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John Roby's 'The Legendary and Poetical Remains of John Roby' is a captivating collection of poetic pieces and legendary tales that showcase the author's vast literary talent. Through his lyrical prose, Roby transports readers to fantastical worlds filled with mystery and wonder. The book's intricate storytelling and rich imagery demonstrate Roby's prowess as a wordsmith within the Romantic literary movement of the early 19th century. His use of symbolism and metaphor adds depth to the narratives, inviting readers to ponder the deeper meanings hidden within the verses. This compilation of Roby's works provides insight into the author's creative mind and his ability to craft timeless tales that resonate with readers of all generations. John Roby, a renowned poet and storyteller of his time, drew inspiration from the folklore and legends of his native England, which greatly influenced his writing style. His keen observance of human nature and his fascination with the supernatural are evident in his works, making him a distinct voice in the Romantic literary canon. I highly recommend 'The Legendary and Poetical Remains of John Roby' to any reader with a penchant for poetry, folklore, and mystical storytelling. This book not only showcases Roby's talent as a writer but also offers a glimpse into the rich tapestry of imaginative worlds he has created. It is a must-read for anyone interested in exploring the depths of Romantic literature.
What happens to poets' genius when they die? The peculiar affinity which was felt to exist between their physical and literary 'remains' - their bodies and books - is the subject of this original cultural study, which concentrates on poets and poetry from the Romantic to late Victorian period. Poetical Remains deals with issues such as the place of burial, the kind of monument deemed appropriate, the poet's 'last words' and last poems, the creation of memorial volumes, and the commercial boost given to a poet's reputation by 'celebrity death', focussing in each case on the powerful, complex, often unstated but ever-present connections between the poet's body and their poetic 'corpus'. As well as the works of the poets themselves, Matthews draws on contemporary biography and memoirs, family correspondence, newspaper reports, and tribute verse among other texts, and places the literature of poetic death in its social, material, and affective context: the conflict between the idealized 'country churchyard' and the secular urban cemetery, the ideal of private, familial burial as against the pressure for public ceremony, the recuperation of death-in-exile as an extension of national pride, transactions between spiritual and material, poetic and pragmatic, in a secularizing age. Some of the most poignant and darkly comic moments in nineteenth-century literary history arose around the deathbeds of poets and the events which followed their deaths. What happened to Shelley's heart, and to Thomas Hood's monument; the different fates which dictated that the first Poet Laureate appointed by Queen Victoria, Wordsworth, was buried in his family plot in Grasmere, while her second, Tennyson, was wrested from his family's grasp and interred in Westminster Abbey - these are some of the stories which Matthews tells, and which are bound up in a sustained and powerful argument about the way in which our culture deals with artists and their work on the boundary between life and death.
First published in 1996. This lavishly illustrated study is a comprehensive literary and social history which offers a record of changing genres, manuscript/book production, and cultural, political, and religious emphases by examining one of the most long lived popular legends in England. Guy of Warwick became part of history when he was named in chronicles and heraldic rolls. The power of the Earls of Warwick, especially Richard de Beauchamp, inspired the spread of the legend, but Guy's highest fame came in the Renaissance as one of the Nine Worthies. Widely praised in texts and allusions, Guy's feats were sung in ballads and celebrated on the stage in England and France. The first Anglo-Norman romance of Gui de Warewic, a Saxon hero of the tenth century was written in the early 13th century; the latest retellings of the legend are contemporary. Examples of Guy's legend can be found in two English translations that survived the Middle Ages, a new French prose romance, a didactic tale in the Gesta Romanorum, and late medieval versions in Celtic, German, and Catalan, as well as English. Guy remained a favorite Edwardian children's story and was featured in the Warwick Pageant, an historical extravaganza of 1906. The patriotism of World War II sparked a resurgence of interest that produced several new versions, mostly folkloric.