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Narration is conducted on behalf of the eldest of six brothers - a prisoner of the Chillon Castle, a terrible prison with intolerable conditions of detention. Five of his close relatives have already died. Two of them could not stand the conclusion in the cellars of the castle. The prisoner lost count of days and years, and when he was released, he became so accustomed to imprisonment that the outbreak did not cause him any emotion. Pretty illustrations by Elena Odarich provide you with new impressions from reading this legendary story.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1880 edition. Excerpt: ... Peler of Savoy or the little Charlemagne. In the 13th century, the castle of Chillon began acquire its historical importance and present form. Among the reigning families of Europe, none hai displayed greater political skill, or have turned to good an account the advantages of their position, as ma ters of the passes of the Central Alps, than the ancestoi of the present king of Italy. First as Counts of the steri province of Maurienne, then as Counts or Dukes of Save; that illutrious house, from the middle ages to the press day, has furnished a succession of able statesmen distinguished warriors. At the commencement of the 12th century, the cou of Thomas Ist of Savoy was in high renown, as a schu of chivalry. He left eight sons and two daughters, tli younger of whom, Beatrice, became mother of the thri queens of England, France, and Naples, and of an Eu press of Germany. Peter, one of the younger sons, with a view to Q aggrandizement of his family, had entered the churcl and, as Provost of the Cathedral of Lausanne, had govei ned the diocese from 1229 to 1231. On the death ot his father, he abandoned the eccli siastical career, which political motives had compelL him to adopt, and in 1233 married Agnes, dauglher the Count of Faucigny. Jointly with Aymon, another the eight brothers, he took up arms against their eldi brother Amedeus, heir to the crown of Savoy; to previ effusion of blood, the dispute was settled by a cessia of the Chablais (which then included the valley of th Rhone, from the St.-Bernard downward, as well as a the south side of the Lake, with the north bank to tL Veveyse) to Aymon, and of some castles at Bugey an i the environs of Geneva to Peter. As Aymon was inca stated from exertion by an incurable malady, all the...
The essays collected in this volume engage in a conversation among lexicography, the culture of the book, and the canonization and commemoration of English literary figures and their works in the long eighteenth century. The source of inspiration for each piece is Allen Reddick’s scholarship on Samuel Johnson (1709-1784), the great English lexicographer whose Dictionary (1755) included thousands upon thousands of illustrative quotations from the “best” authors, and, more recently, on Thomas Hollis (1720-1774), the much less well-known bibliophile who sent gifts of books by a pantheon of Whig authors to individuals and libraries in Britain, Protestant bastions in continental Europe, and America. Between the covers of Words, Books, Images readers will encounter canonical English authors of prose and poetry—Bacon, Milton, Defoe, Dryden, Pope, Richardson, Swift, Byron, Mary Shelley, and Edward Lear. But they will also become acquainted with the agents of their canonization and commemoration—the printers and publishers of Grub Street, the biographer John Aubrey, the lexicographer and biographer Johnson, the bibliophile Hollis, and the portrait painter Reynolds. No less crucially, they will meet fellow readers of then and now—women and men who peruse, poach, snip, and savour a book’s every word and image.
In Poetry, Pictures, and Popular Publishing eminent Rossetti scholar Lorraine Janzen Kooistra demonstrates the cultural centrality of a neglected artifact: the Victorian illustrated gift book. Turning a critical lens on “drawing-room books” as both material objects and historical events, Kooistra reveals how the gift book’s visual/verbal form mediated “high” and popular art as well as book and periodical publication. A composite text produced by many makers, the poetic gift book was designed for domestic space and a female audience; its mode of publication marks a significant moment in the history of authorship, reading, and publishing. With rigorous attention to the gift book’s aesthetic and ideological features, Kooistra analyzes the contributions of poets, artists, engravers, publishers, and readers and shows how its material form moved poetry into popular culture. Drawing on archival and periodical research, she offers new readings of Eliza Cook, Adelaide Procter, and Jean Ingelow and shows the transatlantic reach of their verses. Boldly resituating Tennyson’s works within the gift-book economy he dominated, Kooistra demonstrates how the conditions of corporate authorship shaped the production and receptionof the laureate’s verses at the peak of his popularity. Poetry, Pictures, and Popular Publishing changes the map of poetry’s place—in all its senses—in Victorian everyday life and consumer culture.
In a reevaluation of that period in Victorian illustration known as 'The Sixties,' a distinguished group of international scholars consider the impact of illustration on the act of reading; its capacity to reflect, construct, critique and challenge its audience's values; its response to older graphic traditions; and its assimilation of foreign influences. While focused on the years 1855 to 1875, the essays take up issues related to the earlier part of the nineteenth century and look forward to subsequent developments in illustration. The contributors examine significant figures such as Ford Madox Brown, Frederick Sandys, John Everett Millais, George John Pinwell, and Hablot Knight Browne in connection with the illustrated magazine, the mid-Victorian gift book, and changing visual responses to the novels of Dickens. Engaging with a number of theories and critical debates, the collection offers a detailed and provocative analysis of the nature of illustration: its production, consumption, and place within the broader contexts of mid-Victorian culture.