DOCSLIB.ORG

1 the Minstrel Mode

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 the Minstrel Mode Notes 1The Minstrel Mode 1. Maureen McLane has noted that ‘Wordsworthlauded thealmost mystical connection between the first bards and their audiences’ (‘Ballads’ 423) in his 1802 ‘Appendix on Poetic Diction’. In that appendix, part of Wordsworth’s project is to assert that this ‘almost mystical connection’ was producedby ‘language which, though unusual, was still the language of men’( LB 318).By insisting on the ancient and modern poets’ shared attachment to common language, Wordsworth here downplays the importance of the shift from oral to print culture by emphasizing the primacy of diction. If the reader accepts Wordsworth’s arguments, the fantasy of minstrelsy becomes unnecessary, as modern poets can recapture the connection between bard and audience throughdiction, thus rendering obsolete the need to imagine minstrels with live audiences. This explains why Wordsworth’s deep interest in a bardic tradition, which Richard Gravilhas documented thoroughlyin Wordsworth’s Bardic Vocation, does not lead Wordsworth to employ the conventions of minstrel writing. 2. In using and extending the metaphor of ‘two-faced’ writing, I have in mind Jerome McGann’s comments stemming from this same passage in Mill. McGann writes that ‘Romantic truth is inner vision, and Romantic knowl- edge is the unfolding of the truths of that inner vision’ (Byron and Romanticism 115). McGann goes on to point out that ‘[h]ypocrisy is the antithesis of sincerity’ and continues, One can be sincere and yet speak incompletely, or even falsely, but it appears a patent contradiction to think or imagine that one could be sincere and at the same time speak deliberate falsehoods or develop subtle equivocations. To do so is to declare that one is ‘two-faced,’ and hence lacking the fundamental quality of the sincere person: integrity. (Byron and Romanticism 115) McGann argues that Byron wrote in genres such as satire that ‘have an exchange going on between the writer and the reader’ and there- fore resist Romantic poetry’s paradigmatic valorization of the ‘overheard’ (Byron and Romanticism 136) – or even, I would add by way of Keats, the unheard. 3. Historically, minstrels could legally travel onlywhen authorizedby attach- ment to a master or by holding their own land: ‘the Vagabond Act of 1604, continuing earlier statutes, includes players of interludes, fencers, bearwards, minstrels, begging scholars and sailors, psalmists, fortune-tellers, and others. If the vagrant could not show he had land of his own or a master whom he was serving, he was tied to a post and publicly whipped’ (Greenblatt Will 88). 158 Notes 159 4. In The Bridal of Triermain, Scott offers an amusing reversal of Boyer’s revision, where Scott’s narrator rejects ‘harp’ as too modern for his present taste: My Harp – or let me rather choose The good old classic form–my Muse, (For Harp’s an ever-scutchedphrase, Worn out by bards of modern days,) My Muse, then – (Stanza V of the Introduction to Canto III, PW 288) 5. Any discussion of Romantic-era harps must call to mind the Aeolian harps that pervade Romantic poetry andliterary theory. Whereas the Aeolian harp responds to nature, whether or not an observinghuman mind is present to hear it, the minstrel’s harp responds only to plucking, and writers frequently figure the minstrel as participating in a dialogue with the ‘responsive’ or ‘knowing’ harp that understands the emotional needs of a given situation. 6. This is not to say that Beattie and Gray had exactly the same sense of the poet’s audience. As Linda Zionkowski has noted, Gray‘constantly statedhis intent to write above the heads of the vulgar’ (341), which was hardly Beattie’s goal. Nonetheless, the eponymous ‘Bard’ of Gray’s ode embodies a concern with poetry’s public function and its interaction with historical process similar to Beattie’s early conception of his minstrel’s role. 7. This Advertisement, with some revisions, was called a Preface in later editions. Unless otherwise noted, I cite The Minstrel by book and stanza based on the 1771 and 1774 first editions of the first and second books, respectively. 8. Beattie’sindecision about whether to portray an English or Danish invasion isachoice between two then-prominent models (as well as many older ones): Percy’s Reliques, with its stories of border skirmishes between Scots and the English as well as the tales of English–Danish conflict quoted above, and John Home’s Douglas (1757), which features a Danish invasion that calls its hero to action. 9. Scott had reviewed William Forbes’s memoir of Beattie, so he presumably knew of Beattie’s plan from the letter quoted above. 10. This is not to mention the similarities between Wordsworth and Beattie in their approach to diction. King has noted those similarities in his book (for example, in footnote 4 on 211 and following of Origins) and in many articles. Beattie addresses The Minstrel to a specifically English audience and trumpets the plainness of his diction: ‘antique expressions I have avoided’, he writes; ‘I hope [no ‘‘old words’’] will be found that are now obsolete, or in any degree not intelligible to a reader of English poetry’ (vi). In one of the relatively sparse notes to the poem, Beattie calls attention to the difference between the diction of Percy’s poems and his own. Beattie introduces Edwin’s region with a rare gesture to ballad diction – ‘But he, I ween, was of the north countrie’ (I.xiii) – and the first note of the poem explains ‘of the north countrie’ to be an overused convention of the old ballads, explicitly referring the reader to Percy(7). 11. When one measures with the blunt instrument of publication frequency, at least, Percy’s Reliques appears to have gained its prominence over The Hermit of Warkworth in the later nineteenth century, when the former was reprinted far more often than the latter. Before 1830, however, we have records of 160 Notes more printingsof The Hermit than of the Reliques –my count based on RLIN, the ESTC, and other catalogs puts the numbers at approximately fifteen and twelve, respectively. The Hermit enjoyed more printings between 1791 and 1807, whereas the Reliques became by far the more frequently printed work in the later nineteenth century. Wordsworth’s praise of the Reliques and scathing critique of The Hermit in his 1815 ‘Essay,Supplementary to the Pref- ace’(361–2) may have contributed to the growing emphasis on the Reliques in nineteenth-century publication and reception. 12. For example, any reader of Scott’s poetry will recognize the blend ofpresent- daygeography and antiquarian interest in Percy’sAdvertisement, present at least bythe 1772 third edition: Warkworth Castle in Northumberland stands very boldly on the neck of land near the sea-shore, almost surroundedbythe river COQUET,(calledby our old Latin Historians,COQUEDA) which runs with aclear rapid stream, but when swoln with rains becomes violent anddangerous. About a mile from the Castle, in a deep romantic valley, are the remains of aHERMITAGE; of which the Chapel is still intire. This is hollowed with great elegance in a cliff near the river; as are also two adjoining apartments, which probably served for an Antechapel and Vestry, or were appropriated to some other sacred uses; for the former of these, which runs parallel with theChapel,isthoughttohave had an altar in it, at which Mass was occa- sionally celebrated, as well as in the Chapel itself ... But what principally distinguishes theChapel, is a small Tomb or Mon- ument, on the south-side of the altar: on the top of which, lies a Female Figure ... (vi) 13. See Leith Davis for an analysis of Scott’s effort to balance the value of histori- cal authenticity with a suggestion of ‘the importance that even an inauthentic work can have on the literary canon’(146). 14. Joseph Cooper Walker, for instance, writes of ‘Bards of an inferior rank, or rather minstrels, strolling in large companies amongst the nobility and gen- try’ (204). On the other hand, Walker himself describes Irish bards in part via examples from writing about English and Scottish Border minstrels. Most strikingly, in a passage about the education of the old bards, Walker suddenly and uncritically weaves Beattie’s Minstrel into his own narrative: Sometimes the young Bard, in order to relieve his mind from the severity of academic duties, ‘essay’s the artless tale,’ as he wandered through his groves, obeying the dictates of his feelings, and panting from the rude scenes aroundhim. – Whate’er of beautiful or new, Sublime or dreadful, in earth, sea, or sky, By chance or search was offer’d to his view, He scann’d with curious and romantic eye. (11) The quotation of Beattie leaps out from the surrounding citations of Irish historians and classical sources. Notes 161 15. The paradox of acted sensibility thus became a source of dramatic dou- ble entendre and of conservative anxiety. John Home’s Douglas attracted the fire of Presbyterian critics in 1757, for instance, partly because they objected to the seemingly sincere portrayal of religious piety. The better the performance of Douglas’s mother, in a literary sense, the more problem- atic it was for physiognomic readings of sincere emotion. Drama had long reveled in suchparadoxes, but Home’s critics wanted nothing to do with them. Catherine Burroughs has argued,ontheother hand,that women writers theorized an approach to theater practice that allows, indeed encourages, an appreciation of the theatricality of [closet theater as well as London playhouse performances]. This seeming unwillingness to discriminate against performance spaces bespeaks a flexibility and imagination that may in part be tied to women’s experience of performing femininity on social‘stages’ ..
Load more

Recommended publications
  • Robert Burns in American Cultural Memory, C. 1840-1866
    University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture 2018-04 The Burnsian Palimpsest: Robert Burns in American Cultural Memory, c. 1840-1866 Sood, A http://hdl.handle.net/10026.1/11284 Symbiosis: a journal of anglo-american literary relations All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. The Burnsian Palimpsest: Robert Burns in American Cultural Memory, c. 1840- 1866 The memory of Burns…The west winds are murmuring it… Ralph Waldo Emerson (Ballantine 1959: 37) ~ Cultural memory reaches back into the past only so far as the past can be reclaimed as ‘ours’… Jan Assmann (Assmann 2008: 111) Introduction Arguably more so than any other eighteenth-century literary figure, the political and popular legacy of Robert Burns has been continually contested, revised and appropriated to various ends. As recently as the 2015 UK General Election, the Scottish branch of the right-wing populist United Kingdom Independence Party (UKIP) attempted to win the hearts (if not the minds) of Scottish voters by producing posters emblazoned with lines from Burns’s ‘The Dumfries Volunteers’;1 while, previously, the opposing Scottish Nationalist Party strategically launched an electoral campaign on the poet’s birthday (Tempest 2005). Contests were also waged over Burns’s presumed political leanings during the 2014 Scottish Referendum, as he was variably cast as a Unionist or Nationalist across several media outlets (Maddox 2012).
    [Show full text]
  • ROBERT BURNS and PASTORAL This Page Intentionally Left Blank Robert Burns and Pastoral
    ROBERT BURNS AND PASTORAL This page intentionally left blank Robert Burns and Pastoral Poetry and Improvement in Late Eighteenth-Century Scotland NIGEL LEASK 1 3 Great Clarendon Street, Oxford OX26DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York # Nigel Leask 2010 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2010 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Typeset by SPI Publisher Services, Pondicherry, India Printed in Great Britain on acid-free paper by MPG Books Group, Bodmin and King’s Lynn ISBN 978–0–19–957261–8 13579108642 In Memory of Joseph Macleod (1903–84), poet and broadcaster This page intentionally left blank Acknowledgements This book has been of long gestation.
    [Show full text]
  • Download PDF 8.01 MB
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Imagining Scotland in Music: Place, Audience, and Attraction Paul F. Moulton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC IMAGINING SCOTLAND IN MUSIC: PLACE, AUDIENCE, AND ATTRACTION By Paul F. Moulton A Dissertation submitted to the College of Music in partial fulfillment of the requirements of the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2008 The members of the Committee approve the Dissertation of Paul F. Moulton defended on 15 September, 2008. _____________________________ Douglass Seaton Professor Directing Dissertation _____________________________ Eric C. Walker Outside Committee Member _____________________________ Denise Von Glahn Committee Member _____________________________ Michael B. Bakan Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii To Alison iii ACKNOWLEDGMENTS In working on this project I have greatly benefitted from the valuable criticisms, suggestions, and encouragement of my dissertation committee. Douglass Seaton has served as an amazing advisor, spending many hours thoroughly reading and editing in a way that has shown his genuine desire to improve my skills as a scholar and to improve the final document. Denise Von Glahn, Michael Bakan, and Eric Walker have also asked pointed questions and made comments that have helped shape my thoughts and writing. Less visible in this document has been the constant support of my wife Alison. She has patiently supported me in my work that has taken us across the country. She has also been my best motivator, encouraging me to finish this work in a timely manner, and has been my devoted editor, whose sound judgement I have come to rely on.
    [Show full text]
  • The Book of Mormon in the English Literary Context of 1837
    BYU Studies Quarterly Volume 27 Issue 1 Article 5 1-1-1987 The Book of Mormon in the English Literary Context of 1837 Gordon K. Thomas Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Recommended Citation Thomas, Gordon K. (1987) "The Book of Mormon in the English Literary Context of 1837," BYU Studies Quarterly: Vol. 27 : Iss. 1 , Article 5. Available at: https://scholarsarchive.byu.edu/byusq/vol27/iss1/5 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Thomas: The Book of Mormon in the English Literary Context of 1837 the book of mormon in the english literary context of 1837 gordon K thomas do you know anything of a wretched set of religionists in your country superstitionists I1 ought rather to say called mennonitesmormonitesmonnonitesMonnoMormonites or latter day saints so wrote the great english poet william wordsworth to his american editorhenryeditorhenry reed early in 1846 this is the only reference to mormonism in wordsworthsWord sworths surviving letters or other writings and it may come as a shock to modem latter day saints to find such anger and hostility towards us in a poet of whom we so often think as our poet one who believed much ofwhat we believe knew what we know and did not mind any more than we do defying the orthodox establishment of church and state
    [Show full text]
  • “To a Mouse” (Standard English Translation) by Robert Burns- 1785
    “To a Mouse” (standard English translation) by Robert Burns- 1785 Small, crafty, cowering, timorous little beast, O, what a panic is in your little breast! You need not start away so hasty With argumentative chatter! I would be loath to run and chase you, With murdering plough-staff. I'm truly sorry man's dominion Has broken Nature's social union, And justifies that ill opinion Which makes you startle At me, your poor, earth born companion And fellow mortal! I doubt not, sometimes, but you may steal; What then? Poor little beast, you must live! An odd ear in twenty-four sheaves Is a small request; I will get a blessing with what is left, And never miss it. Your small house, too, in ruin! Its feeble walls the winds are scattering! And nothing now, to build a new one, Of coarse grass green! And bleak December's winds coming, Both bitter and keen! You saw the fields laid bare and wasted, And weary winter coming fast, And cozy here, beneath the blast, You thought to dwell, Till crash! the cruel plough passed Out through your cell. That small bit heap of leaves and stubble, Has cost you many a weary nibble! Now you are turned out, for all your trouble, Without house or holding, To endure the winter's sleety dribble, And hoar-frost cold. But little Mouse, you are not alone, In proving foresight may be vain: The best laid schemes of mice and men Go often awry, And leave us nothing but grief and pain, For promised joy! Still you are blessed, compared with me! The present only touches you: But oh! I backward cast my eye, On prospects dreary! And forward, though I cannot see, I guess and fear! Questions: 1.
    [Show full text]
  • The Dial and the Transcendentalist Theory of Reading
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2008 The Dial and the Transcendentalist Theory of Reading Emily A. Cope University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the English Language and Literature Commons Recommended Citation Cope, Emily A., "The Dial and the Transcendentalist Theory of Reading. " Master's Thesis, University of Tennessee, 2008. https://trace.tennessee.edu/utk_gradthes/348 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Emily A. Cope entitled "The Dial and the Transcendentalist Theory of Reading." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in English. Dawn Coleman, Major Professor We have read this thesis and recommend its acceptance: Janet Atwill, Martin Griffin Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Emily Ann Cope entitled “The Dial and the Transcendentalist Theory of Reading.” I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English.
    [Show full text]
  • Poems of Ossian
    0/», IZ*1. /S^, £be Canterbury fl>oets. Edited by William Sharp. POEMS OF OSSIAN. SQ OEMS OF CONTENTS. viii CONTENTS. PAGE Cathlin of Clutha: a Poem . .125 sub-malla of lumon : a poem . 135 The War of Inis-thona : a Poem 4.3 The Songs of Selma . 151 Fingal: an Ancient Epic Poem- I. Book . .163 Book II. 183 Book III. .197 Book IV. .... 213 Book V. 227 Book VI. ..... 241 Lathmon : a Poem .... 255 \Dar-Thula : a Poem . .271 The Death of Cuthullin : a Poem . 289 INTRODUCTION. ROM the earliest ages mankind have been lovers of song and tale. To their singers in times of old men looked for comfort in sorrow, for inspiration in battle, and for renown after death. Of these singers were the prophets of Israel, the poets and rhapsodes of ancient Greece, the skalds of the Scandinavian sea-kings, and the bards of the Celtic race. The office was always most honour- able, the bard coming next the hero in esteem ; and thus, first of the fine arts, was cultivated the art of song. Down to quite a recent time the household of no Highland chief was complete without its bard, to sing the great deeds of the race's ancestors. And to the present day, though the locomotive and the printing press have done much to kill these customs of a more heroic age, it is not difficult to find in the Highland glens those who can still recite a " tale of the times of old." x INTRODUCTION. During the troubles of the Reformation in the sixteenth century, of the Civil Wars .and Revolu- tion in the seventeenth, and of the Parliamentary Union and Jacobite Rebellions in the early part of the eighteenth, the mind of Scotland was entirely engrossed with politics, and the Highlands them- selves were continually unsettled.
    [Show full text]
  • Sir Walter Scott's Templar Construct
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. SIR WALTER SCOTT’S TEMPLAR CONSTRUCT – A STUDY OF CONTEMPORARY INFLUENCES ON HISTORICAL PERCEPTIONS. A THESIS PRESENTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN HISTORY AT MASSEY UNIVERSITY, EXTRAMURAL, NEW ZEALAND. JANE HELEN WOODGER 2017 1 ABSTRACT Sir Walter Scott was a writer of historical fiction, but how accurate are his portrayals? The novels Ivanhoe and Talisman both feature Templars as the antagonists. Scott’s works display he had a fundamental knowledge of the Order and their fall. However, the novels are fiction, and the accuracy of some of the author’s depictions are questionable. As a result, the novels are more representative of events and thinking of the early nineteenth century than any other period. The main theme in both novels is the importance of unity and illustrating the destructive nature of any division. The protagonists unify under the banner of King Richard and the Templars pursue a course of independence. Scott’s works also helped to formulate notions of Scottish identity, Freemasonry (and their alleged forbearers the Templars) and Victorian behaviours. However, Scott’s image is only one of a long history of Templars featuring in literature over the centuries. Like Scott, the previous renditions of the Templars are more illustrations of the contemporary than historical accounts. One matter for unease in the early 1800s was religion and Catholic Emancipation.
    [Show full text]
  • 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.
    [Show full text]
  • Unit 4 BRITISH LITERATURE LIFEPAC 4 the NINETEENTH CENTURY (1798–1900) CONTENTS I
    Unit 4 BRITISH LITERATURE LIFEPAC 4 THE NINETEENTH CENTURY (1798–1900) CONTENTS I. THE ROMANTIC ERA • • • • • • • • • • • • • • • • • • • • • • • 1 INTRODUCTION • • • • • • • • • • • • • • • • • • • • • • • • • • 1 William Blake • • • • • • • • • • • • • • • • • • • • • • • • • • • • 5 William Wordsworth • • • • • • • • • • • • • • • • • • • • • • • 9 Samuel Taylor Coleridge • • • • • • • • • • • • • • • • • • • • 14 Sir Walter Scott • • • • • • • • • • • • • • • • • • • • • • • • • • 26 II. THE LATE ROMANTIC ERA • • • • • • • • • • • • • • • • • • • 40 Jane Austen • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 40 Charles Lamb • • • • • • • • • • • • • • • • • • • • • • • • • • • • 47 George Gordon–Lord Byron • • • • • • • • • • • • • • • • • • 52 Percy Bysshe Shelley • • • • • • • • • • • • • • • • • • • • • • 58 John Keats • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 63 III. THE VICTORIAN ERA • • • • • • • • • • • • • • • • • • • • • • • 71 INTRODUCTION • • • • • • • • • • • • • • • • • • • • • • • • • • 71 Thomas Carlyle • • • • • • • • • • • • • • • • • • • • • • • • • • • 75 John Henry Cardinal Newman • • • • • • • • • • • • • • • • 80 Alfred, Lord Tennyson • • • • • • • • • • • • • • • • • • • • • • 84 Charles John Huffman Dickens • • • • • • • • • • • • • • • • 90 Robert Browning • • • • • • • • • • • • • • • • • • • • • • • • • 100 George Eliot (Mary Ann Evans) • • • • • • • • • • • • • • • 103 Oscar Wilde • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 109 Lewis Carroll (Charles Lutwidge Dodgson)
    [Show full text]
  • The Interpretation of Italy During the Last Two Centuries
    CORNELL UNIVERSITY LIBRARY 6^60/ 111- DATE DUE 'V rT ^'iinih'^ ,.^i jvT^ifim.mimsmi'^ / PRINTED IN U S A. / CORNELL UNIVERSITY LIBRARY 3 1924 082 449 798 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924082449798 THE DECENNIAL PUBLICATIONS OF THE UNIVERSITY OF CHICAGO THE DECENNIAL PUBLICATIONS ISSUED IN COMMEMORATION OP THE COMPLETION OP THE PIEST TEX TEARS OP THE UNIVERSITY'S EXISTENCE AUTHORIZED BY THE BOARD OP TRUSTEES ON THE RECOMMENDATION OP THE PRESIDENT AND SENATE EDITED BY A COMMITTEE APPOINTED BY THE SENATE EDWABD CAPP3 STARR WILLARD CUTTING EOLLIN D. SALISBtTKT JAME9 ROWLAND ANGELL "WILLIAM I. THOMAS SHAILER MATHEWS GAEL DARLING BUCK FREDERIC IVES CARPENTER OSKAB BOLZA JDLIBS 3TIBGLITZ JACQUES LOEB THESE VOLXJMBS ARE DEDICATED TO THE MEN AKD WOMEN OP CUB TIME AND COUNTRY WHO BY WISE AND GENEK0U3 GIVING HAVE ENCOUBAGED THE SEARCH AFTBB TBUTH IN ALL DEPARTMENTS OP KNOWLEDGE THE INTERPRETATION OF ITALY THE INTERPRETATION OF ITALY DURING THE LAST TWO CENTURIES A CONTKIBUTION TO THE STUDY OF GOETHE'S "ITALIENISCHE KEISE" CAMILLO voN^LENZE rORMBBLI OF THE DBPAETMENT OF GEKMANIC LANGUAGES AND LITEEATUBES. NOW PEOFBSSOE OF GEKMAN IiITEBATDEE IN BEOTVN UNIVEESITT THE DECENNIAL PUBLICATIONS SECOND SERIES VOLUME XVII CHICAGO THE UNIVBKSITY OP CHICAGO PRESS 1907 'y\ Copyright 19(yt by THE UNIVEESIT¥ OF CHICAGO Published April 1907 ^' / (7 ^SJ^ Composed and Printecl By The University of Chicago Press Chicago, Illinois, U. S. A. ACKNOWLEDGMENT I owe grateful acknowledgment, for valuable assistance in procuring material, to the Libraries of the University of Chicago, of Harvard University, of Cornell University, and of the City of Boston.
    [Show full text]
  • The Development of Lord Byron's Satire Vývoj Satiry Lorda Byrona
    UNIVERZITA KARLOVA V PRAZE - FILOZOFICKÁ FAKULTA ÚSTAV ANGLOFONNÍCH LITERATUR A KULTUR The Development of Lord Byron's Satire Vývoj satiry lorda Byrona BAKALÁŘSKÁ PRÁCE Vedoucí bakalářské práce (supervisor): Zpracovala (author): Prof. PhDr. Martin Procházka, Dr.Sc. Alena Kopečná Praha, srpen 2015 Studijní obor (subject): Anglistika-amerikanistika 1 Prohlašuji, že jsem tuto bakalářskou práci vypracovala samostatně, že jsem řádně citovala všechny použité prameny a literaturu a že práce nebyla využita v rámci jiného vysokoškolského studia či k získání jiného či stejného titulu. V Praze dne 10. srpna 2015 I declare that the following BA thesis is my own work for which I used only the sources and literature mentioned, and that this thesis has not been used in the course of other university studies or in order to acquire the same or another type of diploma). Prague, 10 August 2015 ........................................................ 2 I would like to express my sincere gratitude and appreciation to my thesis supervisor Prof. PhDr. Martin Procházka, CSc. for his inspiring comments and patient guidance. Souhlasím se zapůjčením bakalářské práce ke studijním účelům. I have no objections to the BA thesis being borrowed and used for study purposes. 3 ABSTRACT As the aim of the thesis is to follow the development of Lord Byron's satirical voice, I have chosen to analyze three of his shorter satirical works (the analysis of Don Juan is omit- ted on purpose, since it has been thoroughly examined by many scholars) significantly differ- ent from each other both in form and content, and thus allowing me to map Byron's satirical technique and to contrast the texts.
    [Show full text]