This book presents Thomas Chatterton's selected poems. It includes introductions to Chatterton's life, technique, and reputation, and shows the historical significance and unexpected range of his poetry, which spans the genres of satire, elegy, lyric, narrative verse, and poetic drama.
This book presents Thomas Chatterton's selected poems. It includes introductions to Chatterton's life, technique, and reputation, and shows the historical significance and unexpected range of his poetry, which spans the genres of satire, elegy, lyric, narrative verse, and poetic drama.
'The Rowley Poems' is a collection of poems that the author, Thomas Chatterton, penned as Thomas Rowley, which was a pseudonym that he adopted by pretending to be a monk of the 15th century. As Rowley, Chatterton's poems were celebrated, with some of his best-known works featured in this current volume of work.
Long before Wordsworth etherealized him as 'the marvellous Boy / The sleepless Soul that perished in its pride', Thomas Chatterton was touted as the 'second Shakespeare' by eighteenth-century Shakespeareans, ranked among the leading British poets by prominent literary critics, and likened to the fashionable modern prose stylists Macpherson, Sterne, and Smollett. His pseudo-medieval Rowley poems, in particular, engendered a renewed fascination with ancient English literature. With Chatterton as its case study, this book offers new insights into the formation and development of literary scholarship in the period, from the periodical press to the public lecture, from the review to the anthology, from textual to biographical criticism. Cook demonstrates that, while major scholars found Chatterton to be a pertinent subject for multiple literary debates in the eighteenth century, by the end of the Romantic period he had become, and still remains, an unsettling model of hubristic genius.
In 1770, at the end of his tether, the seventeen-year-old poet Thomas Chatterton, penniless and starving, despairing of success and tormented by a sense of failure, committed suicide in his garret room. Within a few years he was transformed into a legend. In the dawning Romantic Movement, he became a symbol of some of its most powerful preoccupations - suicide, youth and neglected genius. During the two ensuing centuries, Chatterton has become one of the most famous of literary suicides. To the Romantics in the nineteenth century, the premature death of this precocious genius became a source of inspiration. His suicide inspired Vigny's melodramatic play Chatterton, and forty years later, Leoncavallo's opera spread to Italy. The Pre-Raphaelites, especially Rossetti, were fascinated by his death. In the twentieth century, the eccentric scholar and poet E. W. Meyerstein developed a lifelong passion for him. Linda Kelly explores the development, pervasiveness and astonishing persistence of the Chatterton legend, throwing new and revealing light on the writers and artists who admired him. 'A book that leaves out nothing important and yet keeps us reading like a novel.' John Wain
When Thomas Chatterton, a brilliant literary counterfeiter, is found dead in 1770, the mysterious circumstances surrounding his death are unraveled in succeeding centuries.
This book explores the evolution of male writers marked by peculiar traits of childlike immaturity. The ‘Boy-Man’ emerged from the nexus of Rousseau’s counter-Enlightenment cultural primitivism, Sensibility’s ‘Man of Feeling’, the Chattertonian poet maudit, and the Romantic idealisation of childhood. The Romantic era saw the proliferation of boy-men, who congregated around such metropolitan institutions as The London Magazine. These included John Keats, Leigh Hunt, Charles Lamb, Hartley Coleridge, Thomas De Quincey and Thomas Hood. In the period of the French Revolution, terms of childishness were used against such writers as Wordsworth, Keats, Hunt and Lamb as a tool of political satire. Yet boy-men writers conversely used their amphibian child-adult literary personae to critique the masculinist ideologies of their era. However, the growing cultural and political conservatism of the nineteenth century, and the emergence of a canon of serious literature, inculcated the relegation of the boy-men from the republic of letters.