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Reprint of the original, first published in 1875.
"Homes and Haunts of the Most Eminent British Poets" in 2 volumes is one of the best-known works by William Howitt, first published in 1847, that features the biographical accounts of the most distinguished literary figures among the British. This carefully crafted e-artnow ebook is formatted for your eReader with a functional and detailed table of contents._x000D_ Volume 1:_x000D_ Geoffrey Chaucer_x000D_ Edmund Spenser_x000D_ Shakespeare_x000D_ Abraham Cowley_x000D_ John Milton_x000D_ Samuel Butler_x000D_ John Dryden_x000D_ Joseph Addison_x000D_ John Gay_x000D_ Alexander Pope_x000D_ Dean Swift_x000D_ James Thomson_x000D_ William Shenstone_x000D_ Chatterton_x000D_ Thomas Gray_x000D_ Oliver Goldsmith_x000D_ Robert Burns_x000D_ William Cowper_x000D_ Mrs. Tighe_x000D_ John Keats_x000D_ Percy Bysshe Shelley_x000D_ Lord Byron_x000D_ Volume 2:_x000D_ George Crabbe_x000D_ James Hogg_x000D_ Samuel Taylor Coleridge_x000D_ Felicia Hemans_x000D_ L. E. L._x000D_ Sir Walter Scott_x000D_ Thomas Campbell_x000D_ Robert Southey_x000D_ Joanna Baillie_x000D_ William Wordsworth_x000D_ James Montgomery_x000D_ Walter Savage Landor_x000D_ Leigh Hunt_x000D_ Samuel Rogers_x000D_ Thomas Moore_x000D_ Ebenezer Elliott_x000D_ John Wilson_x000D_ Waller Bryan Procter_x000D_ Alfred Tennyson_x000D_ Concluding Remarks
The first thing which forcibly strikes our attention in tracing the Homes and Haunts of the Poets, is the devastation which Time has made among them. As if he would indemnify himself for the degree of exemption from his influence in their works, he lays waste their homes and annihilates the traces of their haunts with an active and a relentless hand. If this is startingly apparent in the cases of those even who have been our cotemporaries, how much more must it be so in the cases of those who have gone hence centuries ago. We begin with the father of our truly English poetry, the genial old Geoffrey Chaucer, and, spite of the lives which have been written of him, Tyrwhitt tells us that just nothing is really known of him. The whole of his account of what he considers well-authenticated facts regarding him amounts to but twelve pages, including notes and comments. The facts themselves do not fill more than four pages. Of his birth-place, further than that it was in London, as he tells us himself in The Testament of Love, fol. 321, nothing is known. The place of his education is by no means clear. It has been said that he was educated first at Cambridge, and then at Oxford. He himself leaves it pretty certain that he was at Cambridge, styling himself, in The Court of Love, "Philogenet of Cambridge, Clerk." Leland has asserted that he was at Oxford; and Wood, in his Annals, gives a tradition that, "when Wickliffe was guardian or warden of Canterbury College, he had for his pupil the famous poet called Jeffrey Chaucer, father of Thomas Chaucer, Esq., of Ewelme, in Oxfordshire, who, following the steps of his master, reflected much upon the corruptions of the clergy." He is then said to have entered himself of the Inner Temple. Speght states that a Mr. Buckley had seen a record in the Inner Temple of "Geffrey Chaucer being fined two shillings for beating a Franciscan Friar in Fleet-street." This, Tyrwhitt says, was ayouthful sally, and points out the fact that Chaucer studied in the Inner Temple on leaving college, and before his travels abroad, which is contrary to the account of Leland, who makes him, after his travels, reside in the Inner Temple. These travels even in France resting solely on the authority of Leland, Tyrwhitt disputes, but of their reality there can be little doubt.
Literary Tourism and the British Isles: History, Imagination, and the Politics of Place explores literary tourism’s role in shaping how locations in the British-Irish Isles have been seen, historicized, and valued. Within its chapters, contributors approach these topics from vantage points such as feminism, cultural studies, geographic and mobilities paradigms, rural studies, ecosystems, philosophy of history, dark tourism, and marketing analyses. They examine guidebooks and travelogues; oral history, pseudo-history, and absent history; and literature that spans Renaissance drama to contemporary popular writers such as Dan Brown, Diana Gabaldon, and J.K. Rowling. Places discussed in the collection include “the West;” Wordsworth Country and Brontë Country; Stowe and Scotland; the Globe Theatre and its environs; Limehouse, Rosslyn Chapel, and the imaginary locations of the Harry Potter series. Taken as a whole, this collection illuminates some of the ways by which “the British Isles” have been created by literary and historical narratives, and, in turn, will continue to be seen as places of cultural importance by visitors, guidebooks, and site sponsors alike.
This is the first full-length study of literary tourism in North America as well as Britain and a unique exploration of popular response to writers, literary house museums, and the landscapes or "countries" associated with their lives and works. An interdisciplinary study ranging from 1820-1940, Homes and Haunts: Touring Writers' Shrines and Countries unites museum and tourism studies, book history, narrative theory, theories of gender, space, and things, and other approaches to depict and interpret the haunting experiences of exhibited houses and the curious history of topo-biographical writing about famous authors. In illustrated chapters that blend Victorian and recent first-person encounters that range from literary shrines and plaques to guidebooks, memoirs, portraits, and monuments, Alison Booth discusses pilgrims such as William and Mary Howitt, Anna Maria and Samuel Hall, and Elbert Hubbard, and magnetic hosts and guests as Washington Irving, Wordsworth, Martineau, Longfellow, Hawthorne, James, and Dickens. Virginia Woolf's feminist response to homes and haunts shapes a chapter on Mary Russell Mitford, Gaskell, and the Brontes, and another on the Carlyles' house and Monk's House. Booth rediscovers collections of personalities, haunted shrines, and imaginative re-enactments that have been submerged by a century of academic literary criticism.