By Winfred P. Lehmann
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It is a new research of Wordsworth's reception in nineteenth-century Germany. British writers of the Romantic interval have been well known in Germany in the course of the 19th century, and translations of Scott, Burns, Moore, Hemans, and Byron (among others) grew to become frequent. This research analyzes the reception of William Wordsworth's poetry in nineteenth century Germany when it comes to different romantic poets.
Waterloo and the Romantic mind's eye deals a brand new and difficult examine the cultural value of the conflict of Waterloo, and the effect it had on British Romantic tradition. Drawing on more than a few techniques it goals to redefine the Romantic interval as an age of inter- and intra-national clash, therefore overturning traditional notions of 'The Romantic Project', and re-writing the interval from first rules.
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Additional resources for A Gothic Etymological Dictionary
389–90), the light cast by those who guard the gate to Eden. The stage direction is 21 22 23 The Poetical Works of Elizabeth Barrett Browning, p. xi. Edward Said, Reflections on Exile, p. 178. The Poetical Works of Elizabeth Barrett Browning, p. xiii. The bow shot of exile 27 taken directly from Byron’s mystery play when Cain describes ‘the walls of Eden, chequer’d/By the far-flashing of the cherubs’ swords’ (I. 1 273–4). As Lucifer predicts, it is the ‘thought of a shut gate of Paradise’ (l. 190) that constitutes the main burden on Eden’s newest exiles.
W. Schlegel, the Swiss writer Charles Victor de De Bonstetten (years earlier, the friend of Thomas Gray), the Swiss-Italian historical economist Sismondi, and, of course, Byron, who spent the summer of 1816 there before arriving in Venice in November. One of the defining features of exiled intellectual life was the treasuring of books and conversation. Nineteenth-century exiles sought each other’s company and libraries, and formed leagues of intimate intellectual altercation. They often expressed a profound dissatisfaction with the salon culture that had been established by seasonal English visitors and founded a new sort of conversational interchange through book sharing and discussion of new works in progress.
Dent, 1946), II, 458; CPW IV, 302. 68 BLJ IV, 50. 69 Ugo Foscolo, Ultime lettere di Jacopo Ortis. I Sepulchi (Firenze: Adriano Salani, 1914), pp. 89, 155. 70 Michael O’Neill, ‘Realms Without a Name: Shelley and Italy’s Intenser Day’, in Frederick Burwick and Paul Douglass (eds), Dante and Italy in British Romanticism (New York: Palgrave Macmillan, 2011), pp. 77–91 (p. 79). Introduction Figure 1. Byron’s fair copy of the Dedication to Don Juan By kind permission of John Murray. 19 20 The Artistry of Exile oppositions.
A Gothic Etymological Dictionary by Winfred P. Lehmann