DOCSLIB.ORG

Charles Lamb's Romantic Collaborations Author(S): Alison Hickey Source: ELH, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Double Bonds: Charles Lamb's Romantic Collaborations Author(s): Alison Hickey Source: ELH, Vol. 63, No. 3 (Fall, 1996), pp. 735-771 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/30030122 Accessed: 27/01/2009 15:08 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=jhup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to ELH. http://www.jstor.org DOUBLE BONDS: CHARLES LAMB'SROMANTIC COLLABORATIONS BY ALISONHICKEY Duplex nobis vinculum, et amicitiae et similium junctarumque Camoenarum; quod utinam neque mors solvat, neque temporis longinquitas! -Groscollius "Double is the chain that binds us-both of friendship and of like Muses joined together. Would that neither death nor distance of time could dissolve it!" So reads the invented epigraph to Poems, by S. T Coleridge, Second Edition, to which are now added Poems by Charles Lamb and Charles Lloyd (1797).1 The volume bears witness to another bond as well: Lamb's portion of the text is dedicated, "with all a brother's fondness ... to Mary Ann Lamb, the author's best friend and sister"-and later his partner in domestic and authorial"double singleness" (LW, 5:283, 2:75). An account of these overlapping and sometimes competing sets of double bonds can give us insight not only into the Lambs' particular authorial relations to each other and to others, but also into collaboration in its "Roman- tic" contexts. Collaborative relations are an indisputable fact of the Romantic period, traceable through authors' published accounts of the genesis of their texts; through personal journals, epistolary exchanges, publi- cation history, and the testimony of contemporaries; and through allusion, echo, thematic resemblances, and shared ideas. Relying on such evidence, scholars have produced numerous detailed studies of the indebtedness of the Romantics (particularly Wordsworth and Coleridge) to each other, as well as to other sources. But we have yet to comprehendthe extent to which Romantictexts-both those that we commonly associate with collaboration (such as the Lyrical Ballads) and those that we routinely attribute to single authors-represent their own collaborative origins.2 Romantic texts thematize and stage collaboration in metaphors of organic relation and in dialogic patterns and strategies that have become the hallmark of recent Romanticist criticism, though (mis- ELH 63 (1996) 735-771 c 1996 by The Johns HopkinsUniversity Press 735 leadingly) with little explicit reference to collaboration. In addition to reflecting and being reflected in Romantic preoccupations, Ro- mantic collaboration has implications beyond Romanticism. If its emergence is an inaugural moment, rather than a transient one, we may think of subsequent generations as writing within or against its structures, metaphors, and rhetorical strategies: Romantic collabora- tion becomes something for later writers to collaborate with. More- over, since the still-prevalent assumption that creation is a solitary process owes much to insufficiently-considered notions of Romanti- cism as the flourishing of individual genius, a reexaminationof the origins of such notions can contribute to a broader revision of the history of collaboration, and of authorship generally. This is a revision that recent studies of "discourse" and "the dialogic"have alreadybegun, mounting an arrayof strong challenges to the idea of the author as a unitary subject. But while these analyses are important for suggesting that writing is not the expres- sion of individual identity, they do not offer a complete critical framework or vocabulary for an account of collaboration.3Rather than elaborating upon the opposition between the traditionalsingle- figure approach and Foucauldian notions of discourse-a procedure that would risk marginalizingonce again the considerable territory on which the death of the mythical single author may mean the birth of what JackStillinger calls "realmultiple authors"-this essay explores Romantic collaboration in one of its complex manifestations, by looking at the ways in which Charles Lamb's, S. T. Coleridge's, and Mary Lamb's writings represent the collaborative relations that bound the three authors together.4 The role of collaborationin the Romantic period is tied to political and social developments ranging from ideals of revolutionaryfrater- nity to changing gender roles, attitudes toward sexuality,and concep- tions of family, friendship, and marriage. At a time when periodicals were shaping public opinion to an unprecedented degree, the idea of collaboration became an important instrument in the division of audiences along political and aesthetic lines. Writers of the period exploited the perception of collaboration for their particularcritical, authorial, or political ends.5 In one of the most famous instances, "C-dge and S-t-y, L-d and L-be and Co." were pilloried together in Canning's "New Morality"verses in the Anti-Jacobin, alongside the usual "Jacobin" suspects.6 (Coleridge and Southey were already known for their revolutionary sympathies; Lloyd had dedicated Blank Verse, his joint volume with Lamb, to Southey and, 736 Charles Lamb's Romantic Collaborations moreover, had opened the volume with a tribute to Pantisocracy, sounded some Godwinian and Priestleyan notes, included lines to MaryWollstonecraft, and in short done everything possible to arouse anti-Jacobin sentiments.) The verses were reprinted in the new monthly Anti-JacobinReview with Gillray'snotorious cartoon depict- ing Coleridge and Southey as asses, holding "Dactylics"and "Saphics," respectively. Lloyd and Lamb appear as a toad and a frog, reading from Blank Verse, by Toad and Frog. These representations in the Anti-Jacobin anticipate such defining gestures as Francis Jeffrey's referring to Wordsworth,Coleridge, and Southey as "asect of poets," or, in turn, Southey's labelling the Shelleys and Byron "a league of incest."' Such groupings precede and underlie subsequent notions of Romanticism as a "movement"and suggest the extent to which the perception of collaboration may have helped to determine the classifications on which literary histories have been based.8 In dedicating his 1818 Works to Coleridge, Lamb recalls with some ambivalence the features of the relation that bound the three in their early writing years: his own verses, he admits to Coleridge, "were first published among your poems, and were fairly derivatives from you and them. My friend Lloyd and myself came into our first battle (authorship is a sort of warfare) under cover of the greater Ajax." The battle image figures Lamb and Lloyd as comrades entering the antagonistic realm of the literary marketplace together, but also as rivals competing for fame, in an engagement that blurs the distinction between love and animosity. Lamb goes on in the Dedication to refer somewhat cryptically to a "snapp[ing of] the threefold cord," a falling-out among the three friends that took place on the battlefield of publication (LW, 5:1). In the Monthly Magazine of November 1797, Coleridge (alias "Nehemiah Higginbottom") published Sonnets attempted in the Manner of Contemporary Writ- ers, mocking Lloyd, Lamb, and himself for "affectation of unaffect- edness, of jumping & misplaced accent on common-place epithets, flat lines forced into poetry by Italics . puny pathos &c &c."9 Southey, already estranged from Coleridge, thought he recognized himself in the sonnet "To Simplicity"and was outraged-a response that baffled Coleridge: "how you could apply to yourself a Sonnet written to ridicule infantine simplicity, vulgar colloquialisms, and lady-like Friendships-I have no conception" (CL, 1:359). The complicated plot is still further "embroil[ed] & embrangle[d]" (CL, 1:563) by the possibility that "some ungracious bookseller" (the publisher Cottle) was an "authorof the separation"(LW, 5:1). Lloyd Alison Hickey 737 declared through Cottle that he did not wish to have his poems included in a new edition of Poems (which never came about).'oThe quarrel was escalated with the publication, in April 1798, of Lloyd's Edmund Oliver, whose debauched hero was clearly modelled on Coleridge. The novel, which Lloyd dedicated to Lamb, was itself the product of a collaborationwith Southey, with whom Lloyd was living at the time; in fact, Southey had himself planned a novel by the same name in 1796." The particularsof the quarrel have been the subject of ample documentation and speculation by Lamb's and Coleridge's editors and biographers;'2 although a permanent break between Lamb and Coleridge seemed likely, they eventually managed to forgive each other, agreeing that most of the blame lay with the unstable Lloyd.13A weary Coleridge commented to Southey (with whom he was now restored to speaking terms), "I have great affection for Lamb / but I have likewise a perfect Lloyd-and- Lambophobia!"(CL, 1:542). The 1818 Dedication is mainly concerned with the double bond that has linked Lamb and Coleridge as friends, fellow-poets, collabo- rators, and rivals.
Recommended publications
  • PAPER VI UNIT I Non-Fictional Prose—General

    PAPER VI UNIT I Non-Fictional Prose—General

    PAPER VI UNIT I Non-fictional Prose—General Introduction, Joseph Addison’s The Spectator Papers: The Uses of the Spectator, The Spectator’s Account of Himself, Of the Spectator 1.1. Introduction: Eighteenth Century English Prose The eighteenth century was a great period for English prose, though not for English poetry. Matthew Arnold called it an "age of prose and reason," implying thereby that no good poetry was written in this century, and that, prose dominated the literary realm. Much of the poetry of the age is prosaic, if not altogether prose-rhymed prose. Verse was used by many poets of the age for purposes which could be realized, or realized better, through prose. Our view is that the eighteenth century was not altogether barren of real poetry. Even then, it is better known for the galaxy of brilliant prose writers that it threw up. In this century there was a remarkable proliferation of practical interests which could best be expressed in a new kind of prose-pliant and of a work a day kind capable of rising to every occasion. This prose was simple and modern, having nothing of the baroque or Ciceronian colour of the prose of the seventeenth-century writers like Milton and Sir Thomas Browne. Practicality and reason ruled supreme in prose and determined its style. It is really strange that in this period the language of prose was becoming simpler and more easily comprehensible, but, on the other hand, the language of poetry was being conventionalized into that artificial "poetic diction" which at the end of the century was so severely condemned by Wordsworth as "gaudy and inane phraseology." 1.2.
  • THE PROSE STYLE of CHARLES LAMB. the Ohio State University

    THE PROSE STYLE of CHARLES LAMB. the Ohio State University

    This dissertation has been microfilmed exactly as received 69-4958 REECER, George Clay, 1934- THE PROSE STYLE OF CHARLES LAMB. The Ohio State University, Ph.D., 1968 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE PROSE STYLE OP Oi ARIES LAMB DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of ftiilosophy in the Graduate School of The Ohio State University By George Clay Reecer, A.B., M.A, # -a- * -a -a The Ohio State University 1968 Approved by (i . Adviser Department of English VITA February 18, 1934 Born - Glasgow, Kentucky 1956 . • • A.B., Western Kentucky State College 1959-1961 . • Teaching A s s is ta n t, Depart meat of English, Temple University, Phila­ delphia, Pennsylvania 1961 . • • . M.A., Temple University 1961-1962 . • • Instructor, Temple University 1962-1963 . • • Mershon National Graduate Fellowship, The Ohio S ta te U n iv ersity , Columbus, Ohio 1964-1968 . • • Instructor, American International College, Springfield, Massachusetts FIELDS OF STUDY Major Field: Englieh Wordsworth Professor James V. Logan Studies in Bomantic Poetry and Poetics. Professor James V. Logan Studies in Nineteenth Century Literature. Professor Bioha rd D. A ltio k i i TAELS OF CONTESTS 2*6® INTRODUCTION......................................... ....................................... 1 Chapter I. D IC T IO N ........................................................................... 13 I I . SYNTAX ................. 61 III. STRUCTURE.....................................................................
  • UNIVERSITY of CALIFORNIA, IRVINE Romantic Liberalism

    UNIVERSITY of CALIFORNIA, IRVINE Romantic Liberalism

    UNIVERSITY OF CALIFORNIA, IRVINE Romantic Liberalism DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in English by Brent Lewis Russo Dissertation Committee: Professor Jerome Christensen, Chair Professor Andrea Henderson Associate Professor Irene Tucker 2014 Chapter 1 © 2013 Trustees of Boston University All other materials © 2014 Brent Lewis Russo TABLE OF CONTENTS Page ACKNOWLEDGMENTS iii CURRICULUM VITAE iv ABSTRACT OF THE DISSERTATION v INTRODUCTION 1 CHAPTER 1: Charles Lamb’s Beloved Liberalism: Eccentricity in the Familiar Essays 9 CHAPTER 2: Liberalism as Plenitude: The Symbolic Leigh Hunt 33 CHAPTER 3: Samuel Taylor Coleridge’s Illiberalism and the Early Reform Movement 58 CHAPTER 4: William Hazlitt’s Fatalism 84 ii ACKNOWLEDGMENTS I would like to thank Charles Rzepka and the Trustees of Boston University for permission to include Chapter One of my dissertation, which was originally published in Studies in Romanticism (Fall 2013). Financial support was provided by the University of California, Irvine Department of English, School of Humanities, and Graduate Division. iii CURRICULUM VITAE Brent Lewis Russo 2005 B.A. in English Pepperdine University 2007 M.A. in English University of California, Irvine 2014 Ph.D. in English with Graduate Emphasis in Critical Theory University of California, Irvine PUBLICATIONS “Charles Lamb’s Beloved Liberalism: Eccentricity in the Familiar Essays.” Studies in Romanticism. Fall 2013. iv ABSTRACT OF THE DISSERTATION Romantic Liberalism By Brent Lewis Russo Doctor of Philosophy in English University of California, Irvine, 2014 Professor Jerome Christensen, Chair This dissertation examines the Romantic beginnings of nineteenth-century British liberalism. It argues that Romantic authors both helped to shape and attempted to resist liberalism while its politics were still inchoate.
  • By William Shakespeare

    By William Shakespeare

    BEYOND THE POINT OF CHILDISHNESS (Volume II) THE ANNOTATED BIBLIOGRAPHY OF PROSE NARRATIVES ADAPTED FOR CHILDREN FROM SHAKESPEARE' S PLAYS 1807-1998 by (WINIFRED) WEI-FANG YIN A thesis submitted to the Faculty of Arts of the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of English School of Humanities The University of Birmingham June 1999 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. r\> ^ s to cO <i- cr 6 2. Guidelines for Using the Annotated Bibliography of Prose Narratives Adapted for Children from Shakespeare' s Plays 1807-1998 Scope of Bibliography: The Annotated Bibliography seeks to document different English versions of prose stories, retold from Shakespeare' s plays for the purpose of introducing children to Shakespeare, and published as children' s literature, including the nineteenth century chapbooks and penny-dreadful magazines. Anything that falls out of this category, i.e. text-books, theatre-guides and adult-books, will not be included. However, Lambs' tales were originally written for children. Although some editions of Lambs' tales were published as adults' books, they have been treated as children' s books, simply because they contain illustrations.
  • Nervous Sympathy in the Familial Collaborations of the Wordsworth

    Nervous Sympathy in the Familial Collaborations of the Wordsworth

    The Mediated Self: Nervous Sympathy in the Familial Collaborations of the Wordsworth- Lamb-Coleridge Circle, 1799-1852 Katherine Olivia Ingle MA (University of Edinburgh) MScR (University of Edinburgh) English & Creative Writing Lancaster University November 2018 This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature. Katherine Olivia Ingle ii I declare that this thesis was composed by myself, that the work contained herein is my own except where explicitly stated otherwise in the text, and that this work has not been submitted for any other degree or professional qualification. November 2018 Katherine Olivia Ingle iii This thesis is dedicated with love to my grandmothers, Cynthia Ingle and Doreen France & in loving memory of my grandfathers, Thomas Ian Ingle, 1925-2014 & Joseph Lees France, 1929-2017 There is a comfort in the strength of love; ‘Twill make a thing endurable, which else Would overset the brain, or break the heart. Wordsworth, “Michael” Katherine Olivia Ingle iv Acknowledgements This thesis could not have taken shape without the attention, patience and encouragement of my supervisor Sally Bushell. I am deeply grateful to her for helping me to clarify ideas and for teaching me that problems are good things. I thank Sally in her numerous capacities as a Wordsworthian scholar, reader, teacher and friend. I am grateful to the Department of English & Creative Writing at Lancaster for a bursary towards an archival visit to the Jerwood Centre at The Wordsworth Trust. I thank the Curator, Jeff Cowton, for his generosity, insights and valuable suggestions.
  • 1822 ESSAYS Charles Lamb

    1822 ESSAYS Charles Lamb

    1822 ESSAYS Charles Lamb Lamb, Charles (1775-1834) - English essayist and critic well-known for the humorous and informal tone of his writing. His life was marked by tragedy and frustration; his sister Mary, whom he took lifelong care of, killed their parents in a fit of madness, and he himself spent time in a madhouse. Essays (1822) - A collection of essays written by Lamb under the pseudonym, “Elia,” including, among others, “On the Tragedies of Shakspeare,” “On the Genius and Character of Hogarth,” and “Recollections of Christ’s Hospital.” Table Of Contents CONTENTS . 3 RECOLLECTIONS OF CHRIST’S HOSPITAL . 4 ON THE TRAGEDIES OF SHAKSPEARE . 13 SPECIMENS FROM THE WRITINGS OF FULLER, THE CHURCH HISTORIAN . 25 ON THE GENIUS AND CHARACTER OF HOGARTH; WITH SOME REMARKS ON A PASSAGE IN THE WRITINGS OF THE LATE MR. BARRY . 31 ON THE POETICAL WORKS OF GEORGE WITHER 45 THE END OF THE ESSAYS OF CHARLES LAMB . 48 CONTENTS Recollections of Christ’s Hospital On the Tragedies of Shakspeare Specimens for the Writings of Fuller On the genius and Character of hogarth On the Poetical Works of George Wither RECOLLECTIONS OF CHRIST’S HOSPITAL To comfort the desponding parent with the thought that, without diminishing the stock which is imperiously demanded to furnish the more pressing and homely wants of our nature, he has disposed of one or more perhaps out of a numerous offspring, under the shelter of a care scarce less tender than the paternal, where not only their bodily cravings shall be supplied, but that mental pabulum is also dispensed, which HE hath declared to be no less necessary to our sustenance, who said, that, “not by bread alone man can live”: for this Christ’s Hospital unfolds her bounty.
  • Samuel Taylor Coleridge John Spalding Gatton University of Kentucky

    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.
  • Gilchrist Family Papers Ms

    Gilchrist Family Papers Ms

    Gilchrist Family papers Ms. Coll. 116 Finding aid prepared by Donna Brandolisio. Last updated on April 15, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 1992 Gilchrist Family papers Table of Contents Summary Information...................................................................................................................................3 Biography/History.........................................................................................................................................4 Scope and Contents.......................................................................................................................................7 Administrative Information...........................................................................................................................7 Controlled Access Headings......................................................................................................................... 8 Collection Inventory..................................................................................................................................... 9 Correspondence and writings..................................................................................................................9 Miscellaneous memorabilia.................................................................................................................. 13 Diaries of Grace Gilchrist....................................................................................................................
  • A Handlist to the Charles Lamb Society Collection at Guildhall Library

    A Handlist to the Charles Lamb Society Collection at Guildhall Library

    A Handlist to the Charles Lamb Society Collection at Guildhall Library A Handlist to the Charles Lamb Society Collection at Guildhall Library DEBORAH K. HEDGECOCK THE CHARLES LAMB SOCIETY 1995 A Handlist to the Charles Lamb Society Collection at Guildhall Library Copyright Deborah Hedgecock 1995 All rights reserved The Charles Lamb Society 1a Royston Road Richmond Surrey TW10 6LT Registered Charity number 803222: a company limited by guarantee ISSN 0308-0951 Printed by the Stanhope Press, London NW5 (071 387 0041) A Handlist to the Charles Lamb Society Collection at Guildhall Library Contents Preface and Acknowledgements 4 Abbreviations 4 Information on Guildhall Library 4 1. Introduction 5 2. Printed Books 6 2.1 Access conditions 6 2.2 Charles Lamb Society Collection: Printed Books 7 2.2.1 The CLS Pamphlet and Large Pamphlet Collection 8 2.2.2 The CLS Lecture Collection 8 2.2.3 Charles Lamb Society Publications 8 2.2.3.1 Charles Lamb Bulletins 8 2.2.3.2 Indexes to Bulletin 9 2.2.3.3 List of supplements to Bulletin 9 2.2.3.4 Charles Lamb Society Annual Reports and Financial Statements 9 3. Manuscripts 9 3.1 Access conditions 9 3.2.1 18th- and 19th-century autograph letters and manuscripts 10 3.2.2 Facsimiles and reproductions of Lamb's letters 18 3.2.3 20th-century Individuals and Collections 20 3.2.4 The Elian (Society) 25 3.2.5 The Charles Lamb Society Archive 26 4. Prints, Maps and drawings 35 4.1 Access Conditions 35 4.2.1 Framed Pictures 36 4.2.2 Pictures and Ephemera Collection 37 4.2.3 Collections of Pictures 58 4.2.4 Ephemera Cuttings Collection 59 4.2.5 Maps 61 4.2.6 Printing Blocks 61 4.2.7 Glass Slides 61 5.
  • The Life and Works of Charles Lamb

    The Life and Works of Charles Lamb

    DATE DUE Cornell University Library yysj The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924064980240 Edition de Luxe The Life and Works of Charles Lamb IN TWELVE VOLUMES VOLUME X The Letters OF Charles Lamb Newly Arranged, with Additions EDITED, WITH INTRODUCTION AND NOTES BY ALFRED AINGER VOLUME II LONDON MACMILLAN AND CO., Limited 1900 All rights reserved This Edition consists of Six Hundred and Seventy-five Copies s 1 CONTENTS CHAPTER II—(Continued) 1800—1809 LETTERS TO COLERIDGE, MANNING, AND OTHERS PAGE LXXX. To Thomas Manning Dec. 13, 1800 i LXXXI. To William Godwin Dec. 14, 1800 4 LXXXII. To Thomas Manning Dec. 16, 1800 6 LXXXIII. „ „ Dec. 27, 1800 9 LXXXIV. To Samuel Taylor Coleridge [No date—end of 1800] 12 LXXXV. To William Words- worth . Jan. 30, 1801 17 LXXXVI. „ „ Jan. 1801 19 LXXXVII. To Robert Lloyd . Feb. 7, 1801 22 LXXXVIII. To Thomas Manning Feb. 15, 180 25 LXXXIX. „ „ [Feb. or Mar. J 1801 30 L. X V b 1 LETTERS OF CHARLES LAMB LETTIR DATE PAGE XC. To Robert Lloyd . April 6, i8or 34 XCI. To Thomas Manning April 1801 38 XCII. To Robert Lloyd , April 1801 40 XCin. To William Godwin June 29, 1801 42 XCIV. To Robert Lloyd . July 26, 1801 43 XCV. To Mr. Walter Wilson Aug. 14, 1801 46 XCVL To Thomas Manning [Aug.] 1801 47 XCVIL „ „ Aug. 31, 1 80 49 XCVin. To William Godwin Sept.
  • The Romanticism of Dequincey

    The Romanticism of Dequincey

    NIVERSITY OF ILLINOIS LIBRARY Book Volume mi Digitized by the Internet Archive in 2013 http://archive.org/details/romanticismofdeqOOrupp • THE ROMANTICISM OF DEQUINCEY f BY I FWTS WTI I TA"M RUPP A. B. CARTHAGE COLLEGE, 1910 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS w IN ENGLISH IM Of THE UNIVERSITY OF ILLINOIS 1911 raw UNIVERSITY OF ILLINOIS THE GRADUATE SCHOOL 194 ( 1 HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION BY ENTITLED BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF In Charge of Major Work Head of Department Recommendation concurred in: Committee on Final Examination 1 97722 INTRODUCTION. This thesis is presented with the complete realisation that neither does it ©over adequately all the ramifications of the subject, nor does it approach in any sense an adequate treatment of the few topics that have Been selected. It will amply deserve criticise for the too apparent biographical tinge, and for the lack of that disinterested review in the light of contemporary romanticism which would lift it. more nearly into the proper sphere of the thesis. In apology the author of this paper can claim only to have followed those things which appealed to his own individual mood while reading De Quincey's works. The time required to read and to collate the entire body of essays and papers from De Quincey's pen alone, all suggestive, precluded any attention to outside criticism and comment, such as might be found in the papers of Hazlitt, Coleridge, and other contemporaries of De Quincey, or in critical estimates and biographies.
  • Issue 140 (Oct 2007)

    Issue 140 (Oct 2007)

    The Charles Lamb Bulletin The Journal of the Charles Lamb Society Oct 2007 New Series No. 140 Contents Articles DUNCAN WU: Correcting the Lambs’ Tales: A Printer’s Records 150 JAMES VIGUS: Teach yourself guides to the literary life, 1817-1825: Coleridge, DeQuincey, and Lamb 152 RICHARD LINES: Coleridge and Charles Augustus Tulk 167 EDMUND GARRATT: ‘published at the request of a poet of great and deserved celebrity’: Samuel Taylor Coleridge’s Kubla Khan and the 1816 Edinburgh Review 180 Reviews Felicity James on Mad Mary Lamb: Lunacy and Murder in Literary London By Susan Tyler Hitchcock 184 Society Notes and News from Members CHAIRMAN’S NOTES 187 150 Correcting the Lambs’ Tales: A Printer’s Records By DUNCAN WU This year marks the bicentenary of Charles and Mary Lamb’s most enduringly popular publication, Tales from Shakespear, which was published by M. J. Godwin and company,1 and has not been out of print since. At one point the Tales were to have been published anonymously but William Godwin persuaded Charles to place his name on the title-page. Mary, who wrote most of the stories, did not appear on the title-page for many years. As Charles told Wordsworth, ‘I am answerable for Lear, Macbeth, Timon, Romeo, Hamlet, Othello, for occasionally a tail piece or correction of grammar, for none of the cuts and all of the spelling. The rest is my Sister’s.’2 The Tales are evidence of their great love of children, something reflected throughout their lives. Posing for Hazlitt’s great Venetian senator portrait in John Hazlitt’s studio in 1806, Lamb became very attached to Harriet Hazlitt, John Hazlitt’s young daughter.