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William Godwin has long been known for his literary connections as the husband of Mary Wollstonecraft, the father of Mary Shelley, the friend of Coleridge, Lamb, and Hazlitt, the mentor of the young Wordsworth, Southey, and Shelley, and the opponent of Malthus. Godwin has been recently recognized, however, as the most capable exponent of philosophical anarchism, an original moral thinker, a pioneer in socialist economics and progressive education, and a novelist of great skill. His long life straddled two centuries. Not only did he live at the center of radical and intellectual London during the French Revolution, he also commented on some of the most significant changes in British history. Shaped by the Enlightenment, he became a key figure in English Romanticism. Basing his work on extensive published and unpublished materials, Peter Marshall has written a comprehensive study of this flamboyant and fascinating figure. Marshall places Godwin firmly in his social, political, and historical context; he traces chronologically the origin and development of Godwin’s ideas and themes; and he offers a critical estimate of his works, recognizing the equal value of his philosophy and literature and their mutual illumination. The picture of Godwin that emerges is one of a complex man and a subtle and revolutionary thinker, one whose influence was far greater than is usually assumed. In the final analysis, Godwin stands forth not only as a rare example of a man who excelled in both philosophy and literature but as one of the great humanists in the Western tradition.
A key figure in British literary circles following the French Revolution, novelist and playwright Thomas Holcroft promoted ideas of reform and equality informed by the philosophy of his close friend William Godwin. Arrested for treason in 1794 and released without trial, Holcroft was notorious in his own time, but today appears mainly as a supporting character in studies of 1790s literary activism. Thomas Holcroft’s Revolutionary Drama authoritatively reintroduces and reestablishes this central figure of the revolutionary decade by examining his life, plays, memoirs, and personal correspondence. In engaging with theatrical censorship, apostacy, and the response of audiences and critics to radical drama, this thoughtful study also demonstrates how theater functions in times of political repression. Despite his struggles, Holcroft also had major successes: this book examines his surprisingly robust afterlife, as his plays, especially The Road to Ruin, were repeatedly revived worldwide in the nineteenth century.
Such multiplicity of versions raises interesting theoretical and practical questions about the make-up of the Coleridge canon, the ontological identity of any specific work in the canon, the editorial treatment of Coleridge's works, and the ways in which multiple versions complicate interpretation of the poems as a unified (or, as the case may be, disunified) body of work.