Stylistic Analysis on Walter Savage Landor's
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Towards a Poetics of Becoming: Samuel Taylor Coleridge's and John Keats's Aesthetics Between Idealism and Deconstruction
Towards a Poetics of Becoming: Samuel Taylor Coleridge’s and John Keats’s Aesthetics Between Idealism and Deconstruction Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät IV (Sprach- und Literaturwissenschaften) der Universität Regensburg eingereicht von Charles NGIEWIH TEKE Alfons-Auer-Str. 4 93053 Regensburg Februar 2004 Erstgutachter: Prof. Dr. Rainer EMIG Zweitgutachter: Prof. Dr. Dieter A. BERGER 1 TABLE OF CONTENTS PAGE DEDICATION .............................................................................................................. I ACKNOWLEDGMENTS ........................................................................................... II ABSTRACT ............................................................................................................... VI English........................................................................................................................ VI German...................................................................................................................... VII French...................................................................................................................... VIII INTRODUCTION Aims of the Study......................................................................................................... 1 On the Relationship Between S. T. Coleridge and J. Keats.......................................... 5 Certain Critical Terms................................................................................................ -
The Armstrong Browning Library Newsletter God Is the Perfect Poet
The Armstrong Browning Library Newsletter God is the perfect poet. – Paracelsus by Robert Browning NUMBER 51 SPRING/SUMMER 2007 WACO, TEXAS Ann Miller to be Honored at ABL For more than half a century, the find inspiration. She wrote to her sister late Professor Ann Vardaman Miller of spending most of the summer there was connected to Baylor’s English in the “monastery like an eagle’s nest Department—first as a student (she . in the midst of mountains, rocks, earned a B.A. in 1949, serving as an precipices, waterfalls, drifts of snow, assistant to Dr. A. J. Armstrong, and a and magnificent chestnut forests.” master’s in 1951) and eventually as a Master Teacher of English herself. So Getting to Vallombrosa was not it is fitting that a former student has easy. First, the Brownings had to stepped forward to provide a tribute obtain permission for the visit from to the legendary Miller in Armstrong the Archbishop of Florence and the Browning Library, the location of her Abbot-General. Then, the trip itself first campus office. was arduous—it involved sitting in a wine basket while being dragged up the An anonymous donor has begun the cliffs by oxen. At the top, the scenery process of dedicating a stained glass was all the Brownings had dreamed window in the Cox Reception Hall, on of, but disappointment awaited Barrett the ground floor of the library, to Miller. Browning. The monks of the monastery The Vallombrosa Window in ABL’s Cox Reception The hall is already home to five windows, could not be persuaded to allow a woman Hall will be dedicated to the late Ann Miller, a Baylor professor and former student of Dr. -
Reviews 213 Especially Unfortunate for a Collection on Textuality, The
Especially unfortunate for a collection on textuality, the essays are marred by typographical errors (“David Scan Kastan”, “feministm”, “Sommer- ville College”, “modem” for “modern”, “arid” for “and”). ;WUMWN \PMÅZ[\[M\WN ¹[MUQVITºM[[Ia[[PW_\PMQZIOMJ]\QV[WUM ways this is one of the pleasures in reading the volume. McGann’s essay from 1985 asks, “What is the relevance of textual and bibliographical stud- ies to literary intepretation?” and asserts “This is not a question that has been posed in a systematic way very often”. These statements would be unthinkable in the recent essays in the collection, a change due in a large part to McGann’s own work over the last two decades. He suggests that, faced by the same textual feature, literary historians and editors ask differ- ent questions. The former ask “what does this mean?” while the latter ask “is this right or wrong?” McGann’s essay is not about early modern texts, TM\ITWVMJa_WUMVJ]\Q\Q[QV\MZM[\QVO\WZMÆMK\WV\PM_Ia[QV_PQKPMLQ- tors of early modern women have almost always been literary historians ÅZ[\LZI_V\WMLQ\QVOQVWZLMZ\WUISMQVIKKM[[QJTM\M`\[I^IQTIJTMWomen Editing/Editing Women is both an essential primer for any would-be editor of early modern women and a stimulating statement of enduring ques- \QWV[IVLKPITTMVOM[QV\PMÅMTL1\[]OOM[\[IÅMTL_PQKPPI[LM^MTWXML rapidly over some forty years, and provides an exciting picture of both the many questions which have been answered, and those which remain for editors in this vibrant area. Elizabeth Scott-Baumann Stephen Hebron. John Keats: A Poet and His Manuscripts. London: The Brit- ish Library, 2009. -
BYRON, SHELLEY and KEATS
THE ROMANTIC AGE THE SECOND GENERATION OF ROMANTIC POETS: BYRON, SHELLEY and KEATS - they all left England, visited Italy and died young - return to complex forms of versification and richer language - interest in the world of ancient Greece - more interest in Politics (especially Byron) - different view of Nature (less idealistic) George Gordon Byron 1. Life (1788 – 1824) • In 1809 he set out on a tour of Spain, Portugal, Malta, Albania, Greece and the Middle East. • After his return to England in 1812, he published the first ‘two cantos’ of Childe Harold’s Pilgrimage. • He became a literary and social celebrity, but then he left England in 1816, never to return. • He lived in Geneva, where he became a friend of the poet Percy Bysshe Shelley. • He moved to Venice, where he began his masterpiece, the mock-epic Don Juan. • In 1819 he moved to Milan where he became involved H. Meyer, Lord Byron, 1816, Victoria in the patriotic plots against Austrian rule. and Albert Museum, London • He committed himself to the Greek struggle of independence from Turkey. • His heart is buried in Greece, his body is interred in England. Performer - Culture & Literature George Gordon Byron 2. Main works • Childe Harold’s Pilgrimage (1812-1818). • The Giaour (1813), The Corsair, and Lara (1814): a series of verse narratives. • Manfred, a tragedy (1817). • Don Juan (1819-24). Jonny Lee Miller is Byron, in the BBC drama Byron. Performer - Culture & Literature George Gordon Byron 4. The Byronic hero • A moody, restless and mysterious romantic rebel. • Hides some sin or secret in his past. -
On the Rise and Progress of Popular Disaffection,” in Es- Says, Moral and Political, 2 Vols
Notes Introduction 1. Robert Southey, “On the Rise and Progress of Popular Disaffection,” in Es- says, Moral and Political, 2 vols. (1817; London: John Murray, 1832), II, 82. The identity of Junius remained a mystery, and even Edmund Burke was suspected. For an argument that he was Sir Philip Francis, see Alvar Ellegård, Who Was Junius? (The Hague, 1962). 2. Byron, “The Vision of Judgment” in Lord Byron: The Complete Poetical Works, ed. Jerome J. McGann and Barry Weller, 7 vols. (Oxford: Clarendon Press, 1980–92), VI, 309–45. 3. M. H. Abrams, Natural Supernaturalism: Tradition and Revolution in Ro- mantic Literature (New York: W. W. Norton, 1971), p. 13. 4. See Anne K. Mellor, English Romantic Irony (Cambridge: Harvard Univer- sity Press, 1980). 5. Jerome J. McGann, The Romantic Ideology: A Critical Investigation (Chicago and London: University of Chicago Press, 1983), pp. 23–24. 6. Jerome J. McGann, Towards a Literature of Knowledge (Oxford: Clarendon Press, 1989), p. 39. 7. McGann, Towards a Literature of Knowledge, p. 39. 8. McGann, “Literary Pragmatics and the Editorial Horizon,” in Devils and Angels: Textual Editing and Literary Theory, ed. Philip Cohen (Charlottesville and London: University Press of Virginia, 1991), pp. 1–21 (13). 9. Marilyn Butler, “Satire and the Images of Self in the Romantic Period: The Long Tradition of Hazlitt’s Liber Amoris,” in English Satire and the Satiric Tradition, ed. Claude Rawson (Oxford: Basil Blackwell, 1984), 209–25 (209). 10. Stuart Curran, Poetic Form and British Romanticism (New York and Oxford: Oxford University Press, 1986), pp. 12–13. 11. Gary Dyer, British Satire and the Politics of Style, 1789–1832 (Cambridge: Cambridge University Press, 1997). -
Poetic Models in Novalis, Keats, and Stagnelius Folkmann, Mads Nygaard
University of Southern Denmark The Transfigurative Mode of Romantic Discourse Poetic Models in Novalis, Keats, and Stagnelius Folkmann, Mads Nygaard Published in: Prism(s) Publication date: 2006 Document version: Final published version Citation for pulished version (APA): Folkmann, M. N. (2006). The Transfigurative Mode of Romantic Discourse: Poetic Models in Novalis, Keats, and Stagnelius. Prism(s), 14, 27-56. Go to publication entry in University of Southern Denmark's Research Portal Terms of use This work is brought to you by the University of Southern Denmark. Unless otherwise specified it has been shared according to the terms for self-archiving. If no other license is stated, these terms apply: • You may download this work for personal use only. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying this open access version If you believe that this document breaches copyright please contact us providing details and we will investigate your claim. Please direct all enquiries to [email protected] Download date: 06. Oct. 2021 The Transfigurative Mode ofRomantic Discourse: Poetic Models in Novalis, Keats, and Stagnelius Mads Nygaard Folkmann 0minant feature of Romantic literature is the wish to. transgress A;he given reality or, more precisely, to cnallenge and alternate the ways to both perceive and conceive reality. The literary text may not per it' change reality, yet it can suggest transformations indirectly by constructing new models or modes of seeing and comprehending. In this essay, I raise the question of the principle of transfiguration as a way of dealing with the Romantic desire for a radical transformation of perception. -
John Keats 1 John Keats
John Keats 1 John Keats John Keats Portrait of John Keats by William Hilton. National Portrait Gallery, London Born 31 October 1795 Moorgate, London, England Died 23 February 1821 (aged 25) Rome, Italy Occupation Poet Alma mater King's College London Literary movement Romanticism John Keats (/ˈkiːts/; 31 October 1795 – 23 February 1821) was an English Romantic poet. He was one of the main figures of the second generation of Romantic poets along with Lord Byron and Percy Bysshe Shelley, despite his work only having been in publication for four years before his death.[1] Although his poems were not generally well received by critics during his life, his reputation grew after his death, so that by the end of the 19th century he had become one of the most beloved of all English poets. He had a significant influence on a diverse range of poets and writers. Jorge Luis Borges stated that his first encounter with Keats was the most significant literary experience of his life.[2] The poetry of Keats is characterised by sensual imagery, most notably in the series of odes. Today his poems and letters are some of the most popular and most analysed in English literature. Biography Early life John Keats was born in Moorgate, London, on 31 October 1795, to Thomas and Frances Jennings Keats. There is no clear evidence of his exact birthplace.[3] Although Keats and his family seem to have marked his birthday on 29 October, baptism records give the date as the 31st.[4] He was the eldest of four surviving children; his younger siblings were George (1797–1841), Thomas (1799–1818), and Frances Mary "Fanny" (1803–1889) who eventually married Spanish author Valentín Llanos Gutiérrez.[5] Another son was lost in infancy. -
Bloody Poetry: on the Role of Medicine in John Keats's Life and Art
Caroline Bertonèche, On the Role of Medicine in John Keat’s Life and Art Bloody Poetry: On the Role of Medicine in JoHn Keats's Life and Art Caroline Bertonèche To see Keats only as yet another British Romantic poet, author of the odes and the Hyperions, who died in exile, after one last fit of tuberculosis, is to forget that he spent as many years – six years to be precise – of his short life studying medicine as he did writing poetry. First a young apprentice to an apothecary, then a medical student from 1811 to 1816, Keats chose to start his career as an artist without completely burying his scientific past, making sure never to get rid of his old books on medicine – these books that were to previously shape his intellect before he even started putting together his collections of poems. Satisfied to have had the ability to distance himself from a rather contrasted form of education in order to favour a unified conception of knowledge, Keats will always seem to go back to those first readings as a source of reference. They are indeed the foundations of this unique rapprochement between medicine and poetry which, in British Romanticism, is certainly specific to him. It takes a visionary painter and a close friend, John Hamilton Reynolds, to remind us, in his very axiomatic letter of 3 May 1818 that Keats will never cease to praise the medical world as a means to keep “every department of knowledge” alive. From this pattern of now two complementary backgrounds, he therefore extracts the binary substance of one “great whole”1: Were I to study physic or rather Medicine again, — I feel it would not make the least difference in my Poetry; when the Mind is in its infancy a Bias is in reality a Bias, but when we have acquired more strength, a Bias becomes no Bias. -
Essays on the Poets, and Other English Writers
ESSAYS ON THE POETS, AND OTHER ENGLISH WRITERS THOMAS DE QUINCEY ESSAYS ON THE POETS, AND OTHER ENGLISH WRITERS Table of Contents ESSAYS ON THE POETS, AND OTHER ENGLISH WRITERS......................................................................1 THOMAS DE QUINCEY.............................................................................................................................1 ON WORDSWORTH'S POETRY................................................................................................................1 PERCY BYSSHE SHELLEY......................................................................................................................13 JOHN KEATS.............................................................................................................................................24 OLIVER GOLDSMITH..............................................................................................................................31 ALEXANDER POPE..................................................................................................................................44 WILLIAM GODWIN..................................................................................................................................63 JOHN FOSTER............................................................................................................................................67 WILLIAM HAZLITT..................................................................................................................................69 -
Disquietude Or the Leap Into the Sea
Disquietude or the Leap into the Sea Teresa F. A. Alves* For João Flor With Whom I Read Novalis and Keats for the First Time There is so much in Night of a Thousand Blossoms (2004) that evokes the lyric voice and the pseudo-urban landscape of Frank X. Gaspar’s previous three volumes of poetry that I again chose disquietude as the undertow that pulls this poet’s imagination in a given direction and offers a focus around which I will tentatively organize my own reading of his creative work.1 This is nowhere more evident than in the ebb and flow of lines patterned upon irregular length and rhythm, which like human breathing are ruled by the cadence of emotion; or in the hitching of the highly visual world of common perception to a dreamlike sense of experience that challenges the reader to a new awareness of things; or, finally, in the spiritual endeavor made language, which weaves lyricism to the vernacular and achieves a complex web of meaning and speculation. The tripartite structure of Night of a Thousand Blossoms is, as in the preceding volumes of poems, the device by means of which Gaspar organizes and entwines intra-and intertextual resonance, each of the sections being introduced by epigraphs. These, when on the same page, make inroads into each other’s significance, and when introducing a section are thematically relevant. Epigraphs from Novalis and Frank O’Hara open this volume. The temporal gap between the Romantic German poet and the Postmodern American one is overcome by their common incidence on revelation, explicit in the passage from Hymnen an die Nacht (1800) and implicit in the revisitation of a dialogue with the sun in “A True Account Of Talking To The Sun At Fire Island” (1958). -
Ralph Waldo Emerson and the Dial
EMPORIA STATE r-i 'ESEARCH -GhL WATE PUBLICATION OF THE KANSAS STATE TEACHERS COLLEGE, EMPORIA Ralph Waldo Emerson and The Dial: A Study in Literary Criticism Doris Morton 7hetjnporia State Re~earchStudie~ KANSAS STATE TEACHERS COLLEGE EMPORIA, KANSAS 66801 J A Ralph Waldo Emerson and The Dial: A Study in Literary Criticism Doris Morton *- I- I- VOLUME XVIII DECEMBER, 1969 NUMBER 2 THE EMPORIA STATE RESEARCH STUDIES is published in September, December, March, and June of each year by the Graduate Division of the Kansas State Teachers College, 1200 Commercial St., Emporia, Kansas, 66801. Entered as second-class matter September 16, 1952, at the post office at Em- poria, Kansas, under the act of August 24, 1912. Postage paid at Emporia, Kansas. S)+s, ,-/ / J. r d Ll,! - f> - 2 KANSAS STATE TEACHERS COLLEGE EMPORIA, KANSAS JOHN E. VISSER President of the College THE GRADUATE DIVISION TRUMANHAYES, Acting Dean EDITORIAL BOARD WILLIAMH. SEILER,Professor of Social Sciencesand Chairmunof Divisfon CHARLESE. WALTON,Professor of English and Head of Department GREEND. WYRICK,Professor of English Editor of thh Issue: GREEND, WYRICK Papers published in the periodical are written by faculty members of the Kansas State Teachers College of Emporia and by either undergraduate or graduate students whose studies are conducted in residence under the supervision of a faculty member of the college. ,,qtcm @a"1* a**@ 432039 2 3 ?9fl2 ytp, "Stabement required by the Act of October, 1962; Section 4389, Title a, United Mates Code, showing Ownership, Management and Circulation." The bporh, Sate Ittseuch Studies is pubLished in September, December, March and June of each year. -
The Critical Theory of John Keats
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1960 The Critical Theory of John Keats Rita Claire Callan Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Callan, Rita Claire, "The Critical Theory of John Keats" (1960). Master's Theses. 1553. https://ecommons.luc.edu/luc_theses/1553 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses 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. Copyright © 1960 Rita Claire Callan THE CRITICAL THEORY or JOHN KEATS by Rita Claire Callan A Thesis Submitted to the Faoulty ot the Graduate Sohool of Loyola University in Partial Pulfillment of the Requirements tor the Degree of Master of Arts June 1960 LIFE Rita Claire Callan, n!£ Wegner, was born in Chicago, Illinois, August 6, 1930. She was graduated from the Aoademy of Ou.r Lady, Chioago, Illinois, June. 1948, and trom the University of Illinois, June, 1953, with the degree of Baohelor of Science. From 1953 to 1957 the author worked as an ocoupational therapist at the Chicago Department of Welfare Convalesoent Home and the Veteran's Administration Researoh Hospital, Chicago. Illinois. She began her graduate studies at Loyola University in February, 1953. iii TABLE OF CONTENTS Chapter Page I. INTRODUCTION • • • • • • • • • • • • • • • • • • • • 1 Growing interest in Keats's philosophy ot art- Disagreement among critics--Method of this study- Character of Keats's letters.