The Poets and Poetry of the Nineteenth Century
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{PDF EPUB} Rejected Addresses: and Other Poems by James Smith
Read Ebook {PDF EPUB} Rejected addresses: and other poems by James Smith Jun 25, 2010 · Rejected addresses, and other poems Paperback – June 25, 2010 by Epes Sargent (Author), Horace Smith (Author), James Smith (Author) › Visit Amazon's James Smith Page. Find all the books, read about the author, and more. See search results for this author. Are you an author?Author: Epes Sargent, Horace Smith, James SmithFormat: PaperbackRejected Addresses, and other poems. ... With portraits ...https://www.amazon.com/Rejected-Addresses...Rejected Addresses, and other poems. ... With portraits and a biographical sketch. Edited by E. Sargent. [Smith, James, Sargent, Epes, Smith, Horatio] on Amazon.com. *FREE* shipping on qualifying offers. Rejected Addresses, and other poems. ... With portraits and a biographical sketch. Edited by E. Sargent. Jun 22, 2008 · Rejected Addresses: And Other Poems by James Smith, Horace Smith. Publication date 1871 Publisher G. P. Putnam & sons Collection americana Digitizing sponsor Google Book from the collections of University of Michigan Language English.Pages: 441Rejected Addresses, and other poems. ... With portraits ...https://books.apple.com/us/book/rejected-addresses...The POETRY & DRAMA collection includes books from the British Library digitised by Microsoft. The books reflect the complex and changing role of literature in society, ranging from Bardic poetry to Victorian verse. Containing many classic works from important dramatists and poets, this collectio… Rejected addresses, and other poems Item Preview remove-circle Share or Embed This Item. EMBED. EMBED (for wordpress.com hosted blogs and archive.org item <description> tags) Want more? Advanced embedding details, examples, and help! ...Pages: 460Rejected addresses, and other poems. -
Poems About Poets
1 BYRON’S POEMS ABOUT POETS Some of the funniest of Byron’s poems spring with seeming spontaneity from his pen in the middle of his letters. Much of this section comes from correspondence, though there is some formal verse. Several pieces are parodies, some one-off squibs, some full-length. Byron’s distaste for most of the poets of his day shines through, with the recurrent and well-worn traditional joke that their books will end either as stuffing in hatshops, wrapped around pastries, or as toilet-tissue. Byron admired the English poets of the past – the Augustans especially – much more than he did any of his contemporaries. Of “the Romantic Movement” he knew no more than did any of the other writers supposed now to have been members of it. Southey he loathed, as a dreadful doppelgänger – see below. Of Wordsworth he also had a low opinion, based largely on The Excursion – to the ambitions of which Don Juan can be regarded as a riposte (there are as many negative comments about Wordsworth in Don Juan as there are about Southey). He was as abusive of Keats as it’s possible to be, and only relented (as he said), when Shelley showed him Hyperion. Of the poetry of his friend Shelley he was very guarded indeed, and compensated by defending Shelley’s moral reputation. Blake he seems not to have known (“Blake” was him the name of a well-known Fleet Street barber). The only poet of whom his judgement and modern estimate coincide is Coleridge: he was strong in his admiration for The Ancient Mariner, Kubla Khan, and Christabel; about the conversational poems he seems blank, and he feigns total incomprehension of the Biographia Literaria (see below). -
3-VIEWS - TABLE of CONTENTS to Search: Hold "Ctrl" Key Then Press "F" Key
3-VIEWS - TABLE of CONTENTS To search: Hold "Ctrl" key then press "F" key. Enter manufacturer or model number in search box. Click your back key to return to the search page. It is highly recommended to read Order Instructions and Information pages prior to selection. Aircraft MFGs beginning with letter A ................................................................. 3 B ................................................................. 6 C.................................................................10 D.................................................................14 E ................................................................. 17 F ................................................................. 18 G ................................................................21 H................................................................. 23 I .................................................................. 26 J ................................................................. 26 K ................................................................. 27 L ................................................................. 28 M ................................................................30 N................................................................. 35 O ................................................................37 P ................................................................. 38 Q ................................................................40 R................................................................ -
Noticing the Dead: the Biographical Sketch in Victorian Periodicals
Noticing the dead: The biographical sketch in victorian periodicals Author Macleod, Jock Published 2017 Journal Title Victorian Periodicals Review Version Accepted Manuscript (AM) DOI https://doi.org/10.1353/vpr.2017.0040 Copyright Statement © 2017 The Johns Hopkins University Press. This is the author-manuscript version of this paper. Reproduced in accordance with the copyright policy of the publisher. Please refer to the journal's website for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/374236 Griffith Research Online https://research-repository.griffith.edu.au Noticing the Dead: The Biographical Sketch in Victorian Periodicals JOCK MACLEOD Writing about Harriet Martineau in Macmillan’s Magazine in May 1877, John Morley drew attention to the importance of her “biographic sketches” of significant figures in the field of journalism. Martineau, who had died the previous year, had published numerous sketches of the recently dead for the Daily News between 1852 and 1863, many of which were collected in Biographical Sketches (1869).1 For Morley, these were “masterpieces in the style of the vignette. Their conciseness, their clearness in fact, their definiteness in judgment, and above all the rightly-graduated impression of the writer’s own personality in the background, make them perfect in their kind.”2 In reviewing Martineau’s work, Morley was himself writing a biographical sketch, a genre that was widespread in periodical literature by the middle of the nineteenth century. Accounts of recently dead editors and contributors ranged from obituaries and memoirs to reviews of books (especially biographies, memoirs, and autobiographies), but many were simply brief sketches of recent or earlier nineteenth century journalistic figures. -
Our New York Book Fair List
Simon Beattie Recent Acquisitions To be exhibited at the 60th annual New York International Antiquarian Book Fair 5–8 March 2020 from item 43, Sonorama Park Avenue Armory 01. ARCHENHOLZ, Johann Wilhelm von. A Picture of England: containing a Description of the Laws, Customs, and Manners of England … By M. d’Archenholz, formerly a Captain in the Service of the King of Prussia. Translated from the French … London: Printed for Edward Jeffery … 1789. 2 vols, 12mo (169 × 98 mm), pp. [4], iv, 210; [4], iv, 223, [1]; a very nice copy in contemporary mottled calf, smooth spines gilt in compartments, gilt-lettered morocco labels, a little worm damage to the upper joint of vol. I, but still handsome; engraved armorial bookplate of Sir Thomas Hesketh, Bart., of Rufford Hall, Lancashire; Easton Neston shelf label. $1300 First edition in English, with the sections on Italy omitted. ‘Archenholz did more than any other man to present a complete picture of England to Germans. His fifteen years of study and travel well qualified him as an observer of different peoples and their manners, and his views of England served Germany for a quarter of a century as their chief source of information’ (Cox). Cox III, 99; Morgan 75. LARGE PAPER COPY 02. [BERESFORD, Benjamin, and Joseph Charles MELLISH, translators]. Specimens of the German Lyric Poets: consisting of Translations in Verse, from the Works of Bürger, Goethe, Klopstock, Schiller, &c. Interspersed with Biographical Notices, and ornamented with Engravings on Wood, by the first Artists. London: Boosey and Sons … and Rodwell and Martin … 1822. 8vo (212 × 135 mm) in half-sheets, pp. -
John Hookham Frere 1769-1846
JOHN HOOKHAM FRERE 1769-1846 Ta' A. CREMONA FOST il-Meċenti tal-Lsien Malti nistgħu ngħoddu lil JOHN HOOKHAM FRERE li barra mill-imħabba li kellu għall-ilsna barranin, Grieg, Latin, Spanjol, li scudjahom u kien jafhom tajjeb, kien wera ħrara u ħeġġa kbira biex imexxi '1 quddiem l-istudju tal-Malti, kif ukoll tal-ilsna orjentali, fosthom il-Lhudi u l-Għarbi, ma' tul iż-żmien li kien hawn Malta u baqa' hawnhekk sa mewtu. JOHN HOOKHAM FRERE twieled Londra fil-21 ta' Mejju, 1769. FI-1785 beda l-istudji tiegħu fil-Kulleġġ ta' Eton. Niesu mhux dejjem kienu jo qogtldu b'darhom Londra, iżda dlonk ma' tul is-sena kienu jmorru jgħixu ukoll Roydon f'Norfolk u f'Redington f'Surrey. F'Eton, fejn studja l-lette ratura Ingliża, Griega u Latina, kien sar ħabib tal-qalb ta' George Canning li l-ħbiberija tagħhom baqgħet għal għomorhom. Fl-1786, flimkien ma' xi studenti tal-Kulleġġ [la sehem fil-pubblikazzjoni tar-u vista Microcosm li bil-kitba letterar;a li kien fiha kienet ħadet isem fost l-istudenti ta' barra -il-kulleġġ. Minn Eton, Hookham Frere kien daħal f'Caius College, f'Cam bridge, fejn ħa l-grad tal-Baċellerat tal-Arti 8-1792 u l-Magister Artium fl-1795, u kiseb ie-titlu ta' Fellow of Caius għall-kitba tiegħu klassika ta' proża u versi. Fl-1797 issieħeb ma' Canning u xi żgħażagħ oħra fil-pub blikazzjoni tal-ġumal Anti-] acobin li kien joħroġ kull ġimgħa, nhar ta' Tnejn, bil-ħsieb li jrażżan il-propaganda tal-Partit Republikan Franċiż li kien qed ihedded il-monarkija tal-Istati Ewropej bil-filosofija Ġakbina tiegħu. -
Othello and Its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy
Black Rams and Extravagant Strangers: Shakespeare’s Othello and its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy Catherine Ann Rosario Goldsmiths, University of London PhD thesis 1 Declaration I declare that the work presented in this thesis is my own. 2 Acknowledgements Firstly, I want to thank my supervisor John London for his immense generosity, as it is through countless discussions with him that I have been able to crystallise and evolve my ideas. I should also like to thank my family who, as ever, have been so supportive, and my parents, in particular, for engaging with my research, and Ebi for being Ebi. Talking things over with my friends, and getting feedback, has also been very helpful. My particular thanks go to Lucy Jenks, Jay Luxembourg, Carrie Byrne, Corin Depper, Andrew Bryant, Emma Pask, Tony Crowley and Gareth Krisman, and to Rob Lapsley whose brilliant Theory evening classes first inspired me to return to academia. Lastly, I should like to thank all the assistance that I have had from Goldsmiths Library, the British Library, Senate House Library, the Birmingham Shakespeare Collection at Birmingham Central Library, Shakespeare’s Birthplace Trust and the Shakespeare Centre Library and Archive. 3 Abstract The labyrinthine levels through which Othello moves, as Shakespeare draws on myriad theatrical forms in adapting a bald little tale, gives his characters a scintillating energy, a refusal to be domesticated in language. They remain as Derridian monsters, evading any enclosures, with the tragedy teetering perilously close to farce. Because of this fragility of identity, and Shakespeare’s radical decision to have a black tragic protagonist, Othello has attracted subsequent dramatists caught in their own identity struggles. -
I SELECTIVE MEMORY: VICTORIAN
i SELECTIVE MEMORY: VICTORIAN PERIODICAL RECEPTIONS OF EIGHTEENTH-CENTURY AND ROMANTIC NOVELS A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Andrea L. Cabus May 2010 Dissertation Committee Members: Dr. Steven Newman, English Dr. Sally Mitchell, English Dr. Peter Logan, English Dr. Rachel S. Buurma, English, Swarthmore College ii ABSTRACT Title: Selective Memory: Victorian Periodical Receptions of Eighteenth-Century and Romantic Novels Candidate's Name: Andrea L. Cabus Degree: Doctor of Philosophy Temple University, 2010 Doctoral Advisory Committee Chair: Dr. Steven Newman Attention to Victorian reviews of eighteenth-century and Romantic novels reveals sympathy’s importance to the survival of classic novels and its role as a catalyst for critical standards that remain central. I demonstrate that reviewers used sympathy to describe a widespread but untheorized system of useful reading. Reviewers argue that rational sympathy could make reading a process of moral education. That is, if readers reject emotional stimulation, then reading about characters’ motives teaches readers to evaluate the people and situations they encounter in the real world. By looking at already canonical novelists like Richardson, Fielding and Scott, by denying canonicity to gothic novelists, and by creating new classics with figures like Austen, Victorian reviewers engage sympathy to teach their readers how to read reviews and novels appropriately. In doing so, reviewers also alter the reviewing voice, making it more sympathetic as well as using it to cajole and convince readers (rather than expecting agreement based on the reviewer’s expertise). Additionally, reviewers use persuasive techniques to build imagined relationships between readers, encouraging readers to take the moral ideals garnered from their reading and put them to use in relationships. -
The World's Best Poetry, Volume IX: of Tragedy: of Humour
Title: The World's Best Poetry, Volume IX: Of Tragedy: of Humour Author: Various Contributor: Francis Barton Gummere Editor: Bliss Carman Release Date: July 15, 2013 [EBook #43223] Language: English _THE WORLD'S_ _BEST POETRY_ _I Home: Friendship_ _VI Fancy: Sentiment_ _II Love_ _VII Descriptive: Narrative_ _III Sorrow and Consolation_ _VIII National Spirit_ _IV The Higher Life_ _IX Tragedy: Humor_ _V Nature_ _X Poetical Quotations_ _THE WORLD'S BEST POETRY_ _IN TEN VOLUMES, ILLUSTRATED_ _Editor-in-Chief BLISS CARMAN_ _Associate Editors_ _John Vance Cheney Charles G. D. Roberts_ _Charles F. Richardson Francis H. Stoddard_ _Managing Editor: John R. Howard_ [Illustration] _JOHN D. MORRIS AND COMPANY PHILADELPHIA_ COPYRIGHT, 1904, BY JOHN D. MORRIS & COMPANY [Illustration: JOHANN WOLFGANG VON GOETHE. _Photogravure after portrait by Stieler._] _The World's Best Poetry_ _Vol. IX_ _Of TRAGEDY:_ _of HUMOR_ _THE OLD CASE OF_ _POETRY_ _IN A NEW COURT_ _By_ _FRANCIS A. GUMMERE_ [Illustration] _JOHN D. MORRIS AND COMPANY_ _PHILADELPHIA_ COPYRIGHT, 1904, BY John D. Morris & Company NOTICE OF COPYRIGHTS. I. American poems in this volume within the legal protection of copyright are used by the courteous permission of the owners,--either the publishers named in the following list or the authors or their representatives in the subsequent one,--who reserve all their rights. So far as practicable, permission has been secured, also for poems out of copyright. PUBLISHERS OF THE WORLD'S BEST POETRY. 1904. The BOBBS-MERRILL COMPANY, Indianapolis.--F. L. STANTON: "Plantation Ditty." The CENTURY CO., New York.--_I. Russell_: "De Fust Banjo," "Nebuchadnezzar." Messrs. HARPER & BROTHERS, New York.--_W. A. -
ANGLO-GERMAN CULTURAL RELATIONS Language & Literature
ANGLO-GERMAN CULTURAL RELATIONS Language & literature, travel & tourism, c.1714–1914 The catalogue before you, published to mark my tenth anniversary as an independent bookseller, has been years in the making. Many people know me for selling Russian material, but in fact my interest in Germany About has always been stronger. German has always been my favoured foreign this language and I have enjoyed finding, researching, and writing about the catalogue books, manuscripts, music, and ephemera which make up this catalogue. It’s only when you specialize, and collect, in any depth that things start to get interesting, and that has certainly been the case here. You see connections, reactions, and developments; pieces of a historical jigsaw fall into place. The material here charts the cultural connections between the English- and German-speaking worlds in, roughly, the two hundred years between the Hanoverian Succession and the First World War. Through travel and translation, one culture discovers another; discovery then leads to influence. A German immigrant teaches music in London, the same year (1737) an Englishman in Göttingen compiles the first anthology of English literature for Germans. Later, in the 1760s, the first English translations of German literature are mirrored by the appearance of Wieland’s influential edition of Shakespeare. The catalogue documents two major eighteenth- century European literary events: Ossian and Werther, both linked by and to the young Goethe, whose own Faust so captured the English imagination in the nineteenth century. (The web of influence within literature itself is likewise tantalising: Werther reads Ossian, Frankenstein’s monster reads Werther.) The rise of the Gothic is also found here: Bürger’s Lenore in five English translations (1796–7), one of them Walter Scott’s first book, but the influence, surprisingly perhaps, was felt even earlier (and the other way round), in Sophia Lee’s The Recess, translated by Benedikte Naubert in 1786. -
Heraldry: Where Art and Family History Meet Part II: Marshalling and Cadency by Richard A
Heraldry: Where Art and Family History Meet Part II: Marshalling and Cadency by Richard A. McFarlane, J.D., Ph.D. Heraldry: Where Art and Family History Meet 1 Part II: Marshalling and Cadency © Richard A. McFarlane (2015) Marshalling is — 1 Marshalling is the combining of multiple coats of arms into one achievement to show decent from multiple armigerous families, marriage between two armigerous families, or holding an office. Marshalling is accomplished in one of three ways: dimidiation, impalement, and 1 Image: The arms of Edward William Fitzalan-Howard, 18th Duke of Norfolk. Blazon: Quarterly: 1st, Gules a Bend between six Cross Crosslets fitchée Argent, on the bend (as an Honourable Augmentation) an Escutcheon Or charged with a Demi-Lion rampant pierced through the mouth by an Arrow within a Double Tressure flory counter-flory of the first (Howard); 2nd, Gules three Lions passant guardant in pale Or in chief a Label of three points Argent (Plantagenet of Norfolk); 3rd, Checky Or and Azure (Warren); 4th, Gules a Lion rampant Or (Fitzalan); behind the shield two gold batons in saltire, enamelled at the ends Sable (as Earl Marshal). Crests: 1st, issuant from a Ducal Coronet Or a Pair of Wings Gules each charged with a Bend between six Cross Crosslets fitchée Argent (Howard); 2nd, on a Chapeau Gules turned up Ermine a Lion statant guardant with tail extended Or ducally gorged Argent (Plantagenet of Norfolk); 3rd, on a Mount Vert a Horse passant Argent holding in his mouth a Slip of Oak Vert fructed proper (Fitzalan) Supporters: Dexter: a Lion Argent; Sinister: a Horse Argent holding in his mouth a Slip of Oak Vert fructed proper. -
ABSTRACT Genius, Heredity, and Family Dynamics. Samuel Taylor Coleridge and His Children: a Literary Biography Yolanda J. Gonz
ABSTRACT Genius, Heredity, and Family Dynamics. Samuel Taylor Coleridge and his Children: A Literary Biography Yolanda J. Gonzalez, Ph.D. Chairperson: Stephen Prickett, Ph.D. The children of Samuel Taylor Coleridge, Hartley, Derwent, and Sara, have received limited scholarly attention, though all were important nineteenth century figures. Lack of scholarly attention on them can be blamed on their father, who has so overshadowed his children that their value has been relegated to what they can reveal about him, the literary genius. Scholars who have studied the children for these purposes all assume familial ties justify their basic premise, that Coleridge can be understood by examining the children he raised. But in this case, the assumption is false; Coleridge had little interaction with his children overall, and the task of raising them was left to their mother, Sara, her sister Edith, and Edith’s husband, Robert Southey. While studies of S. T. C.’s children that seek to provide information about him are fruitless, more productive scholarly work can be done examining the lives and contributions of Hartley, Derwent, and Sara to their age. This dissertation is a starting point for reinvestigating Coleridge’s children and analyzes their life and work. Taken out from under the shadow of Samuel Taylor Coleridge, we find that Hartley was not doomed to be a “child of romanticism” as a result of his father’s experimental approach to his education; rather, he chose this persona for himself. Conversely, Derwent is the black sheep of the family and consciously chooses not to undertake the family profession, writing poetry.