The Life of Sir Walter Scott, Reprinted with Corrections and Additions
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Fearless Therefore Powerful» Sociability and Emotions in Mary Shelley’S Frankenstein
«FEARLESS THEREFORE POWERFUL» SOCIABILITY AND EMOTIONS IN MARY SHELLEY’S FRANKENSTEIN Cristina Paoletti Università di Bologna, Dipartimento di Filosofia, [email protected] Abstract. «Fearless therefore Powerful». Sociability and Emotions in Mary Shelley’s Frankenstein This paper analyses the role played by fear as the motive of both Victor Frankenstein and his monster’s behaviour. Moving from the natural horror the monster excites, fear is mostly considered by Mary Shelley as a normal reaction, and its absence marks pathological circumstances, such as cruelty or unsympathetic and antisocial feelings. Referring to the philosophical debate on moral sympathy and to the scientific discussion on Erasmus Darwin’s account of animal instincts, Shelley also provided remarkable criticis Keywords: Enlightenment, Emotions, English Literature, Seventeenth Century. So should young SYMPATHY, in female form, Climb the tall rock, spectatress of the storm; Life's sinking wrecks with secret sighs deplore, And bleed for others' woes, Herself on shore; To friendless Virtue, gasping on the strand, Governare la paura – 2008, giugno Cristina Paoletti Bare her warm heart, her virgin arms expand1. An essay on Mary Shelley’s Frankenstein might perhaps appear an obvious choice when dealing with fear and its literary and artistic representations. Victor Frankenstein’s odd and shocking story was firstly received with dismay and disappointment and an early reviewer explained the terror produced by the novel with the folly of the author. The [author’s] dreams of insanity are embodied in the strong and striking language of the insane, and the author, notwithstanding the rationality of his preface, often leaves us in doubt whether he is not as mad as his hero. -
Select Letters of Percy Bysshe Shelley
ENGLISH CLÀSSICS The vignette, representing Shelleÿs house at Great Mar lou) before the late alterations, is /ro m a water- colour drawing by Dina Williams, daughter of Shelleÿs friend Edward Williams, given to the E ditor by / . Bertrand Payne, Esq., and probably made about 1840. SELECT LETTERS OF PERCY BYSSHE SHELLEY EDITED WITH AN INTRODUCTION BY RICHARD GARNETT NEW YORK D.APPLETON AND COMPANY X, 3, AND 5 BOND STREET MDCCCLXXXIII INTRODUCTION T he publication of a book in the series of which this little volume forms part, implies a claim on its behalf to a perfe&ion of form, as well as an attradiveness of subjeâ:, entitling it to the rank of a recognised English classic. This pretensión can rarely be advanced in favour of familiar letters, written in haste for the information or entertain ment of private friends. Such letters are frequently among the most delightful of literary compositions, but the stamp of absolute literary perfe&ion is rarely impressed upon them. The exceptions to this rule, in English literature at least, occur principally in the epistolary litera ture of the eighteenth century. Pope and Gray, artificial in their poetry, were not less artificial in genius to Cowper and Gray ; but would their un- their correspondence ; but while in the former premeditated utterances, from a literary point of department of composition they strove to display view, compare with the artifice of their prede their art, in the latter their no less successful cessors? The answer is not doubtful. Byron, endeavour was to conceal it. Together with Scott, and Kcats are excellent letter-writers, but Cowper and Walpole, they achieved the feat of their letters are far from possessing the classical imparting a literary value to ordinary topics by impress which they communicated to their poetry. -
Homecoming and Liminality in Walter Scott's Guy Mannering1
Céline Sabiron Sorbonne - Paris IV Homecoming and Liminality in Walter Scott’s Guy Mannering 1 “He cannot deny, that, looking round upon the dreary region, and seeing nothing but bleak fields, and naked trees, […], he did for some time suffer melancholy to prevail upon him, and wished himself again safe at home” (I, 1: 3): Walter Scott’s Guy Mannering opens on this epigraph, a quota- tion from Samuel Johnson 2 which serves as a motto for the whole novel. The idler, the Londoner Will Marvel, feeling estranged and yearning for home, while lost in the wilder and more desolate county of Devon- shire, mirrors most of the characters of Scott’s fiction. Whether a tourist, like the Englishman Guy Mannering visiting the north of England and extending his “tour into the adjacent frontier of the sister country” (I, 1: 3), or an outcast, like the orphan Brown and the gypsy Meg Merrilies, the exile is temporarily or permanently away from his home—epito- mized by a house or a family—or even his homeland. Either internal or external, either involuntary as the result of abduction, expulsion, and banishment, 3 or, in a more figurative sense, self-imposed and prompted by business or curiosity, the exilic journey is accompanied by a feeling of disorientation and homesickness, a “crippling sorrow of estrangement”, 4 especially among the Scots in an age marked by the “consolidating of national consciousness”. 5 Both displaced and out of place, the exile is an eccentric 6 outsider leading his decentred life outside habitual order, 7 and longing to return home. -
Walter Scott's Kelso
Walter Scott’s Kelso The Untold Story Published by Kelso and District Amenity Society. Heritage Walk Design by Icon Publications Ltd. Printed by Kelso Graphics. Cover © 2005 from a painting by Margaret Peach. & Maps Walter Scott’s Kelso Fifteen summers in the Borders Scott and Kelso, 1773–1827 The Kelso inheritance which Scott sold The Border Minstrelsy connection Scott’s friends and relations & the Ballantyne Family The destruction of Scott’s memories KELSO & DISTRICT AMENITY SOCIETY Text & photographs by David Kilpatrick Cover & illustrations by Margaret Peach IR WALTER SCOTT’s connection with Kelso is more important than popular histories and guide books lead you to believe. SScott’s signature can be found on the deeds of properties along the Mayfield, Hempsford and Rosebank river frontage, in transactions from the late 1790s to the early 1800s. Scott’s letters and journal, and the biography written by his son-in-law John Gibson Lockhart, contain all the information we need to learn about Scott’s family links with Kelso. Visiting the Borders, you might believe that Scott ‘belongs’ entirely to Galashiels, Melrose and Selkirk. His connection with Kelso has been played down for almost 200 years. Kelso’s Scott is the young, brilliant, genuinely unknown Walter who discovered Border ballads and wrote the Minstrelsy, not the ‘Great Unknown’ literary baronet who exhausted his phenomenal energy 30 years later saving Abbotsford from ruin. Guide books often say that Scott spent a single summer convalescing in the town, or limit references to his stays at Sandyknowe Farm near Smailholm Tower. The impression given is of a brief acquaintance in childhood. -
Disfigurement and Disability: Walter Scott's Bodies Fiona Robertson Were I Conscious of Any Thing Peculiar in My Own Moral
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Mary's University Open Research Archive Disfigurement and Disability: Walter Scott’s Bodies Fiona Robertson Were I conscious of any thing peculiar in my own moral character which could render such development [a moral lesson] necessary or useful, I would as readily consent to it as I would bequeath my body to dissection if the operation could tend to point out the nature and the means of curing any peculiar malady.1 This essay considers conflicts of corporeality in Walter Scott’s works, critical reception, and cultural status, drawing on recent scholarship on the physical in the Romantic Period and on considerations of disability in modern and contemporary poetics. Although Scott scholarship has said little about the significance of disability as something reconfigured – or ‘disfigured’ – in his writings, there is an increasing interest in the importance of the body in Scott’s work. This essay offers new directions in interpretation and scholarship by opening up several distinct, though interrelated, aspects of the corporeal in Scott. It seeks to demonstrate how many areas of Scott’s writing – in poetry and prose, and in autobiography – and of Scott’s critical and cultural standing, from Lockhart’s biography to the custodianship of his library at Abbotsford, bear testimony to a legacy of disfigurement and substitution. In the ‘Memoirs’ he began at Ashestiel in April 1808, Scott described himself as having been, in late adolescence, ‘rather disfigured than disabled’ by his lameness.2 Begun at his rented house near Galashiels when he was 36, in the year in which he published his recursive poem Marmion and extended his already considerable fame as a poet, the Ashestiel ‘Memoirs’ were continued in 1810-11 (that is, still before the move to Abbotsford), were revised and augmented in 1826, and ten years later were made public as the first chapter of John Gibson Lockhart’s Memoirs of the Life of Sir Walter Scott, Bart. -
Samuel Baker the University of Texas at Austin [email protected]
Samuel Baker The University of Texas at Austin [email protected] 5/13/2009 Scott’s Stoic Characters: Ethics, Sentiment, and Irony in The Antiquary, Guy Mannering, and “The Author of Waverley” Published in Modern Language Quarterly (2009) 70 (4): 443–471: Cite only from published version. https://doi-org.ezproxy.lib.utexas.edu/10.1215/00267929-2009-011 Whomever one reads on the question, it seems that Walter Scott created “the classical form of the historical novel” by standing at a locus of contradiction. According to the most influential such accounts, Scott “portrayed objectively the ruination of past social formations, despite all his human sympathy for, and artistic sensitivity to, the splendid, heroic qualities which they contained”; he could accomplish such feats of mediation because he was “two men … both the prudent Briton and the passionate Scot."1 These accounts of Scott’s contradictory investments–by Georg Lukács and David Daiches, respectively–find an emblem in the title Virginia Woolf gave her essay on Scott's late-life journal. Referring to how Scott installed modern lighting at his pseudo- medieval estate, Woolf calls her piece “Gas at Abbotsford.”2 Such formulations became 1 Georg Lukács, The Historical Novel [1937], Hannah and Stanley Mitchell, tr. (Lincoln, Neb.: Univ. of Nebraska Press, 1983), pp.54-55; David Daiches, “Scott’s Achievement as a Novelist” [1951], in Literary Essays (Chicago: Univ. of Chicago Press, 1967), 92. 2 Virginia Woolf, “Gas at Abbotsford” [1940], in Collected Essays, 4 vols. (New York: Harcourt Brace, 1967), 1:128-138. touchstones for Scott criticism some decades ago.3 Many critics since have adopted the concept of a split Scott that, whatever their other differences, Lukács, Daiches, and Woolf share. -
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). -
Downloaded 2021-10-02T12:21:31Z
Provided by the author(s) and University College Dublin Library in accordance with publisher policies. Please cite the published version when available. Title Book review: Walter Scott, The Siege of Malta and Bizarro, edited by J. H. Alexander, Judy King, and Graham Tulloch (2008) Authors(s) Fermanis, Porscha Publication date 2009-10 Publisher Cardiff University Press Link to online version http://www.romtext.org.uk/issues/issue-19/ Item record/more information http://hdl.handle.net/10197/11245 Downloaded 2021-10-02T12:21:31Z The UCD community has made this article openly available. Please share how this access benefits you. Your story matters! (@ucd_oa) © Some rights reserved. For more information, please see the item record link above. book reviews 83 editorial apparatus more clearly delineate the working relationship between Scott and his intermediaries. The Edinburgh Edition of the Waverley Novels and this edition of Peveril of the Peak must therefore be welcomed not only for their impeccable scholarship and editorial policy, but also for making more transparent the complex ‘socialisation’ of Scott’s novels. Walter Scott, The Siege of Malta and Bizarro, edited by J. H. Alexander, Judy King, and Graham Tulloch (Edinburgh: EUP; New York: Columbia Univer- sity Press, 2008), xiv + 511pp. ISBN 978-0-7486-2487-4; £55 (hb). Visiting Sir Walter Scott at J. G. Lockhart’s house in London just before Scott’s final voyage to Malta and Italy in 1831, the Irish poet Thomas Moore reflected sadly in his journal on Scott’s series of debilitating strokes and was more than once ‘painfully struck by the utter vacancy of his look’. -
Beautiful Britain Abbotsford
Beautiful Britain Abbotsford ANONYMOUS CHAPTER I FROM CARTLEYHOLE TO ABBOTSFORD Thousands of persons from all parts of the world visit Abbotsford annually. There is no diminution in the pilgrimage to this chief shrine of the Border Country, nor is there likely to be. Scott's name, and that of Abbotsford, are secure enough in the affections of men everywhere. It is scarcely necessary to recall that Scott on both sides of his house was connected with the Border Country—the 'bold bad Border' of a day happily long dead. He would have been a reiver himself, more than likely, and one of its nameless bards to boot, had he lived before the Border felt the subdued spirit of modern times. A descendant of Wat of Harden, linked to the best blood of the Border, and with every phase of his life redolent of the Border feeling, history has had no difficulty in claiming Sir Walter Scott as the most representative Border man the world has seen. He was not born in the Border Country, but practically all his life was spent there. He came to the Border a sickly, delicate child, between his third and fourth year, and for threescore years and one he seldom left it for any lengthened interval. Edinburgh was the arena of much of his professional career. But he was happiest, even amid the most crushing sorrows of his life, when within earshot of the Tweed. There was not a blither or sunnier boyhood than Scott's at Rosebank, where even then he was 'making' himself, and dreaming of the days that were to be. -
The Project Gutenberg Etext of Walter Scott and the Border Minstrelsy, by Lang #34 in Our Series by Andrew Lang
The Project Gutenberg Etext of Walter Scott and the Border Minstrelsy, by Lang #34 in our series by Andrew Lang Copyright laws are changing all over the world, be sure to check the laws for your country before redistributing these files!!! Please take a look at the important information in this header. We encourage you to keep this file on your own disk, keeping an electronic path open for the next readers. Please do not remove this. This should be the first thing seen when anyone opens the book. Do not change or edit it without written permission. The words are carefully chosen to provide users with the information they need about what they can legally do with the texts. **Welcome To The World of Free Plain Vanilla Electronic Texts** **Etexts Readable By Both Humans and By Computers, Since 1971** *****These Etexts Are Prepared By Thousands of Volunteers!***** Information on contacting Project Gutenberg to get Etexts, and further information is included below, including for donations. The Project Gutenberg Literary Archive Foundation is a 501(c)(3) organization with EIN [Employee Identification Number] 64-6221541 Title: Sir Walter Scott and the Border Minstrelsy Author: Andrew Lang Release Date: May, 2003 [Etext #4088] [Yes, we are about one year ahead of schedule] [The actual date this file first posted = 11/19/01] Edition: 10 Language: English The Project Gutenberg Etext of Walter Scott and the Border Minstrelsy, by Lang *******This file should be named wsbms10.txt or wsbms10.zip****** Corrected EDITIONS of our etexts get a new NUMBER, wsbms11.txt VERSIONS based on separate sources get new LETTER, wsbms10a.txt This etext was produced by David Price, email [email protected], from the 1910 Longmans, Green, and Co. -
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. -
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.