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'Travels Through France and Italy' is a travelog by Tobias Smollet chronicling his journey across France and Italy after the tragic loss of his daughter. Smollett's keen observation, wit, and critical eye make for an entertaining read, as he describes in detail the natural phenomena, history, social life, economics, diet, and morals of the places he visited. His lively curiosity and quick eye enable him to foresee the potential of Cannes as a health resort and the possibilities of the Corniche road. However, Smollett's acerbic style often leads to quarrels with innkeepers, postilions, fellow travelers, and even entire cultures, as he holds many foreigners in contempt and derides many French and Italian customs. A classic work of travel literature, Smollett's 'Travels Through France and Italy' provides a fascinating glimpse into the past and a rich account of his adventures.
Observations and Reflections Made in the Course of a Journey through France, Italy, and Germany, Vol. 1 (of 2) by Hester Lynch Piozzi
The 2020 COVID-19 pandemic imposed immobility on large sectors of the world’s population, with confinement becoming an everyday reality. The lives of those who previously enjoyed the privileges of being ‘fast castes’ ground to a halt, while at the same time the displacement of more vulnerable populations along well-established migration corridors has been radically reduced. The result has been a recalibration of the scale of journeying, with travellers slowing down their journeys and readjusting their relationship to the proximate and nearby. This situation has provided an opportunity for those who study travel and travel writing to rethink their objects of study and approaches to them. This volume explores and historicizes the phenomenon of ‘microtravel’, designating slower journeys within a limited radius which allow, and sometimes necessitate, new forms of experiencing the world.
The Artistry of Exile is a new reading of one of the most important themes of nineteenth-century literature. Exile represents a crisis in the always present tension between self and culture, the disturbance of memory, the quest for home, and the survival or not of life's heart quakes — all of which became identifying features of canonical Romanticism. Focusing on two interlinked groups of writers who, for various reasons, felt cast out of England and sought refuge in Italy, this book traces the material and metaphoric dynamics of distance in poems, novels and epistolary conversations. The book brings into dialogue the self-alienation and existential antagonism of the Cain figure with the contingencies of real travel: conversations about writing desks, lost parcels of books, missing pans and stray camels. Domestic and cosmic perspectives mingle as the book reveals how writers realize the full resonance of Dante's vivid summation of exile in the taste of different bread and the difficulty of another man's stairs. As a country that only exists in the early nineteenth-century as a memory, Italy both embodies and energises formal attempts to bridge the distance created by exile in the work of the Byron-Shelley circle and the later Barrett-Browning- Browning collaboration. Examining these writers in relation to Italian art, sound, religion, narrative art and history, the book presents a new perspective on Romantic canonicity and relocates contemporary ideas of cosmopolitanism in the aesthetic, ethical and political debates of the late Romantic and early Victorian world.
The eighteenth century witnessed the publication of an unprecedented number of voyages and travels, genuine and fictional. Within a genre distinguished by its diversity, curiosity, and experimental impulses, Katrina O'Loughlin investigates not just how women in the eighteenth century experienced travel, but also how travel writing facilitated their participation in literary and political culture. She canvases a range of accounts by intrepid women, including Lady Mary Wortley Montagu's Turkish Embassy Letters, Lady Craven's Journey through the Crimea to Constantinople, Eliza Justice's A Voyage to Russia, and Anna Maria Falconbridge's Narrative of Two Voyages to the River Sierra Leone. Moving from Ottoman courts to theatres of war, O'Loughlin shows how gender frames access to people and spaces outside Enlightenment and Romantic Britain, and how travel provides women with a powerful cultural form for re-imagining their place in the world.
Awarded the Elma Dangerfield Prize by the International Byron Society in 2013 The nineteenth century is sometimes seen as a lacuna between two literary periods. In terms of women’s writing, however, the era between the death of Mary Wollstonecraft and the 1860s feminist movement produced a coherent body of major works, impelled by an ongoing dialogue between Enlightenment ‘feminism’ and late Romanticism. This study focuses on the dynamic interaction between Lord Byron and Madame de Staël, Lady Morgan, Mary Shelley and Jane Austen, challenging previous critics’ segregation of the male Romantic writers from their female peers. The Romantic movement in general unleashed the creative ambitions of nineteenth-century female novelists, and the public voice of Byron in particular engaged them in transnational issues of political, national and sexual freedom. Byronism had itself been shaped by the poet’s incursion onto a literary scene where women readers were dominant and formidable intellectuals such as Madame de Staël were lionized. Byron engaged in rivalrous dialogue with the novels of his female friends and contemporaries, such as Caroline Lamb, Mary Shelley and Jane Austen, whose critiques of Romantic egotism helped prompt his own self-parody in Don Juan. Later Victorian novelists, such as George Sand, the Brontë sisters and Harriet Beecher Stowe, wove their rejection of their childhood attraction to Byronism, and their dawning awareness of the significance for women of Lady Byron’s actions, into the feminist fabric of their art.