Lyrical Ballads

Total Page:16

File Type:pdf, Size:1020Kb

Lyrical Ballads LYRICAL BALLADS Also available from Routledge: A SHORT HISTORY OF ENGLISH LITERATURE Second Edition Harry Blamires ELEVEN BRITISH POETS* An Anthology Edited by Michael Schmidt WILLIAM WORDSWORTH Selected Poetry and Prose Edited by Jennifer Breen SHELLEY Selected Poetry and Prose Edited by Alasdair Macrae * Not available from Routledge in the USA Lyrical Ballads WORDSWORTH AND COLERIDGE The text of the 1798 edition with the additional 1800 poems and the Prefaces edited with introduction, notes and appendices by R.L.BRETT and A.R.JONES LONDON and NEW YORK First published as a University Paperback 1968 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Second edition published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Introduction and Notes © 1963, 1991 R.L.Brett and A.R.Jones All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data Wordsworth, William 1770–1850 Lyrical ballads: the text of the 1978 edition with the additional 1800 poems and the prefaces. —2nd edn 1. English poetry I. Title II. Coleridge, Samuel Taylor 1772–1834 III. Brett, R.L. (Raymond Laurence) IV. Jones, A.R. (Alun Richard) 821.7 Library of Congress Cataloging in Publication Data Wordsworth, William, 1770–1850. Lyrical ballads/Wordsworth and Coleridge; the text of the 1978 edition with the additional 1800 poems and the prefaces edited with introduction, notes, and appendices by R.L.Brett and A.R.Jones. p. cm Originally published: London: Methuen, 1968. Originally v published in series: University paperbacks: UP277. Includes bibliographical references and indexes. I. Coleridge, Samuel Taylor, 1772–1834. II. Brett, R.L. III. Jones, A.R. IV. Title PR 5869.L9 1991 821'.7–dc20 91–13985 ISBN 0-203-41387-3 Master e-book ISBN ISBN 0-203-72211-6 (Adobe eReader Format) ISBN 0-415-06388-4 (Print Edition) Contents Foreword viii Foreword to the 1991 edition xii A selected bibliography and list of xiii abbreviations Introduction xviii Lyrical Ballads, 1798 Advertisement 7 Poems 9 Lyrical Ballads, 1800 Love 117 Poems, Volume II 123 Preface 1800 version (with 1802 233 variants) Notes to the poems 259 Appendix A: Text of Lewti; or, the Circassion Love- 307 Chant Appendix B: Wordworth’s Appendix on Poetic 311 Diction from 1802 edition of Lyrical Ballads Appendix C: Some contemporary criticisms of Lyrical 317 Ballads vii Index of titles 341 Index of first lines 343 Foreword For many years now the student of Lyrical Ballads has had to rely either upon the edition of H.Littledale, first published in 1911, or upon that of G.Sampson, first published in 1903.1 However, Littledale reproduces the 1798 poems only, while Sampson’s edition is an exact reprint of the 1805 text, though it gives the readings of earlier versions. In any case both appeared too early to draw upon the great amount of scholarly work on Wordsworth and Coleridge completed since that date. The letters of Wordsworth and his sister, and those of Coleridge, have since appeared in the admirable editions prepared respectively by Professor de Selincourt and Professor E.L.Griggs; and Professor de Selincourt has also given us the Journals of Dorothy Wordsworth. E.K.Chambers and Mrs. Mary Moorman have provided excellent biographies of the two poets; Miss Kathleen Coburn has made available a wealth of hitherto unpublished material in Coleridge’s Notebooks; and there has been a stream of critical studies. A new edition not only profits from this scholarship but makes it possible to provide the student with an up-to-date bibliography of this work. The present edition owes much to the work of Miss Helen Darbishire and Professor E.de Selincourt, the editors of the Oxford English Texts edition of Wordsworth’s Poetical Works and to the work of E.H.Coleridge, the editor of the Oxford edition of Coleridge’s Poems. Their editions stand as monuments of scholarship which cannot be rivalled or superseded, but, nevertheless, they do not conveniently provide the student with 1 Cf. also Lyrical Ballads, with a few other poems, N.Douglas, London, 1926 (Facsimile of 1798 ed.). ix Lyrical Ballads as it first appeared to the public. The Oxford Wordsworth, rightly for its purpose, uses the grouping of the poems and the text chosen by Wordsworth himself for the 1850 edition. Similarly, the Oxford Coleridge uses the 1834 text. Only by a certain editorial labour can the reader achieve from these the text and grouping of the poems as they were originally published. The aim of the present volume is to make available to the reader the text of Lyrical Ballads as it appeared in print in 1798 and 1800, together with the variant readings of the 1802 and 1805 editions. We have incorporated in the text the Errata which were issued with the first two editions, but otherwise we have reproduced the poems exactly as they were first published. We have endeavoured in the text and by means of notes to provide a history of the poems from 1798 to 1805, after which Wordsworth’s poems were merged in the 1815 and subsequent editions of his collected works and Coleridge’s contributions were transferred to his Sybilline Leaves of 1817 and to later collections of his poetry. Lyrical Ballads was originally published in September, 1798.1 The title-page bore the Bristol imprint and the book was printed by Biggs and Cottle of Bristol for T.N.Longman of Paternoster Row, London. While the 1798 volume was in the press it occurred to the authors that one of the poems, Lewti; or, the Circassian Love- Chant, might disclose the secret of the authorship, for it had been published in The Morning Post for April 13th, 1798, and was known to be by Coleridge. The sheets containing this poem were, therefore, cancelled and The Nightingale substituted. A few copies of the volume with Lewti found their way on to the market, but most copies contain The Nightingale. We have given the text of The Nightingale where it appeared in the majority of copies and reprinted Lewti in Appendix A. Soon after publication Cottle sold the whole of the remaining copies of the first edition, which had numbered five hundred copies, to Messrs. J. and A.Arch of Gracechurch Street, London. This firm issued the book with a new title-page which bore a London imprint. 1 Cf. ‘The Publication of the “Lyrical Ballads”’, R.W.Daniels, Modern Language Review, vol. xxxiii, 1938, pp. 406–410, and ‘The Printing of Lyrical Ballads, 1798’, D.F.Foxon, The Library, 5th Series, vol. ix, 1954, pp. 221–241. x The second edition of the poems was published in two volumes which bore the date 1800, though they were not issued until January 1801. Only the first volume bore the words Second Edition on the title-page, for the second volume had entirely new contents and was regarded as a first edition. The poems in the first volume were the same as those of the 1798 edition which contained The Nightingale, except that The Convict was omitted, Coleridge’s poem Love was added, and Lines Written near Richmond was divided into two separate poems. The order of the poems was changed in this first volume, the titles of some poems altered, and substantial changes made in the text. We have given details of these changes in footnotes to the 1798 text. In addition to the poems, we have also reprinted the Advertisement with which Wordsworth prefaced the 1798 poems, and the Preface which took its place in the 1800 edition. The alterations and additions which Wordsworth made to this Preface in the 1802 edition of the poems are given in footnotes to the 1800 text. We have also reproduced in Appendix B the text of Wordsworth’s Appendix on Poetic Diction which first appeared in the 1802 edition. It is curious that despite the industry of scholars there is still no practical edition of Lyrical Ballads to which students may refer. In the attempt to fill this gap, we have thought it unnecessary to produce a variorum edition of the poems; the history of individual poems is well enough documented in the collected works of Wordsworth and Coleridge. Our main concern has been to make the poems readily available as a unique body of poetry— in all its freshness and naïvety— relying on the original texts of 1798 and 1800 to make their own impact. For this reason we have indicated only what we consider to be the significant variants between the texts and tried to keep the text as clear and unencumbered as possible. We have, for the most part, ignored the various trivia such as changes in capitalisation and punctuation as being likely to obscure the text so far as the average reader is concerned. In noting variants we have recorded only the text in which the change first appeared so that the reader may assume that if no subsequent emendation is recorded the variant stands in the subsequent texts also. We are convinced that it is as a body of poetry that Lyrical Ballads first influenced the course of English poetry and that it is as a body of poetry that it should be studied.
Recommended publications
  • Wordsworth's Lyrical Ballads, 1800
    Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2015 Wordsworth's Lyrical Ballads, 1800 Jason N. Goldsmith Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/facsch_papers Part of the Comparative Literature Commons, Literature in English, British Isles Commons, and the Poetry Commons Recommended Citation Goldsmith, Jason N., "Wordsworth's Lyrical Ballads, 1800" The Oxford Handbook of William Wordsworth / (2015): 204-220. Available at https://digitalcommons.butler.edu/facsch_papers/876 This Book Chapter is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. LYRICAL BALLADS, 1800 205 [tha]n in studying German' (CL, r. 459). Stranded by the weather, short on cash, and C H A P TER 11 unable to communicate with the locals, the poet turned inward, writing a series of auto­ biographical blank verse fragments meditating on his childhood that would become part one of the 1799 Prelude, as well as nearly a dozen poems that would appear in the second volume of the 1800 edition of Lyrical Ballads. WORDSWORTH'S L YRICAL Completed over the eighteen months following his return to England in May 1799, the 1800 Lyrical Ballads is the fruit of that long winter abroad. It marks both a literal and BALLADS, 1800 a literary homecoming. Living in Germany made clear to Wordsworth that you do not .......................................................................................................
    [Show full text]
  • L-G-0013245003-0036967409.Pdf
    A History of Romantic Literature BLACKWELL HISTORIES OF LITERATURE General editor: Peter Brown, University of Kent, Canterbury The books in this series renew and redefine a familiar form by recognizing that to write literary history involves more than placing texts in chronological sequence. Thus the emphasis within each volume falls both on plotting the significant literary developments of a given period, and on the wider cultural contexts within which they occurred. ‘Cultural history’ is construed in broad terms and authors address such issues as politics, society, the arts, ideologies, varieties of literary production and consumption, and dominant genres and modes. The effect of each volume is to give the reader a sense of possessing a crucial sector of literary terrain, of understanding the forces that give a period its distinctive cast, and of seeing how writing of a given period impacts on, and is shaped by, its cultural circumstances. Published to date Seventeenth‐Century English Literature Thomas N. Corns Victorian Literature James Eli Adams Old English Literature, Second Edition R. D. Fulk and Christopher M. Cain Modernist Literature Andrzej Gąsiorek Eighteenth‐Century British Literature John Richetti Romantic Literature Frederick Burwick A HISTORY OF ROMANTIC LITERATURE Frederick Burwick This edition first published 2019 © 2019 John Wiley & Sons Ltd All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by law. Advice on how to obtain permission to reuse material from this title is available at http://www.wiley.com/go/permissions.
    [Show full text]
  • Walter Scott and the Twentieth-Century Scottish Renaissance Movement
    Studies in Scottish Literature Volume 35 | Issue 1 Article 5 2007 "A very curious emptiness": Walter Scott nda the Twentieth-Century Scottish Renaissance Movement Margery Palmer McCulloch University of Glasgow Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation McCulloch, Margery Palmer (2007) ""A very curious emptiness": Walter Scott nda the Twentieth-Century Scottish Renaissance Movement," Studies in Scottish Literature: Vol. 35: Iss. 1, 44–56. Available at: https://scholarcommons.sc.edu/ssl/vol35/iss1/5 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Margery Palmer McCulloch "A very curious emptiness": Walter Scott and the Twentieth-Century Scottish Renaissance Movement Edwin Muir's characterization in Scott and Scotland (1936) of "a very cu­ rious emptiness .... behind the wealth of his [Scott's] imagination'" and his re­ lated discussion of what he perceived as the post-Reformation and post-Union split between thought and feeling in Scottish writing have become fixed points in Scottish criticism despite attempts to dislodge them by those convinced of Muir's wrong-headedness.2 In this essay I want to take up more generally the question of twentieth-century interwar views of Walter Scott through a repre­ sentative selection of writers of the period, including Muir, and to suggest pos­ sible reasons for what was often a negative and almost always a perplexed re­ sponse to one of the giants of past Scottish literature.
    [Show full text]
  • 1 MISS MORRIS and the STRANGER By
    MISS MORRIS AND THE STRANGER better eyelashes than mine. I write quite seriously. There is one woman who is above the common weakness of by Wilkie Collins vanity--and she holds the present pen. I. So I gave my lost stranger a lesson in politeness. The lesson took the form of a trap. I asked him if he would WHEN I first saw him, he was lost in one of the Dead like me to show him the way to the inn. He was still Cities of England--situated on the South Coast, and called annoyed at losing himself. As I had anticipated, he Sandwich. bluntly answered: "Yes." Shall I describe Sandwich? I think not. Let us own the "When you were a boy, and you wanted something," I truth; descriptions of places, however nicely they may be said, "did your mother teach you to say 'Please'?" written, are always more or less dull. Being a woman, I naturally hate dullness. Perhaps some description of He positively blushed. "She did," he admitted; "and she Sandwich may drop out, as it were, from my report of our taught me to say 'Beg your pardon' when I was rude. I'll conversation when we first met as strangers in the street. say it now: 'Beg your pardon.'" He began irritably. "I've lost myself," he said. This curious apology increased my belief in his redeeming qualities. I led the way to the inn. He followed "People who don't know the town often do that," I me in silence. No woman who respects herself can endure remarked.
    [Show full text]
  • WORDSWORTH's GOTHIC POETICS by ROBERT J. LANG a Thesis
    WORDSWORTH’S GOTHIC POETICS BY ROBERT J. LANG A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS English December 2012 Winston-Salem, North Carolina Approved By: Eric Wilson, Ph.D., Advisor Philip Kuberski, Ph.D., Chair Omaar Hena, Ph.D. TABLE OF CONTENTS ABSTRACT ....................................................................................................................... iii CHAPTER 1 ........................................................................................................................1 CHAPTER 2 ........................................................................................................................8 CHAPTER 3 ......................................................................................................................27 CHAPTER 4 ......................................................................................................................45 CONCLUSION ..................................................................................................................65 WORKS CITED ................................................................................................................70 VITA ..................................................................................................................................75 ii ABSTRACT Wordsworth’s poetry is typically seen by critics as healthy-minded, rich in themes of transcendence, synthesis,
    [Show full text]
  • Netanel Coleridge Draft 3
    1 Atheistic Implications and Innuendos in Coleridge’s 1797 Poetry Proposal for an M.A. Thesis in English Literature Department of English Literature and Linguis;cs Netanel Kleinman 332713288 Advisor: Dr. Daniel Feldman רמזים לאתאיזם וכפירה בשירות בשנת 1797 של סמואל טיילור קולרידג' הצעת מחקר לתואר שני בספרות אנגלית המחלקה לבלשנות וספרות אנגלית נתנאל קליינמן 332713288 שם המנחה: ד"ר דניאל פלדמן 2 Table of Contents Introduc;on 3 Aims and General Descrip;on 4 Methodology 5 Scholarly and Cri;cal Background 5 Chapter Outline 8 Works Cited 11 3 Introduction “I have too much Vanity to be altogether a Christian – too much tenderness of Nature to be utterly an Infidel” (Letters of Samuel Taylor Coleridge Volume 1, Letter XXIX, Sunday night, March 30, 1794) This brief statement by Samuel Taylor Coleridge in a private letter to his brother, Reverend George Coleridge, is reflective of the poet’s complex relationship with traditional Christian theologies. Although Coleridge returned to the Anglican Church of England in 1814, during the writing of the Lyrical Ballads in 1797 and 1798 he was working as a Unitarian preacher and had given evidence at the 1793 Cambridge trial of William Frend, who stood accused of heresies and breaking university and national law. Coleridge’s exploration of religious views is an important aspect of his poetry that has often been overlooked in scholarship of his early work. Whilst the poetry Coleridge wrote in his latter years has been extensively analysed, primarily by Christian theologians and academics attempting to show that Coleridge’s thoughts were ultimately orthodox, critic Owen Barfield notes in the introduction to What Coleridge Thought that more attention has been “paid to Coleridge as a thinker than to Coleridge as a poet and a critic” (3).
    [Show full text]
  • North East History 39 2008 History Volume 39 2008
    north east history north north east history volume 39 east biography and appreciation North East History 39 2008 history Volume 39 2008 Doug Malloch Don Edwards 1918-2008 1912-2005 John Toft René & Sid Chaplin Special Theme: Slavery, abolition & north east England This is the logo from our web site at:www.nelh.net. Visit it for news of activities. You will find an index of all volumes 1819: Newcastle Town Moor Reform Demonstration back to 1968. Chartism:Repression or restraint 19th Century Vaccination controversies plus oral history and reviews Volume 39 north east labour history society 2008 journal of the north east labour history society north east history north east history Volume 39 2008 ISSN 14743248 NORTHUMBERLAND © 2008 Printed by Azure Printing Units 1 F & G Pegswood Industrial Estate TYNE & Pegswood WEAR Morpeth Northumberland NE61 6HZ Tel: 01670 510271 DURHAM TEESSIDE Editorial Collective: Willie Thompson (Editor) John Charlton, John Creaby, Sandy Irvine, Lewis Mates, Marie-Thérèse Mayne, Paul Mayne, Matt Perry, Ben Sellers, Win Stokes (Reviews Editor) and Don Watson . journal of the north east labour history society www.nelh.net north east history Contents Editorial 5 Notes on Contributors 7 Acknowledgements and Permissions 8 Articles and Essays 9 Special Theme – Slavery, Abolition and North East England Introduction John Charlton 9 Black People and the North East Sean Creighton 11 America, Slavery and North East Quakers Patricia Hix 25 The Republic of Letters Peter Livsey 45 A Northumbrian Family in Jamaica - The Hendersons of Felton Valerie Glass 54 Sunderland and Abolition Tamsin Lilley 67 Articles 1819:Waterloo, Peterloo and Newcastle Town Moor John Charlton 79 Chartism – Repression of Restraint? Ben Nixon 109 Smallpox Vaccination Controversy Candice Brockwell 121 The Society’s Fortieth Anniversary Stuart Howard 137 People's Theatre: People's Education Keith Armstrong 144 2 north east history Recollections John Toft interview with John Creaby 153 Douglas Malloch interview with John Charlton 179 Educating René pt.
    [Show full text]
  • Sparrow Records Discography
    Sparrow Discography by Mike Callahan, David Edwards & Patrice Eyries © 2018 by Mike Callahan Sparrow Records Discography Sparrow is a Contemporary Christian label founded in 1976 by Billy Ray Hearn. Hearn was the A&R Director for Word Records’ Myrrh label, founded a few years earlier also as a Contemporary Christian label. Sparrow also released records under their Birdwing subsidiary. Hearn’s Sparrow label was in competition with Hearn’s old boss, Word Records, and was quite successful. Even today, Sparrow is among the top Christian labels. Hearn sold the label to EMI in 1992, and it was placed under the Capitol Christian Music Group. Sparrow signed a distribution agreement with MCA in April, 1981 to release their product in the secular market while the regular Sparrow issues were distributed to Christian stores and Christian radio stations. The arrangement with MCA lasted until October, 1986, when Sparrow switched distribution to Capitol. Sparrow SPR-1001 Main Series: SPR-1001 - Through a Child’s Eyes - Annie Herring [1976] Learn A Curtsey/Where Is The Time/Wild Child/Death After Life/Grinding Stone/Hand On Me//Dance With You/Love Drops/Days Like These/First Love/Some Days/Liberty Bird/Fly Away Burden SPR-1002 - SPR-1003 - John Michael Talbot - John Michael Talbot [1976] He Is Risen/Jerusalem/How Long/Would You Crucify Him//Woman/Greewood Suite/Hallelu SPR-1004 - Firewind - Various Artists [1976] Artists include Anne Herring, Barry McGuire, John Talbot, Keith Green, Matthew Ward, Nelly Ward, and Terry Talbot (In other words, Barry McGuire, The Talbot Brothers, Keith Green, and The 2nd Chapter of Acts).
    [Show full text]
  • Finding Meaning in the Poetry of William Wordsworth and Robert Frost
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2002 Floating Away or Staying Put: Finding Meaning in the Poetry of William Wordsworth and Robert Frost Mary McMillan University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the English Language and Literature Commons Recommended Citation McMillan, Mary, "Floating Away or Staying Put: Finding Meaning in the Poetry of William Wordsworth and Robert Frost. " Master's Thesis, University of Tennessee, 2002. https://trace.tennessee.edu/utk_gradthes/2124 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Mary McMillan entitled "Floating Away or Staying Put: Finding Meaning in the Poetry of William Wordsworth and Robert Frost." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in English. B.J. Leggett, Major Professor We have read this thesis and recommend its acceptance: Nancy M. Goslee, Mary E. Papke Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Mary McMillan entitled “Floating Away or Staying Put: Finding Meaning in the Poetry of William Wordsworth and Robert Frost.” I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English.
    [Show full text]
  • Sara Coleridge and the Oxford Movement Selected Religious Writings by Robin Schofield
    ANTHEM PRESS INFORMATION SHEET Sara Coleridge and the Oxford Movement Selected Religious Writings By Robin Schofield Pub Date: 30 January 2020 BISAC CATEGORY: RELIGION / Christian Church / Binding: Hardback History LITERARY COLLECTIONS / Women Authors Price: £120.00 / $200.00 BISAC CODE: REL108020 ISBN: 9781785272394 BIC CODE: HRCC2 Extent: 232 pages RIGHTS Size: 153 x 229 mm / Exclusive: WORLD 6 x 9 inches Series: Anthem Nineteenth-Century Series The first scholarly edition of Sara Coleridge’s religious writings ‘The volume carefully maps Coleridge’s imaginative and spiritual development through the influence of Wordsworth and Southey, Tractarianism and her eventual critique of Anglo-Catholicism, and her Kantian embrace of a practical rather than mystical Christianity. An outstanding scholarly edition of a profoundly influential but much neglected theological voice.’ —Emma Mason, Professor, Department of English and Comparative Literary Studies, University of Warwick, UK ‘This magnificent edition sheds new light on the controversies surrounding the Oxford Movement. Sara Coleridge’s literary gifts as well as philosophical erudition appear in her probing critique of the Tractarians and defence of her father, S. T. Coleridge. Her hitherto unpublished Dialogues on Regeneration, finely annotated in this book, is a major addition to the Victorian canon.’ —James Vigus, Senior Lecturer in English, Queen Mary University of London, UK ‘This excellent volume continues the retrieval of an important Victorian voice. Robin Schofield has gathered Sara Coleridge’s fugitive religious writings and a selection from her major unpublished manuscripts.’ —Peter Swaab, Professor of English Literature, UCL, UK ‘Sara Coleridge and the Oxford Movement’ reveals a significant body of virtually unknown religious works by a woman writer.
    [Show full text]
  • The Ancient Mariner and Parody
    Loyola University Chicago Loyola eCommons English: Faculty Publications and Other Works Faculty Publications 8-1999 ‘Supernatural, or at Least Romantic': the Ancient Mariner and Parody Steven Jones [email protected] Follow this and additional works at: https://ecommons.luc.edu/english_facpubs Part of the English Language and Literature Commons Recommended Citation Steven E. Jones, “‘Supernatural, or at Least Romantic': the Ancient Mariner and Parody," Romanticism on the Net, 15 (August 1999). This Article is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in English: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © Michael Eberle-Sinatra 1996-2006. 'Supernatural, or at Least Romantic': the Ancient Mariner and Parody | Érudit | Romanticism on the Net n15 1999 | 'Supernatural, or at Least Romantic': the Ancient Mariner and Parody [*] Steven E. Jones Loyola University Chicago 1 An ancient literary practice often aligned with satire, parody "comes of age as a major comic expression during the Romantic period," as Marilyn Gaull has observed, the same era that celebrated and became known for the literary virtues of sincerity, authenticity, and originality. [1] Significant recent anthologies of Romantic-period parodies make the sheer bulk and topical range of such imitative works available for readers and critics for the first time, providing ample evidence for the prominence of the form. [2] The weight of evidence in these collections should also put to rest the widespread assumption that parody is inevitably "comic" or gentler than satire, that it is essentially in good fun.
    [Show full text]
  • The English Lake District
    La Salle University La Salle University Digital Commons Art Museum Exhibition Catalogues La Salle University Art Museum 10-1980 The nE glish Lake District La Salle University Art Museum James A. Butler Paul F. Betz Follow this and additional works at: http://digitalcommons.lasalle.edu/exhibition_catalogues Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation La Salle University Art Museum; Butler, James A.; and Betz, Paul F., "The nE glish Lake District" (1980). Art Museum Exhibition Catalogues. 90. http://digitalcommons.lasalle.edu/exhibition_catalogues/90 This Book is brought to you for free and open access by the La Salle University Art Museum at La Salle University Digital Commons. It has been accepted for inclusion in Art Museum Exhibition Catalogues by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. T/ie CEnglisti ^ake district ROMANTIC ART AND LITERATURE OF THE ENGLISH LAKE DISTRICT La Salle College Art Gallery 21 October - 26 November 1380 Preface This exhibition presents the art and literature of the English Lake District, a place--once the counties of Westmorland and Cumber­ land, now merged into one county, Cumbria— on the west coast about two hundred fifty miles north of London. Special emphasis has been placed on providing a visual record of Derwentwater (where Coleridge lived) and of Grasmere (the home of Wordsworth). In addition, four display cases house exhibits on Wordsworth, on Lake District writers and painters, on early Lake District tourism, and on The Cornell Wordsworth Series. The exhibition has been planned and assembled by James A.
    [Show full text]