DOCSLIB.ORG

Literary Urbanism, Visuality, and Modernity

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Literary Urbanism, Visuality, and Modernity LITERARY URBANISM, VISUALITY AND MODERNITY by JOHN BRIGHT TEPE III A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of English College of Arts and Law The University of Birmingham October 2009 [Type text] University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Literary Urbanism and the Symbolist Aesthetic argues that the modern city influences urban writers to develop particular literary-visual practices that translate urban experience into poetry and prose. Chapter one considers how urban planning in Paris during the Second Empire inspired Charles Baudelaire‘s theories of modernity and aesthetic history. Chapter two discusses how A.C. Swinburne translates Baudelairean modernity into an English literary perspective through Sapphic poetry, and the importance Swinburne‘s association with painters has in this process. Swinburne‘s friendship with James McNeill Whistler, for example, results in the ekphrastic poem ―Hermaphroditus,‖ which uses sculpture to comment upon the modern city‘s potential to heighten perceptual consciousness. Chapter three studies the application of ekphrasis in urban writing, especially the way in which Arthur Symons‘ poetry uses symbols to render an immediate awareness of the city. Symons‘ reception of French Symbolist poetics opens chapter four, and introduces T.E. Hulme and Henri Bergson as theorists who develop a means of thinking the city through internal consciousness, not geographic space. This initiates chapter five‘s interest in how Pound and Eliot use metaphors of illumination to articulate how perceptions of the city arrive through transposition and refraction. For John B. Tepe Jr. and Emily E.S. Tepe Constance H. Cone and Michael M. Cone I wish to thank, first and foremost, my supervisor Deborah Longworth for the vital encouragement, guidance, and unfading critical eye that saw this project through its most formative stages to its final printed manuscript. I am grateful to the College of Arts and Law, for providing me with a research scholarship from 2007-2009, and to the Faculty of English Department for fostering such an inclusive and supportive research environment. I would like to thank the Princeton University Rare Book and Manuscript Library for granting permission to reproduce selections from their Arthur Symons Papers in this manuscript. I am indebted to Rita Barnard at the University of Pennsylvania for taking an interest in my work and pushing me towards graduate school, and to Debra Rae Cohen pushing me further and harder at the University of Arkansas. To my family and friends, I could not have completed this project without the love and support you sent from both sides of the Atlantic and from across the North Sea. Finally, I would like to thank my husband Paul for providing oceans of support during the more difficult moments of writing and review, and for his enthusiasm and spirit during the triumphant moments of success. This thesis follows MLA standards for punctuation, including double quotation and full stop and comma placement within quotation marks. English standards have otherwise been followed for spellings. Table of Contents Introduction: The Symbolist City ........................................................................................................ 1 Chapter 1: Baudelaire and the Spaces of Parisian Modernity ......................................................... 28 I. Mnemonic Art and Urban Vision ............................................................................................... 33 II. Paris and the Second Empire .................................................................................................... 40 III. Reading Paris: The Parisian Prowler and The Flowers of Evil .................................................. 48 IV. Writing Paris: Visual Paradigms in Poetical Images ................................................................ 53 Chapter Two: Whistler, Manet, and Swinburne: Translating Baudelairean Modernity into England .......................................................................................................................................................... 73 I. Edouard Manet and Eton College ............................................................................................ 82 II. Swinburne and Sappho: Seeing London Through Ancient Greece .......................................... 87 III. Swinburne, Sappho, and Violent Modernity ......................................................................... 101 Chapter Three: Entering the Invisible City: Urban Writing and the Ekphrastic Image................... 119 I. Seeing London, Writing London .............................................................................................. 123 II. Ekphrasis, Enargeia, and Eternal Youth ................................................................................. 132 III. Michael Field and Ekphrastic Identity ................................................................................... 142 IV. Arthur Symons and Decadence: Ekphrasis, Impressionism, Symbolism............................... 151 Chapter Four: From Symbolist Spaces to the Urban Temporalities ............................................... 169 I. Symbols, Words, Time ............................................................................................................. 171 II. Theorising the City, Theorising the Mind ............................................................................... 187 III. The Intense, Cindery, City: Bergson and Hulme on Metropolitan Consciousness ................ 195 Chapter Five: T.E. Hulme, Ezra Pound and T.S. Eliot: North American Subjectivities and the City 205 I. T.E. Hulme, Henri Bergson, and the Poetic Consciousness in the City .................................... 205 II. Ezra Pound, South Kensington, and Urban Historicism ......................................................... 216 III. T.S. Eliot, The City, and the Philosophical Tradition .............................................................. 232 Conclusion ...................................................................................................................................... 252 Bibliography ................................................................................................................................... 267 Introduction: The Symbolist City Julian Wolfreys has recently noted in Writing London that the materiality of the city coexists alongside the materiality of language.1 The metropolis keeps us alive by providing the environment in which we communicate with one another; it allows us to speak, and thereby provides for our psychological well-being. The link Wolfreys identifies between material language, i.e. text, and the city is at the heart of this study, which itself examines how images of the urban environment manifest in literary and poetical works, and how subsequent literary images of the city impact the writing processes of the urban author. This enquiry investigates how literary urbanism is representative of both a specific form of cultural modernity and the very techniques writers and artists use to bring the matter of the city into print. More particularly, my argument focuses on the concept of modernity and its representation in late nineteenth and early twentieth century poetry and prose as a specific, urban-based visual practice. The ways in which individuals perform, represent, and manipulate the codes enforced by the built environment lie at the heart of this study. Further, because my argument focuses upon visuality, it has a considerable interdisciplinary interest and uses examples taken from the fine arts and criticism from the history of art to best explain its points. The aesthetic concepts presented in essays like Baudelaire‘s The Painter of Modern Life and paintings like Manet‘s Olympia describe artistic techniques that rupture conventional ways of looking to allow for varied 1 representations of time and space in the city. The modelling of modernity as a visual concept grapples with literary urbanism in a number of ways, first being how the city, as an architectural and geographical being, manifests spatially in the body and in the mind of the city dweller. Subsequently, visual modernity considers how the city dweller, through body and mind, perceives the city; and from here, how the city and the city dweller together allow for representations of urban life to arise in literature and the fine arts. In drawing these three concerns together, the thesis focuses on how artists work within a ―symbolist‖ city which functions doubly as a resource for technical method and as a resource for poetic and painted subjects. This symbolist city combines the aesthetic concerns of the visual artist with the practical demands of living and working in the urban environment. It represents at once the physical, sensing body and the practices employed by the mind to fold the sensed environment
Load more

Recommended publications
  • Observing Protest from a Place
    VISUAL AND MATERIAL CULTURE, 1300-1700 Knox Giles Knox Sense Knowledge and the Challenge of Italian Renaissance Art El Greco, Velázquez, Rembrandt of Italian Renaissance Art Challenge the Knowledge Sense and FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Sense Knowledge and the Challenge of Italian Renaissance Art FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Visual and Material Culture, 1300–1700 A forum for innovative research on the role of images and objects in the late medieval and early modern periods, Visual and Material Culture, 1300–1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things. Recognizing the fluidity of images, objects, and ideas, this series fosters cross-cultural as well as multi-disciplinary exploration. We consider proposals from across the spectrum of analytic approaches and methodologies. Series Editor Dr. Allison Levy, an art historian, has written and/or edited three scholarly books, and she has been the recipient of numerous grants and awards, from the Nation- al Endowment for the Humanities, the American Association of University Wom- en, the Getty Research Institute, the Dumbarton Oaks Research Library of Harvard University, the Whiting Foundation and the Bogliasco Foundation, among others. www.allisonlevy.com. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Sense Knowledge and the Challenge of Italian Renaissance Art El Greco, Velázquez, Rembrandt Giles Knox Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS This book was published with support from the Office of the Vice Provost for Research, Indiana University, and the Department of Art History, Indiana University.
    [Show full text]
  • WRAP THESIS Robbins 1996.Pdf
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/36344 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Decadence and Sexual Politics in Three Fin-de-Siècle Writers: Oscar Wilde, Arthur Symons and Vernon Lee Catherine Ruth Robbins Submitted for the Degree of Doctor of Philosophy University of Warwick Department of English and Comparative Literature November, 1996 Contents Summary Introduction 1 Chapter One: Traditions of Nineteenth-Century Criticism 17 Chapter Two: Towards a Definition of Decadence 36 Chapter Three: 'Style, not sincerity': Wilde's Early Poems 69 Chapter Four: The Sphinx and The Ballad: Learning the Poetics of Restraint 105 Chapter Five: Arthur Symons — The Decadent Critic as Artist 137 Chapter Six: A Poetics of Decadence: Arthur Symons's bays and Nights and Silhouettes 165 Chapter Seven: 'Telling the Dancer from the Dance': Arthur Symon's London Nights 185 Chapter Eight: Vemon Lee: Decadent Woman? 211 Afterword: 'And upon this body we may press our lips' 240 Bibliography of Works Quoted and Consulted 244 List of Illustrations, bound between pages 136 and 137 Figure 1: 'The Sterner Sex', Punch, 26 November, 1891 Figure 2: 'Our Decadents', Punch, 7 July, 1894 Figure 3: 'Our Decadents', Punch, 27 October, 1894 Figure 4: Edward Bume-Jones, Pygmalion and the Image (1878), nos 1-3 Figure 5: Edward Bume-Jones, Pygmalion and the Image (1878), no.
    [Show full text]
  • Another Route to Auschwitz: Memory, Writing, Fiction
    Another route to Auschwitz: memory, writing, fiction Jacob Timothy Wallis Simons MA (Oxon), MPhil PhD in Creative Writing University of East Anglia School of Literature and Creative Writing © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author’s prior, written consent. Abstract Holocaust fiction is one of the most contentious of the myriad of new literary genres that have emerged over the last hundred years. It exists as a limitless adjunct, or supplement, to the relatively finite corpus of Holocaust memoir. Although in the realm of fiction the imagination usually has a primary position, in this special case it is often constricted by a complex web of ethical dilemmas that arise at every turn, and even the smallest of oversights or misjudgments on the part of the writer can result in a disproportionate level of potential damage. The critical component of this thesis will explore these moral and ethical questions by taking as a starting-point the more generally acceptable mode of memoir and, by relying in part upon elements of Derridean theory, interrogating the extent to which writing may be already internal to the process of memory, and fiction may be already internal to the process of writing. On this basis, it will then seek to justify the application of fiction to the Holocaust on moral terms, but only within certain boundaries. It will not attempt to establish a rigorous set of guidelines on which such boundaries may be founded, but instead, via an analysis of what may constitute a failure, suggest that there are a number of elements which are present when Holocaust fiction is successful.
    [Show full text]
  • LOUIS BETTS, PORTRAIT PAINTER of HIGH SOCIETY: the Meadow Brook Hall Portraits of Alfred G
    d LOUIS BETTS, PORTRAIT PAINTER OF HIGH SOCIETY: The Meadow Brook Hall Portraits of Alfred G. Wilson, Matilda R. Wilson, Danny and Frances Dodge, and John F. Dodge Karen A. Morgante Portraiture has a long established tradition in American art. Datable to the colonial limners, portraits were considered a practical mode which enabled an individual to establish his “sense of being” along with ties to his family and position. Throughout the seventeenth and eighteenth-century, it was the dominant art form of the middle class Protestant society. As the country grew and prospered, the wealthy merchants and plantation families had their portraits painted in the style of their mother country. Sir Godfrey Kneller, the official por- traitist of the English aristocracy, established the model for the high court style. The Grand Manner was brought to America with the influx of immigrant painters, and gradually, by Amer- ican-born artists who studied abroad. Patrons expected the painter to capture their likeness, as well as suggest their social position. A new realm of portraiture was opened with the advent of the daguerreotype in the nineteenth-century. As the process evolved, photography provided an affordable means for the masses to have their images recorded for posterity. For some artists, the new visual realism of photography was an aid 24 to capturing an individual in action, a thought, a moment in time; other artists embraced new approaches to portraying their sitter in a more creative way. The early twentieth-century found the national and in- ternational scene in a whirlwind; economic, political, social, and technological changes affected society’s way of life and thinking.
    [Show full text]
  • INTERDISCIPLINARY JOURNAL of DECADENCE STUDIES Issue 1 Spring 2018 Hierophants of Decadence: Bliss Carman and Arthur Symons Rita
    INTERDISCIPLINARY JOURNAL OF DECADENCE STUDIES Issue 1 Spring 2018 Hierophants of Decadence: Bliss Carman and Arthur Symons Rita Dirks ISSN: 2515-0073 Date of Acceptance: 1 June 2018 Date of Publication: 21 June 2018 Citation: Rita Dirks, ‘Hierophants of Decadence: Bliss Carman and Arthur Symons’, Volupté: Interdisciplinary Journal of Decadence Studies, 1 (2018), 35-55. volupte.gold.ac.uk This work is licensed under a Creative Commons Attribution- ShareAlike 4.0 International License. Hierophants of Decadence: Bliss Carman and Arthur Symons Rita Dirks Ambrose University Canada has never produced a major man of letters whose work gave a violent shock to the sensibilities of Puritans. There was some worry about Carman, who had certain qualities of the fin de siècle poet, but how mildly he expressed his queer longings! (E. K. Brown) Decadence came to Canada softly, almost imperceptibly, in the 1880s, when the Confederation poet Bliss Carman published his first poems and met the English chronicler and leading poet of Decadence, Arthur Symons. The event of Decadence has gone largely unnoticed in Canada; there is no equivalent to David Weir’s Decadent Culture in the United States: Art and Literature Against the American Grain (2008), as perhaps has been the fate of Decadence elsewhere. As a literary movement it has been, until a recent slew of publications on British Decadence, relegated to a transitional or threshold period. As Jason David Hall and Alex Murray write: ‘It is common practice to read [...] decadence as an interstitial moment in literary history, the initial “falling away” from high Victorian literary values and forms before the bona fide novelty of modernism asserted itself’.1 This article is, in part, an attempt to bring Canadian Decadence into focus out of its liminal state/space, and to establish Bliss Carman as the representative Canadian Decadent.
    [Show full text]
  • Sir Anthony Van Dyck
    CO N T E N T S k B H u h k e s Sir Anthony Van Dyc . y g St o ‘ List of su c h of the principal w ork s of Van Dyck as are in public Galleries L I ST O F I L L U ST R A T I O N S Portrait of T homas of Savoy Fron t zspzece T he R Coronation of St . osalie by the Child Jesus Minerva at the Forge of Vulcan T h e Virgin and Child with St . Joseph Saint Francis listening to Celestial M usi c Portrait of Prince Rupert of the Palatinate Portrait of Maria Louisa De T a s sis Christ on the Cross T h e Lamentation over Christ J esus bearing the Cross S h his n aint Sebastian , wit angels removing the arrows from wou ds T he Virgin and Child with two Donors Rinaldo and Armida P I ortrait of Charles . Portraits of Prince Charles Louis and Prince Rupert of B avaria Portrait of T h e Duk e of Richmond T h e Virgin and Child with the M agdalen Christ crowned with T horns P S his W Son ortraits of ebastian Leerse , ife and Saint Jerome T h e Drunk en Silenus H M l I enrietta aria , Queen to Char es . Portrait of the Painter P M R t W the ortrait of ary u hven , ife of Artist Portrait of an Artist T h e E mperor T heodosius refused admission 1rto the Church a n Portrait of Cornelius .
    [Show full text]
  • Ernest Dowson
    ERNEST DOWSON 1 8 8 8 - 1 8 9 7 CE NP BLIS HED ETTERS REMINISCEN S , U U L “ AND MARG INALIA V I C T O R P LA R R W ITH A BIBLI OG RAPHY COM PI LE D BY H . G UY HARRI S ON NEW YORK LAU RENC E J G OMME . M CM X I V Already s eve ral of t he s o - called minor poets of the tim e have won som ething like i n i n i E th e d sputabl e es s o f cl ass cs . very s urvey of rec en t p oetry tak e s Willing a nd s e ous a ccoun of F an c s T om son ri t r i h p , E nes Dowson on e o nson a n d ohn r t , Li l J h J David son ; and for greater reasons than ” th at th e se poet s are n o longer living . rom The een ne es b o ro ok F Eight Ni ti , y H lb a ckson a e 1 1 ran c a r s . J , p g 9 (G t Ri h d Ltd , C O N T E N T S P AG E A WO RD OF E XPLANAT I ON REMI N I S CENC ES DOWS O N TH E DOC K ER MAR G I NALI A — TH E LETTE RS I . E E —a l l THE L TT R S .
    [Show full text]
  • Travelling in a Palimpsest
    MARIE-SOFIE LUNDSTRÖM Travelling in a Palimpsest FINNISH NINETEENTH-CENTURY PAINTERS’ ENCOUNTERS WITH SPANISH ART AND CULTURE TURKU 2007 Cover illustration: El Vito: Andalusian Dance, June 1881, drawing in pencil by Albert Edelfelt ISBN 978-952-12-1869-9 (digital version) ISBN 978-952-12-1868-2 (printed version) Painosalama Oy Turku 2007 Pre-print of a forthcoming publication with the same title, to be published by the Finnish Academy of Science and Letters, Humaniora, vol. 343, Helsinki 2007 ISBN 978-951-41-1010-8 CONTENTS PREFACE AND ACKNOWLEDGEMENTS. 5 INTRODUCTION . 11 Encountering Spanish Art and Culture: Nineteenth-Century Espagnolisme and Finland. 13 Methodological Issues . 14 On the Disposition . 17 Research Tools . 19 Theoretical Framework: Imagining, Experiencing ad Remembering Spain. 22 Painter-Tourists Staging Authenticity. 24 Memories of Experiences: The Souvenir. 28 Romanticism Against the Tide of Modernity. 31 Sources. 33 Review of the Research Literature. 37 1 THE LURE OF SPAIN. 43 1.1 “There is no such thing as the Pyrenees any more”. 47 1.1.1 Scholarly Sojourns and Romantic Travelling: Early Journeys to Spain. 48 1.1.2 Travelling in and from the Periphery: Finnish Voyagers . 55 2 “LES DIEUX ET LES DEMI-DIEUX DE LA PEINTURE” . 59 2.1 The Spell of Murillo: The Early Copies . 62 2.2 From Murillo to Velázquez: Tracing a Paradigm Shift in the 1860s . 73 3 ADOLF VON BECKER AND THE MANIÈRE ESPAGNOLE. 85 3.1 The Parisian Apprenticeship: Copied Spanishness . 96 3.2 Looking at WONDERS: Becker at the Prado. 102 3.3 Costumbrista Painting or Manière Espagnole? .
    [Show full text]
  • Arth.Ur Symons and Wb Yeats
    John M. Munro ARTH.UR SYMONS AND W. B. YEATS: THE QUEST FOR COMPROMISE WHEN ARTHUR SYMONS DIED in 1945 at the age of eighty, his death was ac­ knowledged by the few who noticed it as little more than the belated departure of a literary anachronism. Richard Jennings, for example, in his obituary in the February 17 issue of The New Statesman, noted his passing with these words: Last month died-physically, officially, notifiably-Arthur Symons, born in 1865: poet, drnmatist, impressionist traveller, eager enquirer into the theory and practice of what it pleased him to enumerate the 'seven arts': the arts of literature, music, painting, sculpture, architecture, handicraft, dancing and the stage. I make them eight; but it does not matter. It is, however, important to note that the indefatigable writer who in 1886 produced a slim volume on Brown­ ing which Browning tried to dissuade him from writing, the associate of all the 'Ninetyish' poets and critics of the Rhymers' Club, the too faithful disciple of Walter Pater, the friend and companion of George Moore and W. B. Yeats, died mentally-or to all creative effort- in 1908. Thereafter, all that was pub­ lished under his name must be 'received with caution'. Jennings was right, of course, in making 1908 the end of Symons' career as an effective writer, for it was then, while vacationing in Italy, that he suffered the mental breakdown which necessitated his confinement in a mental insti­ tution, and though two years later he was released and allowed to resume his interrupted literary career, it was evident that he was only in imperfect con­ trol of his faculties.
    [Show full text]
  • Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting at the National Gallery of Art Washington June 18–September 17, 2006
    Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Updated: April 3, 2006 Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting at the National Gallery of Art Washington June 18–September 17, 2006 —Titian’s Concert Champêtre Comes to the U.S. for the First Time— Titian Pastoral Concert ("Concert Champêtre"), c. 1510 oil on canv as unf ramed: 105 x 136.5 cm (41 5/16 x 53 3/4) Musée du Louv re, Departement des Peintures, Paris Photo: Réunion des Musées Nationaux/Art Resource, NY Washington, DC. A major new international exhibition, Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting, will present more than 50 masterpieces from the most exciting period of the Renaissance in Venice. Premiering June 18 through September 17 at the National Gallery of Art, Washington, the exhibition explores the relationships between these and other artists, emphasizes their innovative treatments of new pictorial themes such as the pastoral landscape, and reveals what modern conservation science has discovered about the Venetian painters’ techniques. Two museums with outstanding collections of Renaissance art, the National Gallery of Art, Washington, and the Kunsthistorisches Museum, Vienna, are the exhibition organizers: together they are contributing about one-third of the works on view. Among the most admired masterworks of the Renaissance, Titian’s Pastoral Concert ("Concert Champêtre") (c. 1510), is being lent by the Louvre to the United States for the first time. The exhibition features significant loans from The National Gallery, London; the Prado, Madrid; the Uffizi, Florence; and many other museums and private collections.
    [Show full text]
  • Ernest Dowson : the Language of Poetry at the Victorian Fin De Siecle
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Dowson, Caroline Heather Title: Ernest Dowson : the language of poetry at the Victorian Fin de Siecle. General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Ernest Dowson: The Language of Poetry at the Victorian Fin de Siècle by Caroline Heather Dowson A thesis submitted to the University of Bristol in accordance with the requirements of the degree of Ph.D.
    [Show full text]
  • ARTHUR SYMONS: SELECTED LETTERS, 1880-1935 Arthur Symons (1910) (Courtesy of Princeton University Library) Arthur Sytnons: Selected Letters, 1880-1935
    ARTHUR SYMONS: SELECTED LETTERS, 1880-1935 Arthur Symons (1910) (Courtesy of Princeton University Library) Arthur Sytnons: Selected Letters, 1880-1935 Edited by KARL BECKSON Professor of English, Brooklyn College City University of New York and JOHN M. MUNRO Professor of English American University of Beirut M MACMILLAN Selection and editorial matter© Karl Beckson and John M. Munro 1989 Softcover reprint of the hardcover 1st edition 1989 978-0-333-46450-2 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright Act 1956 (as amended), or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 33-4 Alfred Place, London WC1E 7DP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published 1989 Published by THE MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives throughout the world Typeset by Wessex Typesetters (Division of The Eastern Press Ltd) Frome, Somerset ISBN 978-1-349-10217-4 ISBN 978-1-349-10215-0 (eBook) DOl 10.1007/978-1-349-10215-0 Contents Frontispiece: Arthur Symons (1910) List of Plates vi Acknowledgements vii Introduction ix I Arthur Symons: His Career and Influence ix II Sources of Letters xii III Editorial Procedures xiv IV Key to Abbreviations xvi Biographical Chronology xviii Selected Letters 1 1 The Shaping of Talent: 1880--9 3 2 Achievement and Dissipation: 1890--6 55 3 Triumph and Disaster: 1897-1908 115 4 Years of Decline: 1909-35 201 5 Epilogue 261 Appendices A Index of Recipients and Writers of Letters (other than Symons) 263 B Index of Sources 265 C Havelock Ellis: An Unpublished Letter on Symons 267 Select Bibliography of Symons's Works 272 Index 275 v List of Plates 1 Arthur Symons, c.
    [Show full text]