DON JUAN Canto 9 Written: Sts. 1-10, Venice, July 10Th 1819
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Byron's Romantic Adventures in Spain
1 BYRON’S ROMANTIC ADVENTURES IN SPAIN RICHARD A. CARDWELL UNIVERSITY OF NOTTINGHAM I On the July 2nd 1809, after several delays with the weather, Byron set off from Falmouth on the Lisbon Packet, The Princess Elizabeth , on his Grand Tour of the Mediterranean world not controlled by France. Four and a half days later he landed in Lisbon. From there, across a war-ravaged Portugal and Spain, he headed on horseback to Seville and Cádiz, accompanied by Hobhouse, details recorded in the latter’s diary. But we know little of Byron’s stay in Seville and Cádiz save what he relates in a letter to his mother, Catherine Byron, from Gibraltar dated August 11th 1809. It is ironic that Byron never saw her in life again. The first part of the letter reads as follows: Seville is a beautiful town, though the streets are narrow they are clean, we lodged in the house of two Spanish unmarried ladies, who possess six houses in Seville, and gave me a curious specimen of Spanish manners. They are women of character, and the eldest a fine woman, the youngest pretty but not so good a figure as Donna Josepha, the freedom of woman which is general here astonished me not a little, and in the course of further observation I find that reserve is not the characteristic of the Spanish belles, who are on general very handsome, with large black eyes, and very fine forms. – The eldest honoured your unworthy son with very particular attention, embracing him with great tenderness at parting (I was there but three days) after cutting off a lock of his hair, & presenting him with one of her own about three feet in length, which I send, and beg you will retain till my return. -
Turkish Tales” – the Siege of Corinth and Parisina – Were Still to Come
1 THE CORSAIR and LARA These two poems may make a pair: Byron’s note to that effect, at the start of Lara, leaves the question to the reader. I have put them together to test the thesis. Quite apart from the discrepancy between the heroine’s hair-colour (first pointed out by E.H.Coleridge) it seems to me that the protagonists are different men, and that to see the later poem as a sequel to and political development of the earlier, is not of much use in understanding either. Lara is a man of uncontrollable violence, unlike Conrad, whose propensity towards gentlemanly self-government is one of two qualities (the other being his military incompetence) which militates against the convincing depiction of his buccaneer’s calling. Conrad, offered rescue by Gulnare, almost turns it down – and is horrified when Gulnare murders Seyd with a view to easing his escape. On the other hand, Lara, astride the fallen Otho (Lara, 723-31) would happily finish him off. Henry James has a dialogue in which it is imagined what George Eliot’s Daniel Deronda would do, once he got to the Holy Land.1 The conclusion is that he’d drink lots of tea. I’m working at an alternative ending to Götterdämmerung, in which Brunnhilde accompanies Siegfried on his Rheinfahrt, sees through Gunther and Gutrune at once, poisons Hagen, and gets bored with Siegfried, who goes off to be a forest warden while she settles down in bed with Loge, because he’s clever and amusing.2 By the same token, I think that Gulnare would become irritated with Conrad, whose passivity and lack of masculinity she’d find trying. -
Don Juan from Norton.Pdf
http://www.englishworld2011.info/ DON JUAN / 669 [MANFRED expires.] ABBOT He's gone—his soul hath ta'en its earthless flight- Whither? I dread to think—but he is gone. 1816-17 1817 Don juan Byron began his masterpiece (pronounced in the English fashion, Don Joo-nn) in July 1818, published it in installments beginning with cantos 1 and 2 in 1819, and continued working on it almost until his death. Initially he improvised the poem from episode to episode. "I have no plan," he said, "I had no plan; but I had or have materials." The work was composed with remarkable speed (the 888 lines of canto 13, for example, were dashed off within a week), and it aims at the effect of improvisation rather than of artful compression; it asks to be read rapidly, at a con- versational pace. The poem breaks off with the sixteenth canto, but even in its unfinished state Don Juan is the longest satirical poem, and indeed one of the longest poems of any kind, in English. Its hero, the Spanish libertine, had in the original legend been superhuman in his sexual energy and wickedness. Throughout Byron's version the unspoken but persistent joke is that this archetypal lady-killer of European legend is in fact more acted upon than active. Unfailingly amiable and well intentioned, he is guilty largely of youth, charm, and a courteous and compliant spirit. The women do all the rest. The chief models for the poem were the Italian seriocomic versions of medieval chivalric romances; the genre had been introduced by Pulci in the fifteenth century and was adopted by Ariosto in his Orlando Furioso (1532). -
Don Byron and the Moral North
Don Byron and The Moral North ANDREW GURR N a letter of 1812 to Lady Melbourne Byron wrote, about a piece of scandal they were exchanging notes on, T never I laughed at P. (by the bye, this is an initial which might puzzle posterity when our correspondence bursts forth in the 20th century)'. It puzzled the editor of Lord Byron's Correspondence1 in which the letter was first printed, in 1922, and has continued to puzzle scholars since then. Lady Melbourne, mother-in-law of Caroline Lamb, whom Byron didn't marry, and aunt of Annabella Milbanke, whom he did, shared an intimate friendship with Byron, despite the problems created by her relatives. The cheer• fully egocentric parenthesis in the letter quoted is characteristic of this intimacy, as it is of the cynicism of the society in which they lived, and of the pleasure Byron took in hiding behind all kinds of masks of obscurity and deliberate puzzlement. Byron has defeated his biographers, largely because of this enigmatic quality which made everything he said a posture and at best a half-truth. Even Leslie Marchand's splendidly thorough biography offers more a chronicle than an analysis of its subject. Its author specifically denies that he has any 'interpretation' of Byron's character and actions — T have no thesis and have consciously avoided formulating one'.2 I begin with this because Don Juan, Byron's greatest poem, derives its nature in a more complex and yet precisely ascertainable way from its author's career, his mentality, his fame and his attitude to his fame, than perhaps any great poem written in English. -
Don Juan Study Guide
Don Juan Study Guide © 2017 eNotes.com, Inc. or its Licensors. ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. Summary Don Juan is a unique approach to the already popular legend of the philandering womanizer immortalized in literary and operatic works. Byron’s Don Juan, the name comically anglicized to rhyme with “new one” and “true one,” is a passive character, in many ways a victim of predatory women, and more of a picaresque hero in his unwitting roguishness. Not only is he not the seductive, ruthless Don Juan of legend, he is also not a Byronic hero. That role falls more to the narrator of the comic epic, the two characters being more clearly distinguished than in Byron’s Childe Harold’s Pilgrimage. In Beppo: A Venetian Story, Byron discovered the appropriateness of ottava rima to his own particular style and literary needs. This Italian stanzaic form had been exploited in the burlesque tales of Luigi Pulci, Francesco Berni, and Giovanni Battista Casti, but it was John Hookham Frere’s (1817-1818) that revealed to Byron the seriocomic potential for this flexible form in the satirical piece he was planning. The colloquial, conversational style of ottava rima worked well with both the narrative line of Byron’s mock epic and the serious digressions in which Byron rails against tyranny, hypocrisy, cant, sexual repression, and literary mercenaries. -
A History Untold by Valdis V
“Tearing Apart the Bear” and British Military Involvement in the Construction of Modern Latvia: A History Untold by Valdis V. Rundāns BASc, Waterloo, 1975 BA, Victoria, 2008 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER of ARTS in the Department of History © Valdis V. Rundāns, 2014 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee “Tearing Apart the Bear” and British Military Involvement in the Construction of Modern Latvia: A History Untold by Valdis V. Rundāns BASc, Waterloo, 1975 BA, Victoria, 2008 Supervisory Committee Dr. Serhy Yekelchyk (Department of History) Supervisor Dr. Perry Biddiscombe, (Department of History) Departmental Member iii Abstract Supervisory Committee Dr Serhy Yekelchyk (Department of History) Supervisor Dr. Perry Biddiscombe (Department of History) Departmental Member Despite significant evidence to the contrary in the Latvian language, especially the memoirs of General Pēteris Radzinš, Latvians, historians included, and others, have persisted in mythologizing the military events of 8 October to 11 November 1919 in Riga as some sort of national miracle. Since this Latvian army victory, first celebrated as Lāčplēsis Day on 11 November1920, accounts of this battle have been unrepresented, poorly represented or misrepresented. For example, the 2007 historical film Rīgas Sargi (The Defenders of Riga) uses the 1888 poem Lāčplēsis by Andrējs Pumpurs as a template to portray the Latvians successfully defeating the German-Russian force on their own without Allied military aid. Pumpurs’ dream and revolutionary legacy has provided a well used script for Latvian nation building. -
WHY WE NEED a NEW TEXT of BEPPO Peter Cochran
WHY WE NEED A NEW TEXT OF BEPPO Peter Cochran In asking for a return to Byron’s Beppo manuscripts, I do not wish to raise the issue of authorial intention. Motive is forever cloudy, perhaps even stormy, and anyone who writes regularly knows that one’s real motive for writing is often quite different from what observers take it to be, or from what, after the event, one realises oneself it was. The still harder question of whether or not a writer may be said to possess an “intention”, or even what the word implies, is likewise not my concern. I am, however, concerned about the way what authors write is transmitted, whatever their intention, and whatever “intention” may be. Again, anyone who does write and gets published knows that the way censors, editors, sub-editors, and keyboard operators work is not always a process of friendly collaboration, but can itself be motivated by other considerations – of ideology, for example, or of politeness (or impoliteness). The strange new problems engendered in our time by electronic storage, editing and retrieval are things with which Byron didn’t have to trouble himself – though if only he’d had faxes and e-mail, how much easier his lines of communication with Murray and Hunt might have been, and how much more authoritative our texts of his work! He did have two problems, however, which modern communications still might not have solved: Murray’s greed, and Murray’s editorial coterie’s caution. These two mutually incompatible factors affected – and continue to affect – the text of Beppo; but as the poem’s manuscripts survive, they may still be countered. -
Menu Eng 11.Cdr
Cold snacks he Empress started her lunch at 1 p.m. Three or four courses were served. The snacks included overseas delicacies: oysters, beefsteaks, gateau, as well as Russian ones: sturgeon, sterlet, unpressed T caviar, balyk, and also various sausages and roastbeef. At lunch the Empress drank pure water, and was served a glass of Madeira, following the doctor's advice. She adored currant jelly, diluted with water. TELNOE (MINCED FISH) BEET SALAD WITH HERRING WITH BUTTER CREAM AND CHRAIN -310- -255- VEGETABLE PASTE WITH -110- Cold snacks DUCK PATE IN ORANGE JELLY -390- Salads VEAL SALAD WITH COLD RATATOUILLE AND GAZPACHO -360- salads Hot snacks MURMANSK SCALLOPS ON CAULIFLOWER PUREE PANCAKES WITH ATLANTIC SALMON -395- AND SPINACH Home-madepancakes with slightly salted Atlantic salmon in cream sauce with spinach/200g/ FISH PIE “RASSTEGAI” -295- Tender fillet of Atlantic salmon and zander in airy puff pastry/180g/ POTATO PANCAKES WITH SALMON -395- Potato pancakes are served with slightly salted salmon and bryndza /120/50/50g/ JULIENNE WITH CHICKEN AND -280- MUSHROOMS Wild mushrooms and chicken fillet baked in dough envelope /180g/ PORK TONGUES WITH POTATOES -420- Pork tongues stewed with mushrooms and cream, -520- served with wedges of baked new potatoes /140/100/40g/ . atherine loved arranging different balls and receptions. However, her passion for simplicity often made her orgainse the shows which looked too extravagant. For instance, at burgher balls, once C loved by Catherine, everyone had to wear modest outfits while the tables were full of exquisite dishes. Soups rench cuisine, so adored by Catherine the Great, could be divided into three parts: entree, or main courses, hors d'oeuvre – starters, which are served before main courses, and entremet – neutral F dishes, served between courses. -
•Œso, We╎ll Go No More a Roving╊
Studies in English Volume 9 Article 9 1968 “So, We’ll Go No More a Roving” Robert W. Witt University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/ms_studies_eng Part of the Literature in English, British Isles Commons Recommended Citation Witt, Robert W. (1968) "“So, We’ll Go No More a Roving”," Studies in English: Vol. 9 , Article 9. Available at: https://egrove.olemiss.edu/ms_studies_eng/vol9/iss1/9 This Article is brought to you for free and open access by the English at eGrove. It has been accepted for inclusion in Studies in English by an authorized editor of eGrove. For more information, please contact [email protected]. Witt: “So, We’ll Go No More a Roving” "SO, WE'LL GO NO MORE A ROVING" by Robert W. Witt In May, 1968, the Very Reverend Eric Abbott, Dean of West minster, agreed with a plan to place a plaque in memory of George Gordon, Lord Byron, in Poet’s Comer of Westminster Abbey. Byron, of course, had never before received such recog nition. At the time of his death in 1824 his body was refused burial in Westminster Abbey because of his flagrant immorality—his numerous affairs with women of the English aristocracy, his scandalous divorce, his period of debauchery in Venice, his association with the Countess Guiccioli, as well as rumors of homosexual relationships and even of an incestuous affair with his half-sister. These known escapades and rumors of worse were enough to condemn Byron in his day and for a long while thereafter. -
THE PERFORMATIVE BYRON: THEATRICAL PRODUCTIONS in VICTORIAN ENGLAND by LIRIM NEZIROSKI (Under the Direction of Nelson Hilton)
THE PERFORMATIVE BYRON: THEATRICAL PRODUCTIONS IN VICTORIAN ENGLAND by LIRIM NEZIROSKI (Under the Direction of Nelson Hilton) ABSTRACT This dissertation presents a study of Lord Byron’s historical dramas (Marino Faliero, The Two Foscari, Sardanapalus, and Werner) alongside the performative aesthetics of Don Juan, and it uses performance theory as a hermeneutic for examining this relationship. It provides a literary analysis of some neglected works and important issues in Byron’s writings, it explores the legacy of Byron in the nineteenth-century theater, and it tests the limits of current scholarship on Romantic drama. The dissertation brings together a large amount of scholarship and provides a new perspective on Byron, Romantic drama, and the Victorian theater. INDEX WORDS: Lord Byron, Romanticism, Romantic drama, nineteenth-century theater, Don Juan, Marino Faliero, Sardanapalus, The Two Foscari, Werner, Childe Harold’s Pilgrimage, Beppo, Manfred, performance, Percy Shelley, William Charles Macready, Helen Faucit, Charles Kean, Samuel Phelps. THE PERFORMATIVE BYRON: THEATRICAL PRODUCTIONS IN VICTORIAN ENGLAND by LIRIM NEZIROSKI BA, Augustana College, 2002 MA, University of Chicago, 2003 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2011 © 2011 Lirim Neziroski All Rights Reserved THE PERFORMATIVE BYRON: THEATRICAL PRODUCTIONS IN VICTORIAN ENGLAND by LIRIM NEZIROSKI Major Professor: Nelson Hilton Committee: Roxanne Eberle Richard Menke Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2011 ACKNOWLEDGEMENTS I would like to thank some of the many people that have provided academic, financial, and moral support during my time as a graduate student. -
PAUL BUSHKOVITCH the Clergy at the Russian Court, 1689-1796
PAUL BUSHKOVITCH The Clergy at the Russian Court, 1689-1796 in MICHAEL SCHAICH (ed.), Monarchy and Religion: The Transformation of Royal Culture in Eighteenth-Century Europe (Oxford: Oxford University Press, 2007) pp. 105–128 ISBN: 978 0 19 921472 3 The following PDF is published under a Creative Commons CC BY-NC-ND licence. Anyone may freely read, download, distribute, and make the work available to the public in printed or electronic form provided that appropriate credit is given. However, no commercial use is allowed and the work may not be altered or transformed, or serve as the basis for a derivative work. The publication rights for this volume have formally reverted from Oxford University Press to the German Historical Institute London. All reasonable effort has been made to contact any further copyright holders in this volume. Any objections to this material being published online under open access should be addressed to the German Historical Institute London. DOI: 4 The Clergy at the Russian Court, 1689-1796 PAUL BusHKOVITCH When Peter the Great (1689-1725) returned home from his European tour in 1698 he had been very impressed with what he saw. He did not approve of everything, however, and was highly critical of the court of Vienna because he thought that priests, particularly theJesuit father, Friedrich Wolff von Liidingshausen, had far too much influence over Emperor Leopold I's (1658-1705) affairs. It was a 'pfäffisches Ministerium' that made peace and war as it liked, usurping the Emperor's place. 1 In the course of his own reign Peter saw to it that the clergy had as little influence as possible over politics, and his reorganization of the structure of the church in 1721 meant that the clergy, at court or elsewhere, could never again stand in the way of the tsars' policies. -
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‘Poetry turns all things to loveliness’: The Counter-Aesthetics of Disgust in Shelley’s Julian and Maddalo and Byron’s Don Juan MIMI LU The Romantic zeitgeist is polarised by the profound yearning for a prelapsarian state of organic unity and the distressed consciousness of its unattainability. In consequence, an aesthetic disgust can be detected in the literature of Romanticism generated by a concurrent mesmerisation and revulsion by the grossly corporeal world that humanity cannot transcend. This disgust, so subtly pervasive that it has been largely overlooked by commentators, is particularly prominent in the works of the ‘second generation’ Romantics, whose faith in the ability of the poetic imagination to extirpate or transmute flawed realities into their envisioned ideals was dampened by their escalating scepticism. Denise Gigante cogently argues that the manifest synaesthetic disgust in Hyperion, which Keats began working on in 1818, is ‘symptomatic of the greater philosophical and cultural sickening of the idealist subject of taste.’1 Frankenstein’s Creature, unleashed upon the cultural imaginary by Mary Shelley in the same year, epitomises the ugly excrescences that threaten to demolish Romanticism’s precariously balanced architectonics of the beautiful and the sublime. This intolerably monstrous hodgepodge of individually beautiful parts allegorises contemporary anxieties about the unbridgeable disparity between a transcendental vision and its humanly imperfect execution. This paper aims to enrich current understandings of Romantic disgust by examining the dynamic dialogue about the sickeningly ugly and the monstrous that is sustained between Percy Shelley’s Julian and Maddalo: A Conversation and the first two cantos of Lord Byron’s Don Juan.