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In looking closely at Horace Walpole's Correspondence, George E. Haggerty shows how these letters, when taken in aggregate, offer an astonishingly vivid account of the vagaries of eighteenth-century masculinity. Walpole talks about himself obsessively: his wants, his needs, his desires; hies physical and mental pain; his artistic appreciation and his critical responses. It is impossible to read these letters and not come away with a vivid impression of a complex personality from another age. Haggerty examines the ways in which Walpole presents himself as an eighteenth-century gentleman, and considers his personal relationships, his needs and aspirations, his emotionalism and his rationality - in short, his construction of himself - in order to see what it tells us about the age in general and more specifically, about masculinity in an era of social flux. This study of Walpole and his epistolary relations offers a unique window into both the history of masculinity in the eighteenth century and the codification of friendship as the preeminent value in western culture. Recent studies have tried to rewrite Walpole in a twenty-first century mold while this work looks at the writer and the ways in which he constructs himself and his relations, not in hopes of uncovering a lurid secret, but rather in pursuit of the figure that he created and that has fascinated generations of readers and writers since the eighteenth century.
Horace Walpole (1717-1797), as the youngest son of the powerful Whig minister Robert Walpole, grew up at the center of Georgian society and politics and circulated amongst the elite literary, aesthetic, and intellectual circles of his day. His brilliant letters and writings have made him the best-known commentator on the rich cultural life of 18th-century England. In his own day, he was most famous for his extraordinary collections of rare books and manuscripts, antiquities, paintings, prints and drawings, furniture, ceramics, arms and armor, and curiosities, all displayed at his pioneering Gothic Revival house at Strawberry Hill, on the banks of the Thames at Twickenham. This timely and groundbreaking study of the history and reception of Walpole’s collection as it was formed and arranged at Strawberry Hill coincides with a planned restoration of this endangered house. Horace Walpole’s Strawberry Hill assembles an international team of distinguished scholars to explore the ways in which Strawberry Hill and its collections engaged with the creation of various and interconnected political, national, dynastic, cultural, and imagined histories.
These are correspondences of 194 letters to Walpole from Conway and from his wife, Lady Ailesbury (as well as one from his sister Mrs. Harris). The letters first published in this correspondence amplify and modify the accepted public image of Conway as a fearless soldier and perceptive statesman who saw that it was impossible to subjugate the American colonies.
The Castle of Otranto is a book by Horace Walpole first published in 1764 and generally regarded as the first gothic novel. In the second edition, Walpole applied the word 'Gothic' to the novel in the subtitle - "A Gothic Story". The novel merged medievalism and terror in a style that has endured ever since. The aesthetics of the book shaped modern-day gothic books, films, art, music and the goth subculture
Madame du Deffand (1696-1780) was a minor French aristocrat who, bored by her marriage, threw herself into scandalous relationships with leading noblemen, including the French Regent. She later re-invented herself as a highly successful salonniere, her salon being frequented by leading thinkers of the day. She also maintained very witty, perceptive correspondences with Voltaire (whose letters back are full expositions of his philosophy) and later with Horace Walpole with whom she fell deeply in love, much to his shock.