This set offers a representitive collection of the verse satire of the Romantic period, published between the mid-1780s and the mid-1830s. As well as two single-author volumes, from William Gifford and Thomas Moore, there is also a wealth of rare, unedited material.
This set offers a representitive collection of the verse satire of the Romantic period, published between the mid-1780s and the mid-1830s. As well as two single-author volumes, from William Gifford and Thomas Moore, there is also a wealth of rare, unedited material.
The years between 1780 and 1830 are vital decades in the history of Irish writing in English. This book charts the confluence of Enlightenment, antiquarian, and romantic energies within Irish literary culture and shows how different writers and genres absorbed, dispersed and remade those interests during five decades of political change. During those same years, literature made its own history. By the 1840s, Irish writing formed a recognizable body of work, which later generations would draw on, quote, anthologize and dispute. Questions raised by novels, poems and plays of the late eighteenth and early nineteenth centuries - the politics of language and voice; the relationship between literature and locality; the possibility of literature as a profession - resonated for many Irish writers over the centuries that followed and continue to matter today. This comprehensive volume will be a key reference for scholars and students of Irish literature and romantic literary studies.
The Oxford Handbook of John Bunyan is the most extensive volume of original essays ever published on the seventeenth-century nonconformist preacher and writer, John Bunyan. Its thirty-eight chapters examine Bunyan's life and works, their religious and historical contexts, and the critical reception of his writings, in particular his allegorical narrative, The Pilgrim's Progress. Interdisciplinary and comprehensive, it provides unparalleled scope and expertise, ranging from literary theory to religious history and from theology to post-colonial criticism. The Handbook is structured in four sections. The first, 'Contexts', deals with the historical Bunyan in relation to various aspects of his life, background, and work as a nonconformist: from basic facts of biography to the nature of his church at Bedford, his theology, and the religious and political cultures of seventeenth-century Dissent. Part 2 considers Bunyan's literary output: from his earliest printed tracts to his posthumously published works. Offering discrete chapters on Bunyan's major works - Grace Abounding to the Chief of Sinners (1666), The Pilgrim's Progress, Parts I and II (1678; 1684); The Life and Death of Mr. Badman (1680), and The Holy War (1682) - this section nevertheless covers Bunyan's oeuvre in its entirety: controversial and pastoral, narrative and poetic. Section 3, 'Directions in Criticism', engages with Bunyan in literary critical terms, focusing on his employment of form and language and on theoretical approaches to his writings: from psychoanalytic to post-secular criticism. Section 4, 'Journeys', tackles some of the ways in which Bunyan's works, and especially The Pilgrim's Progress, have travelled throughout the world since the late seventeenth century, assessing Bunyan's place within key literary periods and their distinctive developments: from the eighteenth-century novel to the writing of 'empire'.
This collection of eleven essays positions Moore within a developing and expanding international readership during the course of the nineteenth century. In accounting for the successes he achieved and the challenges he faced, recurring themes include: Moore’s influence and reputation; modes of dissemination through networks and among communities; also, the articulation of personal, political, and national identities. This book, the product of an international team of scholars, is the first to focus explicitly on the reputations of Thomas Moore in different parts of the world, including Bombay, Dublin, Leipzig, and London, as well as America, Canada, Greece, and the Hispanic world. Through it, we will understand more about Moore’s reception, and also appreciate how the publication and dissemination of poetry and song in the romantic and Victorian eras operated in different parts of the world—in particular considering how artistic and political networks effected the transmission of cultural products.
Contextualizes and annotates the influential, scandalous, and entertaining texts which appeared in the Blackwood's Magazine between 1817 and 1825. This title features a detailed general introduction, volume introductions and endnotes, providing the reader with an understanding of the origins and early history of Blackwood's Magazine.
This edited collection brings together literary scholars and art historians, and maps how satire became a less genre-driven and increasingly visual medium in the seventeenth through the early nineteenth century. Changing satire demonstrates how satire proliferated in various formats, and discusses a wide range of material from canonical authors like Swift to little known manuscript sources and prints. As the book emphasises, satire was a frame of reference for well-known authors and artists ranging from Milton to Bernini and Goya. It was moreover a broad European phenomenon: while the book focuses on English satire, it also considers France, Italy, The Netherlands and Spain, and discusses how satirical texts and artwork could move between countries and languages. In its wide sweep across time and formats, Changing satire brings out the importance that satire had as a transgressor of borders.
The Collected Poems of Amelia Alderson Opie offers the first collected, scholarly edition of poetical writings of one of the most celebrated women writers of the early nineteenth century. It brings together poems from a variety of sources, including three volumes of poetry assembled by the author, annual anthologies, periodicals, songs, manuscripts, fictional tales, broad sheets, separately published pamphlets, and unpublished private correspondence. The poems included cover the entire range of Opie's long career, starting with her earliest surviving works from the 1790s and extending through her last poems in 1850. The arrangement proposed for this edition gives an overall sense of Opie's development from her early experiments with short lyrics appearing in The Annual Anthology, The Cabinet, and The European Magazine to her first large-scale success with Poems and the publication of a number of song lyrics, to the longer narrative poems in The Warrior's Return to the final phase of her publishing life after officially joining the Quakers in 1825 - the appearance of Lays for the Dead, a sequence of elegies for both private and public figures. Until now, Opie has been known primarily through a few frequently anthologized poems focusing on her response to the war with France and her support of the abolition movement. The Collected Poems offers the opportunity to explore more fully the contribution made to literary culture in the period by a woman who throughout her life used poetry as the basis of affective connection with her world.
This book explores how authors profited from their writings in the late eighteenth and early nineteenth centuries, contending that the most tangible benefits were social, rather than financial or aesthetic. It examines authors’ interactions with publishers; the challenges of literary sociability; the vexed construction of enduring careers; the factors that prevented most aspiring writers (particularly the less privileged) from accruing significant rewards; the rhetorical professionalisation of periodicals; and the manners in which emerging paradigms and technologies catalysed a belated transformation in how literary writing was consumed and perceived.