Byron's Correspondence and Journals 4: June 1819-April
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BYRON COURTS ANNABELLA MILBANKE, AUGUST 1813-DECEMBER 1814 Edited by Peter Cochran
BYRON COURTS ANNABELLA MILBANKE, AUGUST 1813-DECEMBER 1814 Edited by Peter Cochran If anyone doubts that some people, at least, have a programmed-in tendency to self-destruction, this correspondence should convince them. ———————— Few things are more disturbing (or funnier) than hearing someone being ironical, while pretending to themselves that they aren’t being ironical. The best or worst example is Macbeth, speaking of the witches: Infected be the air whereon they ride, And damned all those that trust them! … seeming unconscious of the fact that he trusts them, and is about to embark, encouraged by their words, on a further career of murder that will end in his death. “When I find ambiguities in your expression,” writes Annabella to Byron on August 6th 1814, “I am certain that they are created by myself, since you evidently desire at all times to be simple and perspicuous”. Annabella (born 1792) is vain, naïve, inexperienced, and “romantic”, but she’s also highly intelligent, and it’s impossible not to suspect that she knows his “ambiguities” are not “created by” herself, and that she recognizes in him someone who is the least “perspicuous” and most given to “ambiguities” who ever lived. The frequency with which both she and she quote Macbeth casually to one another (as well as, in Byron’s letters to Lady Melbourne, Richard III ) seems a subconscious way of signalling that they both know that nothing they’re about will come to good. “ … never yet was such extraordinary behaviour as her’s” is Lady Melbourne’s way of describing Annabella on April 30th 1814: I imagine she’d say the same about Byron. -
John Murray III, 1808-1892, a Brief Memoir
rrr: JOHN MURRAY III 1808-1892 A BRIEF MEMOIR BY JOHN MURRAY IV WITH PORTRAIT AND ILLUSTRATION LONDON JOHN MURRAY, ALBEMARLE STREET, W. 1919 PREFACE I HAVE long cherished the desire to attempt the writing of a biography of my Father. The materials for such a work are superabundant, as they were in the case of my Grandfather's life. For over ten years I was engaged in collecting and arranging the correspondence before handing it over to Dr Smiles, but this had to be done in leisure hours, and for many years past such leisure hours have been denied me. With a view to keeping my Father's memory alive before the generation which knew him passes away, I wrote an article which Dr Prothero kindly accepted and published in the 'Quarterly Review.' It has brought me such a large number of gratifying letters, both from friends and strangers ; from those who knew him and those who did not, that I have been persuaded to re- publish it in the somewhat more permanent form of this small volume. I have included several passages which, owing to limits of space, had to be omitted from the ' Quarterly,' and have added my Father's own account of the origin of the Handbooks, and a few extracts from his letters home from 1830 vi PREFACE to 1884, as they will give the reader some idea of the zeal and intelligence which he imported into his travels, and which enabled him to become the Pioneer of Guide Book writers. I have to thank my brother Hallam and my sisters for their assistance in furnishing me with various details and copies of letters. -
1 Byron: Six Poems of Separation
1 Byron: Six Poems of Separation edited by Peter Cochran If one’s marriage were to collapse in humiliating, semi-public circumstances, and if one were in part to blame for its collapse, one’s reaction would probably be to maintain a discreet and (one would hope) a dignified silence, and to hope that the thing might blow over in a year or so. Byron’s reaction was write, and publish, poetry about it while it was still collapsing. The first two of these poems were written in London – the first is to his wife, and the next about and to her friend and confidante Mrs Clermont – before he left England, on Thursday April 25th 1816. The next three were written in Switzerland after his departure, and are addressed to his half-sister Augusta. The last one is again to his wife. They show violent contrasts in style and tone (the Epistle to Augusta is Byron’s first poem in ottava rima), and strange, contrasting aspects of Byron’s nature. That he should wish them published at all is perhaps worrying. The urge to confess without necessarily repenting was, however, deep within him. Fare Thee Well! with its elaborate air of injured innocence, and its implication that Annabella’s reasons for leaving him remain incomprehensible, sorts ill with what we know of his behaviour during the disintegration of their marriage in the latter months of 1815. John Gibson Lockhart was moved, five years later, to protest: … why, then, did you, who are both a gentleman and a nobleman, act upon this the most delicate occasion, in all probability, your life was ever to present, as if you had been neither a nobleman nor a gentleman, but some mere overweeningly conceited poet? 1 Of A Sketch from Private Life , William Gifford, Byron’s “Literary Father”, wrote to Murray: It is a dreadful picture – Caravagio outdone in his own way. -
Byron's Attempts to Reform English Stage in His Historical Dramas 213
Byron's Attempts to Reform English Stage in his Historical Dramas 213 Byron's Attempts to Reform English Stage in his Historical Dramas Mitsuhiro TAHARA I The English Romantic Age has properly been said to be one of the most prosperous and most productive age of the poetry throughout the long history of English literature. Until recently, therefore, most writers of the history of English literature have not paid special attention to the dramas of the age, with the exception of mentioning briefly to the melodramas as a sort of vulgar entertainment on the stage and the closet dramas only for the readers. The dramas composed by the great English Romantic poets, for example, The Borderers by Wordsworth, Remorse by Coleridge, Manfred and Cain by Byron, Prometheus Unbound and The Cenci by Shelley, and Otho the Great by Keats have been defined as 'closet drama' (lese-drama) which are written for the reader in the closet not for the audience in the theatre. They have been read as literary works. Their inappropriateness for the stage might probably come from their subjective style of writing the works by confessing them- selves, whereas the play on the stage should be produced objectively enough to attract a variety of audience on the spot. Here exists an unavoidable con- flict between the subjective way of writing which is based on the spontaneous creativity of the author and the objective way of producing which depends upon the popularity of the audience. Among the five Romantic poets mentioned above, it is evident that Byron 214 Mitsuhiro TAHARA had a greatest and longest interest in drama. -
From Monster by Don Zolidis MARY GODWIN, 18 CLAIRE CLAIRMONT
From Monster by Don Zolidis From Monster By Don Zolidis MARY GODWIN, 18 CLAIRE CLAIRMONT, 18, her step-sister 1816. Claire has just told a ghost story and is confiding her pregnancy to her step-sister. (Claire has also had an affair with Mary’s lover, Percy Shelley.) CLAIRE Did you really like it? My story? MARY I did. CLAIRE Lord Byron applauded most vigorously at the end. MARY He was your greatest champion. CLAIRE He was. Percy was silent during the entire telling, you don’t suppose he thought I wrote the story to him? MARY I have no idea. I have not spoken with him. If you are concerned as to his impressions, I suggest you ask him. He is most likely more clear on his own mind than I am. CLAIRE I shall ask him. I don’t mean to inflict pain on him – MARY I don’t believe that’s possible, Claire. CLAIRE What does that mean? MARY I believe you overestimate your impact on Percy, that’s all. CLAIRE Are you jealous? 1 From Monster by Don Zolidis MARY I have nothing to be jealous of. But simply because a man looks tenderly on you once does not mean he will feel that way forever. CLAIRE Are you referring to Byron or Percy? MARY Both. All men. You… CLAIRE Lord Byron has looked on me tenderly more than once. MARY I am sure. CLAIRE As has Percy. I don’t mean to antagonize you as you seem to feel Percy belongs exclusively to you - MARY Claire – let us leave him out of it. -
Lady Caroline Lamb and Her Circle
APPENDIX Lady Caroline Lamb and her Circle Who’s Who Bessborough, Lord (3rd Earl). Frederick Ponsonby. Father of Lady Caroline Lamb. Held title of Lord Duncannon until his father, the 2nd Earl, died in 1793. Bessborough, Lady (Countess). Henrietta Frances Spencer Ponsonby. Mother of Lady Caroline and her three brothers, John, Frederick, and William. With her lover, Granville Leveson-Gower, she also had two other children. Bruce, Michael. Acquaintance of Byron’s who had an affair with Lady Caroline after meeting her in Paris in 1816. Bulwer-Lytton, Edward. Novelist and poet, he developed a youthful crush on Lady Caroline and almost became her lover late in her life. Byron, Lord (6th Baron). George Gordon. Poet and political activist, he had many love affairs, including one with Lady Caroline Lamb in 1812, and died helping the Greek revolutionary movement. Byron, Lady. Anne Isabella (“Annabella”) Milbanke. Wife of Lord Byron and cousin of Lady Caroline’s husband, William Lamb. Canis. (see 5th Duke of Devonshire) Cavendish, Georgiana. (Little G, or G) Lady Caroline Lamb’s cousin, the elder daughter of Georgiana, Duchess of Devonshire. Later Lady Morpeth. 294 Lady Caroline Lamb Cavendish, Harriet Elizabeth. (Harryo) Lady Caroline Lamb’s cousin, the younger daughter of Georgiana, Duchess of Devonshire. Later Lady Granville. Churchill, Susan Spencer. Illegitimate daughter of Harriet Caroline Spencer, a relative of Lady Caroline’s, who became the ward of William and Lady Caroline Lamb. Colburn, Henry. Publisher of Lady Caroline’s most famous novel, Glenarvon (1816). Colburn ran a very active business that published a great quantity of British women’s fiction of the early nineteenth century. -
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BYRON'S LETTERS AND JOURNALS Byron's Letters and Journals A New Selection From Leslie A. Marchand's twelve-volume edition Edited by RICHARD LANSDOWN OXFORD UNIVERSITY PRESS OXFORD UNIVERSITY PRESS Great Clarendon Street, Oxford, ox2 6DP, United Kingdom Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries © In the selection, introduction, and editorial matter Richard Lansdown 2015 © In the Byron copyright material John Murray 1973-1982 The moral rights of the author have be en asserted First Edition published in 2015 Impression: 1 All rights reserved. No part of this publicationmay be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writi ng of Oxford University Press, or as expressly permitted by law, by licence or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this work in any other form and you must impose this same condition on any acquirer Published in the United States of America by Oxford University Press i98 Madison Avenue, New York, NY 10016, United States of America British Library Cataloguing in Publication Data Data available Library of Congress Control Number: 2014949666 ISBN 978-0-19-872255-7 Printed in Great Britain by Clays Ltd, St Ives pk in memory of Dan Jacobson 1929-2014 'no one has Been & Done like you' ACKNOWLEDGEMENTS Two generations of Byron scholars, biographers, students, and readers have acknowledged the debt they owe to Professor Leslie A. -
Ada and the First Computer
Ada and the First Computer The collaboration between Ada, countess of Lovelace, and computer pioneer Charles Babbage resulted in a landmark publication that described how to program the world’s first computer by Eugene Eric Kim and Betty Alexandra Toole eople called Augusta Ada King’s father “mad and bad” for his wild ways, but he was better known as Lord Byron, the poet. Ada inherited her famous father’s P way with words and his zest for life. She was a beautiful, flirtatious woman who hobnobbed with England’s elite and who died at the youthful age of 36, the same age at which her father died. And like Byron, Ada is best known for something she wrote. In 1843 she published an influential set of notes that described Charles Babbage’s An- alytical Engine, the first automatic, general-purpose computing machine ever designed. Although the Analytical Engine was never built—largely because Babbage could not raise the funds for its construction—Ada’s notes included a program for using it to com- pute a series of figures called Bernoulli numbers [see box on page 78]. Ada’s notes established her importance in computer science, but her fascinating life and lineage—and her role as a female pioneer in a field in which women have always been notoriously underrepresented—have lately turned her into an icon. In addition to numerous biographies, she has inspired plays and novels written by the likes of such lu- minaries as Tom Stoppard and Arthur C. Clarke. Conceiving Ada, a movie loosely based on her life, was released by Fox Lorber in February. -
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. -
Byron's Consciousness of Incestuous Sin in Manfred and Its Symbolical Meaning "«
Byron's Consciousness of Incestuous Sin in Manfred and Its Symbolical Meaning "« Byron's Consciousness of Incestuous Sin in Manfred and Its Symbolical Meaning Mitsuhiro TAHARA I It was in 1905, one year after the publication of the definitive edition of Byron's poetical works, that Earl of Lovelace, Byron's own grandson, reopened "the Byron Mystery" 'and charged Byron by publishing his revelatory book. In the book Byron's incest with his half-sister Augusta was malignantly unveiled by the use of documentary evidence consisting mainly of letters. Significantly the Earl of Lovelace entitled the book Astarie, which is the name of the dead lady who was loved legitimately or illegitimately by Man fred in Manfred. The reason he used Astarte as the title of his book is, needless to say, that he wanted to symbolically disclose Byron's sinful relationship with Augusta by referring to Manfred's with Astarte. But he is not the first to note this aspect as even in Byron's own time some critics perceived and censured the allusions to an incestuous passion between Manfred and Astarte. 2 Before discussing the problem, we need to survey Byron's cir- cumstances during the production of Manfred and his motives for writing it. During his stay in Switzerland from 25 May 1816 to 6 October 1816 after self-exile from England, Byron wrote some remarkable poems, such 2 24 Mitsuhiro TAHARA as Childe Harold's Pilgrimage III, The Prisoner of Chillon, The Dream, Monody on the Death of the Right Hon. R. B. Sheridan, 'Darkness' and Man- fred. -
'Choctaw: a Cultural Awakening' Book Launch Held Over 18 Years Old?
Durant Appreciation Cultural trash dinner for meetings in clean up James Frazier Amarillo and Albuquerque Page 5 Page 6 Page 20 BISKINIK CHANGE SERVICE REQUESTED PRESORT STD P.O. Box 1210 AUTO Durant OK 74702 U.S. POSTAGE PAID CHOCTAW NATION BISKINIKThe Official Publication of the Choctaw Nation of Oklahoma May 2013 Issue Tribal Council meets in regular April session Choctaw Days The Choctaw Nation Tribal Council met in regular session on April 13 at Tvshka Homma. Council members voted to: • Approve Tribal Transporta- returning to tion Program Agreement with U.S. Department of Interior Bureau of Indian Affairs • Approve application for Transitional Housing Assis- tance Smithsonian • Approve application for the By LISA REED Agenda Support for Expectant and Par- Choctaw Nation of Oklahoma 10:30 a.m. enting Teens, Women, Fathers Princesses – The Lord’s Prayer in sign language and their Families Choctaw Days is returning to the Smithsonian’s Choctaw Social Dancing • Approve application for the National Museum of the American Indian in Flutist Presley Byington Washington, D.C., for its third straight year. The Historian Olin Williams – Stickball Social and Economic Develop- Dr. Ian Thompson – History of Choctaw Food ment Strategies Grant event, scheduled for June 21-22, will provide a 1 p.m. • Approve funds and budget Choctaw Nation cultural experience for thou- Princesses – Four Directions Ceremony for assets for Independence sands of visitors. Choctaw Social Dancing “We find Choctaw Days to be just as rewarding Flutist Presley Byington Grant Program (CAB2) Soloist Brad Joe • Approve business lease for us as the people who come to the museum say Storyteller Tim Tingle G09-1778 with Vangard Wire- it is for them,” said Chief Gregory E. -
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Contents Foreword by James Cook MBE 9 1. Jon Thaxton 15 2 Dave ‘Boy’ Green MBE 50 3. Sylvester Mittee 71 4. Steve Holdsworth 98 5. Colin Lake 118 6. Johnny Kramer 151 7. Bunny Johnson 170 8. The Trinity of the Ring 203 9. Billy Schwer 220 10. Joe Somerville 244 Bibliography 271 CHAPTER 1 Jon Thaxton ‘Sharing the ring with Jon Thaxton was definitely the hardest fight I ever had. It was the only time I ever went 12 rounds and I ran out of steam from the ninth round onwards. I remember the agony and the exhaustion when I was sitting down in the corner between the rounds. With every big attack I made on him, I had to struggle to stay on my feet. After a fight like that, you both earn each other’s respect. I’ve only met Jon once since our fight, so I don’t really know him. But, even before I fought him, he always struck me as a positive person. Sometimes, I imagine how it would be if I were to simply bump into him in the street, because he’s a nice guy and I’d just like to shake his hand.’ Dave Stewart OOKS take a long time to write. Due to a succession of obstacles placed in my path by that old devil called Blife, this one took almost six years to complete. This interview took place back in January 2010. Six months earlier, I had arranged a preliminary meeting with Jon 15 SWEET FIGHTING MAN Thaxton in an upstairs room at York Hall in Bethnal Green at the weigh-in for his penultimate fight.