WORDSWORTH's GOTHIC POETICS by ROBERT J. LANG a Thesis
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Lyrical Ballads
LYRICAL BALLADS Also available from Routledge: A SHORT HISTORY OF ENGLISH LITERATURE Second Edition Harry Blamires ELEVEN BRITISH POETS* An Anthology Edited by Michael Schmidt WILLIAM WORDSWORTH Selected Poetry and Prose Edited by Jennifer Breen SHELLEY Selected Poetry and Prose Edited by Alasdair Macrae * Not available from Routledge in the USA Lyrical Ballads WORDSWORTH AND COLERIDGE The text of the 1798 edition with the additional 1800 poems and the Prefaces edited with introduction, notes and appendices by R.L.BRETT and A.R.JONES LONDON and NEW YORK First published as a University Paperback 1968 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Second edition published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Introduction and Notes © 1963, 1991 R.L.Brett and A.R.Jones All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data Wordsworth, William 1770–1850 Lyrical ballads: the text of the 1978 edition with the additional 1800 poems and the prefaces. -
Wordsworth's Lyrical Ballads, 1800
Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2015 Wordsworth's Lyrical Ballads, 1800 Jason N. Goldsmith Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/facsch_papers Part of the Comparative Literature Commons, Literature in English, British Isles Commons, and the Poetry Commons Recommended Citation Goldsmith, Jason N., "Wordsworth's Lyrical Ballads, 1800" The Oxford Handbook of William Wordsworth / (2015): 204-220. Available at https://digitalcommons.butler.edu/facsch_papers/876 This Book Chapter is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. LYRICAL BALLADS, 1800 205 [tha]n in studying German' (CL, r. 459). Stranded by the weather, short on cash, and C H A P TER 11 unable to communicate with the locals, the poet turned inward, writing a series of auto biographical blank verse fragments meditating on his childhood that would become part one of the 1799 Prelude, as well as nearly a dozen poems that would appear in the second volume of the 1800 edition of Lyrical Ballads. WORDSWORTH'S L YRICAL Completed over the eighteen months following his return to England in May 1799, the 1800 Lyrical Ballads is the fruit of that long winter abroad. It marks both a literal and BALLADS, 1800 a literary homecoming. Living in Germany made clear to Wordsworth that you do not ....................................................................................................... -
Dark Romanticism in Edgar Allan Poe's the Fall of the House of Usher
KASDI MERBAH UNIVERSITY - OUARGLA Faculty of Letters and Foreign Languages Department of English Language and Literature Dissertation Academic Master Domain: Letters and Foreign Languages Speciality: Anglo-Saxon Literature Submitted by: GABANI Yassine Title: Dark Romanticism in Edgar Allan Poe’s The Fall of The House of Usher Dissertation Submitted in Partial Fulfillment of the Requirements for Master Degree in Anglo-Saxon Literature Publically defended On: 24/05/2017 Before the Jury: Mrs. Hanafi (Tidjani) Hind President KMU-Ouargla Dr. Bousbai Abdelaziz Supervisor KMU-Ouargla Mrs. Bahri Fouzia Examiner KMU-Ouargla Academic year: 2016/2017 Dedication I dedicate this work to my dear parents for their unlimited love, faith and support, I will not get to this point of my life without them. To my beloved brothers and sisters for encouraging and pushing me forward in every obstacle. To all my friends and colleagues who stood beside me in good and hard times. I Acknowledgements First of all, the greatest gratitude goes ahead to Allah who helped me to complete this study. Then, unique recognition should go to my supervisor Dr. Bousbai Abdelaziz for his great guidance, observations, and commentary and for his advice and expertise which he provided; for his generosity and help, especially for being patient with me in preparing the present work. I would like to express my heartfelt thanks to the board of examiners for proofreading and examining my paper. Finally, I would like to express my thanks to all teachers of English Department for their advice and devotion in teaching us. II Abstract The dark romantic movement is a turning point in the American literature with its characteristics that influenced many American writers. -
Analyse How Frankenstein and Blade Runner Imaginatively Portray Individuals Who Challenge the Established Values of Their Times
Analyse how Frankenstein and Blade Runner imaginatively portray individuals who challenge the established values of their times. Mary Shelley’s epistolary gothic novel Frankenstein and Ridley Scott’s 1994 seminal science fiction film Blade Runner both, despite their vastly contexts imaginatively examine the fundamental nature of what it means to be human as they challenge the established views of their times. These cautionary tales warn us of the dangers of the unethical pursuit power through scientific advancement, man’s fear of mortality and the destruction of the natural world. In Frankenstein, The Modern Prometheus Mary Shelley challenges the 19th Century view that the power of science alone will advance the quality of human existence through the character of Victor. Shelley was a key figure in Romantic literary movement and Frederic Schlegel defined Romanticism as “literature depicting emotional matter in an imaginative form” and dark Romanticism became a sub-genre known as Gothic. Victor, an archetypal Gothic character, is propelled to scientific endeavour to attain personal grandeur through sinister means. He reveals Shelly’s underlying fears as seen when he states with overwrought emotive language and personal pronouns, "I believed myself destined for some great enterprise”. He reinforces his selfish motives through high modality in the lines “Wealth was an inferior object; but what glory would attend the discovery”, emphasising his desire for immortal fame. His egotism is highlighted through verb usage when he claims grandiosely “I will pioneer a new way, explore unknown powers and unfold to the world the deepest mysteries of creation” reflecting the themes of dark Romanticism. -
The Lure of Disillusion
The Lure of Disillusion RELIGION, ROMANTICISM & THE POSTMODERN CONDITION A manuscript submitted to Palgrave Macmillan Publishers, October 2010 © James Mark Shields, 2010 SHIELDS: Lure of Disillusion [DRAFT] i The Lure of Disillusion ii SHIELDS: Lure of Disillusion [DRAFT] [half-title verso: blank page] SHIELDS: Lure of Disillusion [DRAFT] iii The Lure of Disillusion Religion, Romanticism and the Postmodern Condition James Mark Shields iv SHIELDS: Lure of Disillusion [DRAFT] Eheu! paupertina philosophia in paupertinam religionem ducit:—A hunger-bitten and idea- less philosophy naturally produces a starveling and comfortless religion. It is among the miseries of the present age that it recognizes no medium between literal and metaphorical. Faith is either to be buried in the dead letter, or its name and honors usurped by a counterfeit product of the mechanical understanding, which in the blindness of self-complacency confounds symbols with allegories. – Samuel Taylor Coleridge, The Statesman’s Manual, 1839 [R]eligious discourse can be understood in any depth only by understanding the form of life to which it belongs. What characterizes that form of life is not the expressions of belief that accompany it, but a way—a way that includes words and pictures, but is far from consisting in just words and pictures—of living one’s life, of regulating all of one’s decisions. – Hilary Putnam, Renewing Philosophy, 1992 SHIELDS: Lure of Disillusion [DRAFT] v [epigraph verso: blank page] vi SHIELDS: Lure of Disillusion [DRAFT] CONTENTS Acknowledgments ix INTRODUCTION 1 Excursus One: Romanticism—A Sense of Symbol 6 PART ONE: ROMANTICISM AND (POST-)MODERNITY 1. Romancing the Postmodern 16 The Forge and the Flame A “True” Post-Modernism The Two Faces of Romanticism Romanticism as Reality-Inscription Romantic Realism 2. -
The Dark Romanticism of Francisco De Goya
The University of Notre Dame Australia ResearchOnline@ND Theses 2018 The shadow in the light: The dark romanticism of Francisco de Goya Elizabeth Burns-Dans The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Arts and Humanities Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Burns-Dans, E. (2018). The shadow in the light: The dark romanticism of Francisco de Goya (Master of Philosophy (School of Arts and Sciences)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/214 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. i DECLARATION I declare that this Research Project is my own account of my research and contains as its main content work which had not previously been submitted for a degree at any tertiary education institution. Elizabeth Burns-Dans 25 June 2018 This work is licenced under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International licence. i ii iii ACKNOWLEDGMENTS This thesis would not have been possible without the enduring support of those around me. Foremost, I would like to thank my supervisor Professor Deborah Gare for her continuous, invaluable and guiding support. -
Russian Translation Reception of Wordsworth's
Vol. 8 Núm. 19 /Marzo - abril 2019 529 Artículo de investigación Russian translation reception of Wordsworth’s ballad “We are seven” Recepción de la traducción en ruso a Wordworth's ballad "We are seven" Recepción de la traducción en ruso uma balada de Wordworth "Somos sete" Recibido: 26 de abril de 2019. Aceptado: 20 de mayo de 2019 Written by: Dmitry N. Zhatkin (Corresponding Author)172 Anna A. Ryabova173 Abstract Resumen The article is devoted to comprehension of El artículo está dedicado a la comprensión de la Russian translation reception of William recepción de la traducción al ruso de la balada de Wordsworth’s ballad “We are Seven” (1798). It William Wordsworth "We are Seven" (1798). introduces the prose translation of this work made Introduce la traducción en prosa de este trabajo by V.N.Semyonov in 1831 for research use. It realizado por V.N.Semyonov en 1831 para uso presents a comparative analysis of the early de investigación. Presenta un análisis Russian poetic translations of this ballad created comparativo de las primeras traducciones by I.I.Kozlov (1832), E.K. <E.F.Korsh> (1835), poéticas rusas de esta balada creada por Ya.K.Grot (1842) and of the newest translation I.I.Kozlov (1832), E.K. <E.F.Korsh> (1835), by I.S.Melamed (1996). Noting the general Ya.K.Grot (1842) y de la traducción más reciente aspiration to adapt the work of the English author por I.S.Melamed (1996). Sin embargo, to Russian reality, the authors of the article, observando la aspiración general de adaptar el however, conclude that only I.I.Kozlov, the only trabajo del autor inglés a la realidad rusa, los of the early Russian translators, succeeded in autores del artículo concluyen que solo IIKozlov, transferring the internal atmosphere of the el único de los primeros traductores rusos, logró English original most fully. -
GERMAN LITERARY FAIRY TALES, 1795-1848 by CLAUDIA MAREIKE
ROMANTICISM, ORIENTALISM, AND NATIONAL IDENTITY: GERMAN LITERARY FAIRY TALES, 1795-1848 By CLAUDIA MAREIKE KATRIN SCHWABE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Claudia Mareike Katrin Schwabe 2 To my beloved parents Dr. Roman and Cornelia Schwabe 3 ACKNOWLEDGMENTS First and foremost, I would like to thank my supervisory committee chair, Dr. Barbara Mennel, who supported this project with great encouragement, enthusiasm, guidance, solidarity, and outstanding academic scholarship. I am particularly grateful for her dedication and tireless efforts in editing my chapters during the various phases of this dissertation. I could not have asked for a better, more genuine mentor. I also want to express my gratitude to the other committee members, Dr. Will Hasty, Dr. Franz Futterknecht, and Dr. John Cech, for their thoughtful comments and suggestions, invaluable feedback, and for offering me new perspectives. Furthermore, I would like to acknowledge the abundant support and inspiration of my friends and colleagues Anna Rutz, Tim Fangmeyer, and Dr. Keith Bullivant. My heartfelt gratitude goes to my family, particularly my parents, Dr. Roman and Cornelia Schwabe, as well as to my brother Marius and his wife Marina Schwabe. Many thanks also to my dear friends for all their love and their emotional support throughout the years: Silke Noll, Alice Mantey, Lea Hüllen, and Tina Dolge. In addition, Paul and Deborah Watford deserve special mentioning who so graciously and welcomingly invited me into their home and family. Final thanks go to Stephen Geist and his parents who believed in me from the very start. -
William Wordsworth. a Study of His Use and Development of Solitary Figures
WILLIAM WORDSWORTH. A STUDY OF HIS USE AND DEVELOPMENT OF SOLITARY FIGURES A Thesis Presented to the Faculty of the Department of English Kansas State Teachers College In Partial Fulfillment of the Requirements for the Degree Master of Arts by Douglas E. Mailen August 1972 PREFACE William Wordsworth's predilection for and life-long use of the solitary figure in his poetry was initially re vealed to this author while a member of a graduate class concerned with the Romantic Movement in English Literature. The class session terminated before I had achieved a con certed understanding of Wordsworth's solitary figure. However, continued reading in Wordsworth's canon directed my scattered thoughts. To objectify my own thinking on this subject, I went to secondary material. Critical recognition of the poet's interest in the solitary figure was plentiful, but his development and use of the solitary figure had not been traced. I thought that I recognized a pattern of development and use in his poetic creations, and I resolved ~ to pursue Wordsworth's progressive treatment of the solitary figure with the hope of illuminating these facets of the poet's genius which had not been treated summarily. The primary source for this study was Wordsworth's poetical canon. Special emphasis has been placed on The Prelude, his Gothic drama, The Borderers, and The Excursion. The Poetical Works of William Wordsworth, edited by Ernest de Selincourt, was vital to this stUdy, as were the notes ii included in each volume of his edition. In addition, his categorizing of Wordsworth's Works was a great aid in es tablishing the poet's development and use of the solitary figure. -
Scarcity by Gift: Horizons of the 'Lucy' Poems
From The Coleridge Bulletin The Journal of the Friends of Coleridge New Series 23 (NS) Spring 2004 © 2004 Contributor all rights reserved http://www.friendsofcoleridge.com/Coleridge-Bulletin.htm Scarcity by Gift: Horizons of The “Lucy” Poems 1 Peter Larkin ____________________________________________________________________________________________ eoffrey Hartman, who has often returned to the “Lucy” poems to take Gfurther soundings of Wordsworth and of the work of reading generally, characterises the cycle as “a group of short lyrics on the death of a young girl… [evoking] three highly charged themes: incompleteness, mourning, and memory”.2 While I can’t offer an entirely fresh reading of these minutely studied poems, it may be worthwhile to reflect upon them (and on Hartman’s readings of them in particular) in the light of this “incompleteness” considered as an horizon for both loss and dedication. This broader ramification of incompleteness (which of course equally invokes mourning and memory) may also lie on the cusp of literary and theological approaches to these elusively minimal poems. The incompleteness I focus on is not confined to Lucy’s premature death, but is one which touches the theme of a “relation of scarcity” within the juncture of human and natural life which I have explored elsewhere in relation to The Ruined Cottage, a text completed earlier in the same year (1798) in which Wordsworth embarked on the first of what we now know as the “Lucy” poems.3 Several critics note both a connection with and a shift between the earlier social narrative and the later elegiac lyrics. James Averill points out how Wordsworth’s suspicions of “the moving accident” leads him to assume an outright elegiac voice in the Goslar lyrics, a voice suspended between narrative and lyric, not telling a full story but evoking incidents underwritten by the event of a death.4 Spencer Hall finds the “resignation, acceptance, and even awe at the processes of the universe” which The Ruined Cottage had evinced “ultimately joyless”. -
Wordsworth's Habits of Mind: Knowledge Through Experience (Review)
University of New Orleans ScholarWorks@UNO English Faculty Publications Department of English and Foreign Languages 2002 Wordsworth's Habits of Mind: Knowledge through Experience (Review) Nancy Easterlin University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/engl_facpubs Part of the English Language and Literature Commons Recommended Citation Easterlin, Nancy. "Wordsworth's Habits of Mind: Knowledge through Experience." Interdisciplinary Literary Studies: A Journal of Criticism and Theory 3.2 (2002): 133-137. This Book Review is brought to you for free and open access by the Department of English and Foreign Languages at ScholarWorks@UNO. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Wordsworth’s Habits of Mind: Knowledge through Experience Nancy Easterlin University of New Orleans Brad Sullivan. Wordsworth and the Composition of Knowledge: Re- figuring Relationships Among Minds, Worlds, and Words. New York: Peter Lang, 2000. ISBN 0-8204-4857-5. xvi + 202 pp. $50.95. Many are the scholars who have sought to explicate Wordsworth’s philoso- phy, teasing out from the poetry definitions of terms such as “Nature,” “Imagi- nation,” and “Reason” and gleaning the underlying system of thought that con- nects them. Such accounts are often supported by detailed arguments about the influence of Coleridge and the philosophers, both German and English, whom that poet read so avidly and discussed with his friend and Lake District neighbor in the late 1790s. Given Wordsworth’s reluctance to address such subjects di- rectly, this persistent attention to his philosophy might seem nothing short of extraordinary—except that, especially in poems like The Prelude, Wordsworth clearly is placing his poetical meditations within the context of philosophers as diverse as Kant and Hartley. -
From Preface to Lyrical Ballads, with Pastoral and Other Poems (1802)
http://www.englishworld2011.info/ PREFACE TO LYRICAL BALLADS / 263 mind's "discriminatory powers" and to "reduce it to a state of almost savage torpor." He attributed to imaginative literature the primary role in keeping the human beings who live in such societies emotionally alive and morally sensitive. Literature, that is, could keep humans essentially human. From Preface to Lyrical Ballads, with Pastoral and Other Poems (1802) [THE SUBJECT AND LANGUAGE OF POETRY] The first volume of these poems has already been submitted to general perusal. It was published, as an experiment, which, I hoped, might be of some use to ascertain, how far, by fitting to metrical arrangement a selection of the real language of men in a state of vivid sensation, that sort of pleasure and that quantity of pleasure may be imparted, which a poet may rationally endeav- our to impart. I had formed no very inaccurate estimate of the probable effect of those poems: I flattered myself that they who should be pleased with them would read them with more than common pleasure: and, on the other hand, I was well aware, that by those who should dislike them they would be read with more than common dislike. The result has differed from my expectation in this only, that I have pleased a greater number than I ventured to hope I should please. For the sake of variety, and from a consciousness of my own weakness, I was induced to request the assistance of a friend, who furnished me with the poems of the Ancient Mariner, the Foster-Mother's Tale, the Nightingale, and the poem entitled Love.