Byron and Hoppner, 1817-1823
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GEORGE GORDON, LORD BYRON: a Literary-Biographical-Critical
1 GEORGE GORDON, LORD BYRON: A literary-biographical-critical database 2: by year CODE: From National Library in Taiwan UDD: unpublished doctoral dissertation Books and Articles Referring to Byron, by year 1813-1824: Anon. A Sermon on the Death of Byron, by a Layman —— Lines on the departure of a great poet from this country, 1816 —— An Address to the Rt. Hon. Lord Byron, with an opinion on some of his writings, 1817 —— The radical triumvirate, or, infidel Paine, Lord Byron, and Surgeon Lawrenge … A Letter to John Bull, from a Oxonian resident in London, 1820 —— A letter to the Rt. Hon. Lord Byron, protesting against the immolation of Gray, Cowper and Campbell, at the shrine of Pope, The Pamphleteer Vol 8, 1821 —— Lord Byron’s Plagiarisms, Gentleman’s Magazine, April 1821; Lord Byron Defended from a Charge of Plagiarism, ibid —— Plagiarisms of Lord Byron Detected, Monthly Magazine, August 1821, September 1821 —— A letter of expostulation to Lord Byron, on his present pursuits; with animadversions on his writings and absence from his country in the hour of danger, 1822 —— Uriel, a poetical address to Lord Byron, written on the continent, 1822 —— Lord Byron’s Residence in Greece, Westminster Review July 1824 —— Full Particulars of the much lamented Death of Lord Byron, with a Sketch of his Life, Character and Manners, London 1824 —— Robert Burns and Lord Byron, London Magazine X, August 1824 —— A sermon on the death of Lord Byron, by a Layman, 1824 Barker, Miss. Lines addressed to a noble lord; – his Lordship will know why, – by one of the small fry of the Lakes 1815 Belloc, Louise Swanton. -
POEMS WRITTEN FOR, TO, OR CONCERNING TERESA GUICCIOLI Edited by Peter Cochran
1 POEMS WRITTEN FOR, TO, OR CONCERNING TERESA GUICCIOLI edited by Peter Cochran [The poems here complement those in Poems about Italy .] Stanzas to the Po Stornelli To Teresa Guiccioli Francesca of Rimini “Could love for ever …” The Prophecy of Dante The date of birth of Teresa Gamba Ghiselli was unknown until quite recently: she was born in 1798. 1 Educated at Santa Chiara, a school run on principles advanced for the time, she was married to Alessandro Guiccioli – thirty-seven years her senior – on March 7th 1818. She had her first affair, with Cristoforo Ferri, in mid-1818, having met Byron briefly on March 10th of that year, at a Venetian conversazione held by the Countess Albrizzi. They met properly on the night of April 2nd / 3rd 1819 at the Countess Benzoni’s (just after Byron had dispatched Don Juan II to England), and fell in love. It was the last of Byron’s affairs, and lasted in theory until his death in 1824. It was a complete infatuation on both their parts – on being told in 1819 that Teresa was near to death, Byron contemplated suicide. Alessandro Guiccioli – with whom Byron shared an interest in the theatre – tolerated their liaison, and Byron even lived in his palazzo at Ravenna. Byron was friends with Teresa’s father, Ruggiero Gamba, and her brother Pietro, both of whom shared his liberal politics, dangerous in an Italy run by Rome and by the Austrians and Bourbons. The governments persecuted him by forcing the Gambas to move from state to state. I am grateful to Michael Fincham and Valeria Vallucci for their help in making these editions. -
VENICE Grant Allen's Historical Guides
GR KS ^.At ENICE W VENICE Grant Allen's Historical Guides // is proposed to issue the Guides of this Series in the following order :— Paris, Florence, Cities of Belgium, Venice, Munich, Cities of North Italy (Milan, Verona, Padua, Bologna, Ravenna), Dresden (with Nuremberg, etc.), Rome (Pagan and Christian), Cities of Northern France (Rouen, Amiens, Blois, Tours, Orleans). The following arc now ready:— PARIS. FLORENCE. CITIES OF BELGIUM. VENICE. Fcap. 8vo, price 3s. 6d. each net. Bound in Green Cloth with rounded corners to slip into the pocket. THE TIMES.—" Good work in the way of showing students the right manner of approaching the history of a great city. These useful little volumes." THE SCOTSMAN "Those who travel for the sake of culture will be well catered for in Mr. Grant Allen's new series of historical guides. There are few more satisfactory books for a student who wishes to dig out the Paris of the past from the im- mense superincumbent mass of coffee-houses, kiosks, fashionable hotels, and other temples of civilisation, beneath which it is now submerged. Florence is more easily dug up, as you have only to go into the picture galleries, or into the churches or museums, whither Mr. Allen's^ guide accordingly conducts you, and tells you what to look at if you want to understand the art treasures of the city. The books, in a word, explain rather than describe. Such books are wanted nowadays. The more sober- minded among tourists will be grateful to him for the skill with which the new series promises to minister to their needs." GRANT RICHARDS 9 Henrietta St. -
History and Vision in Byron, the Shelleys, and Keats Timothy Ruppert
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 2008 "Is Not the Past All Shadow?": History and Vision in Byron, the Shelleys, and Keats Timothy Ruppert Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Ruppert, T. (2008). "Is Not the Past All Shadow?": History and Vision in Byron, the Shelleys, and Keats (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1132 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. “IS NOT THE PAST ALL SHADOW?”: HISTORY AND VISION IN BYRON, THE SHELLEYS, AND KEATS A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University in partial fulfillment of the requirements for the degree of Doctor of Philosophy By Timothy Ruppert March 2008 Copyright by Timothy Ruppert 2008 “IS NOT THE PAST ALL SHADOW?”: HISTORY AND VISION IN BYRON, THE SHELLEYS, AND KEATS By Timothy Ruppert Approved March 25, 2008 _____________________________ _____________________________ Daniel P. Watkins, Ph.D. Jean E. Hunter , Ph.D. Professor of English Professor of History (Dissertation Director) (Committee Member) _____________________________ _____________________________ Albert C. Labriola, Ph.D. Magali Cornier Michael, Ph.D. Professor of English Professor of English (Committee Member) (Chair, Department of English) _____________________________ Albert C. Labriola, Ph.D. Dean, McAnulty College and Graduate School of Liberal Arts Professor of English iii ABSTRACT “IS NOT THE PAST ALL SHADOW?”: HISTORY AND VISION IN BYRON, THE SHELLEYS, AND KEATS By Timothy Ruppert March 2008 Dissertation Supervised by Professor Daniel P. -
The Changing Face of Venice by Palma Il Giovane Depicting the History of the Restoration of the Theatre Malibran
ACCESS SCORZÉ NOALE MARCO POLO AIRPORT - Tessera SALZANO S. MARIA DECUMANO QUARTO PORTEGRANDI DI SALA D'ALTINO SPINEA MIRANO MESTREMESTRE Aeroporto SANTA LUCIA RAILWAY STATION - Venice Marco Polo MARGHERA TORCELLO BURANO autostrada Padova-Venezia S.GIULIANO DOLO MIRA MURANO MALCONTENTA STRÀ ORIAGO WATER-BUS STATION FIESSO TREPORTI CAVALLINO D'ARTICO FUSINA PUNTA SABBIONI VTP. - M. 103 for Venice RIVIERA DEL BRENTA VENEZIA LIDO MALAMOCCO WATER-BUS STATION ALBERONI VTP - San Basilio S. PIETRO IN VOLTA WATER-BUS STATION PORTOSECCO Riva 7 Martiri - Venice PELLESTRINA P PIAZZALE ROMA CAR PARK - Venice P TRONCHETTO CAR PARK - Venice P INDUSTRIAL AREA CAR PARK - Marghera P RAILWAY-STATION CAR PARK - Mestre P FUSINA CAR PARK - Mestre + P SAN GIULIANO CAR PARK - Mestre Venezia P PUNTA SABBIONI CAR PARK - Cavallino The changing face of Venice The architect Frank O. Gehry has been • The Fusina terminal has been designed entrusted with developing what has been by A. Cecchetto.This terminal will be of SAVE, the company that has been run- • defined as a project for the new airport strategic importance as the port of entry ning Venice airport since 1987 is exten- marina. It comprises a series of facilities from the mainland to the lagoon and ding facilities to easily cope with the con- that are vital for the future development historical Venice. stant increase in traffic at Venice airport. of the airport, such as a hotel and an The new airport is able to process 6 mil- The new water-bus station has been desi- administration centre with meeting and • lion passengers a year. gned by U. -
Veneziaterreing.Pdf
ACCESS SCORZÉ NOALE MARCO POLO AIRPORT - Tessera SALZANO S. MARIA DECUMANO QUARTO PORTEGRANDI DI SALA D'ALTINO SPINEA MIRANO MMEESSTTRREE Aeroporto Marco Polo SANTA LUCIA RAILWa AY STATION - Venice MARGHERA ezia TORCELLO Padova-Ven BURANO autostrada S.GIULIANO DOLO MIRA MURANO MALCONTENTA STRÀ i ORIAGO WATER-BUS STATION FIESSO TREPORTI CAVALLINO D'ARTICO FUSINA VTP. - M. 103 for Venice PUNTA SABBIONI RIVIERA DEL BRENTA VENEZIA LIDO WATER-BUS STATION MALAMOCCO VTP - San Basilio ALBERONI z S. PIETRO IN VOLTA WATER-BUS STATION Riva 7 Martiri - Venice PORTOSECCO PELLESTRINA P PIAZZALE ROMA CAe R PARK - Venice P TRONCHETTO CAR PARK - Venice P INDUSTRIAL AREA Cn AR PARK - Marghera P RAILWAY-STATION CAR PARK - Mestre e P FUSINA CAR PARK - Mestre + P SAN GIULIANO CAR PARK - Mestre V P PUNTA SABBIONI CAR PARK - Cavallino The changing face of Venice The architect Frank O. Gehry has been • The Fusina terminal has been designed entrusted with developing what has been by A. Cecchetto.This terminal will be of SAVE, the company that has been run- • defined as a project for the new airport strategic importance as the port of entry ning Venice airport since 1987 is exten- marina. It comprises a series of facilities from the mainland to the lagoon and ding facilities to easily cope with the con- that are vital for the future development historical Venice. stant increase in traffic at Venice airport. of the airport, such as a hotel and an The new airport is able to process 6 mil- The new water-bus station has been desi- administration centre with meeting and • lion passengers a year. -
Byron's Prophecy of Dante and Its Form, Terza Rima
1 BYRON’S PROPHECY OF DANTE AND ITS FORM, TERZA RIMA ROSEMARIE ROWLEY IRISH BYRON SOCIETY In 1819, on his way to Ravenna to see Teresa Guiccioli, Byron stopped by the Certosa cemetery, where he came upon two epitaphs: “Martini Luigi Implora pace” and “Lucrezia Pinine Implora eterna quiete”. They moved him deeply: “it appears to me that these two and three words comprise and compress all that can be said on the subject – and then in Italian they are absolute Music.”1 It was at the beginning of his love affair with Teresa Guiccioli, and the culmination of his love for Italy. From the wild dissipation of Venice and its carnival comedies, Byron was psychologically prepared to go deeper into the Italian soul, and having met Teresa briefly, at one of Contessa Albrizzi’s conversazioni in Venice, and spoken to her at length two days later at the Contessa Benzoni’s salon: on April 2nd or 3rd, 1819, the two declared their love for one another, for they had loved with “these mysterious sympathies (which) shake the soul too much and frighten one,” as recalled by Teresa in her posthumously published account and as described by Byron’s biographer.2 He found himself engaging completely with Teresa and her culture, physically, emotionally, spiritually and intellectually, all qualities which were bound up in this convent girl who could recite by heart any part of the Divina Commedia . She was no less struck by him, and extracted a promise from him that he would visit her at her home at Ravenna. -
Appendices and Illustrations
APPENDICES AND ILLUSTRATIONS 223 APPENDIX I Annotazioni scritte da Giammaria Sasso nel margine del suo Zanetti della Pittura Veneziana dell’edizione 1771 224 225 226 227 228 229 230 Annotazioni scritte da Giammaria Sasso nel margine del suo Zanetti della Pittura Veneziana * dell’edizione 1771 Codice Cicogna Ms 3042/40, Biblioteca Correr, Venice. Pag 4. lin. 9 Fu lavata barbaramente per rimader- nar l’altare. Vidi alcuni pezzi in giro maltrattati in quest’anno 1802. Pag. 6. lin. 20 Vi sono altre opera di pittura in Venezia In questi tempi ed anche prima. Nel capitolo de Frari nel sepolcro di Francesco Dandol vi è una pittura in tavola con la Ver- gine, puttino, ed il Ritratto del Doge, e del- la moglie con li santi del loro nome; L’opera è conservata, ed è dipinta cioè il 1328 o poco dipoi. Nella stessa Chiesa in un Deposito d’un Beato di detta Religio- ne si vede dipinta l’Annunziata, opera pure di questi giorni. Pag 8 lin 5 anche il Marchese Maffei possedeva un quadro di questo Lorenzo. Vedi la Verona illustrata. pag 9 lin. 14 Il Ridolfi comincia la Storia de’ Pittori veneti da Guariento. Ma la verità è che vi furono più antichi pittori di lui a Venezia. Pag. stessa lin 33 Non so veramente se resti più niente di Guariento sotto il Paradiso di Tinto- retto dopo tanti incendi del Palazzo Du- cale, e dopo essere restate incenerite 231 le opere degli autori più moderni. quando si sono accomodati li schenali della sala, si sono veduti delle traccie del Paradiso di Guariento (circa a 1847) Pag. -
Introduction : 'Un Paese Tutto Poetico' – Byron in Italy, Italy in Byron
1 Introduction : ‘Un paese tutto poetico’ – Byron in Italy, Italy in Byron Alan Rawes and Diego Saglia Th e connection between Byron and Italy is one of the most familiar facts about British Romanticism. 1 Th e poet’s many pronouncements about the country (where he lived between 1816 and 1823), its his- tory, culture and people, as well as about his own experiences in Italy and among Italians, are well known and part of his legend. More particularly, Byron’s debauchery in Venice and would- be heroics in Ravenna are often known even to those acquainted with the poet’s biography only in its most simplifi ed versions. In contrast, though the critical panorama has been changing in recent years, serious attention to Byron’s literary engagement with Italy has tended to be discon- tinuous. Yet he wrote much of his greatest poetry in Italy, and under its infl uence, poetry that would have a profound bearing not only on the literature but also the wider culture, history and politics of the whole of Europe, and not least Italy itself. As a result, Byron’s relationship with Italy, and the poetry it pro- duced, speaks to a much broader modern- day audience than simply a literary one. Th is book bears witness to this fundamental fact about Byron’s Italian writings by relating the texts Byron wrote in Italy to numerous features of early nineteenth- century European (and par- ticularly, of course, Italian) culture, and highlighting many of their hugely infl uential contributions to the histories of all kinds of lit- erary and non- literary discourses concerning, for example, identity (personal, national and European), politics, ethnography, geography, religion – even tourism. -
Dossiers Lord Byron
Dossiers lord Byron N°7 Le Byron Journal Sommaire : Introduction. (p. 3) Entretien avec Alan Rawes (p. 5) Sommaire des numéros : Première série (p. 7) Deuxième série (p. 17) Troisième série (p. 29) Quatrième série (p. 34) Index byronien (p. 47) Dossiers lord Byron. ISSN 2496-3569 N°7, novembre 2011 (mise à jour bisannuelle). Rédaction et traduction : Davy Pernet. Mise en page et iconographie : Éditions Fougerouse. Publié en France. Site : www.editionsfougerouse.com / contact : [email protected] . Tous droits de traduction, de reproduction, et d’adaptation réservés. Note éditoriale On trouvera dans ce Dossier la liste complète des sommaires de tous les numéros du Byron journal depuis sa création, liste qui sera complétée régulièrement. Afin d’apporter plus de clarté, nous avons regroupé les textes en quatre principales rubriques : Articles, Lettres, Comptes rendus de livres évidemment (Books reviews), ainsi que des Notes, regroupant tous les petits textes qui n’entraient pas dans les autres catégories (nécrologies, rapports de conférences, activités des sociétés, mais aussi de très courtes études). Les an- nonces (pour des conférences, par exemple), ou la liste des sociétés, présente à chaque numéro, n’ont pas été indiquées. Les titres des articles, ainsi que les noms de leurs auteurs, sont orthographiés tels qu’ils apparaissent dans le journal. Un index bilingue complète la liste des numéros. Nous remercions Alan Rawes pour son aide. Abréviations utilisées : Anon. : anonymous (anonyme). Coll. : collective (collectif). Ed. : editor (éditeur scientifique) / gen. ed. : general editor (éditeur scientifique général). IBS : International Byron Society / BS : Byron Society. Int. : international. Intr. : introduction. Pref. : prefacer (préfacier). Tr. -
{PDF EPUB} the Corsair by Lord Byron the Corsair by Lord Byron
Read Ebook {PDF EPUB} The Corsair by Lord Byron The Corsair by Lord Byron. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 658ddae4c86fc40b • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Anthology of Ideas. Byron, intentionally or unintentionally, weaves himself into his poetry stamping it with his entire persona. His characters are part of himself; the poems are pieces of his mind; the events are based on experience. Byron’s poetry is an amalgamation of all aspects of Byron. This is truer in some poems than others: some are nearly biographical and others skillfully manipulate other’s perceptions of Byron. His poetry reveals the inner workings of his mind . Because of this, the voices in Byron’s poetry are not just the voices of Byron’s characters: they are the intermingling of the poet with the poem. One of the most pervasive and recognizable aspects of Byronic poetry is the Byronic hero who is a manifestation of parts of Byron’s own personality and thoughts. -
The Use of Space in Early Modern Venice
University of Kentucky UKnowledge Theses and Dissertations--History History 2013 SACRED, SUSPECT, FORBIDDEN: THE USE OF SPACE IN EARLY MODERN VENICE Julie D. Fox University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Fox, Julie D., "SACRED, SUSPECT, FORBIDDEN: THE USE OF SPACE IN EARLY MODERN VENICE" (2013). Theses and Dissertations--History. 11. https://uknowledge.uky.edu/history_etds/11 This Doctoral Dissertation is brought to you for free and open access by the History at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--History by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. I retain all other ownership rights to the copyright of my work.