William Hayley
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Entre Classicismo E Romantismo. Ensaios De Cultura E Literatura
Entre Classicismo e Romantismo. Ensaios de Cultura e Literatura Organização Jorge Bastos da Silva Maria Zulmira Castanheira Studies in Classicism and Romanticism 2 FLUP | CETAPS, 2013 Studies in Classicism and Romanticism 2 Studies in Classicism and Romanticism is an academic series published on- line by the Centre for English, Translation and Anglo-Portuguese Studies (CETAPS) and hosted by the central library of the Faculdade de Letras da Universidade do Porto, Portugal. Studies in Classicism and Romanticism has come into being as a result of the commitment of a group of scholars who are especially interested in English literature and culture from the mid-seventeenth to the mid- nineteenth century. The principal objective of the series is the publication in electronic format of monographs and collections of essays, either in English or in Portuguese, with no pre-established methodological framework, as well as the publication of relevant primary texts from the period c. 1650–c. 1850. Series Editors Jorge Bastos da Silva Maria Zulmira Castanheira Entre Classicismo e Romantismo. Ensaios de Cultura e Literatura Organização Jorge Bastos da Silva Maria Zulmira Castanheira Studies in Classicism and Romanticism 2 FLUP | CETAPS, 2013 Editorial 2 Sumário Apresentação 4 Maria Luísa Malato Borralho, “Metamorfoses do Soneto: Do «Classicismo» ao «Romantismo»” 5 Adelaide Meira Serras, “Science as the Enlightened Route to Paradise?” 29 Paula Rama-da-Silva, “Hogarth and the Role of Engraving in Eighteenth-Century London” 41 Patrícia Rodrigues, “The Importance of Study for Women and by Women: Hannah More’s Defence of Female Education as the Path to their Patriotic Contribution” 56 Maria Leonor Machado de Sousa, “Sugestões Portuguesas no Romantismo Inglês” 65 Maria Zulmira Castanheira, “O Papel Mediador da Imprensa Periódica na Divulgação da Cultura Britânica em Portugal ao Tempo do Romantismo (1836-1865): Matérias e Imagens” 76 João Paulo Ascenso P. -
Charlotte Smith, William Cowper, and William Blake: Some New Documents
ARTICLE Charlotte Smith, William Cowper, and William Blake: Some New Documents James King Blake/An Illustrated Quarterly, Volume 13, Issue 2, Fall 1979, pp. 100-101 100 CHARLOTTE SMITH, WILLIAM COWPER, AND WILLIAM BLAKE: SOME NEW DOCUMENTS JAMES KING lthough her reputation is somewhat diminished Rose, of 25 April 1806 (Huntington)." As before, now, Charlotte Smith was the most celebrated Mrs. Smith is complaining about Hayley's neglect of A novelist in England in the early 1790s. Like her. George Romney, John Flaxman, William Cowper, and William Blake, Mrs. Smith was one of a number of I lose a great part of the regret I might writers and painters assisted by William Hayley in otherwise feel in recollecting, that a various ways. Mrs. Smith met Cowper at Eartham in mind so indiscriminating, who is now 1792, and the events of that friendship have been seized with a rage for a crooked figure= chronicled.1 Mrs. Smith never met William Blake, and maker & now for an engraver of Ballad only one excerpt from a letter linking them has pictures (the young Mans tragedy; & the previously been published. In this note, I should jolly Sailers Farewell to his true love Sally) —I dont mean the Hayleyan like to provide some additional information on Mrs. 5 Smith and Cowper, but I shall as well cite three collection of pretty ballads) —Such a unpublished excerpts from her correspondence in mind, can never be really attached; or which she comments on Blake. is the attachment it can feel worth having — In an article of 1952, Alan Dugald McKillop provided a n excellent account of Charlotte Smith's The "crooked figure=maker" is probably a reference letters.2 In the course of that essay, McKilloD to Flaxman and his hunch-back; despite the notes a facetiou s and denigrating remark of 20 March disclaimer, the engraver is more than likely to be 1806 (Hunt ington) about Hayley's Designs to a Series Blake. -
William Blake 1 William Blake
William Blake 1 William Blake William Blake William Blake in a portrait by Thomas Phillips (1807) Born 28 November 1757 London, England Died 12 August 1827 (aged 69) London, England Occupation Poet, painter, printmaker Genres Visionary, poetry Literary Romanticism movement Notable work(s) Songs of Innocence and of Experience, The Marriage of Heaven and Hell, The Four Zoas, Jerusalem, Milton a Poem, And did those feet in ancient time Spouse(s) Catherine Blake (1782–1827) Signature William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of the poetry and visual arts of the Romantic Age. His prophetic poetry has been said to form "what is in proportion to its merits the least read body of poetry in the English language".[1] His visual artistry led one contemporary art critic to proclaim him "far and away the greatest artist Britain has ever produced".[2] In 2002, Blake was placed at number 38 in the BBC's poll of the 100 Greatest Britons.[3] Although he lived in London his entire life except for three years spent in Felpham[4] he produced a diverse and symbolically rich corpus, which embraced the imagination as "the body of God",[5] or "Human existence itself".[6] Considered mad by contemporaries for his idiosyncratic views, Blake is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings William Blake 2 and poetry have been characterised as part of the Romantic movement and "Pre-Romantic",[7] for its large appearance in the 18th century. -
Annual Report 2020 Christ Church 3 Jan Morris 91 Prof Jack Paton 92 the House in 2020 16 L
ANNUAL REPORT 2020 Christ Church 3 Jan Morris 91 Prof Jack Paton 92 The House in 2020 16 L. Perry Curtis 98 Matthew Wright 101 The Censors’ Office 24 The Library 26 Senior Members’ Activities The Archives 33 and Publications 104 The Picture Gallery 35 The Cathedral 39 News of Old Members 121 The College Chaplain 43 The Development & Deceased Members 126 Alumni Office 45 The Steward’s Dept. 50 Final Honour Schools 129 The Treasury 53 Admissions and Access Graduate Degrees 133 in 2020 56 Student Welfare 59 Award of University Prizes 136 Graduate Common Room 62 Junior Common Room 64 Information about Gaudies 138 The Christopher Tower Poetry Prize 67 Other Information Christ Church Music Other opportunities to stay Society 69 at Christ Church 141 Conferences at Christ Sir Anthony Cheetham 71 Church 142 Publications 143 Obituaries Cathedral Choir CDs 144 Lord Armstrong of 73 Illminster Acknowledgements 144 Prof Christopher Butler 74 Prof Peter Matthews 86 1 2 CHRIST CHURCH Visitor HM THE QUEEN Dean Percy, The Very Revd Martyn William, BA Brist, MEd Sheff, PhD KCL. Canons Gorick, The Venerable Martin Charles William, MA (Cambridge), MA (Oxford) Archdeacon of Oxford (until Jan 2020) Chaffey, The Venerable Jonathan Paul Michael, BA (Durham) (from May 2020) Biggar, The Revd Professor Nigel John, MA PhD (Chicago), MA (Oxford), Master of Christian Studies (Regent Coll Vancouver) Regius Professor of Moral and Pastoral Theology Foot, The Revd Professor Sarah Rosamund Irvine, MA PhD (Cambridge) Regius Professor of Ecclesiastical History Ward, The Revd Graham, MA PhD (Cambridge) Regius Professor of Divinity Newey, The Revd Edmund James, MA (Cambridge), MA (Oxford), PhD (Manchester) Sub Dean (until May 2020) Peers, The Revd Canon Richard Charles, BA (Southampton), B.Ed. -
Blake Books, Contributed Immeasurably to the Understanding and Appreciation of the Enormous Range of Blake’S Works
B L A K E B O O K S The Commercial Engravings of William Blake A Tribute to Gerald E. Bentley, Jr. February 2018 presented by J O H N W I N D L E A N T I Q U A R I A N B O O K S E L L E R T H E W I L L I A M B L A K E G A L L E R Y B L A K E B O O K S The Commercial Engravings of William Blake A Tribute to Gerald E. Bentley, Jr. February 2018 Blake is best known today for his independent vision and experimental methods, yet he made his living as a commercial illustrator. This exhibition shines a light on those commissioned illustrations and the surprising range of books in which they appeared. In them we see his extraordinary versatility as an artist but also flashes of his visionary self—flashes not always appreciated by his publishers. On display are the books themselves, objects that are far less familiar to his admirers today, but that have much to say about Blake the artist. The exhibition is a small tribute to Gerald E. Bentley, Jr. (1930 – 2017), whose scholarship, including the monumental bibliography, Blake Books, contributed immeasurably to the understanding and appreciation of the enormous range of Blake’s works. J O H N W I N D L E A N T I Q U A R I A N B O O K S E L L E R 49 Geary Street, Suite 205, San Francisco, CA 94108 www.williamblakegallery.com www.johnwindle.com 415-986-5826 - 2 - B L A K E B O O K S : C O M M E R C I A L I L L U S T R A T I O N Allen, Charles. -
Charlotte Smith’S Own Death
Charlotte (Turner) Smith (1749-1806) by Ruth Facer Soon after I was 11 years old, I was removed to London, to an house where there were no books...But I found out by accident a circulating library; and, subscribing out of my own pocket money, unknown to the relation with whom I lived, I passed the hours destined to repose, in running through all the trash it contained. My head was full of Sir Charles, Sir Edwards, Lord Belmonts, and Colonel Somervilles, while Lady Elizas and Lady Aramintas, with many nymphs of inferior rank, but with names equally beautiful, occupied my dreams.[1] As she ran through the ‘trash’ of the circulating library, little could the eleven-year Charlotte Turner have imagined that she was to become one of the best-known poets and novelists of the late eighteenth century. In all, she was to write eleven novels, three volumes of poetry, four educational books for young people, a natural history of birds, and a history of England. Charlotte was born in 1749 to Nicholas Turner, a well-to-do country gentleman, and his wife, Anna. Her early years were spent at Stoke Place, near Guildford in Surrey and Bignor Park on the Arun in Sussex. The idyllic landscape of the South Downs was well known to her and was to recur in her novels and poetry time and again: Spring’s dewy hand on this fair summit weaves The downy grass, with tufts of Alpine flowers, And shades the beechen slopes with tender leaves, And leads the Shepherd to his upland bowers, Strewn with wild thyme; while slow-descending showers, Feed the green ear, and nurse the future sheaves! Sonnet XXXI (written in Farm Wood, South Downs in May 1784) Sadly this idyllic life was to end abruptly with the death of Anna Turner, leaving the four-year old Charlotte to be brought up by her aunt Lucy in London. -
Diocese of Chichester Opening Statement
THE DIOCESE OF CHICHESTER OPENING STATEMENT BY COUNSEL TO THE INQUIRY OPENING REMARKS 1. Good Morning, Chair and Panel. I am Ms. Fiona Scolding, lead counsel to the Anglican investigation . Next to me sits Ms. Nikita McNeill and Ms. Lara McCaffrey , junior counsel to the Anglican investigation. Today we begin the first substantive hearing into the institutional response of the Anglican Church to allegations of child sexual abuse. The Anglican investigation is just one of thirteen so far launched by the statutory Independent Inquiry into Child Sexual Abuse established by the Home Secretary in March 2015, offering an unprecedented opportunity to examine the extent to which institutions and organisations in England and Wales have been able to respond appropriately to allegations of abuse. 2. This hearing focuses upon the response of the Diocese of Chichester to allegations made to it about various individuals – both clergy and volunteers over the past thirty years. Some of the abuse you will hear about occurred during the 1950’s and 1960’s: some of it is much more recent in origin. A series of allegations came to light from the late 1990’s onwards and then engulfed the Diocese of Chichester in the first decade of the 21 st century. The role of the hearing is to examine what happened and what that shows about the ability of the Anglican Church to protect children in the past. It is also to ask 1 about its ability to learn lessons and implement change as a result of learning from the mistakes which it has acknowledged that it has made. -
William Cowper and George Romney: Public and Private Men Joan Addison
William Cowper and George Romney: Public and Private Men Joan Addison It was at Eartham, William Hayley’s Sussex home, in August 1792, that William Cowper met the artist George Romney. In the previous May, Hayley, benefactor of artists and admirer of Cowper, had made his first visit to the poet at Weston. During his visit, he had written to his old friend Romney, suggesting such a meeting. His intention, he wrote in his Life of George Romney, was ‘to enliven [him] with a prospect of sharing with me the intellectual banquet of Cowper’s conversation by meeting him at Eartham’. When the meeting did take place, Hayley’s prediction that the two men would enjoy each other’s company proved correct. ‘Equally quick, and tender, in their feelings’, Hayley wrote, ‘they were peculiarly formed to relish the different but congenial talents, that rendered each an object of affectionate admiration’1. The pleasure that the poet and the painter shared in each other’s company was to result in the production of two notable creations, the portrait Romney made of Cowper during the visit to Eartham, and Cowper’s subsequent sonnet, written to Romney in appreciation of his work. ‘Romney,’ Hayley wrote, was ‘eager to execute a portrait of a person so remarkable’, and worked quickly in crayons to produce it.2 An intimate study of Cowper in informal garb, it is now in the National Portrait Gallery. The portrait, twenty-two and a half by eighteen inches, shows the upper part of Cowper’s body, against a brown background. -
Oxford DNB Linking to External Resources May 2016
Oxford DNB linking to external resources May 2016 The May 2016 update of the Oxford DNB adds links from Dictionary articles to online biographical resources provided by the following institutions: 1. English Heritage Blue Plaques 2. Poetry Archive, archive recordings of poets reading aloud their work 3. BBC archive film footage 4. BBC archive radio recordings 5. British Library, ‘Discovering Literature’ 6. Westminster Abbey, poets’ corner 7. Westminster Abbey, other burials and monuments 8. Queen Victoria’s Journals 1. Blue Plaques, English Heritage—links from 850 ODNB biographies, including: Harold Abrahams John Betjeman Thomas Arne Nye Bevan Matthew Arnold William Blake Herbert Asquith Enid Blyton Nancy Astor Elizabeth Bowen Clement Attlee Winifred Holtby Robert Paden-Powell Vera Brittain Walter Bagehot Benjamin Britten John Logie Baird Ford Madox Ford Stanley Baldwin Lancelot Brown Thomas Barnardo Isambard Kingdom Brunel Henrietta Barnett Fanny Burney Elizabeth Barrett Browning Giovanni Canal James Barrie Cato Street Conspirators Joseph Bazalgette Edith Cavell Aubrey Beardsley Ernst Chain Harry Beck Neville Chamberlain Hilaire Belloc Raymond Chandler Hector Berlioz Tobias Smollett Annie Besant Agatha Christie 1 Winston Churchill Arthur Conan Doyle William Wilberforce John Constable Wells Coates Learie Constantine Wilkie Collins Noel Coward Ivy Compton-Burnett Thomas Daniel Charles Darwin Mohammed Jinnah Francisco de Miranda Amy Johnson Thomas de Quincey Celia Johnson Daniel Defoe Samuel Johnson Frederic Delius James Joyce Charles Dickens -
William Blake Henry Fuseli Auckland City Art Gallery
WILLIAM BLAKE ILLUSTRATIONS OF THE BOOK OF JOB HENRY FUSELI THE THREE WITCHES OF MACBETH AND ASSOCIATED WORKS AUCKLAND CITY ART GALLERY AUGUST 8 - OCTOBER 2 1980 WILLIAM BLAKE (1757-1827) As poet, watercolourist and engraver, Blake was the creator of an idiosyncratic mythology. Born of a lower middle class merchant family, Blake had no academic training, but attended Henry Par's preparatory drawing school from 1767 until his apprenticeship in 1772 to James Basire, engraver to the Society of Antiquaries. At Westminster Abbey,Blake made drawings for Gough's Sepulchral Monuments in Great Britain (1786), thereby immersing himself in the mediaeval tradition, with which he found a spiritual affinity. In 1782 Blake married and moved to Leicester Fields in London, where he completed and published in 1783 his first work, Poetical Sketches. In these early years he developed lasting friendships with the painters Barry, Fuseli and Flaxman, and for a while shared Flaxman's preoccupation with classical art. For his next major publication, Songs of Innocence, completed in 1789, Blake invented a new engraving technique whereby lyrics and linear design could be reproduced simultaneously in several stages in the copper plate. The resulting prints were then hand-coloured. This complete fusion of tint and illustration recalls mediaeval illuminated manuscripts, from which Blake derived obvious inspiration. From 1790 until 1800 Blake lived in Lambeth and produced books, thematically characterised by energetic protest against eighteenth century morality (The Marriage of Heaven and Hell, 1790-3) and against political authority (Ammca 1793, and The French Revolution, 1791). These works corroborate Blake's radicalism, which was demonstrated by his sympathy with Swedenborg in religion, with Mary Wollstonecaft in education, and with the Jacobins during the French Revolution. -
Religious Leaders and Thinkers, 1516-1922
Religious Leaders and Thinkers, 1516-1922 Title Author Year Published Language General Subject A Biographical Dictionary of Freethinkers of All Ages and Nations Wheeler, J. M. (Joseph Mazzini); 1850-1898. 1889 English Rationalists A Biographical Memoir of Samuel Hartlib: Milton's Familiar Friend: With Bibliographical Notices of Works Dircks, Henry; 1806-1873. 1865 English Hartlib, Samuel Published by Him: And a Reprint of His Pamphlet, Entitled "an Invention of Engines of Motion" A Boy's Religion: From Memory Jones, Rufus Matthew; 1863-1948. 1902 English Jones, Rufus Matthew A Brief History of the Christian Church Leonard, William A. (William Andrew); 1848-1930. 1910 English Church history A Brief Sketch of the Waldenses Strong, C. H. 1893 English Waldenses A Bundle of Memories Holland, Henry Scott; 1847-1918. 1915 English Great Britain A Chapter in the History of the Theological Institute of Connecticut or Hartford Theological Seminary 1879 English Childs, Thomas S A Christian Hero: Life of Rev. William Cassidy Simpson, A. B. (Albert Benjamin); 1843-1919. 1888 English Cassidy, William A Church History for the Use of Schools and Colleges Lòvgren, Nils; b. 1852. 1906 English Church history A Church History of the First Three Centuries: From the Thirtieth to the Three Hundred and Twenty-Third Mahan, Milo; 1819-1870. 1860 English Church history Year of the Christian Era A Church History. to the Council of Nicaea A.D. 325 Wordsworth, Christopher; 1807-1885. 1892 English Church history A Church History. Vol. II; From the Council of Nicaea to That of Constantinople, A.D. 381 Wordsworth, Christopher; 1807-1885. 1892 English Church history A Church History. -
William Blake Large Print Guide
WILLIAM BLAKE 11 September 2019 – 2 February 2020 LARGE PRINT GUIDE Please return to the holder CONTENTS Room 1 ................................................................................3 Room 2 ..............................................................................44 Room 3 ............................................................................ 105 Room 4 ............................................................................ 157 Projection room ............................................................... 191 Room 5 ............................................................................ 195 Find out more ..................................................................254 Credits .............................................................................256 Floor plan ........................................................................259 2 ROOM 1 BLAKE BE AN ARTIST Entering the room, clockwise Quote on the wall The grand style of Art restored; in FRESCO, or Water-colour Painting, and England protected from the too just imputation of being the Seat and Protectress of bad (that is blotting and blurring) Art. In this Exhibition will be seen real Art, as it was left us by Raphael and Albert Durer, Michael Angelo, and Julio Romano; stripped from the Ignorances of Rubens and Rembrandt, Titian and Correggio. William Blake, ‘Advertisement’ for his one-man exhibition, 1809 4 WILLIAM BLAKE The art and poetry of William Blake have influenced generations. He has inspired many creative people, political radicals