Memoirs of the Life of Sir Walter Scott, Bart
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Shearer West Phd Thesis Vol 1
THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration. -
The Rhinehart Collection Rhinehart The
The The Rhinehart Collection Spine width: 0.297 inches Adjust as needed The Rhinehart Collection at appalachian state university at appalachian state university appalachian state at An Annotated Bibliography Volume II John higby Vol. II boone, north carolina John John h igby The Rhinehart Collection i Bill and Maureen Rhinehart in their library at home. ii The Rhinehart Collection at appalachian state university An Annotated Bibliography Volume II John Higby Carol Grotnes Belk Library Appalachian State University Boone, North Carolina 2011 iii International Standard Book Number: 0-000-00000-0 Library of Congress Catalog Number: 0-00000 Carol Grotnes Belk Library, Appalachian State University, Boone, North Carolina 28608 © 2011 by Appalachian State University. All rights reserved. First Edition published 2011 Designed and typeset by Ed Gaither, Office of Printing and Publications. The text face and ornaments are Adobe Caslon, a revival by designer Carol Twombly of typefaces created by English printer William Caslon in the 18th century. The decorative initials are Zallman Caps. The paper is Carnival Smooth from Smart Papers. It is of archival quality, acid-free and pH neutral. printed in the united states of america iv Foreword he books annotated in this catalogue might be regarded as forming an entity called Rhinehart II, a further gift of material embodying British T history, literature, and culture that the Rhineharts have chosen to add to the collection already sheltered in Belk Library. The books of present concern, diverse in their -
Lockhart'smemoirs of the Life of Sir Walter Scott, Bart
Studies in Scottish Literature Volume 38 | Issue 1 Article 16 2012 WRITER, READER, AND RHETORIC IN JOHN GIBSON LOCKHART'S MEMOIRS OF THE LIFE OF SIR WALTER SCOTT, BART. Gerald P. Mulderig DePaul University Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Mulderig, Gerald P. (2012) "WRITER, READER, AND RHETORIC IN JOHN GIBSON LOCKHART'S MEMOIRS OF THE LIFE OF SIR WALTER SCOTT, BART.," Studies in Scottish Literature: Vol. 38: Iss. 1, 119–138. Available at: https://scholarcommons.sc.edu/ssl/vol38/iss1/16 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]. WRITER, READER, AND RHETORIC IN JOHN GIBSON LOCKHART’S MEMOIRS OF THE LIFE OF SIR WALTER SCOTT, BART. Gerald P. Mulderig “[W]hat can the best character in any novel ever be, compared to a full- length of the reality of genius?” asked John Gibson Lockhart in his 1831 review of John Wilson Croker’s edition of Boswell’s Life of Johnson.1 Like many of his contemporaries in the early decades of the nineteenth century, Lockhart regarded Boswell’s dramatic recreation of domestic scenes as an intrusive and doubtfully appropriate advance in biographical method, but also like his contemporaries, he could not resist a biography that opened a window on what he described with Wordsworthian ardor as “that rare order of beings, the rarest, the most influential of all, whose mere genius entitles and enables them to act as great independent controlling powers upon the general tone of thought and feeling of their kind” (ibid.). -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Joseph Ritson and the Publication of Early English Literature Genevieve Theodora McNutt PhD in English Literature University of Edinburgh 2018 1 Declaration This is to certify that that the work contained within has been composed by me and is entirely my own work. No part of this thesis has been submitted for any other degree or professional qualification. Portions of the final chapter have been published, in a condensed form, as a journal article: ‘“Dignified sensibility and friendly exertion”: Joseph Ritson and George Ellis’s Metrical Romance(ë)s.’ Romantik: Journal for the Study of Romanticisms 5.1 (2016): 87-109. DOI:http://dx.doi.org/10.7146/rom.v5i1.26422. Genevieve Theodora McNutt 2 3 Abstract This thesis examines the work of antiquary and scholar Joseph Ritson (1752-1803) in publishing significant and influential collections of early English and Scottish literature, including the first collection of medieval romance, by going beyond the biographical approaches to Ritson’s work typical of nineteenth- and twentieth- century accounts, incorporating an analysis of Ritson’s contributions to specific fields into a study of the context which made his work possible. -
1 4 Henry Stead Swinish Classics
Pre-print version of chapter 4 in Stead & Hall eds. (2015) Greek and Roman Classics and the British Struggle for Social Reform (Bloomsbury). 4 Henry Stead Swinish classics; or a conservative clash with Cockney culture On 1 November 1790 Edmund Burke’s Reflections on the Revolution in France was published in England. The counter-revolutionary intervention of a Whig politician who had previously championed numerous progressive causes provided an important rallying point for traditionalist thinkers by expressing in plain language their concerns 1 Pre-print version of chapter 4 in Stead & Hall eds. (2015) Greek and Roman Classics and the British Struggle for Social Reform (Bloomsbury). about the social upheaval across the channel. From the viewpoint of pro- revolutionaries, Burke’s Reflections gave shape to the conservative forces they were up against; its publication provoked a ‘pamphlet war’, which included such key radical responses to the Reflections as Mary Wollstonecraft’s A Vindication of the Rights of Man (1790) and Tom Paine’s The Rights of Man (1791).1 In Burke’s treatise, he expressed a concern for the fate of French civilisation and its culture, and in so doing coined a term that would haunt his counter-revolutionary campaign. Capping his deliberation about what would happen to French civilisation following the overthrow of its nobility and clergy, which he viewed as the twin guardians of European culture, he wrote, ‘learning will be cast into the mire, and trodden down under the hoofs of a swinish multitude’. This chapter asks what part the Greek and Roman classics played in the cultural war between British reformists and conservatives in the periodical press of the late 1810s and early 1820s. -
'A' That's Past Forget – Forgie': National Drama and the Construction of Scottish National Identity on the Nineteenth
Studies in Scottish Literature Volume 44 Article 5 Issue 2 Reworking Walter Scott 12-31-2018 ‘A’ that’s past forget – forgie’: National Drama and the Construction of Scottish National Identity on the Nineteenth-Century Stage Paula Sledzinska University of Aberdeen Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the Literature in English, British Isles Commons, and the Theatre History Commons Recommended Citation Sledzinska, Paula (2019) "‘A’ that’s past forget – forgie’: National Drama and the Construction of Scottish National Identity on the Nineteenth-Century Stage," Studies in Scottish Literature: Vol. 44: Iss. 2, 37–50. Available at: https://scholarcommons.sc.edu/ssl/vol44/iss2/5 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]. “A’ THAT’S PAST FORGET—FORGIE”: NATIONAL DRAMA AND THE CONSTRUCTION OF NATIONAL IDENTITY ON THE NINETEENTH-CENTURY STAGE Paula Sledzinska For centuries, theatre has provided a space for a discussion of social, cultural and political affairs. The link between theatre and politics is of a particularly critical kind, as it is often within the dramatic texts, and on the stage, that the turmoil of revolutionary transformations, historical tragedies, and future visions were portrayed or challenged, and the shapes and images of communities, or indeed nations, explored.1 The -
The Arthurian Legend in British Women's Writing, 1775–1845
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Online Research @ Cardiff Avalon Recovered: The Arthurian Legend in British Women’s Writing, 1775–1845 Katie Louise Garner B.A. (Cardiff); M.A. (Cardiff) A thesis submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy School of English, Communication and Philosophy Cardiff University September 2012 Declaration This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed ………………………………………… (candidate) Date ……………………… STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. Signed ………………………………………… (candidate) Date ……………………… STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. The views expressed are my own. Signed ………………………………………… (candidate) Date ……………………… STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed ………………………………………… (candidate) Date………………………… STATEMENT 4: PREVIOUSLY APPROVED BAR ON ACCESS I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loans after expiry of a bar on access previously approved by the Academic Standards & Quality Committee. Signed ………………………………………… (candidate) Date………………………… Acknowledgements First thanks are due to my supervisors, Jane Moore and Becky Munford, for their unceasing assistance, intellectual generosity, and support throughout my doctoral studies. -
1831 SIR WALTER SCOTT 1 (March 1831 Continued)
1831 SIR WALTER SCOTT 1 (March 1831 continued) TO THE REV. ALEXANDER DYCE,1 LONDON [Extract] (12-1)ABBOTSFORD, March 31, 1831 (12-1)DEAR SIR,—I had the pleasure of receiving Greene's (12-1)Plays, with which, as works of great curiosity, I am highly (12-1)gratified. If the editor of the Quarterly consents, as he (12-1)probably will, I shall do my endeavour to be useful, (12-1)though I am not sure when I can get admission. I shall (12-1)be inclined to include Webster, who, I think, is one of the (12-1)best of our ancient dramatists ; if you will have the kindness (12-1)to tell the bookseller to send it to Whittaker, under cover (12-1)to me, care of Mr Cadell, Edinburgh, it will come safe, and (12-1)be thankfully received. Marlowe and others I have,—and (12-1)some acquaintance with the subject, though not much... .2 (12-1)I wish you had given us more of Greene's prose works.— (12-1)I am, with regard, dear sir, yours sincerely, (12-1)[Lockhart] WALTER SCOTT 2 LETTERS OF 1831 TO ROBERT CADELL (12-2)MY DEAR SIR,—I return Southennan 1 three volumes. (12-2)I should like much to have a reading of Waterwitch. (12-2)Some confusion in returning the Sheets between Ballantyne (12-2)& me have hankd the tail of the Tales. It is now (12-2)free. As I do not wish to fail in the Count I am determind (12-2)not to spare reading on Count Robert & am labouring (12-2)through the Byzantine historians. -
Scholars Retelling Romances 'N 15 of ~H Th, Ie H I, Phiilipa Hardman
Scholars Retelling Romances 'n 15 Of ~h th, Ie h i, Phiilipa Hardman . ke niversity of Readtng II :0 le It would be a very interesting experiment to ask a group of scholars to write a short account of some striking passage from a medieval romance, which could then be compared with the original. It is my bile belief that a significant proportion of those accounts would be lia, coloured here and there by touches of humour which were not present 'or in the original romance texts, This is a phenomenon which I have frequently noticed in listening to scholarly papers, reading articles and SUS books of criticism; even in preparing my own lectures to students - and it was this last discovery that led me to try to investigate further. Why is it that one finds examples of intrusive humour, whether intentional or involuntary, in the retelling or summarizing of medieval romances by scholars, Gfitics, and other readers, right through from the revival of interest in the romances in the late eighteenth century up to the present day? What is the significance of the fact that appreciative and serious readers of romance can respond to the texts in this way? As a preliminary example, I shall examine three different versions of the story of Arthur's conception and birth. The first comes from Joseph Ritson's pioneering work of scholarship, Ancient Eng/eish Metrical Romoncees,l an edition of twelve Middle English verse romances, prefaced by a lengthy, scholarly dissertation on the function and status of minstrels, and furnished with comparative notes. -
Scholars Retelling Romances
Scholars retelling romances Article Published Version Hardman, P. (1992) Scholars retelling romances. Reading Medieval Studies, XVIII. pp. 81-101. ISSN 0950-3129 Available at http://centaur.reading.ac.uk/84356/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Scholars Retelling Romances 'n 15 Of ~h th, Ie h i, Phiilipa Hardman . ke niversity of Readtng II :0 le It would be a very interesting experiment to ask a group of scholars to write a short account of some striking passage from a medieval romance, which could then be compared with the original. It is my bile belief that a significant proportion of those accounts would be lia, coloured here and there by touches of humour which were not present 'or in the original romance texts, This is a phenomenon which I have frequently noticed in listening to scholarly papers, reading articles and SUS books of criticism; even in preparing my own lectures to students - and it was this last discovery that led me to try to investigate further. Why is it that one finds examples of intrusive humour, whether intentional or involuntary, in the retelling or summarizing of medieval romances by scholars, Gfitics, and other readers, right through from the revival of interest in the romances in the late eighteenth century up to the present day? What is the significance of the fact that appreciative and serious readers of romance can respond to the texts in this way? As a preliminary example, I shall examine three different versions of the story of Arthur's conception and birth. -
Sir Tristrem"And the Beginning of the Editing Process 19
fl^;t y^ ' ^^^ ACKNOWLEDGEMENTS ^ Although it is with tremendous thanks and deep gratitude I acknowledge the assistance of my advisors in this project, Dr. Ernest Sullivan II and Dr. James H. Morey, whose help has indeed been invaluable, my deepest debt is to my wife Patricia, of whose infinite patience and understanding it is better to say nothing at all than risk not saying enough. 11 . ^\^^r.y.^2i. I TABLE OF CONTENTS ACKNOWLEDGEMENTS ii CHAPTER I. INTRODUCTION 1 II. WALTER SCOTT: SCHOLAR AND ANTIQUARY 3 III. THEAUCHINLECKMANUSCRIPT 8 IV. SIRTRISTREM 12 V. THE REDISCOVERY OF "SIR TRISTREM"AND THE BEGINNING OF THE EDITING PROCESS 19 VI. INTERNAL EVIDENCE OF AUTHORSHIP 23 VII. THE "INTRODUCTION"--?ART 1 28 VIII. THE "INTRODUCTION-PART II 55 IX. THE "APPENDIX TO THE INTRODUCTION" 64 X. "DESCRIPTION AND ABSTRACT OF TWO ANCIENT FRAGMENTS OF FRENCH METRICAL ROMANCES ON THE SUBJECT OF SIR TRISTREM" 62 XI. "NOTES ON SIR TRISTREM' 64 XII. SCOTT'S USE OF "SIR TRISTREM" AFTER HIS 1804 EDITION 66 WORKS CITED 74 ni .jKlsgcTTi CHAPTER I INTRODUCTION When Walter Scott published his edition of the medieval romance "Sir Tristrem" in 1804, he was not yet tided nor a novelist, but had already achieved literary notoriety both for his poetic translations and for his monumental achievement, Minstrelsy of the Scottish Border.^ Indeed, in many ways, Scott's edition of Sir Tristrem is the culmination of his work in the Border Minstrelsey, and originally Scott had intended his edition of Sir Tristrem, which was reputed to be the work of the medieval poet and seer Thomas of Erceldoune, known as The Rhymer, to be a continuing volume of the series.^ With his edition of Sir Tristrem, Scott graduated from the annotative type of scholarship found among the ballads in the Border Minstrelsey to an analytical form of scholarship that probed controversial issues and provided new and important insights into the problems found in a particular literary work, an approach which was in many ways imique to his time. -
CHAPTER 4 CONSERVATIVE REACTION, C.1792-1820: THE
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Stirling Online Research Repository CHAPTER 4 CONSERVATIVE REACTION, c.1792-1820: THE CASE FOR REJECTION We defy the most learned chronologist, the most intelligent annalist, the most industrious antiquary, and the most diligent inquirer into the facts and records of past times, to produce from history, ancient or modern, any parallel for such situations. In truth, no such nation as the United States, all circumstances considered, has ever been discovered in the political hemisphere.1 So the Anti-Jacobin Review summed up the enigma that the American republic continued to constitute for conservative observers in Britain in the early decades of its existence. In this particular instance, months before the outbreak of the Anglo-American War of 1812, the writer was both confounded and outraged that ‘a nation, insignificant in the scale of power, in the infancy almost of civilization, and with a circumscribed revenue, arising from sources over which she had not absolute controul’ should be ‘publicly discussing, in her legislative bodies, not only the propriety and necessity of war with a friendly state, but the means of carrying it on, and the objects to which it should be directed!’2 How to square the circle of presumed American incompetence with a rising anxiety regarding its potential was an unspoken (and perhaps unrecognised dilemma) for British conservative commentators during these decades. Conservative writers articulated a largely hostile attitude towards the United States of America between 1792 and 1820. They admitted that there were some reasons to admire the achievements of the new republic; and apprehension, which was also expressed, implies some form of respect.