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This book is a monumental work on the late Romantic Irish poet, George Darley, with a scholarly edition of his complete poetry and a new biography. The text of each poem is meticulously edited from manuscript and printed sources. For the first time, Darley is established as a translator of the First Book of Virgil’s Æneid. A newly discovered manuscript of Darley’s 70 Lenimina Laborum poems enriches the edition, while the celebrated Nepenthe is authoritatively presented with Darley’s manuscript running headnotes. The book introduces over 40 new manuscript letters by Darley, and discusses contemporary reviews of his work and a century of critical commentary. Darley’s influence on Tennyson is evaluated and his vast periodical contributions are examined. In addition, the insightful interpretation of Nepenthe by Edward Hutchinson Synge is presented. This book will be of great interest to scholars of the Romantic period, readers of contemporary periodical journalism, and students of Irish literary history.
The 1820s and 1830s, the gap between Romanticism and Victorianism, continues to prove a difficulty for scholars. This book explores and recovers a neglected culture of poetry in those years, and it demonstrates that culture was a crucial turning point in literary history. It explores a uniquely wide range of poets, including the poetry of the literary annuals, Letitia Landon, Felicia Hemans, Robert Browning, Samuel Taylor Coleridge, Thomas Hood and John Clare, placing their work in the light of new research into the conditions of the literary market. In turn, it uses that culture to open up wider theoretical issues relating to literary form, book history, print culture, gender and periodisation. The period’s doubt about poetry’s place in culture and its capacity to last prompted a dazzling range of creative experiments that reimagined the metrical, material and commercial forms of poetry.
In the early nineteenth century, the publishing house of Taylor & Hessey brought out the work of Keats, Clare, Hazlitt, De Quincey, Carlyle, Lamb, Coleridge and many more of the most important literary figures of the time, as well as the great literary journal of the period, the London Magazine. Tim Chilcott here examines the life and work of John Taylor, the firm’s founder. The account, originally published in 1972 and incorporating a large amount of hitherto unpublished material, is a fascinating piece of literary, social and publishing history, showing clearly the relationship between the author and his publisher, and in turn between the publisher and the reading public.
This collaborative book derives from the 2006 Bristol University Conference on periodicals culture in the Romantic era. The essays indicate that the periodical text presented a novel and challenging medium in the Romantic period and enabled a particularly.
Through attuned close readings, this volume brings out the imaginative and formal brilliance of Percy Bysshe Shelley's writing as it explores his involvement in processes of dialogue and influence. Shelley recognizes that poetic individuality is the reward of connectedness with other writers and cultural influences. 'A great Poem is a fountain forever overflowing with the waters of wisdom and delight', he writes, 'and after one person and one age has exhausted all its divine effluence which their peculiar relations enable them to share, another and yet another succeeds, and new relations are ever developed, the source of an unforeseen and an unconceived delight' (A Defence of Poetry). He is among the major Romantic poetic exponents and theorists of influence, because of his passionately intelligent commitment to the onward dissemination of ideas and feelings, and to the unpredictable ways in which poets position themselves and are culturally positioned between past and future. The book has a tripartite structure. The first three chapters seek to illuminate his response to representative texts, figures, and themes that constitute the triple pillars of his cultural inheritance: the classical world (Plato); Renaissance poetry (Spenser and Milton); Christianity and, in particular, the concept of deity and the Bible. The second and major section of the book explores Shelley's relations and affinities with, as well as differences from, his immediate predecessors and contemporaries: Hazlitt and Lamb; Wordsworth; Coleridge; Southey; Byron; Keats (including the influence of Dante on Shelley's elegy for his fellow Romantic) and the great painter J. M. W. Turner, with whom he is often linked. The third section considers Shelley's reception by later nineteenth-century writers, figures influenced by and responding to Shelley including Beddoes, Hemans, Landon, Tennyson, and Swinburne. A coda discusses the body of critical work on Shelley produced by A. C. Bradley, a figure who stands at the threshold of twentieth-century thinking about Shelley.
Critics including Seamus Heaney provide a welcome reappraisal in the wake of Clare's bicentenary.
This book investigates what it is that makes John Clare’s poetic vision so unique, and asks how we use Clare for contemporary ends. It explores much of the criticism that has appeared in response to his life and work, and asks hard questions about the modes and motivations of critics and editors. Clare is increasingly regarded as having been an environmentalist long before the word appeared; this book investigates whether this ‘green’ rush to place him as a radical proto-ecologist does any disservice to his complex positions in relation to social class, work, agriculture, poverty and women. This book attempts to unlock Clare’s own theorisations and practices of what we might now call an ‘ecological consciousness’, and works out how his ‘ecocentric’ mode might relate to that of other Romantic poets. Finally, this book asks how we might treat Clare as our contemporary while still being attentive to the peculiarities of his unique historical circumstances.