lettres et Sciences humaines (Université de La Réunion), 2008, Dilemnas, pp.9-24. hal-02343091 HAL Id: hal-02343091 https://hal.univ-reunion.fr/hal-02343091 Submitted on 1 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Deconstructing Gender Stereotypes: Prefiguring Modern Sexuality in S.T. Coleridge’s “Christabel” (1797-1800) This essay grapples with a lesbian reading of Coleridge’s “Christabel.” This modern perspective with regard to gender differen- tiation and sexuality shows that the poem deconstructs the heterosex- ist culture that considers homosexuality as a psycho-somatic disorder and socially unacceptable. By gender we are generally referring to the social and cultural distinctions between men and women. Sexuality is seen from the perspective of eroticism, that is, desires or practices which have an erotic significance. It is connected with, but distin- guished from sex, which refers to the biological distinction between men and women and the activity associated with sexual intercourse. -
Globalizing the Routes of Breadfruit and Other Bounties
http://muse.jhu.edu/journals/journal_of_colonialism_and_colonial_history/v008/8.3deloughrey.html Globalizing the Routes of Breadfruit and Other Bounties Journal of Colonialism and Colonial History 8:3 | © 2008 Elizabeth DeLoughrey Globalizing the Routes of Breadfruit and Other Bounties Elizabeth DeLoughrey Cornell University 1. The eighteenth-century British quest for Tahitian breadfruit and the subsequent mutiny on the Bounty have produced a remarkable narrative legacy of maritime romance and revolution in print, film and the popular imagination. William Bligh’s first attempt to transport the Tahitian breadfruit to the Caribbean slave colonies in 1789 resulted in a well-known mutiny orchestrated by his first mate Fletcher Christian, the pursuit, capture, and court martial of the mutineers who returned to Tahiti, and the flight of Christian and his colleagues to Pitcairn Island where they established a troubled society of Europeans and Tahitians. As a historical narrative rehearsed almost exclusively on the Pacific stage, the breadfruit transplantation has been segregated from its Caribbean roots. Despite the loss of officers, crew, and one thousand breadfruit seedlings, the British government decided to repeat the attempt and successfully transplanted the tree to their slave colonies four years later.1 Here I focus on the colonial mania for what was popularly conceived as an icon of liberty, the breadfruit, and the British determination to transplant over three thousand of these Tahitian food trees to the Caribbean plantations to “feed the slaves.”2 Tracing the routes of the breadfruit from the Pacific to the Caribbean, I read this historical event as a globalization of the island tropics, particularly evident in human and plant migration, creolization, and consumption. -
The Lost Boy: Hartley Coleridge As a Symbol of Romantic Division
Halsall, Martyn (2009) The Lost Boy: Hartley Coleridge as a Symbol of Romantic Division. In: Research FEST 2009, July 2009, University of Cumbria. Downloaded from: http://insight.cumbria.ac.uk/id/eprint/840/ Usage of any items from the University of Cumbria’s institutional repository ‘Insight’ must conform to the following fair usage guidelines. Any item and its associated metadata held in the University of Cumbria’s institutional repository Insight (unless stated otherwise on the metadata record) may be copied, displayed or performed, and stored in line with the JISC fair dealing guidelines (available here) for educational and not-for-profit activities provided that • the authors, title and full bibliographic details of the item are cited clearly when any part of the work is referred to verbally or in the written form • a hyperlink/URL to the original Insight record of that item is included in any citations of the work • the content is not changed in any way • all files required for usage of the item are kept together with the main item file. You may not • sell any part of an item • refer to any part of an item without citation • amend any item or contextualise it in a way that will impugn the creator’s reputation • remove or alter the copyright statement on an item. The full policy can be found here. Alternatively contact the University of Cumbria Repository Editor by emailing [email protected]. The Lost Boy: Hartley Coleridge as a Symbol of Romantic Division. Dr Martyn Halsall Late one freezing evening in 1798 the writer Samuel Taylor Coleridge was completing a poem. -
Blake Books, Contributed Immeasurably to the Understanding and Appreciation of the Enormous Range of Blake’S Works
B L A K E B O O K S The Commercial Engravings of William Blake A Tribute to Gerald E. Bentley, Jr. February 2018 presented by J O H N W I N D L E A N T I Q U A R I A N B O O K S E L L E R T H E W I L L I A M B L A K E G A L L E R Y B L A K E B O O K S The Commercial Engravings of William Blake A Tribute to Gerald E. Bentley, Jr. February 2018 Blake is best known today for his independent vision and experimental methods, yet he made his living as a commercial illustrator. This exhibition shines a light on those commissioned illustrations and the surprising range of books in which they appeared. In them we see his extraordinary versatility as an artist but also flashes of his visionary self—flashes not always appreciated by his publishers. On display are the books themselves, objects that are far less familiar to his admirers today, but that have much to say about Blake the artist. The exhibition is a small tribute to Gerald E. Bentley, Jr. (1930 – 2017), whose scholarship, including the monumental bibliography, Blake Books, contributed immeasurably to the understanding and appreciation of the enormous range of Blake’s works. J O H N W I N D L E A N T I Q U A R I A N B O O K S E L L E R 49 Geary Street, Suite 205, San Francisco, CA 94108 www.williamblakegallery.com www.johnwindle.com 415-986-5826 - 2 - B L A K E B O O K S : C O M M E R C I A L I L L U S T R A T I O N Allen, Charles. -
Erasmus Darwin's Romanticism
Rhyme and Reason: Erasmus Darwin’s Romanticism Noel Jackson ore remarkable, it may seem, than the sudden disappearance of Mscientific poetry from the late-eighteenth-century English liter- ary landscape is the fact that it was ever widely read in the first place. “Philosophical poetry,” as it was then known, and especially the work of its most famous practitioner, Erasmus Darwin, has been scorned as a gimmicky, tedious, frequently laughable exercise. This ugly stepsister of didactic verse amalgamates poetic fancy and scientific fact, yoking versified descriptions to prose notes detailing the contemporary state of research in natural philosophy, industrial technology, botany, chem- istry, and medicine, to name only a few subjects of this poetry. In an often-cited letter to John Thelwall, Samuel Taylor Coleridge boasted of his catholic taste in poetry, professing an almost equal appreciation for “the head and fancy of Akenside, and the heart and fancy of Bowles,” among others1 — but none for such fanciful productions of the brain as Darwin’s paean to the steam engine, in part 1 of The Botanic Gar- den, The Economy of Vegetation.2 Coleridge’s disappointed wish, recorded 1 Coleridge to Thelwall, December 17, 1796, in Collected Letters of Samuel Taylor Coleridge, ed. Earl Leslie Griggs, 6 vols. (Oxford: Clarendon, 1956 – 71), 1:279. Here- after cited as STCL. Coleridge’s opinion of The Botanic Garden is concise enough: “I absolutely nauseate Darwin’s poem” (Coleridge to Thelwall, May 13, 1796, in STCL, 1:216). 2 Darwin published part 2 of the poem, The Loves of the Plants, first, in 1789. -
Link to Coleridge Poems
1 Poems for S. T. Coleridge Edward Sanders 1. Coleridge won a medal his 1st year in college (Cambridge 1792) for a “Sapphic Ode on the Slave Trade” 2. Pantisocracy Sam Coleridge and Bob Southey conceived of Pantisocracy in 1794 just five years after the beautiful tearing down of the Bastille twelve couples would found an intentional community on the Susquehanna River which flows from upstate New York ambling for hundreds of miles down thru Pennsylvania & emptying into the Chesapeake Bay The plan was to work maybe 2-3 hours a day with sharing of chores Each couple had to come up with 125 pounds So Southey & Coleridge strove to earn their shares through writing C. wrote to Southey 9-1-94 2 that Joseph Priestly might join the Pantisocrats in America The scientist-philosopher had set up a “Constitution Society” to advocate reform of Parliament inaugurated on Bastille Day 1791 Then “urged on by local Tories” a mob attacked & burned Priestly’s books, manuscripts laboratory & home so that he ultimately fled to the USA. 3. Worry-Scurry for Expenses In Coleridge from his earliest days worry-scurry for expenses relying on say a play about Robespierre writ w/ Southey in ’94 (around the time Robe’ was guillotined) to pay for their share of Pantisocracy on the Susquehanna & thereafter always reliant on Angels & the G. of S. Generosity of Supporters & brilliance of mouth all the way thru the hoary hundreds 3 4. Coleridge & Southey brothers-in-law —the Fricker sisters, Edith & Sarah Coleridge & Sarah Fricker married 10-4-95 son Hartley born September 19, 1996 short-lived Berkeley in May 1998 Derwent Coleridge on September 14, 1800 & Sara on Dec 23, ’02 5. -
Coleridge's Representation of Sexuality: a Re-Interpretation of Christabel (Part I)
www.galaxyimrj.com Galaxy: International Multidisciplinary Research Journal ISSN 2278-9529 Coleridge's Representation of Sexuality: A Re-interpretation of Christabel (Part I) Dr. Santanu Ganguly Assistant Professor, Netaji Nagar Day College, Kolkata Students of English literature, in West Bengal at least, are introduced to Romanticism very early in their academic calendar, and while explaining the features of Romanticism, the concerned teacher never fails to highlight Walter Pater’s famous characterization of Romanticism as the "addition of strangeness to beauty" (258). In defence of Pater, the Romantic poet whose name is most often quoted is Samuel Taylor Coleridge. The erratic Coleridge, whether under the influence of drugs or outside it, often came out with startling lines like "Is that a DEATH? and are there two? / Is DEATH that woman’s mate?" (193) in The Rime of the Ancient Mariner, or "A savage place! as holy and enchanted / As e’er beneath a waning moon was haunted / By woman wailing for her demon lover!" (297) in "Kubla Khan", which makes him the sine qua non of Romantic supernatural poetry. However, if students of Romanticism are directed to isolate one poem from Coleridge’s oeuvre which is typically supernatural, then almost always it is the popular Christabel (in two parts and characteristically unfinished), whose Part I forms a part of many syllabi. And quite rightly so, because Christabel — with its midnight setting, a full moon that appears both "small and dull" (216), dogs with unusual behaviours, a strange lady moaning at midnight in the middle of the forest, dead mothers as guardian spirits, and finally "a sight to dream of not to tell" (224) — contains all the ingredients of a horror story par excellence. -
UT154 Heaven in Wildflower Bklt
HEAVEN IN A WILD FLOWER: THE BRITISH ROMANTIC POETS COURSE GUIDE Professor Adam Potkay COLLEGE OF WILLIAM AND MARY Heaven in a Wild Flower The British Romantic Poets Professor Adam Potkay The College of William and Mary Recorded Books™ is a trademark of Recorded Books, LLC. All rights reserved. Heaven in a Wild Flower: The British Romantic Poets Professor Adam Potkay Executive Editor Donna F. Carnahan RECORDING Producer - David Markowitz Director - Ian McCulloch COURSE GUIDE Editor - James Gallagher Design - Edward White Lecture content ©2009 by Adam Potkay Course guide ©2009 by Recorded Books, LLC 72009 by Recorded Books, LLC Cover image: Detail of The Cornfield by John Constable, 1826 © Clipart.com #UT154 ISBN: 978-1-4407-2618-7 All beliefs and opinions expressed in this audio/video program and accompanying course guide are those of the author and not of Recorded Books, LLC, or its employees. Course Syllabus Heaven in a Wild Flower: The British Romantic Poets About Your Professor...................................................................................................4 Introduction...................................................................................................................5 Lecture 1 What Is Romanticism?...........................................................................6 Lecture 2 Folk Culture, the Ballad Tradition, and Robert Burns............................9 Lecture 3 Wordsworth and Coleridge: Ballads of Nature and the Supernatural ...........................................................................12