George Crabbe - Poems

Total Page:16

File Type:pdf, Size:1020Kb

George Crabbe - Poems Classic Poetry Series George Crabbe - poems - Publication Date: 2011 Publisher: Poemhunter.com - The World's Poetry Archive George Crabbe(24 December 1754 - 3 February 1832) George Crabbe was an English poet and clergyman. In his early years he worked as a surgeon. As a young man, his close friend Edmund Burke helped him greatly in advancing his literary career and guiding his career in the church. Burke introduced him to the literary and artistic society of London, including Sir Joshua Reynolds and <a href="http://www.poemhunter.com/samuel-johnson/">Samuel Johnson</a>. Burke also secured Crabbe the important position of Chaplain to the Duke of Rutland. Crabbe served as a clergyman in various capacities for the rest of his life. Later, he developed friendships with many of the great literary men of his day, such as <a href="http://www.poemhunter.com/sir-walter- scott/">Sir Walter Scott</a> and <a href="http://www.poemhunter.com/william-wordsworth/">William Wordsworth</a>. Crabbe also had a lifelong interest in naturalism, entomology and botany, and was particularly known for his study of beetles. The poems that he is best known for are The Village (1783) and The Borough (1810). <b>Biography</b> <b>Early Life</b> Crabbe was born in Aldeburgh, Suffolk. His father had been a teacher at a village school in Orford, Suffolk, and later Norton, near Loddon, Norfolk, before settling down as a taxcollector for salt duties, a position his own father had previously a young man he married an older widow named Craddock, fathering six children with her. George was his eldest son. George spent his first 25 years close to his birthplace. He showed an aptitude for books and learning at an early age. He was sent to school while still very young, and developed an interest for the stories and ballads that were popular among his neighbors. His father owned a few books, and used to read passages from John Milton and other 18th century poets to George and the family. He also subscribed to a country magazine called Martin's Philosophical Magazine, giving the "poet's corner" section to George. George's father also had interests in the local fishing industry, and owned a fishing boat. He had first thought of raising George to be a seaman, but soon found that the boy had little proclivity for such a career. George's father respected his son's interest in literature, and George was sent first to a boarding-school at Bungay near his home, and a few years later to a more important school at Stowmarket, where he gained an understanding of www.PoemHunter.com - The World's Poetry Archive 1 Mathematics and Latin and familiarity with the Latin classics. His early reading included the works of <a href="http://www.poemhunter.com/william- shakespeare/">William Shakespeare</a>, <a href="http://www.poemhunter.com/alexander-pope/">Alexander Pope</a>, who had a great influence on George's future works, <a href="http://www.poemhunter.com/abraham-cowley/">Abraham Cowley</a>, <a href="http://www.poemhunter.com/sir-walter-raleigh/">Sir Walter Raleigh</a> and <a href="http://www.poemhunter.com/edmund- spenser/">Edmund Spenser</a>. He spent 3 years at Stowmarket before leaving school to find a physician to be apprenticed to, as medicine had been settled on as his future career. In 1768 he was apprenticed to a local doctor at Wickhambrook, near Bury St Edmunds. This doctor practiced medicine while also keeping a small farm, and George ended up doing more farm labour and errands than medical work. In 1771 he changed masters and moved to Woodbridge. He remained here until 1775. While at Woodbridge he joined a small club of young men who met on certain evenings at an inn for discussions. Through his contacts at Woodbridge he met his future wife, Sarah Elmy. Crabbe called her "Mira", later referring to her by this name in some of his poems. During this time he had begun practicing writing poetry. In 1772 A lady's magazine offered a prize for the best poem on the subject of hope, which Crabbe won. The same magazine printed other short pieces of Crabbe's throughout 1772. They were signed "G. C., Woodbridge," and included some of his lyrics addressed to Mira. Other known verses written while he was at Woodbridge show that he made experiments in stanza form modeled on the works of earlier English poets, but only showing some slight imitative skill. <b>1775 to 1785</b> His first major work, a satirical poem of nearly 400 lines in Pope's couplet form entitled Inebriety, was self-published in 1775. Crabbe later said of the poem, which garnered little or no attention at the time, "Pray let not this be seen... there is very little of it that I'm not heartily ashamed of." By this time he had completed his medical training and had returned home to Aldeburgh. He had intended to go on to London to study at a hospital, but he was forced through low finances to work for some time as a local warehouseman. He eventually travelled to London in 1777 to practice medicine, returning home in financial difficulty after a year. Crabbe continued to practice as a surgeon after returning to Aldeburgh, but his surgical skills remained deficient, he attracted only the poorest patients, and his fees were small and undependable. This hurt his chances of an early marriage, but Sarah stayed devoted to him. www.PoemHunter.com - The World's Poetry Archive 2 In late 1779 he formed the resolution to go to London and see if he could make it as a poet, or, if that failed, as a doctor. In April 1780, he went to London, where he had little success, and by the end of May he had been forced to pawn some of his possessions, including his surgical instruments. He composed a number of works but was refused publication. He also wrote several letters seeking patronage, but his requests for assistance were also refused. In June Crabbe witnessed some of the mob violence that occured during the Gordon Riots, recording them in a journal he kept. He was able to publish a poem at this time entitled The Candidate, but it was badly received by critics. He continued to rack up debts that he had no way of paying, and his creditors pressed him. He later told Walter Scott and John Gibson Lockhart that "during many months when he was toiling in early life in London he hardly ever tasted butchermeat except on a Sunday, when he dined usually with a tradesman's family, and thought their leg of mutton, baked in the pan, the perfection of luxury." In early 1781 he wrote a letter to Edmund Burke asking for help, in which he included samples of his poetry. Burke was swayed by Crabbe's letter and a subsequent meeting with him, giving him a gift of money to relieve his immediate wants, and assuring him that he would do all in his power to further Crabbe's literary career. Among the samples that Crabbe had sent to Burke were pieces of his poems The Library and The Village. A short time after their first meeting Burke told his friend Sir Joshua Reynolds that he had "the mind and feelings of a gentleman." Burke gave Crabbe the footing of a friend, admitting him to his family circle at Beaconsfield. There he was given an apartment, supplied with books, and made a member of the family. The time he spent with Burke and his family helped in enlarging his knowledge and ideas, and introducing him to many new and valuable friends including Charles James Fox and Samuel Johnson. He completed his unfinished poems and revised others with the help Burke's criticism. Burke helped him have his poem, The Library, published anonymously in June 1781, by a publisher that had previously refused some of his work. The Library was greeted with a small amount of praise from critics, and only slight public appreciation. Through their friendship, Burke discovered that Crabbe was much more fit to be a clergyman than a surgeon. Crabbe had a good knowledge of Latin, a natural piety that was evident to all of his acquaintances, and was well read in the scriptures. He was ordained to the curacy of his native town on 21 December 1781 through Burke's recommendation. He returned to live in Aldeburgh with his sister and father, his mother having died in his absence. Crabbe was surprised to find that he was poorly treated by his fellow townsmen, who were jealous and resentful of his rise in social class. With Burke's help, Crabbe was able to leave www.PoemHunter.com - The World's Poetry Archive 3 his position in Aldeburgh and become chaplain to the Duke of Rutland at Belvoir Castle in Leicestershire. This was an unusual move on Burke's part, as this kind of preferment would usually have been given to a family member or personal friend of the Duke or through political interest, and shows Burke's confidence in Crabbe. Crabbe's experience as Chaplain at Belvoir wasn't altogether a happy one. He was treated with kindness by the Duke and Duchess, but his slightly unpolished manners and his position as a literary dependent made his relations with others in the Duke's house difficult, especially the servants. His experience here wasn't all negative though. The Duke and Duchess and many of their noble guests shared an interest in Crabbe's literary talent and work.
Recommended publications
  • George Crabbe
    GEORGE CRABBE George Crabbe, The Complete Poetical Works, ed. N. Dalrymple-Champneys and A. Pollard (3 vols, Oxford, 1988). George Crabbe, Selected Letters and Journals, ed. T.C. Faulkner and R.L. Blair (Oxford, 1985). George Crabbe, Tales, 1812, and Other Selected Poems, ed. H. Mills (Cam- bridge, 1967). George Crabbe, Selected Poems, ed. Gavin Edwards (Penguin Selected English Poets, London, 1991) [brief, well-pointed notes, esp. running refs to Godwin and to Jane Austen]. Jeffrey (Francis), 'On Crabbe's Poems', review of Poems. By the Rev. George Crabbe, LL.B. (1807), Edinburgh Review (April, 1808); and see also Edinburgh Review (April, 1810, July, 1819, January, 1835). George Crabbe, Jr, 'Life of the Rev. George Crabbe, LL.B.', in The Poetical Works of the Rev. George Crabbe: With his Letters and Journals, and his Life, by his Son (8 vols, London, 1834), Vol. I. Curran (Stuart) (ed.), The Cambridge Companion to British Romanticism (Cambridge, 1993). O'Neill (Michael) (ed.), Literature of the Romantic Period; A Bibliographical Guide (Oxford, c.1998 and reprinted). Keymer (Thomas) and Mee (Jon) (eds), The Cambridge Companion to English Literature, 1740-1830 (Cambridge, 2004). Roe (Nicholas) (ed.), Romanticism; An Oxford Guide (Oxford, 2005). Watson (J.R.) (ed.), Pre-Romanticism in English Poetry of the Eighteenth Century; The Poetic Art and Significance of Thomson, Gray, Collins, Goldsmith, Cowper & Crabbe; A Casebook (Basingstoke, 1989). Brown (Marshall), Preromanticism (Stanford, Cal., 1991); see also his 'Romanticism and Enlightenment', in Curran (Stuart) (ed.), The Cam- bridge Companion to British Romanticism (Cambridge, 1993). Edwards (Gavin), George Crabbe's Poetry on Border Land (Studies in British Literature, 7; Lewiston N.Y.
    [Show full text]
  • L-G-0013245003-0036967409.Pdf
    A History of Romantic Literature BLACKWELL HISTORIES OF LITERATURE General editor: Peter Brown, University of Kent, Canterbury The books in this series renew and redefine a familiar form by recognizing that to write literary history involves more than placing texts in chronological sequence. Thus the emphasis within each volume falls both on plotting the significant literary developments of a given period, and on the wider cultural contexts within which they occurred. ‘Cultural history’ is construed in broad terms and authors address such issues as politics, society, the arts, ideologies, varieties of literary production and consumption, and dominant genres and modes. The effect of each volume is to give the reader a sense of possessing a crucial sector of literary terrain, of understanding the forces that give a period its distinctive cast, and of seeing how writing of a given period impacts on, and is shaped by, its cultural circumstances. Published to date Seventeenth‐Century English Literature Thomas N. Corns Victorian Literature James Eli Adams Old English Literature, Second Edition R. D. Fulk and Christopher M. Cain Modernist Literature Andrzej Gąsiorek Eighteenth‐Century British Literature John Richetti Romantic Literature Frederick Burwick A HISTORY OF ROMANTIC LITERATURE Frederick Burwick This edition first published 2019 © 2019 John Wiley & Sons Ltd 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, except as permitted by law. Advice on how to obtain permission to reuse material from this title is available at http://www.wiley.com/go/permissions.
    [Show full text]
  • ROBERT BURNS and PASTORAL This Page Intentionally Left Blank Robert Burns and Pastoral
    ROBERT BURNS AND PASTORAL This page intentionally left blank Robert Burns and Pastoral Poetry and Improvement in Late Eighteenth-Century Scotland NIGEL LEASK 1 3 Great Clarendon Street, Oxford OX26DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York # Nigel Leask 2010 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2010 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, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Typeset by SPI Publisher Services, Pondicherry, India Printed in Great Britain on acid-free paper by MPG Books Group, Bodmin and King’s Lynn ISBN 978–0–19–957261–8 13579108642 In Memory of Joseph Macleod (1903–84), poet and broadcaster This page intentionally left blank Acknowledgements This book has been of long gestation.
    [Show full text]
  • Introduction
    Introduction The Ladies, I should tell you, have been dealing largely and profitably at the shop of the Muses. And the Hon. Mrs. Norton ... has been proving that she has some of the true ink in her veins, and has taken down several big boys in Mr. Colburn's Great Burlington School. Mrs. Hemans, too, has been kindly noticed by Mr. Murray, and has accomplished the difficult feat of a second edition. Apollo is beginning to discharge his retinue of sprawling men-servants, and to have handmaids about his immortal person, to dust his rays and polish his bow and fire-irons. If the great He- Creatures intend to get into place again, they must take Mrs. Bramble's advice, and "have an eye to the maids." -John Hamilton Reynolds (1832) Although their influence and even their existence has been largely unac­ knowledged by literary scholars and critics throughout most of the twentieth century, women poets were, as their contemporary John Hamilton Reynolds nervously acknowledged, a force to be reckoned with in early-nineteenth­ century Britain.1 Not only Felicia Hemans and Caroline Norton but Letitia Elizabeth Landon and Mary Howitt were major players and serious competi­ tors in the literary marketplace of Reynolds's time. Their poetry was reviewed in the most prestigious journals, respected by discerning readers, reprinted, imitated, anthologized, sung, memorized for recitation, copied into com­ monplace books, and bought by the public. Before their time, prominent writers such as Joanna Baillie, Anna Letitia Barbauld, Hannah More, Mary Robinson, Anna Seward, Charlotte Smith, Mary Tighe, and others helped to change the landscape of British poetry both in style and in subject matter.
    [Show full text]
  • Regency Actors and the Inspiration Behind Romantic Drama
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama James Armstrong The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2317 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FIT FOR THE STAGE: REGENCY ACTORS AND THE INSPIRATION BEHIND ROMANTIC DRAMA by JAMES ARMSTRONG A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 ii © 2017 JAMES ARMSTRONG All Rights Reserved iii Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama by James Armstrong This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. May 12, 2017 ______________________________ Date Chair of Examining Committee Marvin Carlson Distinguished Professor May 12, 2017 ______________________________ Date Executive Officer Peter Eckersall Professor ______________________________ Jean Graham-Jones Professor ______________________________ Annette J. Saddik Professor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama by James Armstrong Adviser: Distinguished Professor Marvin Carlson In this dissertation, I argue that British verse tragedies of the Romantic era must be looked at not as "closet dramas" divorced from the stage, but as performance texts written with specific actors in mind.
    [Show full text]
  • Bremhill Draft (April 2021).Pdf
    [Draft text by Dr Louise Ryland-Epton, completed April 2021 apart from the first section and minor checking to be undertaken when restrictions are lifted] BREMHILL LANDSCAPE, SETTLEMENT AND BUILDINGS [not yet completed] LANDOWNERSHIP Before the Reformation the manors of Bremhill, Foxham and Spirthill were in possession of the monks of Malmesbury abbey. The adjacent manor of Stanley belonged to the Cistercian order of Stanley abbey. At the dissolution of the monasteries, these estates were acquired by Sir Edward Bayntun. From the 16th to the 20th century, they were primarily held by non- resident lords. In the 20th century, these estates were sold off as separate farms and small holdings. Bremhill Manor King Athelstan gifted an estate at Bremhill to Malmesbury abbey c.935.1 However, the authenticity of the charter has been questioned.2 A confirmation of the abbey’s land and privileges by Edward in 1065 is also disputed.3 In 1086 the manor of Bremhill was held by the monks of Malmesbury abbey. It paid geld for 38 hides.4 The estate was surrendered to the crown in 1539 and acquired by Sir Edward Bayntun of Bromham (will pr. 1545), vice- chamberlain to five wives of Henry VIII, the following year.5 Sir Edward Bayntun was succeeded by his son, Andrew (d.1564).6 Andrew briefly lost control of his estates, after which financial difficulties led him to entail them to his brother, Edward (d.1593). However, the financial mismanagement continued, and on Andrew’s death in 1564, his brother was involved in a court action to secure the inheritance.
    [Show full text]
  • Introduction
    INTRODUCTION Carlyle and the Literary Review Although the works included in this volume were collected as “essays,” they began their lives under the more modest guise of the literary review. The differ- ence might be defined in terms of the role of the writer. Essayists present their own ideas, whereas reviewers recapitulate and critique the ideas of others. This distinction was familiar to Carlyle and his contemporaries. According to Joanne Shattock, “The difference between an essay and a review was never articulated by reviewers and editors, but it is clear from correspondence that most reviewers considered themselves to be writing either one or the other” (110). Nonetheless, as Carlyle’s essays reveal, while many reviewers aimed primarily to convey the basic qualities and ideas of the work under review, they could, and often did, use the occasion of commenting on someone else’s writing as an opportunity for developing their own ideas. The review often metamorphosed into the essay. Literary reviews first appeared in England in the early eighteenth century, with the number of periodicals publishing reviews increasing rapidly after mid- century. The standard for the latter half of the century was set by the Monthly Review, which began publication in 1748. Other reviews (the most widely cir- culated of which was the Critical Review) soon appeared, but they all followed more or less the same model. They aimed to be comprehensive, reviewing all publications of substance, which meant that they included many short reviews and a smaller number of more in-depth reviews. The Monthly is also credited with introducing evaluation along with the abstracts and summaries typical of the earliest reviews.
    [Show full text]
  • The Tradition of Theriophily in Cowper, Crabbe, and Burns
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 The rT adition of Theriophily in Cowper, Crabbe, and Burns. Rosemary Moody Canfield Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Canfield, Rosemary Moody, "The rT adition of Theriophily in Cowper, Crabbe, and Burns." (1971). LSU Historical Dissertations and Theses. 2034. https://digitalcommons.lsu.edu/gradschool_disstheses/2034 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 72-3470 CANFIELD, Rosemary Moody, 1927- THE TRADITION OF THERIOPHILY IN COWPER, CRABBE, AND BURNS. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1971 Language and Literature, general University Microfilms, A \ERQX Company , Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED The Tradition of Theriophily in Cowper, Crabbe, and Burns A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Rosemary Moody Canfield B.A., University of Minnesota, 1949 M.A., University of Minnesota, 1952 August, 1971 PLEASE NOTE: Some Pages have indistinct print. Filmed as received. UNIVERSITY MICROFILMS TABLE OF CONTENTS PAGE TITLE P A G E .............................................. i ACKNOWLEDGEMENT........................................ ii ABSTRACT ............................................... iv I. INTRODUCTION....................................... 1 II. THERIOPHILY IN THE WORK OFWILLIAM COWPER .
    [Show full text]
  • The Arthurian Legend in British Women's Writing, 1775–1845
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Online Research @ Cardiff Avalon Recovered: The Arthurian Legend in British Women’s Writing, 1775–1845 Katie Louise Garner B.A. (Cardiff); M.A. (Cardiff) A thesis submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy School of English, Communication and Philosophy Cardiff University September 2012 Declaration This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed ………………………………………… (candidate) Date ……………………… STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. Signed ………………………………………… (candidate) Date ……………………… STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. The views expressed are my own. Signed ………………………………………… (candidate) Date ……………………… STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed ………………………………………… (candidate) Date………………………… STATEMENT 4: PREVIOUSLY APPROVED BAR ON ACCESS I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loans after expiry of a bar on access previously approved by the Academic Standards & Quality Committee. Signed ………………………………………… (candidate) Date………………………… Acknowledgements First thanks are due to my supervisors, Jane Moore and Becky Munford, for their unceasing assistance, intellectual generosity, and support throughout my doctoral studies.
    [Show full text]
  • Tennyson's Poems
    Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.
    [Show full text]
  • Cognitive Architectures: Structures of Passion in Joanna Baillie's Dramas Daniel James Bergen Marquette University
    Marquette University e-Publications@Marquette Dissertations (2009 -) Dissertations, Theses, and Professional Projects Cognitive Architectures: Structures of Passion in Joanna Baillie's Dramas Daniel James Bergen Marquette University Recommended Citation Bergen, Daniel James, "Cognitive Architectures: Structures of Passion in Joanna Baillie's Dramas" (2010). Dissertations (2009 -). Paper 66. http://epublications.marquette.edu/dissertations_mu/66 COGNITIVE ARCHITECTURES: STRUCTURES OF PASSION IN JOANNA BAILLIE’S DRAMAS by Daniel James Bergen, B.A., M.A. A Dissertation submitted to the Faculty of the Graduate School, Marquette University, in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Milwaukee, Wisconsin December 2010 ABSTRACT COGNITIVE ARCHITECTURES: STRUCTURES OF PASSION IN JOANNA BAILLIE’S DRAMAS Daniel James Bergen, B.A., M.A. Marquette University, 2010 The burgeoning Industrial Revolution, coupled with the scent of a far different revolution briskly blowing across the English Channel, nourished a significant amount of aristocratic anxiety throughout late eighteenth and early nineteenth century Britain. The stratifying effects of inherited wealth were dissolving and an ascending middle class was making its way into traditionally upper class social circles, political discussions, and capitalistic ventures. In a letter, written to Sir Walter Scott in the late spring of 1812, Joanna Baillie, the Scottish playwright best known for her Plays on the Passions, 1798 and her theoretical notion of sympathetic
    [Show full text]
  • A Dark Ecology of Performance: Mapping the Field of Romantic Literary Celebrity Through Gothic Drama
    A Dark Ecology of Performance: Mapping the Field of Romantic Literary Celebrity through Gothic Drama Brian R. Gutiérrez A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Marshall Brown, Chair Juliet Shields Raimonda Modiano Program Authorized to Offer Degree Department of English 2 ©Copyright 2017 Brian R. Gutiérrez 3 University of Washington Abstract A Dark Ecology of Performance: Mapping the Field of Romantic Literary Celebrity through Gothic Drama Brian Robert Gutiérrez Chair of the Supervisory Committee: Professor Emeritus Marshall Brown Comparative Literature Gothic drama reached a height of popularity in the 1790s, partly due to celebrity actors like Sarah Siddons. Yet we know very little about the relationship between the many writers of gothic dramas and the celebrity apparatus. Although critics such as Richard Schickel regard literary celebrity as strictly a twentieth century phenomenon, recently other scholars have been arguing for a broader historical view. Richard Salmon, for instance, has cited photography, investigative journalism, and the phenomenon of authors being interviewed at their homes as evidence of the machinery of celebrity culture operating in the 19th century; David Higgins and Frank Donoghue have argued for the importance of periodical writing in the 18th and 19th centuries, and Claire Brock and Judith Pascoe have pointed out the feminization of fame and public theatricality in the Romantic period. And Tom Mole, in addition to examining the career of Lord Byron in the context of celebrity culture, has recently edited a collection of essays on the material and discursive elements of celebrity culture from 1750 to 1850 to provide a “synoptic picture of celebrity.” 4 Yet the most popular and profitable literary genre of the Romantic era has remained a stepchild of criticism, the victim of a disjuncture between literary critical study of dramatic texts and historical study of performance culture.
    [Show full text]