Durham E-Theses
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
On the Rise and Progress of Popular Disaffection,” in Es- Says, Moral and Political, 2 Vols
Notes Introduction 1. Robert Southey, “On the Rise and Progress of Popular Disaffection,” in Es- says, Moral and Political, 2 vols. (1817; London: John Murray, 1832), II, 82. The identity of Junius remained a mystery, and even Edmund Burke was suspected. For an argument that he was Sir Philip Francis, see Alvar Ellegård, Who Was Junius? (The Hague, 1962). 2. Byron, “The Vision of Judgment” in Lord Byron: The Complete Poetical Works, ed. Jerome J. McGann and Barry Weller, 7 vols. (Oxford: Clarendon Press, 1980–92), VI, 309–45. 3. M. H. Abrams, Natural Supernaturalism: Tradition and Revolution in Ro- mantic Literature (New York: W. W. Norton, 1971), p. 13. 4. See Anne K. Mellor, English Romantic Irony (Cambridge: Harvard Univer- sity Press, 1980). 5. Jerome J. McGann, The Romantic Ideology: A Critical Investigation (Chicago and London: University of Chicago Press, 1983), pp. 23–24. 6. Jerome J. McGann, Towards a Literature of Knowledge (Oxford: Clarendon Press, 1989), p. 39. 7. McGann, Towards a Literature of Knowledge, p. 39. 8. McGann, “Literary Pragmatics and the Editorial Horizon,” in Devils and Angels: Textual Editing and Literary Theory, ed. Philip Cohen (Charlottesville and London: University Press of Virginia, 1991), pp. 1–21 (13). 9. Marilyn Butler, “Satire and the Images of Self in the Romantic Period: The Long Tradition of Hazlitt’s Liber Amoris,” in English Satire and the Satiric Tradition, ed. Claude Rawson (Oxford: Basil Blackwell, 1984), 209–25 (209). 10. Stuart Curran, Poetic Form and British Romanticism (New York and Oxford: Oxford University Press, 1986), pp. 12–13. 11. Gary Dyer, British Satire and the Politics of Style, 1789–1832 (Cambridge: Cambridge University Press, 1997). -
Samuel Taylor Coleridge John Spalding Gatton University of Kentucky
The Kentucky Review Volume 4 Number 1 This issue is devoted to a catalog of an Article 6 exhibition from the W. Hugh Peal Collection in the University of Kentucky Libraries. 1982 Catalog of the Peal Exhibition: Samuel Taylor Coleridge John Spalding Gatton University of Kentucky Follow this and additional works at: https://uknowledge.uky.edu/kentucky-review Part of the English Language and Literature Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Gatton, John Spalding (1982) "Catalog of the Peal Exhibition: Samuel Taylor Coleridge," The Kentucky Review: Vol. 4 : No. 1 , Article 6. Available at: https://uknowledge.uky.edu/kentucky-review/vol4/iss1/6 This Article is brought to you for free and open access by the University of Kentucky Libraries at UKnowledge. It has been accepted for inclusion in The Kentucky Review by an authorized editor of UKnowledge. For more information, please contact [email protected]. Samuel Taylor Coleridge Gc car un1 To brc de~ In Wordsworth's judgment, Samuel Taylor Coleridge (1772-1834) was "the most wonderful man" he ever met. Endowed with one of So1 the most brilliant and complex minds of his day, he would, like bUJ Chaucer's parson, "gladly .. learn, and gladly teach." If he an< squandered a wealth of thought in correspondence and wh conversation, and left unfinished or merely projected major poems, Rh lectures, and systematic expositions of his philosophical tenets, his pre critical theories, and his theology, he nevertheless produced a vast So1 and impressive array of poetry, prose, and criticism. -
The Act of Love in Coleridge's Conversation Poems
SYDNEY STUDIES The Act of Love in Coleridge's Conversation Poems WILLIAM CHRISTIE When George McLean Harper first identified Coleridge's Con versation poems in an essay published in 1925, he wrote of them in a casual, elegant, and amateurish way that one recent critic dismissed as belletristic.1 Harper begins by introducing a person -"a young poet whom I love"-and a problem: what should he write about Coleridge? What is more he begins with a particu larity of personal reference that would amount to gross impro priety in a contemporary critical essay; the young poet, Harper says, "has just left my house and driven away in the soft darkness of a spring night, to the remote cottage in the Delaware valley where he meditates a not thankless Muse".2 Contemporary lit erary criticism is, thankfully, subject to intellectual and scholarly rigours unknown to Harper, whose genial approach arguably denied him access to the more profound and more subtle achieve ments of the poems. There are two very good reasons, however, why his essay should not be dismissed as oblique and self-centred-though it is both at the beginning. The first is that the style and structure of the essay implicitly evaluate the style and structure of the Con versation poems themselves by imitating them. Both the essay and the poems record the apparently casual rhythm of the mind, expanding and contracting, and yet both are organized in a far from casual way. Both are "so natural and real, and yet so dig- 1 Kelvin Everest in Coleridge's Secret Ministry: The Context of the Conversation Poems 1795-1798, Sussex 1979, p. -
Reminiscences of Samuel Taylor Coleridge and Robert Southey by Joseph Cottle
Reminiscences of Samuel Taylor Coleridge and Robert Southey by Joseph Cottle Reminiscences of Samuel Taylor Coleridge and Robert Southey by Joseph Cottle Produced by Jonathan Ingram, Thomas Berger, Charles Franks and the Online Distributed Proofreading Team. [Illustration: Portrait.] * * * * * REMINISCENCES OF SAMUEL TAYLOR COLERIDGE AND ROBERT SOUTHEY by JOSEPH COTTLE * * * * * INTRODUCTION. It is with a solemnized feeling that I enter on these Reminiscences. page 1 / 646 Except one, I have survived all the associates of my earlier days. The young, with a long life in perspective, (if any life can be called long, in so brief an existence) are unable to realize the impressions of a man, nearer eighty than seventy, when the shadows of evening are gathering around, and, in a retrospective glance, the whole field of past vision appears, in all its complexities, like the indistinct tumults of a dream. The acute reasoner--the fiery politician--the eager polemic--the emulous aspirant after fame; and many such have I known, where are they? and how mournful, if any one of them should be found, at last, to have directed his solicitudes, alone, to material objects;--should have neglected to cultivate his own little plot of earth, more valuable than mines! and have sown no seeds for eternity. It is not a light motive which could have prompted me, when this world of "Eye and Ear" is fast receding, while grander scenes are opening, and so near! to call up almost long-forgotten associations, and to dwell on the stirring, by-gone occurrences that tend, in some measure, to interfere with that calm which is most desirable, and best accords with the feelings of one who holds life by such slender ties. -
Select Who's Who
Select Who's Who These brief notes are intended to amplify references in the Chron ology, particularly to individuals not in the public domain. The well-known figures of Wordsworth, Lamb, Southey, Byron, De Quincey and Hazlitt are excluded, as are Mary Lamb and Dorothy Wordsworth, since information about them is readily available elsewhere. Adams, Dr Joseph (1756-1818), physician and editor of the Medical and Physical Journal, published a book on cancer in 1795. In 1805 he became physician to the Smallpox Hospital in London. He recom mended STC to the care of James Gillman in 1816. Aders, Mr and Mrs Charles Mr Aders was a wealthy German mer chant who lived in Euston Square and owned valuable paintings. STC met him during the Highgate years. Mrs Aders, nee Eliza Smith, was a daughter of John Raphael Smith, painter and engraver. STC addressed his poem The Two Founts' to her. The Aders' home housed a fine collection of Italian, early Flemish and German paint ings. Samuel Palmer visited in the 1820s, as did Charles Lamb, who wrote a poem describing it as a chapel. Allen Robert (1772-1805), known as 'Bob Allen', was an army sur geon and journalist. He was at Christ's Hospital with STC, and went on as a sizar to University College, Oxford, where STC visited him in 1794; Allen introduced him to Southey of Balliol. He became inter ested in Pantisocracy, but defected by the end of the year. STC wrote in his defence to Southey, 'He did never promise to form one of our party' (Letters, !. -
Oriental Diction and Theme in English Verse, 1740-1840
BULLETIN OF THE UNIVERSITY OF KANSAS HUMANISTIC STUDIES Vol. 2 May 1, 1916 No. 1 ORIENTAL DICTION AND THEME IN ENGLISH VERSE, 1740-1840 BY EDNA OSBORNE, A. M. Fellow-elect in English, The University of Kansas LAWRENCE, MAY, 1916 PUBLISHED BY THE UNIVERSITY PREFACE The writer's interest in Orientalism in English literature began at the University of Illinois in 1911, when Professor H. G. Paul, in a lecture on the Romantic poets, emphasized Byron's Oriental coloring and suggested that its study would make a good thesis. A little later this interest took form in a master's thesis on The Orientalism of Byron, which was accepted by the English Depart• ment of the University of Kansas in 1914. This preliminary study opened up a field which seemed boundless, and which offered very attractive appeals to the student of foreign influences on English literature. One does not need to be acquainted with Oriental languages or Oriental literature to trace with some profit the effects of Oriental interests on English verse and prose. It has been impossible to examine all the English verse from 1740 to 1840; but the chief poets have been reviewed with a good deal of care, and many of the minor ones. The Oriental drama offers a field by itself, and only a few dramas have been included in the present survey. It is hoped that all the main characteristics of Oriental diction and theme in the period have been recognized and given some attention in this paper. There has been no effort at a microscopic examina• tion, at inclusion of every possible poet, passage, or term. -
Symbolism in Coleridge's Minor Poetry
SYMBOLISM IN COLERIDGE'S MINOR POETRY APPROVED: Major Professor MincwOProressor C: S Director of thp Department of English , f C D6ah of the Graduate School SYMBOLISM IN COLERIDGE'S MINOR POETRY THESIS Presented to the Graduate Council of the North Texas State University Partial Fulfillment of the R eq u ire-ments For the Degree of v MASTER OF ARTS By Viola D:?vnii Macevell, B.A. Denton, Texas Atto'u s t f 1968 TABLE OF CONTENTS ••'aqe Chapter I. INTRODUCTION . , II. PHYSICAL SYMBOLS Physical Symbols Relating to the Ce1es ti al Bodies Physical Symbols Relating to Flowers, Plants, and Trees Physical Symbols Relating to the Animal Kingdom Physical Symbol? Relating to Persons# Real and Imaginary,. Past and Present j Physical Symbols Re1?ting to Nature and Her li'le.iv^nts Physical Symbols Rile,ting to Mi3ce11aneou3 Objects III. NON-PHYSICAL SYMBOLS „ 56 V Non-Physical Symbols Concerned with the Various Stages of Light No'v-Physioai Symbols Concerned with Movement Non-Physical Symbols Concerned with the Various Aspccts of Time So.n-Phy sica 1 Symbols Concernad with Concepts Whic.ii Car, Or.ly Be Con- ceived in the Mind •••'on™Physical Syisools Concerned, with jT;tuOtions or Emotional Abstractions Selected Miscellaneous Uon-Physical Symbols IV. RELIGIOUS SYMBOLS ............... 85 Religious Symbols Pertaining to People„ Real and Imaginary \ Religious Symbols Pertaining to Animals Religious Symbols Pertaining to " Nature Chapter Page Religious Syjiibol's Pertaining to Miscellaneous Objects or Ideas V. CONCLUSIONS * 94 BIBLIOGRAPHY . 37 XV CHAPTER I INTRODUCTION Symbols in poetry are; frequently somewhat ambiguous. Often, no one, excluding possibly the author of the selection in question, can accurately inteipret any given set of 1 iter<try syrabols. -
Byron and Moore, 1811-1824
1 THE CORRESPONDENCE BETWEEN BYRON AND THOMAS MOORE, 1811-1824 Edited by Peter Cochran, with much welcome assistance from Jeffery Vail. Updated June 9th 2012. This correspondence is unique in that most of Byron’s letters to Moore have been lost. They seem to have disappeared some time during the 1840s, and we have to rely on the censored transcriptions which Moore made of them for his 1830 / 1 Life of Byron (for the sole exception, see this edition’s final item). William St Clair argues ( The Temptations of a Biographer: Thomas Moore and Byron, Byron Journal 17, 1989, pp.50-6), that Moore’s texts show signs of having been both cut and added to, with a view to increasing the affection and literary regard for him which Byron expresses. Jeffery W. Vail (The Literary Relationship of Lord Byron and Thomas Moore , Johns Hopkins 2001, pp.195-8), argues against this thesis. In his Life , Moore indicated his major cuts by asterisks, but didn’t mark his additions (if such there be) at all. See the two versions of Byron to Moore, July 10th 1817, below. Conversely, at least fifty-one letters from Moore to Byron are missing. Two previously unknown and unsuspected ones are those of July 11th 1813, and July 8th 1822. To give some idea of Tom Moore’s personality, and the way he charmed even the most tight-lipped, here is an extract from Hobhouse’s diary, September 1818. The place is Sir Francis Burdett’s estate at Ramsbury in Wiltshire: [Commentary :] Tom Moore turns up! He sings, records the disdainful Hobhouse, “one or two of his own songs in his own peculiar style”. -
{PDF} Samuel Taylor Coleridge Ebook Free Download
SAMUEL TAYLOR COLERIDGE PDF, EPUB, EBOOK Samuel Taylor Coleridge,John Beer | 128 pages | 15 Jan 1997 | Orion Publishing Co | 9780460878265 | English | London, United Kingdom Samuel Taylor Coleridge PDF Book Return to Book Page. The point was to free him of the routine material difficulties which were already closing in on him from all sides. Both those categories of poems are extremely innovative in all sorts of ways. A Cambridge Alumni Database. The poem employs the technique of his conversational poems; the sensitive rhythms and phrasing that he had learned to use in them are here masterfully deployed to represent his own depressed state of mind. Coleridge was born in Devon. A recent excavation revealed the coffins were not in the location most believed, the far corner of the crypt, but actually below a memorial slab in the nave inscribed with: "Beneath this stone lies the body of Samuel Taylor Coleridge". The problem with finishing things for Coleridge was typically that he saw two positions, or two totally different and contradictory truths. Email address. From his confinement in the garden, he celebrates the pleasures of the natural world as seen from within this harmonious community of like-minded individuals. And never a saint took pity on My soul in agony. Feelings of anomie, unworthiness, and incapacity persisted throughout a life of often compulsive dependency on others. Famous Poets. However, Eliot also criticises Coleridge for allowing his emotion to play a role in the metaphysical process, believing that critics should not have emotions that are not provoked by the work being studied. -
William Lisle Bowles and the Development of Romanticism Jeremy B
Lawrence University Lux Lawrence University Honors Projects Spring 6-9-2012 A Seat at the Table: William Lisle Bowles and the Development of Romanticism Jeremy B. Savage Lawrence University, [email protected] Follow this and additional works at: https://lux.lawrence.edu/luhp Part of the Literature in English, British Isles Commons © Copyright is owned by the author of this document. Recommended Citation Savage, Jeremy B., "A Seat at the Table: William Lisle Bowles and the Development of Romanticism" (2012). Lawrence University Honors Projects. 28. https://lux.lawrence.edu/luhp/28 This Honors Project is brought to you for free and open access by Lux. It has been accepted for inclusion in Lawrence University Honors Projects by an authorized administrator of Lux. For more information, please contact [email protected]. A Seat at the Table: William Lisle Bowles And The Development of Romanticism By Jeremy Bradford Savage I hereby Reaffirm the Lawrence University Honor Code: __________________________________ May 9 th , 2012 Jeremy Savage 1 TABLE OF CONTENTS Introduction: 5 Chapter I: Bowles and the Neoclassicists 19 Part I: 21 Part II: 35 Chapter II: Bowles and Coleridge 44 Part I: 49 Part II: 71 Part III: 77 Chapter III: Bowles and Byron 90 Part I: 94 Part II: 103 Part III: 109 Conclusion: 118 Works Cited: 122 2 Acknowledgements To my Grandmother, Selma Savage, who inspired in me the love of learning at a young age, and who, in her continued support has motivated me to do my best work for the past four years. I love you Grandma. Thank you to: Katherine Berling (for your endless patience); My Family, Judith, Jonathan, Julia, Justin and Maddie Savage; My Grandmother, Virginia Colenback; My advisors, Timothy Spurgin, and John Dreher; My professors and friends, Celia Barnes and Sarah Alexander; My tutors at Hertford College, Oxford University: Jennifer McAuley, Helena Kelly, and David Tolley; I am indebted to all of you. -
The Poems of Samuel Taylor Coleridge By
The Poems of Samuel Taylor Coleridge by SAMUEL TAYLOR COLERIDGE 1787-1833 DjVu Editions E-books © 2001, Global Language Resources, Inc. Coleridge: Poems Table of Contents Easter Holidays . 1 Dura Navis . 2 Nil Pejus est Caelibe Vitæ . 4 Sonnet to the Autumnal Moon . 5 Anthem for the Children of Christ’s Hospital . 6 Julia . 7 Quae Nocent Docent . 8 The Nose . 9 To the Muse . 11 Destruction of the Bastile . 12 Life . 14 Progress of Vice . 15 Monody on the Death of Chatterton . 16 An Invocation . 19 Anna and Harland . 20 To the Evening Star . 21 Pain . 22 On a Lady Weeping: Imitation from the Latin of Nicolaus Archius . 23 Monody on a Tea-kettle . 24 Genevieve . 26 On Receiving an Account that his Only Sister’s Death was Inevitable . 27 On Seeing a Youth Affectionately Welcomed by a Sister . 28 A Mathematical Problem . 29 Honour . 32 On Imitation . 34 Inside the Coach . 35 Devonshire Roads . 36 Music . 37 Sonnet: On Quitting School for College . 38 Absence: A Farewell Ode on Quitting School for Jesus College, Cambridge . 39 Happiness . 40 A Wish: Written in Jesus Wood, Feb. 10, 1792 . 43 An Ode in the Manner of Anacreon . 44 To Disappointment . 45 A Fragment Found in a Lecture-Room . 46 Ode . 47 A Lover’s Complaint to his Mistress . 49 With Fielding’s ‘‘Amelia’’ . 50 Written After a Walk Before Supper . 51 Imitated from Ossian . 52 The Complaint of Ninathóma: From the same . 53 Songs of the Pixies . 54 The Rose . 57 - i - Kisses . 58 The Gentle Look . 59 Sonnet: To the River Otter . -
Kubla Khan Study Guide
Kubla Khan 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: The Poem “Kubla Khan,” one of the most famous and most analyzed English poems, is a fifty-four-line lyric in three verse paragraphs. In the opening paragraph, the title character decrees that a “stately pleasure-dome” be built in Xanadu. Although numerous commentators have striven to find sources for the place names used here by Samuel Taylor Coleridge, there is no critical consensus about the origins or meanings of these names. The real-life Kubla Khan, a thirteenth century Mongolian general and statesman who conquered and unified China, lived in an elaborate residence known as K’ai-p’ing, or Shang-tu, in southeastern Mongolia. Coleridge’s Kubla has his palace constructed where Alph, “the sacred river,” begins its journey to the sea. The construction of the palace on “twice five miles of fertile ground” is described. It is surrounded by walls and towers within which are ancient forests and ornate gardens “bright with sinuous rills.” Xanadu is described more romantically in the second stanza. It becomes “A savage place! as holy and enchanted/ As e’er beneath a waning moon was haunted/ By woman wailing for her demon-lover!” It is inhabited not by Kubla’s family and followers, but by images from Coleridge’s imagination.