WorkshopWorkshopThe English The English RomanticsRomantics

Márcio José CoutinhoMárcio José CoutinhoUFRGSUFRGS20142014

The world must be romanticizedThe world must be romanticized““The world must be romanticized. In order to find its original meaning the The world must be romanticized. In order to find its original meaning the world must be romanticized. We will make the common of every day become world must be romanticized. We will make the common of every day become vibrant and significant, what is ordinary will become misterious, the familiar vibrant and significant, what is ordinary will become misterious, the familiar will have the prestige of the unfamiliar, and the finite will seem infinite. will have the prestige of the unfamiliar, and the finite will seem infinite. Thereby I romanticize it”. Thereby I romanticize it”. ““The world must be romanticized. Only in that way will one rediscover its The world must be romanticized. Only in that way will one rediscover its original senses. Romanticization is nothing less than a qualitative raising of original senses. Romanticization is nothing less than a qualitative raising of the power of a thing . . . I romanticize something when I give the the power of a thing . . . I romanticize something when I give the commonplace a higher meaning, the known the dignity of the unknown, and commonplace a higher meaning, the known the dignity of the unknown, and the finite the appearance of the infinite.” the finite the appearance of the infinite.” To romanticize the world is to make us aware of the magic, mystery and To romanticize the world is to make us aware of the magic, mystery and wonder of the world; it is to educate the senses to see the ordinary as wonder of the world; it is to educate the senses to see the ordinary as extraordinary, the familiar as strange, the mundane as sacred, the finite as extraordinary, the familiar as strange, the mundane as sacred, the finite as infinite”. infinite”. (Novalis)(Novalis)

““The character and privilege of Genius, and one of the marks that distinguish The character and privilege of Genius, and one of the marks that distinguish genius from talents: the prime merit of genius:  to "represent familiar objects genius from talents: the prime merit of genius:  to "represent familiar objects as to awaken in the minds of others a kindred feeling concerning them and a as to awaken in the minds of others a kindred feeling concerning them and a freshness of sensation.“freshness of sensation.“"Genius produces the strongest impressions of novelty while it rescues the "Genius produces the strongest impressions of novelty while it rescues the most admitted truths from the impotence caused by the very circumstance of most admitted truths from the impotence caused by the very circumstance of their universal admission.“ their universal admission.“    (Coleridge)(Coleridge) “I rose with the sun and I was happy. […] I tried to lose myself in space, my “I rose with the sun and I was happy. […] I tried to lose myself in space, my heart confined within the boundaries of being, I was suffocating in the heart confined within the boundaries of being, I was suffocating in the universe, I long to live between infinity” universe, I long to live between infinity” (Rousseau)(Rousseau)

Liberty: A Romantic ThemeLiberty: A Romantic ThemeDelacroix was a leading Delacroix was a leading Romantic figure in Romantic figure in French arts. This French arts. This painting painting commemorates the commemorates the Revolution of July 1830, Revolution of July 1830, which toppled King which toppled King Charles X of France. A Charles X of France. A woman personifying woman personifying Liberty leads the people Liberty leads the people forward over the bodies forward over the bodies of the fallen, holding of the fallen, holding the flag of the French the flag of the French Revolution in one hand Revolution in one hand and brandishing a and brandishing a bayonetted musket with bayonetted musket with the other. the other.

Political liberty and the Political liberty and the desire for free humanity desire for free humanity were often associated were often associated with freedom of the with freedom of the mind and of the mind and of the imaginative power to imaginative power to create in art and poetry. create in art and poetry. The French Revolution The French Revolution inspired the poets’ inspired the poets’ ideals.ideals.

Liberty Leading the People, by Eugène Delacroix (1830)

The BastilleThe Bastille““Where silent zephyrs sported with the dust Where silent zephyrs sported with the dust Of the Bastille, I sate in the open sun, Of the Bastille, I sate in the open sun, And from the rubbish gathered up a stone, And from the rubbish gathered up a stone, And pocketed the relic, in the guise 70 And pocketed the relic, in the guise 70 Of an enthusiast; yet, in honest truth, Of an enthusiast; yet, in honest truth, I looked for something that I could not find, I looked for something that I could not find, Affecting more emotion than I felt;” (The Prelude, Book IX)Affecting more emotion than I felt;” (The Prelude, Book IX)

Painting by Jean Pierre Houel of siege and fall of the Bastille. , representing the 14th of July.Arrest of de Launay, by Jean-Baptiste Lallemand, 1790.

Foreseeing the coming of TerrorForeseeing the coming of TerrorWith unextinguished taper I kept watch, 70 With unextinguished taper I kept watch, 70 Reading at intervals; the fear gone by Reading at intervals; the fear gone by Pressed on me almost like a fear to come. Pressed on me almost like a fear to come. I thought of those September massacres, I thought of those September massacres, Divided from me by one little month, Divided from me by one little month, Saw them and touched: the rest was conjured up Saw them and touched: the rest was conjured up From tragic fictions or true history, From tragic fictions or true history, Remembrances and dim admonishments. Remembrances and dim admonishments. The horse is taught his manage, and no star The horse is taught his manage, and no star Of wildest course but treads back his own steps; Of wildest course but treads back his own steps; For the spent hurricane the air provides 80 For the spent hurricane the air provides 80 As fierce a successor; the tide retreats As fierce a successor; the tide retreats But to return out of its hiding-place But to return out of its hiding-place In the great deep; all things have second birth; In the great deep; all things have second birth; The earthquake is not satisfied at once; The earthquake is not satisfied at once; And in this way I wrought upon myself, And in this way I wrought upon myself, Until I seemed to hear a voice that cried, Until I seemed to hear a voice that cried, To the whole city, "Sleep no more." To the whole city, "Sleep no more." The trance Fled with the voice to which it had given birth; The trance Fled with the voice to which it had given birth; But vainly comments of a calmer mind But vainly comments of a calmer mind Promised soft peace and sweet forgetfulness. 90 Promised soft peace and sweet forgetfulness. 90 The place, all hushed and silent as it was, The place, all hushed and silent as it was, Appeared unfit for the repose of night, Appeared unfit for the repose of night, Defenceless as a wood where tigers roam.” (The Prelude, Book X)Defenceless as a wood where tigers roam.” (The Prelude, Book X)

The English The English RomanticsRomantics

Objectives:Objectives:My chief aim in this workshop is to provide a brief acquaintance My chief aim in this workshop is to provide a brief acquaintance with the literary period called Romanticism, to give a short with the literary period called Romanticism, to give a short account of the main writers, to stimulate some discussions account of the main writers, to stimulate some discussions concerning the analysis and interpretation of some of the most concerning the analysis and interpretation of some of the most important poems produced in the Romantic age. Above all, my important poems produced in the Romantic age. Above all, my intent is to show the relationship among poems of different poets, intent is to show the relationship among poems of different poets, indicating common points in theme and subject as a result of indicating common points in theme and subject as a result of influence and re-reading among those poets. Therewith I intend influence and re-reading among those poets. Therewith I intend to demonstrate that even though the period in question is to demonstrate that even though the period in question is marked by so varied a production as the number of its writers, marked by so varied a production as the number of its writers, since most of them lived and wrote separately, without direct since most of them lived and wrote separately, without direct interaction, some of them without knowing each other personaly, interaction, some of them without knowing each other personaly, with just few cases of co-laboration, there are some points of with just few cases of co-laboration, there are some points of contact, stylistic features, centres of interests and common ideas contact, stylistic features, centres of interests and common ideas that make possible to establish the thread of unity, or at least a that make possible to establish the thread of unity, or at least a chain of links among those poets that makes Romanticism a chain of links among those poets that makes Romanticism a coherent whole.coherent whole.

Personal and Literary Personal and Literary Relationships in Poets’ Relationships in Poets’ LivesLives

Isolated Isolated poets do not poets do not make a make a movement!movement!Isolated Isolated ideas do not ideas do not mark an age!mark an age!

The Londoner banker, poet and art collector Samuel Rodgers offering a dinner at his house to which he invited Wordsworth, Coleridge and Byron. (Painting by Carles Mottrams)

Those in the picture, reading from left to right, are, sitting: Sir Walter Scott; Henry Mackenzie, the Scottish novelist; George Crabbe, the English poet;

The publishing house of John Murray moved to 50 Albemarle Street in September 1812 and there it has remained The publishing house of John Murray moved to 50 Albemarle Street in September 1812 and there it has remained ever since. Byron knew this house very well and was a regular visitor and it was in Murray's Drawing Room that he ever since. Byron knew this house very well and was a regular visitor and it was in Murray's Drawing Room that he was introduced in Sir Walter Scott in April 1815.was introduced in Sir Walter Scott in April 1815.

Expressing the Romantic Expressing the Romantic EssenceEssence Romantic poets, either in England or in Germany, Romantic poets, either in England or in Germany,

seek the principle of everything, the essence of any seek the principle of everything, the essence of any existing thing. They seek the metaphysical in the existing thing. They seek the metaphysical in the physical, the eternal in the temporal, the spiritual in physical, the eternal in the temporal, the spiritual in the material, the divine in the human, the infinite in the material, the divine in the human, the infinite in the finite. Observing Nature and the human life, the the finite. Observing Nature and the human life, the Romantics see life as the mistery connecting the Romantics see life as the mistery connecting the human body with the transcendent principle in the human body with the transcendent principle in the whole Universe. As man feels this sacred, cosmic whole Universe. As man feels this sacred, cosmic relationship of being in the world, poetry is the means relationship of being in the world, poetry is the means to express the experience of this connection out of to express the experience of this connection out of the aesthetic contemplation of the external Nature.the aesthetic contemplation of the external Nature.

The contemplation of The contemplation of NatureNature

Any motion of elements or change of aspect in the outer images of Any motion of elements or change of aspect in the outer images of the natural world touches the poet’s inner emotions, prompting him the natural world touches the poet’s inner emotions, prompting him for contemplation and unleashing feelings and thoughts, which urge for contemplation and unleashing feelings and thoughts, which urge for expression. for expression. Characteristics: focus on ordinary scenes, fresh rural images, sense Characteristics: focus on ordinary scenes, fresh rural images, sense of immediacy, on-site sketches, spiritual presence in Nature.of immediacy, on-site sketches, spiritual presence in Nature.Romantic motifs: rustic cottage, ever changing sky, soothing river, Romantic motifs: rustic cottage, ever changing sky, soothing river, huge mountain, dark wood.huge mountain, dark wood.

The dinamics of contemplation: the poet captures The dinamics of contemplation: the poet captures image changes as the images capture the poet’s image changes as the images capture the poet’s attention.attention.

Listen to ...Listen to ...93 Million Miles,93 Million Miles, (by Jason Mraz)(by Jason Mraz)

93 million miles from the sunPeople get ready, get ready‘Cause here it comes, it's a lightA beautiful light, over the horizonInto your eyesOh, my, my how beautifulOh, my beautiful motherShe told me, son, in life you're gonna go farIf you do it right, you'll love where you are Just know, wherever you go You can always come home240 thousand miles from the moonWe've come a long way to belong hereTo share this view of the nightA glorious nightOver the horizon is another bright skyOh, my, my how beautifulOh, my irrefutable fatherHe told me, son, sometimes it may seem darkBut the absence of the light is a necessary part

http://www.youtube.com/watch?v=ISn8xxl7q40

ChorusChorus Just know, you're never alone You can always come back home Home, HomeYou can always come backEvery road is a slippery slopeBut there is always a hand that you can hold on toLooking deeper through the telescopeYou can see that your home's inside of you

Just know, that wherever you goNo, you're never alone,You will always get back homeHomeHome

Home!!! To go home, to come home, to return home! To find home! To be home!

These expressions concern with finding our place in this world. The vision of beauty shows us this place and confirms inside our hearts our belonging to this Universe.

Novalis asks...Novalis asks...““Where are we really going? Always home.”Where are we really going? Always home.”Otto Maria Carpeaux explains that Novalis Otto Maria Carpeaux explains that Novalis meant we are always going “to death!”meant we are always going “to death!”

““Once a sailor who survived from drowning Once a sailor who survived from drowning told me that it felt like going home” (Cutter)told me that it felt like going home” (Cutter)

““I lied! He said it was agony!” (Cutter)I lied! He said it was agony!” (Cutter)

Home... A metaphorHome... A metaphorThe association of home and death means that wherever humanity The association of home and death means that wherever humanity go, whatever we do, whatever our trajectory is, we are always trying go, whatever we do, whatever our trajectory is, we are always trying to find relief, to find solace, to meet peace in this world. And beyond.to find relief, to find solace, to meet peace in this world. And beyond.

This world is full of charms and wonders capable of giving us deep This world is full of charms and wonders capable of giving us deep pleasures if we stop to contemplate it. Nevertheless, many times the pleasures if we stop to contemplate it. Nevertheless, many times the world, destiny and life offer instead suffering, pain and agonies as world, destiny and life offer instead suffering, pain and agonies as Shelley expressed in Shelley expressed in A LamentA Lament:: O world! O life! O time!O world! O life! O time! On whose last steps I climb, On whose last steps I climb, Trembling at that where I had stood before; Trembling at that where I had stood before; When will return the glory of your prime? When will return the glory of your prime? No more -- Oh, never more! No more -- Oh, never more! Out of the day and nightOut of the day and night A joy has taken flight; A joy has taken flight; Fresh spring, and summer, and winter hoar, Fresh spring, and summer, and winter hoar, Move my faint heart with grief, but with delight Move my faint heart with grief, but with delight No more -- Oh, never more! No more -- Oh, never more!

Most of Romantic poetry has to do with that which Wordsworth expressed in his Ode Intimations of Immortality, with the search to understand and feel where we came from and are returning to. Whenever we stop to contemplate, we are always trying to find our connection with the Universe.

Just to illustrate...Just to illustrate...SolidãoSolidão““Imensas noites de inverno,Imensas noites de inverno,Com frias montanhas mudas,Com frias montanhas mudas,É o mar negro, mais eterno,É o mar negro, mais eterno,Mais terrível, mais profundo.Mais terrível, mais profundo.

Este rugido das águasEste rugido das águasÉ uma tristeza sem forma:É uma tristeza sem forma:Sobe rochas, desce fráguas,Sobe rochas, desce fráguas,Vem para o mundo e retornam...Vem para o mundo e retornam...

E a névoa desmancha os astros,E a névoa desmancha os astros,E o vento gira as areias:E o vento gira as areias:Nem pelo chão ficam rastrosNem pelo chão ficam rastrosNem, pelo silêncio, estrelas.Nem, pelo silêncio, estrelas.

A noite fecha seus lábiosA noite fecha seus lábios– – Terra e céu – guardado nome.Terra e céu – guardado nome.E os seus longos sonhos sábiosE os seus longos sonhos sábiosGeram a vida dos homens”.Geram a vida dos homens”.(Cecília Meireles)(Cecília Meireles)

The Romantics contemplate the goings on of life in the motion of the elements, even when the world seems immovable, in the silence of the things they hear the sound of the All, and in the inner motions of their body they try to perceive the syntony with the Universe.

Just to illustrate...Just to illustrate...

NoiteNoiteA noite abria a frescura A noite abria a frescura Dos campos todos molhados, Dos campos todos molhados, – – Sozinha, com o seu perfume! –Sozinha, com o seu perfume! –Preparando a flor mais puraPreparando a flor mais puraCom ares de todos os lados.Com ares de todos os lados.

Bem que a vida estava quieta.Bem que a vida estava quieta.Mas passava o pensamento...Mas passava o pensamento...De onde vinha aquela música?De onde vinha aquela música?E era uma nuvem repleta,E era uma nuvem repleta,Entre as estrelas e o vento.Entre as estrelas e o vento.(Cecília Meireles)(Cecília Meireles)

The Romantics express the fascination with Nature’s mystery of creation. They also realize the connection between the course of life, passing of time and motion of things in the external world and the dynamics of the flow of thoughts and feelings inside man’s mind and heart. Every elemental motion is connected with essential music. As the music of the elements opens access to the music of the Universe, every sound of natural objects around man can elevate his state of mind and bring inspiration. This is the essence of poetry.

Just to illustrate...Just to illustrate...ÊxtaseÊxtaseDeixa-te estar embalado no mar noturnoDeixa-te estar embalado no mar noturnoOnde se apaga e acende a salvação.Onde se apaga e acende a salvação.Deixa-te estar na exalação do sonho sem forma,Deixa-te estar na exalação do sonho sem forma,Em redor do horizonte vigiam meus braços abertosEm redor do horizonte vigiam meus braços abertosE por cima do céu estão pregados meus olhos, guardando-te.E por cima do céu estão pregados meus olhos, guardando-te.Deixa-te balançar entre a vida e a morte, sem nenhuma saudade.Deixa-te balançar entre a vida e a morte, sem nenhuma saudade.Deslizam os planetas na abundância do tempo que cai.Deslizam os planetas na abundância do tempo que cai.Nós somos um tênue pólen dos mundos...Nós somos um tênue pólen dos mundos...Deixa-te estar neste embalo de água gerando círculos.Deixa-te estar neste embalo de água gerando círculos.Nem é preciso dormir para a imaginação Nem é preciso dormir para a imaginação Desmanchar-se em figuras ambíguas.Desmanchar-se em figuras ambíguas.Nem é preciso fazer nada, para estar na alma de tudo”.Nem é preciso fazer nada, para estar na alma de tudo”.(Cecília Meireles)(Cecília Meireles)

Cosmic aspirations. Notion of the human tiny dimension before the greatness and vastness of the world. Correspondence between the images and happenings in the external world and the poet’s facts of consciousness: the dream reflects the world and the world is felt through the dream. The affections from without are sweet. The experiences of life become the matter of poetry. A moment in life is resignified in the poet’s memory and receives a metaphorical dimension in his remembrance. Recollection transforms a living moment into poetry. Imagination is fed by the happiness of individual’s existence in the world.

Comparing to Coleridge’s Comparing to Coleridge’s lineslines““Methinks, it should have been impossibleMethinks, it should have been impossibleNot to love all things in a World like this,Not to love all things in a World like this,Where e'en the Breezes of the simple AirWhere e'en the Breezes of the simple AirPossess the power and Spirit of Melody!”Possess the power and Spirit of Melody!”(Effusion, Poems, 1803. – a quatrain added to first draft to The Aeolian Harp)(Effusion, Poems, 1803. – a quatrain added to first draft to The Aeolian Harp)

““O! the one Life, within us and abroad,O! the one Life, within us and abroad,Which meets all Motion and becomes its soul,Which meets all Motion and becomes its soul,A light in Sound, a sound-like power in Light,A light in Sound, a sound-like power in Light,Rhythm in all Thought, and joyance every where--Rhythm in all Thought, and joyance every where--Methinks, it should have been impossibleMethinks, it should have been impossibleNot to love all things in a world so fill'd,Not to love all things in a world so fill'd,Where the breeze warbles and the mute still AirWhere the breeze warbles and the mute still AirIs Music slumbering on its instrument”Is Music slumbering on its instrument”..(The Aeolian Harp(The Aeolian Harp))

Romanticism: a Community of Poetic Romanticism: a Community of Poetic GeniusesGeniuses

With all that chilling mystery of mien, With all that chilling mystery of mien, And seeming gladness to remain unseen, And seeming gladness to remain unseen, He had (if 'twere not nature's boon) an art He had (if 'twere not nature's boon) an art Of fixing memory on another's heart: Of fixing memory on another's heart: It was not love, perchance — nor hate — nor aught It was not love, perchance — nor hate — nor aught That words can image to express the thought; That words can image to express the thought; But they who saw him did not see in vain, But they who saw him did not see in vain, And once beheld, would ask of him again: And once beheld, would ask of him again: And those to whom he spake remember'd well, And those to whom he spake remember'd well, And on the words, however light, would dwell. And on the words, however light, would dwell. None knew nor how, nor why, but he entwined None knew nor how, nor why, but he entwined Himself perforce around the hearer's mind; Himself perforce around the hearer's mind; There he was stamp'd, in liking, or in hate, There he was stamp'd, in liking, or in hate, If greeted once; however brief the date If greeted once; however brief the date That friendship, pity, or aversion knew, That friendship, pity, or aversion knew, Still there within the inmost thought he grew. Still there within the inmost thought he grew. You could not penetrate his soul, but found You could not penetrate his soul, but found Despite your wonder, to your own he wound. Despite your wonder, to your own he wound. His presence haunted still; and from the breast His presence haunted still; and from the breast He forced an all-unwilling interest; He forced an all-unwilling interest; Vain was the struggle in that mental net, Vain was the struggle in that mental net, His spirit seem'd to dare you to forget! His spirit seem'd to dare you to forget! 

(Lara I, XIX, ll. 361-382)(Lara I, XIX, ll. 361-382)

Defining RomanticismDefining RomanticismThe term Romanticism originates from romance, which means the languages The term Romanticism originates from romance, which means the languages

developed from Latin (Spanish, Portuguese, Italian, French, Romanian) and the developed from Latin (Spanish, Portuguese, Italian, French, Romanian) and the places where they were spoken. Those places have an appeal of exoticism. It places where they were spoken. Those places have an appeal of exoticism. It also implies those English gardens left to grow naturally, by Nature’s own also implies those English gardens left to grow naturally, by Nature’s own action, as opposed to the French classical gardens. action, as opposed to the French classical gardens.

Romnticism has to do with love, emotion, adventure, mystery, foreign places, dark Romnticism has to do with love, emotion, adventure, mystery, foreign places, dark regions, gothic buildings, ancient cultures and the center on the individual and regions, gothic buildings, ancient cultures and the center on the individual and his powers. It also refers to the revival of the past in medievalism and popular his powers. It also refers to the revival of the past in medievalism and popular culture.culture.

Romanticism implies:Romanticism implies:1- something consisting of or resembling a romance;1- something consisting of or resembling a romance;2- something imaginary: having no basis in fact;2- something imaginary: having no basis in fact;3- something visionary: unpractical in conception or plan;3- something visionary: unpractical in conception or plan;4- something marked by the imaginative or emotional appeal of what is heroic, 4- something marked by the imaginative or emotional appeal of what is heroic,

adventurous, remote, misterious or idealized;adventurous, remote, misterious or idealized;5- a production characterized by subjective emotional qualities and freedom of 5- a production characterized by subjective emotional qualities and freedom of

form; form; 6- someone having an inclination for romance: ressponsive to the appeal of what 6- someone having an inclination for romance: ressponsive to the appeal of what

is idealized, heroic or adventurous;is idealized, heroic or adventurous;7- someone marked by the expressions of love and affection: conductive to or 7- someone marked by the expressions of love and affection: conductive to or

suitable for love making. (Adapted from Kenny Mencher’s Romanticism in Art)suitable for love making. (Adapted from Kenny Mencher’s Romanticism in Art)

The visionary The visionary perceptionperception

“ “There's a feeling I get when I look to the west,There's a feeling I get when I look to the west,And my spirit is crying for leaving.And my spirit is crying for leaving.In my thoughts I have seen rings of smoke through the trees,In my thoughts I have seen rings of smoke through the trees,And the voices of those who stand looking”.And the voices of those who stand looking”.

(Stairway to Heaven, Led Zeppelin)(Stairway to Heaven, Led Zeppelin)

The Six Major The Six Major Canonical Poets:Canonical Poets:Although there are several great names who produced Although there are several great names who produced

fascinating poems during the Romantic era, fascinating poems during the Romantic era, scholarship has singled out six poets as the main scholarship has singled out six poets as the main canonical figures, namely: Blake, Wordsworth, canonical figures, namely: Blake, Wordsworth, Coleridge grouped together as the first generation, Coleridge grouped together as the first generation, and Byron, Shelley and Keats forming the second and Byron, Shelley and Keats forming the second generation. It is possible to realize some points in generation. It is possible to realize some points in common among their poetry above all concerning the common among their poetry above all concerning the theme, subject matter and ideas, even between the theme, subject matter and ideas, even between the two generations, to the extent that we can suppose two generations, to the extent that we can suppose some sort of influence. But there are also many points some sort of influence. But there are also many points of difference in their theories, practices, styles and of difference in their theories, practices, styles and philosophies.philosophies.

William BlakeWilliam Blake

Poetical SketchesSongs of Innocence and of ExperienceTirielVisions of the Daughters of AlbionThe Marriage of Heaven and HellThe Book of ThelAmerica: A ProphecyEurope: A ProphecyThe Book of UrizenThe Four ZoasJerusalemnMilton

William WordsworthWilliam Wordsworth An Evening WalkAn Evening Walk Descriptive SketchesDescriptive Sketches Lyrical BalladsLyrical Ballads Lines Written a Few Miles above Tintern AbbeyLines Written a Few Miles above Tintern Abbey The Recluse (Prospectus to The Recluse)The Recluse (Prospectus to The Recluse) The PreludeThe Prelude The ExcursionThe Excursion Ode Intimmations of ImmortalityOde Intimmations of Immortality Ode to DutyOde to Duty The White Doe of RilstoneThe White Doe of Rilstone I wandered lonely as a cloudI wandered lonely as a cloud Resolution and IndependenceResolution and Independence Michael: A Pastoral PoemMichael: A Pastoral Poem Lucy Gray: Or SolitudeLucy Gray: Or Solitude The Solitary ReaperThe Solitary Reaper MutabilityMutability To a SkylarkTo a Skylark

Samuel Taylor Coleridge Samuel Taylor Coleridge (1772-(1772-1834)1834)

The Rime of the Ancient MarinerThe Rime of the Ancient Mariner ChristabelChristabel Kubla KhanKubla Khan Religious MusingsReligious Musings France: An OdeFrance: An Ode The Aeolian HarpThe Aeolian Harp Frost at MidnightFrost at Midnight Dejection: An OdeDejection: An Ode The Pains of SleepThe Pains of Sleep To William WordsworthTo William Wordsworth Biographia LiterariaBiographia Literaria Lectures on ShakespeareLectures on Shakespeare The Statesman’s ManualThe Statesman’s Manual Aids to ReflectionAids to Reflection Confessions of an Inquiring SpiritConfessions of an Inquiring Spirit Lectures upon Shakespeare and Other DramatistsLectures upon Shakespeare and Other Dramatists

Biographical noteBiographical noteColeridgeColeridge was the thirteen child of a Devonshire clergyman. When his father was the thirteen child of a Devonshire clergyman. When his father died, he was sent at the age of ten to Christ’s hospital, a famous free school died, he was sent at the age of ten to Christ’s hospital, a famous free school in London. There, the lonely boy withdrew into the realms of the imagination, in London. There, the lonely boy withdrew into the realms of the imagination, which served him so well in his later poetry. There, he got the friendship of which served him so well in his later poetry. There, he got the friendship of Charles LambCharles Lamb. There, too, Coleridge would lecture brilliantly to their . There, too, Coleridge would lecture brilliantly to their schoolmates. A second great friendship was formed during college days with schoolmates. A second great friendship was formed during college days with the poet the poet Robert SoutheyRobert Southey, who shared Coleridge’s plan of forming an ideal , who shared Coleridge’s plan of forming an ideal colony on Susquehanna River in the wilderness of Pensilvania in America, a colony on Susquehanna River in the wilderness of Pensilvania in America, a utopia they called Pantisocracy. This dream never came true, but the lives of utopia they called Pantisocracy. This dream never came true, but the lives of the two men were inevitably bound together, for they married sisters, Sarah the two men were inevitably bound together, for they married sisters, Sarah and Edith Fricker. A third and specially stimulating friensship was with and Edith Fricker. A third and specially stimulating friensship was with William William WordsworthWordsworth, who once said Coleridge was the only wonderful man he ever , who once said Coleridge was the only wonderful man he ever knew. They became close neighbours in Sommerset and later in the Lake knew. They became close neighbours in Sommerset and later in the Lake District. Together they produced one of the most remarkable books in the District. Together they produced one of the most remarkable books in the English language: the English language: the Lyrical BalladsLyrical Ballads, a collection of their early poems, , a collection of their early poems, published in 1798. Coleridge contributed with his interest in the supernatural, published in 1798. Coleridge contributed with his interest in the supernatural, which he attempted to depict with sufficient semblance of truth as to secure which he attempted to depict with sufficient semblance of truth as to secure the reader’s “willing suspension of disbelief” in order to make the unreal the reader’s “willing suspension of disbelief” in order to make the unreal seem real. In December 1797, Coleridge worked as a Unitarian Minister at seem real. In December 1797, Coleridge worked as a Unitarian Minister at Shropshire, where he got to know Shropshire, where he got to know William HazlittWilliam Hazlitt, another of his proficuous , another of his proficuous Romantic friends. Often at odds with his wife, he roamed about the Romantic friends. Often at odds with his wife, he roamed about the Continent, while his family found a home with Southey in the Lake District. Continent, while his family found a home with Southey in the Lake District. Though brilliant, Coleridge’s poetry is short and might be collected in a small Though brilliant, Coleridge’s poetry is short and might be collected in a small volume. Many of his poems remained fragments. However, he left a large volume. Many of his poems remained fragments. However, he left a large production of lectures, and critical articles.production of lectures, and critical articles.

George Gordon, Lord Byron George Gordon, Lord Byron (1788-(1788-1824)1824)

Fugitive piecesFugitive pieces Hours of IdlenessHours of Idleness English Bards and Scotch English Bards and Scotch

ReviewersReviewers Childe Harold’s PilgrimageChilde Harold’s Pilgrimage The GiaourThe Giaour The Bride of AbydosThe Bride of Abydos The CorsairThe Corsair LaraLara The Siege of CorinthThe Siege of Corinth The Destruction of SennacheribThe Destruction of Sennacherib The Prisoner of ChillonThe Prisoner of Chillon

ManfredManfredBeppoBeppoMazeppaMazeppaSardanapalus. A TragedySardanapalus. A TragedyFrancesca da Rimini. From the Inferno of Dante, Canto Francesca da Rimini. From the Inferno of Dante, Canto the Fifththe FifthStanzas Written on the Road between Florence and PisaStanzas Written on the Road between Florence and PisaShe Walks in BeautyShe Walks in BeautyDon JuanDon JuanThe Vision of JudgementThe Vision of JudgementOn this Day I Complete my Thirty-Six YearOn this Day I Complete my Thirty-Six Year

Percy Bysshe Shelley Percy Bysshe Shelley (1792-(1792-1822)1822)

Queen MabQueen Mab Prometheus UnboundPrometheus Unbound Zeinab and KathemaZeinab and Kathema HellasHellas Alastor: Or the Spirit of SolitudeAlastor: Or the Spirit of Solitude Julian and MadalloJulian and Madallo Mont Blanc: Lines Written in the Vale of ChamouniMont Blanc: Lines Written in the Vale of Chamouni Hymn to the Intellectual BeautyHymn to the Intellectual Beauty MutabilityMutability To WordsworthTo Wordsworth To a Sky-LarkTo a Sky-Lark Ode to the West WindOde to the West Wind The CloudThe Cloud The CenciThe Cenci EpipsychidionEpipsychidion The Triumph of LifeThe Triumph of Life A Defence of PoetryA Defence of Poetry

John Keats John Keats (1795-1821)(1795-1821) LamiaLamia The Eve of St AgnesThe Eve of St Agnes The Eve of St. MarkThe Eve of St. Mark La Belle Dame Sans MercyLa Belle Dame Sans Mercy Ode to a NightingaleOde to a Nightingale Ode on a Grecian UrnOde on a Grecian Urn Ode to PsycheOde to Psyche Ode on MelancholyOde on Melancholy To AutumnTo Autumn Endymion: A Poetic RomanceEndymion: A Poetic Romance Hyperion. A FragmentHyperion. A Fragment The Fall of Hyperion: A DreamThe Fall of Hyperion: A Dream Sleep and PoetrySleep and Poetry I stood Tip-Toe Upon a Little HillI stood Tip-Toe Upon a Little Hill

Essencially Popular Essencially Popular Poets:Poets: Robert BurnsRobert Burns Sir Walter ScottSir Walter Scott John ClareJohn Clare

Robert Burns Robert Burns (1759-1796)(1759-1796) Poems, Chiefly in Scotish DialectPoems, Chiefly in Scotish Dialect (1786) (1786) The Scots Musical MuseumThe Scots Musical Museum (1786 - A collection of popular songs to (1786 - A collection of popular songs to

which he contributed)which he contributed) Holly Willie’s PrayerHolly Willie’s Prayer The Jolly BeggarsThe Jolly Beggars Auld Lang SyneAuld Lang Syne HalloweenHalloween O my Luve’s Like a Red, Red RoseO my Luve’s Like a Red, Red Rose Ye Banks and BraesYe Banks and Braes The Cotter’s Saturday NightThe Cotter’s Saturday Night Tam o’ ShanterTam o’ Shanter To a MouseTo a Mouse To a LouseTo a Louse The LamentThe Lament DespondencyDespondency

O My Luve's Like a O My Luve's Like a Red, Red RoseRed, Red Rose

O my Luve's like a red, red rose, O my Luve's like a red, red rose, That's newly sprung in June: That's newly sprung in June: O my Luve's like the melodie, O my Luve's like the melodie, That's sweetly play'd in tune. That's sweetly play'd in tune. 

As fair art thou, my bonnie lass, As fair art thou, my bonnie lass, So deep in luve am I; So deep in luve am I; And I will luve thee still, my dear, And I will luve thee still, my dear, Till a' the seas gang dry. Till a' the seas gang dry. 

Till a' the seas gang dry, my dear, Till a' the seas gang dry, my dear, And the rocks melt And the rocks melt wi' the sun;  the sun; And I will And I will luve thee still, my dear,  thee still, my dear, While the sands While the sands o' life shall run.  life shall run. 

And fare-thee-weel, my only Luve! And fare-thee-weel, my only Luve! And fare-thee-weel, a while! And fare-thee-weel, a while! And I will come again, my Luve, And I will come again, my Luve, Tho' 'twere ten thousand mile!Tho' 'twere ten thousand mile!

Tam O’ ShanterTam O’ ShanterWhen chapmen billies leave the When chapmen billies leave the street,street,And drouthy neibors, neibors meet,And drouthy neibors, neibors meet,As market days are wearing late,As market days are wearing late,An' folk begin to tak the gate;An' folk begin to tak the gate;While we sit bousing at the nappy,While we sit bousing at the nappy,And getting fou and unco happy,And getting fou and unco happy,We think na on the lang Scots miles,We think na on the lang Scots miles,The mosses, waters, slaps, and The mosses, waters, slaps, and styles,styles,That lie between us and our hame,That lie between us and our hame,Where sits our sulky sullen dame.Where sits our sulky sullen dame.Gathering her brows like gathering Gathering her brows like gathering storm,storm,Nursing her wrath to keep it warm.Nursing her wrath to keep it warm.

This truth fand honest Tam o' This truth fand honest Tam o' Shanter, Shanter, As he frae Ayr ae night did canter, As he frae Ayr ae night did canter, (Auld Ayr, wham ne'er a town (Auld Ayr, wham ne'er a town surpasses surpasses For honest men and bonie lasses.)For honest men and bonie lasses.)

O Tam! had'st thou but been sae wise, As ta'en thy ain wife Kate's advice! She tauld thee weel thou was a skellum, A blethering, blustering, drunken blellum; That frae November till October, Ae market-day thou was nae sober; That ilka melder, wi' the miller, Thou sat as lang as thou had siller; That every naig was ca'd a shoe on, The smith and thee gat roaring fou on; That at the Lord's house, even on Sunday, Thou drank wi' Kirkton Jean till Monday. She prophesied that late or soon, Thou would be found deep drown'd in Doon; Or catch'd wi' warlocks in the mirk, By Alloway's auld haunted kirk.

Ah, gentle dames! it gars me greet, To think how mony counsels sweet, How mony lengthen'd, sage advices, The husband frae the wife despises!

Translation...Translation...When the peddler people leave the When the peddler people leave the streets,streets,And thirsty neighbours, neighbours And thirsty neighbours, neighbours meet; meet; As market days are wearing late,As market days are wearing late,And folk begin to take the road home, And folk begin to take the road home, While we sit boozing strong ale,While we sit boozing strong ale,And getting drunk and very happy,And getting drunk and very happy,We don’t think of the long Scots miles, We don’t think of the long Scots miles, The marshes, waters, steps and stiles, The marshes, waters, steps and stiles, That lie between us and our home,That lie between us and our home,Where sits our sulky, sullen dame Where sits our sulky, sullen dame (wife),(wife),Gathering her brows like a gathering Gathering her brows like a gathering storm, storm, Nursing her wrath, to keep it warm.Nursing her wrath, to keep it warm.

This truth finds honest Tam o' Shanter,This truth finds honest Tam o' Shanter,As he from Ayr one night did canter;As he from Ayr one night did canter;Old Ayr, which never a town surpasses,Old Ayr, which never a town surpasses,For honest men and bonny lasses.For honest men and bonny lasses.

Oh Tam, had you but been so wise,As to have taken your own wife Kate’s advice!She told you well you were a waster,A rambling, blustering, drunken boaster,That from November until October,Each market day you were not sober;During each milling period with the miller,You sat as long as you had money,For every horse he put a shoe on,The blacksmith and you got roaring drunk on;That at the Lords House, even on Sunday,You drank with Kirkton Jean till Monday.She prophesied, that, late or soon,You would be found deep drowned in Doon,Or caught by warlocks in the murk,By Alloway’s old haunted church.

Ah, gentle ladies, it makes me cry,To think how many counsels sweet,How much long and wise adviceThe husband from the wife despises!

To a Mountain DayseTo a Mountain DayseOn Turning One Down With The Plough. In April 1786.On Turning One Down With The Plough. In April 1786.1. 1.

Wee, modest, crimson-tipped flow'r, Wee, modest, crimson-tipped flow'r, Thou's met me in an evil hour; Thou's met me in an evil hour; For I maun crush amang the stoure For I maun crush amang the stoure Thy slender stem: Thy slender stem: To spare thee now is past my pow'r, To spare thee now is past my pow'r, Thou bonie gem. Thou bonie gem. 2.2.

Alas! it's no thy neebor sweet, Alas! it's no thy neebor sweet, The bonie lark, companion meet, The bonie lark, companion meet, Bending thee 'mang the dewy weet, Bending thee 'mang the dewy weet, Wi' spreckl'd breast! Wi' spreckl'd breast! When upward-springing, blythe, to When upward-springing, blythe, to greet greet The purpling east. The purpling east. 3. 3.

Cauld blew the bitter-biting north Cauld blew the bitter-biting north Upon thy early, humble birth; Upon thy early, humble birth; Yet cheerfully thou glinted forth Yet cheerfully thou glinted forth Amid the storm, Amid the storm, Scarce rear'd above the parent-earth Scarce rear'd above the parent-earth Thy tender form. Thy tender form. 4. 4.

The flaunting flow'rs our gardens yield, The flaunting flow'rs our gardens yield, High shelt'ring woods and wa's maun High shelt'ring woods and wa's maun shield; shield; But thou, beneath the random bield But thou, beneath the random bield O' clod or stane, O' clod or stane, Adorns the histie stibble-field, Adorns the histie stibble-field, Unseen, alane. Unseen, alane. 

5.There, in thy scanty mantle clad, Thy snawie bosom sun-ward spread, Thou lifts thy unassuming head In humble guise; But now the share uptears thy bed, And low thou lies! 6.Such is the fate of artless maid, Sweet flow'ret of the rural shade! By loves simplicity betray'd, And guileless trust; Till she, like thee, all soil'd, is laid Low i' the dust. 7.Such is the fate of simple Bard, On Life's rough ocean luckless starr'd! Unskilful he to note the card Of prudent lore, Till billows rage, and gales blow hard, And whelm him o'er'. 8.Such fate to suffering Worth is giv'n, Who long with wants and woes has striv'n, By human pride or cunning driv'n To mis'rys brink; Till, wretch'd of ev'ry stay but Heav'n, He, ruin'd, sink! 9.Ev'n thou who mourn'st the Daisy's fate, That fate is thine - no distant date; Stern Ruin's plough-share drives elate, Full on thy bloom, Till crush'd beneath the furrow's weight Shall be thy doom!

Sir. Walter Scott Sir. Walter Scott (1771-(1771-1832)1832)

Ministrelsy of the Scottish Border:Ministrelsy of the Scottish Border: Consisting of Consisting of Historical and Romantic Ballads, Collected in the Historical and Romantic Ballads, Collected in the Southern Counties of Scotland; With a Few of Southern Counties of Scotland; With a Few of Modern Date, Founded Upon Local Tradition. Modern Date, Founded Upon Local Tradition. In Two In Two Volumes. Vol. I (II). Volumes. Vol. I (II). Kelso: Printed By James Ballantyne, For Kelso: Printed By James Ballantyne, For T. Cadell Jun. And W. Davies, Strand, London; And Sold by T. Cadell Jun. And W. Davies, Strand, London; And Sold by Manners and Miller, and A. Constable, Edinburgh, 1802. Manners and Miller, and A. Constable, Edinburgh, 1802.

The Lay of the Last Ministrel (1805) The Lay of the Last Ministrel (1805) (Six Cantos)(Six Cantos) Marmion (1808) Marmion (1808) (Six Cantos)(Six Cantos) The Lady of the Lake (1810) The Lady of the Lake (1810) (Six Cantos)(Six Cantos) The Visions of Don Roderick (1811) The Visions of Don Roderick (1811) (Six Cantos)(Six Cantos) Rokeby (1812) Rokeby (1812) (Six Cantos)(Six Cantos) The Bridal of Triermain (1812-1813?) The Bridal of Triermain (1812-1813?) (Three (Three

Cantos)Cantos) The Lord of the Isles (1814) The Lord of the Isles (1814) (Six Cantos)(Six Cantos) The Field of Waterloo (1815) The Field of Waterloo (1815) (Six Cantos)(Six Cantos) Harold The Dauntless (1817) Harold The Dauntless (1817) (Six Cantos)(Six Cantos) Contributions to the Border Ministrelsy ()Contributions to the Border Ministrelsy () Lyrical and Miscellaneous Pieces ()Lyrical and Miscellaneous Pieces ()

The Ministrelsy’s CompilationThe Ministrelsy’s CompilationScott's interest in the folk traditions of the Border region Scott's interest in the folk traditions of the Border region stemmed from early childhood stays at Sandyknowe, when he stemmed from early childhood stays at Sandyknowe, when he heard ballads from the lips of his grandmother Barbara Scott and heard ballads from the lips of his grandmother Barbara Scott and his favourite Aunt Jenny. As an older boy, he thrilled to the his favourite Aunt Jenny. As an older boy, he thrilled to the medieval ballads collected in Bishop Thomas Percy's medieval ballads collected in Bishop Thomas Percy's Reliques of Reliques of Ancient English PoetryAncient English Poetry. Scott began collecting ballads himself in . Scott began collecting ballads himself in yearly trips to the Borders from 1792 onwards. He first had the yearly trips to the Borders from 1792 onwards. He first had the idea of publishing a collection in 1796, but it was not until he idea of publishing a collection in 1796, but it was not until he renewed contact with his old schoolfriend, the printer James renewed contact with his old schoolfriend, the printer James Ballantyne, that the idea bore fruit. In 1799 Ballantyne had Ballantyne, that the idea bore fruit. In 1799 Ballantyne had published published An Apology for Tales of TerrorAn Apology for Tales of Terror which contained ballads which contained ballads by Robert Southey, Matthew 'Monk' Lewis, John Aikin, and Scott by Robert Southey, Matthew 'Monk' Lewis, John Aikin, and Scott himself. He now welcomed the idea of publishing a volume himself. He now welcomed the idea of publishing a volume devoted entirely to ballads, a genre rendered newly fashionable devoted entirely to ballads, a genre rendered newly fashionable by Wordsworth's and Coleridge's by Wordsworth's and Coleridge's Lyrical BalladsLyrical Ballads (1798). (1798).Scott fitted his ballad-collecting trips around his duties as Sheriff Scott fitted his ballad-collecting trips around his duties as Sheriff of Selkirkshire In addition to his own travels in Ettrick Forest and of Selkirkshire In addition to his own travels in Ettrick Forest and Liddesdale, he received assistance from other ballad-collectors, Liddesdale, he received assistance from other ballad-collectors, including John Leyden, Robert Jamieson, Robert Surtees, George including John Leyden, Robert Jamieson, Robert Surtees, George Ellis, and Bishop Percy himself. Scott's approach to Ellis, and Bishop Percy himself. Scott's approach to authenticating, editing, and arranging material caused authenticating, editing, and arranging material caused controversy at the time and falls short of modern standards of controversy at the time and falls short of modern standards of scholarship. He relied on an innate 'feeling' for the genuine scholarship. He relied on an innate 'feeling' for the genuine article and did not hesitate to 'improve' ballads, changing words, article and did not hesitate to 'improve' ballads, changing words, inserting new stanzas, mending rhymes and rhythms, fusing inserting new stanzas, mending rhymes and rhythms, fusing various versions, and sometimes setting old legends to verses of various versions, and sometimes setting old legends to verses of his own.his own.

Scott argued that the ballad was, by definition, a fluid form, to which each interpreter Scott argued that the ballad was, by definition, a fluid form, to which each interpreter gave his or her own stamp. He insisted that he was always faithful to the spirit of a gave his or her own stamp. He insisted that he was always faithful to the spirit of a ballad, and valued readability over antiquarian exactitude. Scott was also careful not to ballad, and valued readability over antiquarian exactitude. Scott was also careful not to deal too rude a shock to the aesthetic sensibilities of readers brought up on deal too rude a shock to the aesthetic sensibilities of readers brought up on neoclassical verse.neoclassical verse.Scott originally intended to concentrate on ballads celebrating historical incidents, Scott originally intended to concentrate on ballads celebrating historical incidents, particularly those connected with the old Border raids, but the first two-volume edition particularly those connected with the old Border raids, but the first two-volume edition of the of the MinstrelsyMinstrelsy, which appeared on February 24, 1802, eventually contained twenty-, which appeared on February 24, 1802, eventually contained twenty-nine historical pieces and twenty-four romantic ballads, together with a handful of nine historical pieces and twenty-four romantic ballads, together with a handful of 'imitations' mostly by Scott himself. 'imitations' mostly by Scott himself. Almost immediately after publication, Scott set about preparing a third volume which Almost immediately after publication, Scott set about preparing a third volume which would be comprised entirely of modern imitations of traditional ballad forms. would be comprised entirely of modern imitations of traditional ballad forms. Contributors included Matthew Lewis, Charles Kirkpatrick Sharpe, Anna Seward, and Contributors included Matthew Lewis, Charles Kirkpatrick Sharpe, Anna Seward, and Scott himself. Among the pieces that Scott originally intended for the third volume was Scott himself. Among the pieces that Scott originally intended for the third volume was a tale of Border rivalry which rapidly grew too long for the a tale of Border rivalry which rapidly grew too long for the MinstrelsyMinstrelsy and would and would eventually appear as Scott's first verse narrative eventually appear as Scott's first verse narrative The Lay of the Last Minstrel.The Lay of the Last Minstrel.Along with the third volume, Scott also began preparing a second edition of the first Along with the third volume, Scott also began preparing a second edition of the first two which would include further traditional ballads gathered on his own travels or sent two which would include further traditional ballads gathered on his own travels or sent to him by fellow antiquaries. While ballad-hunting to this purpose in Selkirkshire in April to him by fellow antiquaries. While ballad-hunting to this purpose in Selkirkshire in April 1802, Scott made the acquaintance of the young farmer, William Laidlaw, later to 1802, Scott made the acquaintance of the young farmer, William Laidlaw, later to become a valued member of the Abbotsford 'family'. Laidlaw showed Scott a copy of become a valued member of the Abbotsford 'family'. Laidlaw showed Scott a copy of 'Auld Maitland', a ballad Scott had heard of but so far never seen. Laidlaw had been 'Auld Maitland', a ballad Scott had heard of but so far never seen. Laidlaw had been given the copy by one of his shepherds, James Hogg, whom Scott visited shortly given the copy by one of his shepherds, James Hogg, whom Scott visited shortly afterwards, the beginning of an important literary friendship. On May 25, 1803, the afterwards, the beginning of an important literary friendship. On May 25, 1803, the second edition of the second edition of the MinstrelsyMinstrelsy was published, comprising revised versions of vols. I-II was published, comprising revised versions of vols. I-II along with the 'modern' third volume. A third, expanded edition appeared in 1806, a along with the 'modern' third volume. A third, expanded edition appeared in 1806, a fourth in 1810 (containing, for all Scott's feel for authenticity, three forgeries by fourth in 1810 (containing, for all Scott's feel for authenticity, three forgeries by Surtees), and the fifth and final edition in 1812, containing ninety-six ballads, forty-Surtees), and the fifth and final edition in 1812, containing ninety-six ballads, forty-three printed for the first time.three printed for the first time.http://www.walterscott.lib.ed.ac.uk/works/poetry/minstrelsy.htmlhttp://www.walterscott.lib.ed.ac.uk/works/poetry/minstrelsy.html

Proud MaisieProud MaisieProud Maisie is in the wood,Proud Maisie is in the wood,      Walking so early;Walking so early;Sweet Robin sits on the bush,Sweet Robin sits on the bush,      Singing so rarely.Singing so rarely.

"Tell me, thou bonny bird,"Tell me, thou bonny bird,      When shall I marry me?"—When shall I marry me?"—"When six braw gentlemen"When six braw gentlemen      Kirkward shall carry ye."Kirkward shall carry ye."

"Who makes the bridal bed,"Who makes the bridal bed,      Birdie, say truly?"—Birdie, say truly?"—"The gray-headed sexton"The gray-headed sexton      That delves the grave duly.That delves the grave duly.

"The glowworm o'er grave and stone"The glowworm o'er grave and stone      Shall light thee steady;Shall light thee steady;The owl from the steeple sing,The owl from the steeple sing,      'Welcome, proud lady.'"'Welcome, proud lady.'"

Jock o’ HazeldeenJock o’ HazeldeenWhy weep ye by the tide, Why weep ye by the tide, ladyladyWhy weep ye by the tide?Why weep ye by the tide?I'll wed ye to my youngest I'll wed ye to my youngest sonsonAnd ye shall be his brideAnd ye shall be his brideAnd ye shall be his bride, And ye shall be his bride, ladyladySae comely to be seenSae comely to be seenBut aye she let the tears But aye she let the tears doon fa'doon fa'For Jock o' Hazeldean.For Jock o' Hazeldean.

Now let this willfu' grief be Now let this willfu' grief be donedoneAnd dry that cheek sae paleAnd dry that cheek sae paleYoung Frank is chief of Young Frank is chief of ErringtonErringtonAnd laird o' Langley-daleAnd laird o' Langley-daleHis step is first in peaceful His step is first in peaceful ha'ha'His sword in battle keenHis sword in battle keenBut aye she let the tears But aye she let the tears doon fa'doon fa'For Jock o' Hazeldean.For Jock o' Hazeldean.

A chain of gold ye shall not lackNor braid to bind your hairNor mettled hound, nor managed hawkNor palfrey fresh and fair.And you, the foremost o' them a'Shall ride our forrest queenBut aye she let the tears doon fa'For Jock o' Hazeldean.

The kirk was deck'd at morningtideThe tapers glimmer'd fairThe priest and bridegroom wait the brideAnd dame and knight were thereThey sought her baith by bower and ha'The lady was na' seenShe's o'er the border and awa'Wi' Jock o' Hazeldean.

The Lay of the Last The Lay of the Last MinistrelMinistrelPrefacePrefaceThe Poem, now offered to the Public, is intended to illustrate The Poem, now offered to the Public, is intended to illustrate the customs and manners which anciently prevailed on the the customs and manners which anciently prevailed on the Borders of England and Scotland. The inhabitants living in a Borders of England and Scotland. The inhabitants living in a state partly pastoral and partly warlike, and combining habits state partly pastoral and partly warlike, and combining habits of constant depredation with the influence of a rude spririt of of constant depredation with the influence of a rude spririt of chivalry, were often engaged in scenes highly susceptible of chivalry, were often engaged in scenes highly susceptible of poetical ornament. As the description of scenery and manners poetical ornament. As the description of scenery and manners was more the object of the Author than a combined and was more the object of the Author than a combined and regular narrative, the plan of the Ancient Metrical Romance regular narrative, the plan of the Ancient Metrical Romance was adopted, which allows greter latitude, in this respect, than was adopted, which allows greter latitude, in this respect, than would be consistent with the dignity of a regular Poem. The would be consistent with the dignity of a regular Poem. The same model offered other faculties, as it permits an same model offered other faculties, as it permits an occasional alteration of measure, which, in some degree, occasional alteration of measure, which, in some degree, authorizes the change of rhythm in the text. The machinery, authorizes the change of rhythm in the text. The machinery, also, adopted from popular belief, would have seemed puerile also, adopted from popular belief, would have seemed puerile in a Poem which did not partake of the rudeness of the old in a Poem which did not partake of the rudeness of the old Ballad, or Metrical Romance.Ballad, or Metrical Romance.For these reasons, the Poem was put into the mouth of an For these reasons, the Poem was put into the mouth of an ancient Minstrel, the last of the race, who, as he is supposed ancient Minstrel, the last of the race, who, as he is supposed to have survived the Revolution, might have caught somewhat to have survived the Revolution, might have caught somewhat of the refinement of modern poetry, without losing the of the refinement of modern poetry, without losing the simplicity of his original model. The date of the Tale itself is simplicity of his original model. The date of the Tale itself is about the middle of the sixteenth century, when most of the about the middle of the sixteenth century, when most of the personages actually flourished. The time occupied by the personages actually flourished. The time occupied by the action is Three Nights and Three Days.action is Three Nights and Three Days.

IntroductionIntroductionThe way was long, the wind was cold,The way was long, the wind was cold,The Minstrel was infirm and old;The Minstrel was infirm and old;His wither'd cheek, and tresses gray,His wither'd cheek, and tresses gray,Seem'd to have known a better day;Seem'd to have known a better day;The harp, his sole remaining joy,The harp, his sole remaining joy,Was carried by an orphan boy.Was carried by an orphan boy.The last of all the Bards was he,The last of all the Bards was he,Who sung of Border chivalry;Who sung of Border chivalry;For, welladay! their date was fled,For, welladay! their date was fled,His tuneful brethren all were dead;His tuneful brethren all were dead;And he, neglected and oppress'd,And he, neglected and oppress'd,Wish'd to be with them, and at rest.Wish'd to be with them, and at rest.No more on prancing palfrey borne,No more on prancing palfrey borne,He caroll'd, light as lark at morn;He caroll'd, light as lark at morn;No longer courted and caress'd,No longer courted and caress'd,High placed in hall, a welcome guest,High placed in hall, a welcome guest,He pour'd, to lord and lady gay,He pour'd, to lord and lady gay,The unpremeditated lay:The unpremeditated lay:Old times were changed, old manners gone;Old times were changed, old manners gone;A stranger filled the Stuarts' throne;A stranger filled the Stuarts' throne;The bigots of the iron timeThe bigots of the iron timeHad call'd his harmless art a crime.Had call'd his harmless art a crime.

A wandering Harper, scorn'd and poor,A wandering Harper, scorn'd and poor,He begg'd his bread from door to door.He begg'd his bread from door to door.And timed, to please a peasant's ear,And timed, to please a peasant's ear,The harp, a king had loved to hear.The harp, a king had loved to hear.

He pass'd where He pass'd where Newark's stately tower's stately towerLooks out from Yarrow's birchen bower:Looks out from Yarrow's birchen bower:The Minstrel gazed with wishful eye—The Minstrel gazed with wishful eye—No humbler resting-place was nigh,No humbler resting-place was nigh,With hesitating step at last,With hesitating step at last,The embattled portal arch he pass'd,The embattled portal arch he pass'd,Whose ponderous grate and massy barWhose ponderous grate and massy barHad oft roll'd back the tide of war,Had oft roll'd back the tide of war,But never closed the iron doorBut never closed the iron doorAgainst the desolate and poor.Against the desolate and poor.The The Duchess marked his weary pace, marked his weary pace,His timid mien, and reverend face,His timid mien, and reverend face,And bade her page the menials tell,And bade her page the menials tell,That they should tend the old man well:That they should tend the old man well:For she had known adversity,For she had known adversity,Though born in such a high degree;Though born in such a high degree;In pride of power, in beauty's bloom,In pride of power, in beauty's bloom,Had wept o'er Monmouth's bloody tomb!Had wept o'er Monmouth's bloody tomb!

MarmionMarmionA tale of Flodden FieldA tale of Flodden Field

AdvertisementAdvertisement““The present story turns upon the private adventures of The present story turns upon the private adventures of a fictitious character; but is called a Tale of Flodden a fictitious character; but is called a Tale of Flodden Field, because the hero's fate is connected with that Field, because the hero's fate is connected with that memorable defeat, and the causes which led to it. The memorable defeat, and the causes which led to it. The design of the Author was, if possible, to apprize his design of the Author was, if possible, to apprize his readers, at the outset, of the date of his Story, and to readers, at the outset, of the date of his Story, and to prepare them for the manners of the Age in which it is prepare them for the manners of the Age in which it is laid. Any Historical Narrative, far more an attempt at laid. Any Historical Narrative, far more an attempt at Epic composition, exceeded his plan of a Romantic Tale; Epic composition, exceeded his plan of a Romantic Tale; yet he may be permitted to hope, from the popularity of yet he may be permitted to hope, from the popularity of THE LAY OF THE LAST MINSTREL, that an attempt to THE LAY OF THE LAST MINSTREL, that an attempt to paint the manners of the feudal times, upon a broader paint the manners of the feudal times, upon a broader scale, and in the course of a more interesting story, will scale, and in the course of a more interesting story, will not be unacceptable to the Public. The Poem opens not be unacceptable to the Public. The Poem opens about the commencement of August, and concludes about the commencement of August, and concludes with the defeat of Flodden, 9th September, 1513. with the defeat of Flodden, 9th September, 1513. Ashestiel, 1808”.Ashestiel, 1808”.

Introduction to Canto FirstIntroduction to Canto First

November’s sky is chill and drear,November’s sky is chill and drear,November’s leaf is red and sear:November’s leaf is red and sear:Late, gazing down the steepy linn,Late, gazing down the steepy linn,That hems our little garden in,That hems our little garden in,Low in its dark and narrow glen,                            5Low in its dark and narrow glen,                            5You scarce the rivulet might ken,You scarce the rivulet might ken,So thick the tangled greenwood grew,So thick the tangled greenwood grew,So feeble trill’d the streamlet through:So feeble trill’d the streamlet through:Now, murmuring hoarse, and frequent seenNow, murmuring hoarse, and frequent seenThrough bush and brier, no longer green,                    Through bush and brier, no longer green,                    1010An angry brook, it sweeps the glade,An angry brook, it sweeps the glade,Brawls over rock and wild cascade,Brawls over rock and wild cascade,And, foaming brown with double speed,And, foaming brown with double speed,Hurries its waters to the Tweed.Hurries its waters to the Tweed.

No longer Autumn’s glowing red                              15No longer Autumn’s glowing red                              15Upon our Forest hills is shed;Upon our Forest hills is shed;No more, beneath the evening beam,No more, beneath the evening beam,Fair Tweed reflects their purple gleam;Fair Tweed reflects their purple gleam;Away hath pass’d the heather-bellAway hath pass’d the heather-bellThat bloom’d so rich on Needpath-fell;                      20That bloom’d so rich on Needpath-fell;                      20Sallow his brow, and russet bareSallow his brow, and russet bareAre now the sister-heights of Yair.Are now the sister-heights of Yair.The sheep, before the pinching heaven,The sheep, before the pinching heaven,To sheltered dale and down are driven,To sheltered dale and down are driven,Where yet some faded herbage pines,                        25Where yet some faded herbage pines,                        25And yet a watery sunbeam shines:And yet a watery sunbeam shines:In meek despondency they eyeIn meek despondency they eyeThe withered sward and wintry sky,The withered sward and wintry sky,And far beneath their summer hill,And far beneath their summer hill,Stray sadly by Glenkinnon’s rill:                          30Stray sadly by Glenkinnon’s rill:                          30The shepherd shifts his mantle’s fold,The shepherd shifts his mantle’s fold,And wraps him closer from the cold;And wraps him closer from the cold;His dogs no merry circles wheel,His dogs no merry circles wheel,But, shivering, follow at his heel;But, shivering, follow at his heel;A cowering glance they often cast,                          35A cowering glance they often cast,                          35As deeper moans the gathering blast.As deeper moans the gathering blast.

Canto First: The CastleCanto First: The CastleI. Day set on Norham’s castled steep,I. Day set on Norham’s castled steep,And Tweed’s fair river, broad and deep,And Tweed’s fair river, broad and deep,  And Cheviot’s mountains lone:  And Cheviot’s mountains lone:The battled towers, the donjon keep,The battled towers, the donjon keep,The loophole grates, where captives weep,                    5The loophole grates, where captives weep,                    5The flanking walls that round it sweep,The flanking walls that round it sweep,  In yellow lustre shone.  In yellow lustre shone.The warriors on the turrets high,The warriors on the turrets high,Moving athwart the evening sky,Moving athwart the evening sky,Seem’d forms of giant height:                              10Seem’d forms of giant height:                              10Their armour, as it caught the rays,Their armour, as it caught the rays,Flash’d back again the western blaze,Flash’d back again the western blaze,  In lines of dazzling light.  In lines of dazzling light.

II. Saint George’s banner, broad and gay,II. Saint George’s banner, broad and gay,Now faded, as the fading ray                                15Now faded, as the fading ray                                15  Less bright, and less, was flung;  Less bright, and less, was flung;The evening gale had scarce the powerThe evening gale had scarce the powerTo wave it on the Donjon Tower,To wave it on the Donjon Tower,  So heavily it hung.  So heavily it hung.The scouts had parted on their search,                      20The scouts had parted on their search,                      20  The Castle gates were barr’d;  The Castle gates were barr’d;Above the gloomy portal arch,Above the gloomy portal arch,Timing his footsteps to a march,Timing his footsteps to a march,  The Warder kept his guard;  The Warder kept his guard;Low humming, as he paced along,                            25Low humming, as he paced along,                            25Some ancient Border gathering-song.Some ancient Border gathering-song.

The Lady of the LakeThe Lady of the LakeArgument.Argument.The scene of the following Poem is laid chiefly in the vicinityThe scene of the following Poem is laid chiefly in the vicinityof Loch Katrine, in the Western Highlands of Perthshire. The of Loch Katrine, in the Western Highlands of Perthshire. The timetimeof Action includes Six Days, and the transactions of each Dayof Action includes Six Days, and the transactions of each Dayoccupy a Canto.occupy a Canto.

CANTO FIRST. The Chase.CANTO FIRST. The Chase.Harp of the North! that mouldering long hast hungHarp of the North! that mouldering long hast hungOn the witch-elm that shades Saint Fillan's springOn the witch-elm that shades Saint Fillan's springAnd down the fitful breeze thy numbers flung,And down the fitful breeze thy numbers flung,Till envious ivy did around thee cling,Till envious ivy did around thee cling,Muffling with verdant ringlet every string,--Muffling with verdant ringlet every string,--O Minstrel Harp, still must thine accents sleep?O Minstrel Harp, still must thine accents sleep?Mid rustling leaves and fountains murmuring,Mid rustling leaves and fountains murmuring,Still must thy sweeter sounds their silence keep,Still must thy sweeter sounds their silence keep,Nor bid a warrior smile, nor teach a maid to weep?Nor bid a warrior smile, nor teach a maid to weep?Not thus, in ancient days of Caledon,Not thus, in ancient days of Caledon,Was thy voice mute amid the festal crowd,Was thy voice mute amid the festal crowd,When lay of hopeless love, or glory won,When lay of hopeless love, or glory won,Aroused the fearful or subdued the proud.Aroused the fearful or subdued the proud.At each according pause was heard aloudAt each according pause was heard aloudThine ardent symphony sublime and high!Thine ardent symphony sublime and high!Fair dames and crested chiefs attention bowed;Fair dames and crested chiefs attention bowed;For still the burden of thy minstrelsyFor still the burden of thy minstrelsyWas Knighthood's dauntless deed, and Beauty's Was Knighthood's dauntless deed, and Beauty's matchless eye.matchless eye.

O, wake once more! how rude soe'er the handThat ventures o'er thy magic maze to stray;O, wake once more! though scarce my skill commandSome feeble echoing of thine earlier lay:Though harsh and faint, and soon to die away,And all unworthy of thy nobler strain,Yet if one heart throb higher at its sway,The wizard note has not been touched in vain.Then silent be no more! Enchantress, wake again!

I.I. The stag at eve had drunk his fill, The stag at eve had drunk his fill,Where danced the moon on Monan's rill,Where danced the moon on Monan's rill,And deep his midnight lair had madeAnd deep his midnight lair had madeIn lone Glenartney's hazel shade;In lone Glenartney's hazel shade;But when the sun his beacon redBut when the sun his beacon redHad kindled on Benvoirlich's head,Had kindled on Benvoirlich's head,The deep-mouthed bloodhound's heavy The deep-mouthed bloodhound's heavy baybayResounded up the rocky way,Resounded up the rocky way,And faint, from farther distance borne,And faint, from farther distance borne,Were heard the clanging hoof and horn.Were heard the clanging hoof and horn.

II.II. As Chief, who hears his warder call, As Chief, who hears his warder call,'To arms! the foemen storm the wall,''To arms! the foemen storm the wall,'The antlered monarch of the wasteThe antlered monarch of the wasteSprung from his heathery couch in Sprung from his heathery couch in haste.haste.But ere his fleet career he took,But ere his fleet career he took,The dew-drops from his flanks he shook;The dew-drops from his flanks he shook;Like crested leader proud and highLike crested leader proud and highTossed his beamed frontlet to the sky;Tossed his beamed frontlet to the sky;A moment gazed adown the dale,A moment gazed adown the dale,A moment snuffed the tainted gale,A moment snuffed the tainted gale,A moment listened to the cry,A moment listened to the cry,That thickened as the chase drew nigh;That thickened as the chase drew nigh;Then, as the headmost foes appeared,Then, as the headmost foes appeared,With one brave bound the copse he With one brave bound the copse he cleared,cleared,And, stretching forward free and far,And, stretching forward free and far,Sought the wild heaths of Uam-Var.Sought the wild heaths of Uam-Var.

III. Yelled on the view the opening pack;Rock, glen, and cavern paid them back;To many a mingled sound at onceThe awakened mountain gave response.A hundred dogs bayed deep and strong,Clattered a hundred steeds along,Their peal the merry horns rung out,A hundred voices joined the shout;With hark and whoop and wild halloo,No rest Benvoirlich's echoes knew.Far from the tumult fled the roe,Close in her covert cowered the doe,The falcon, from her cairn on high,Cast on the rout a wondering eye,Till far beyond her piercing kenThe hurricane had swept the glen.Faint, and more faint, its failing dinReturned from cavern, cliff, and linn,And silence settled, wide and still,On the lone wood and mighty hill.IV. Less loud the sounds of sylvan warDisturbed the heights of Uam-Var,And roused the cavern where, 't is told,A giant made his den of old;For ere that steep ascent was won,High in his pathway hung the sun,And many a gallant, stayed perforce,Was fain to breathe his faltering horse,And of the trackers of the deerScarce half the lessening pack was near;So shrewdly on the mountain-sideHad the bold burst their mettle tried.

John ClareJohn ClareJohn Clare was an English poet, the son of a farm John Clare was an English poet, the son of a farm labourer, who came to be known for his labourer, who came to be known for his celebratory representations of the English celebratory representations of the English countryside and his lamentation of its disruption. countryside and his lamentation of its disruption. He is often now considered to be among the He is often now considered to be among the most important 19th-century poets. His most important 19th-century poets. His biographer Jonathan Bate states that “No one biographer Jonathan Bate states that “No one has ever written more powerfully of nature, of a has ever written more powerfully of nature, of a rural childhood, and of the alienated and rural childhood, and of the alienated and unstable self". unstable self". 

John Clare’s PoemsJohn Clare’s PoemsA visionA World For LoveAll nature has a feelingAn Invite, to EternityApproaching NightAutumnAutumn BirdsBadgerBalladBantry BayBirds In AlarmBonny Lassie O!Bonny Mary O!Bonny Mary O!Braggart ChristmasChristmassClock-O'-ClayCountry LetterDeathDeathDecay

All nature has a feelingAll nature has a feeling

All nature has a feeling: woods, fields, brooksAll nature has a feeling: woods, fields, brooksAre life eternal: and in silence theyAre life eternal: and in silence theySpeak happiness beyond the reach of books;Speak happiness beyond the reach of books;There's nothing mortal in them; their decayThere's nothing mortal in them; their decayIs the green life of change; to pass awayIs the green life of change; to pass awayAnd come again in blooms revivified.And come again in blooms revivified.Its birth was heaven, eternal it its stay,Its birth was heaven, eternal it its stay,And with the sun and moon shall still abideAnd with the sun and moon shall still abideBeneath their day and night and heaven wide. Beneath their day and night and heaven wide. 

Bonny Lassie O!Bonny Lassie O!O the evening's for the fair, bonny lassie O!O the evening's for the fair, bonny lassie O!To meet the cooler air and walk an angel there,To meet the cooler air and walk an angel there,With the dark dishevelled hair,With the dark dishevelled hair,Bonny lassie O!Bonny lassie O!

The bloom's on the brere, bonny lassie O!The bloom's on the brere, bonny lassie O!Oak apples on the tree; and wilt thou gang to seeOak apples on the tree; and wilt thou gang to seeThe shed I've made for thee,The shed I've made for thee,Bonny lassie O!Bonny lassie O!

Tis agen the running brook, bonny lassie O!Tis agen the running brook, bonny lassie O!In a grassy nook hard by, with a little patch of sky,In a grassy nook hard by, with a little patch of sky,And a bush to keep us dry,And a bush to keep us dry,Bonny lassie O!Bonny lassie O!

There's the daisy all the year, bonny lassie O!There's the daisy all the year, bonny lassie O!There's the king-cup bright as gold, and the speedwell never cold,There's the king-cup bright as gold, and the speedwell never cold,And the arum leaves unrolled,And the arum leaves unrolled,Bonny lassie O!Bonny lassie O!

O meet me at the shed, bonny lassie O!O meet me at the shed, bonny lassie O!With a woodbine peeping in, and the roses like thy skinWith a woodbine peeping in, and the roses like thy skinBlushing, thy praise to win,Blushing, thy praise to win,Bonny lassie O!Bonny lassie O!

I will meet thee there at e'en, bonny lassie O!I will meet thee there at e'en, bonny lassie O!When the bee sips in the bean, and grey willow branches lean,When the bee sips in the bean, and grey willow branches lean,And the moonbeam looks between,And the moonbeam looks between,Bonny lassie O! Bonny lassie O! 

Essayists, Lecturers, Essayists, Lecturers, Poets:Poets: Charles LambCharles Lamb Leigh HuntLeigh Hunt William HazlittWilliam Hazlitt Robert SoutheyRobert Southey Thomas de QuinceyThomas de Quincey

Charles Lamb Charles Lamb (1775-(1775-1834)1834)

Sonnets (in 1790s with Coleridge)Sonnets (in 1790s with Coleridge) Mr. H. (1806 - drama)Mr. H. (1806 - drama) Tales from Shakespeare ( 1807)Tales from Shakespeare ( 1807) The adventures of Ulysses (1808)The adventures of Ulysses (1808) Poetry for Children (1809)Poetry for Children (1809) Beauty and the Beast (1811)Beauty and the Beast (1811) Specimens of English Dramatic Poets Specimens of English Dramatic Poets

who Lived about the Time of who Lived about the Time of Shakespeare (1808)Shakespeare (1808)

The Essays of Elia (collected in1823 and The Essays of Elia (collected in1823 and 1833)1833)

Leigh Hunt Leigh Hunt (1784-1859)(1784-1859)

Juvenillia (1801)Juvenillia (1801)Classic Tales (1807)Classic Tales (1807)The examiner (1808 on)The examiner (1808 on)The Reflector (1810-1811)The Reflector (1810-1811)The Indicator (1819-1821)The Indicator (1819-1821)The Story of Riminy (1816)The Story of Riminy (1816)Foliage (1818)Foliage (1818)Hero and Leander (1818)Hero and Leander (1818)Bachus and Ariadne (1818)Bachus and Ariadne (1818)The descent of Liberty (1819)The descent of Liberty (1819)

Hunt’s LifeHunt’s LifeLeigh Hunt was born at Southgate, London, where his parents had settled Leigh Hunt was born at Southgate, London, where his parents had settled after leaving the USA. His father Isaac, a lawyer from Philadelphia, and after leaving the USA. His father Isaac, a lawyer from Philadelphia, and his mother, Mary Shewell, a merchant's daughter and a devout Quaker, his mother, Mary Shewell, a merchant's daughter and a devout Quaker, had been forced to come to Britain because of their loyalist sympathies had been forced to come to Britain because of their loyalist sympathies during the American War of Independence. Hunt's father took holy during the American War of Independence. Hunt's father took holy orders and became a popular preacher, but he was unsuccessful in orders and became a popular preacher, but he was unsuccessful in obtaining a permanent living.obtaining a permanent living.Leigh Hunt was educated at Christ’s Hospital from 1791 to 1799. He Leigh Hunt was educated at Christ’s Hospital from 1791 to 1799. He entered the school shortly after Samuel Taylor Coleridge and Charles entered the school shortly after Samuel Taylor Coleridge and Charles Lamb had both left. As a boy, he was an ardent admirer of Thomas Gray Lamb had both left. As a boy, he was an ardent admirer of Thomas Gray and William Collins, writing many verses in imitation of them. A speech and William Collins, writing many verses in imitation of them. A speech impediment, later cured, prevented his going to university.impediment, later cured, prevented his going to university.In 1808 he left the War Office, where he had been working as a clerk, to In 1808 he left the War Office, where he had been working as a clerk, to become editor of the become editor of the ExaminerExaminer, a newspaper founded by his brother, , a newspaper founded by his brother, John. This journal soon acquired a reputation for unusual political John. This journal soon acquired a reputation for unusual political independence. In 1813, an attack on the Prince Regent, based independence. In 1813, an attack on the Prince Regent, based on substantial truth, resulted in prosecution and a sentence of two years' on substantial truth, resulted in prosecution and a sentence of two years' imprisonment for each of the brothers — Leigh Hunt served his term at imprisonment for each of the brothers — Leigh Hunt served his term at the Surrey County Gaol.the Surrey County Gaol.

The Sory of Rimini - The Sory of Rimini - Canto ICanto I

THE COMING TO FETCH THE BRIDE FROM RAVENNA.THE COMING TO FETCH THE BRIDE FROM RAVENNA.The sun is up, and 'tis a morn of MayThe sun is up, and 'tis a morn of MayRound old Ravenna's clear-shewn towers and bay,Round old Ravenna's clear-shewn towers and bay,A morn, the loveliest which the year has seen,A morn, the loveliest which the year has seen,Last of the spring, yet fresh with all its green;Last of the spring, yet fresh with all its green;For a warm eve, and gentle rains at night,For a warm eve, and gentle rains at night,Have left a sparkling welcome for the light,Have left a sparkling welcome for the light,And there's a crystal clearness all about;And there's a crystal clearness all about;The leaves are sharp, the distant hills look out;The leaves are sharp, the distant hills look out;A balmy briskness comes upon the breeze;A balmy briskness comes upon the breeze;The smoke goes dancing from the cottage trees;The smoke goes dancing from the cottage trees;And when you listen, you may hear a coilAnd when you listen, you may hear a coilOf bubbling springs about the grassier soil;Of bubbling springs about the grassier soil;And all the scene in short, — sky, earth, and sea,And all the scene in short, — sky, earth, and sea,Breathes like a bright-eyed face, that laughs out openly.Breathes like a bright-eyed face, that laughs out openly.

'Tis nature, full of spirits, waked and springing:—'Tis nature, full of spirits, waked and springing:—The birds to the delightful time are singing,The birds to the delightful time are singing,Darting with freaks and snatches up and down,Darting with freaks and snatches up and down,Where the light woods go seaward from the town;Where the light woods go seaward from the town;While happy faces, striking through the greenWhile happy faces, striking through the greenOf leafy roads, at every turn are seen;Of leafy roads, at every turn are seen;And the far ships, lifting their sails of whiteAnd the far ships, lifting their sails of whiteLike joyful hands, come up with scattery light;Like joyful hands, come up with scattery light;Come gleaming up, true to the wished-for day,Come gleaming up, true to the wished-for day,And chase the whistling brine, and swirl into the bay.And chase the whistling brine, and swirl into the bay.And well may all who can, come crowding there,And well may all who can, come crowding there,Where peace returning, and processions rare,Where peace returning, and processions rare,And to crown all, a marriage in May-weatherAnd to crown all, a marriage in May-weatherHave aught to bring enjoying hearts together:Have aught to bring enjoying hearts together:For on this sparkling day, Ravenna's pride,For on this sparkling day, Ravenna's pride,The daughter of their prince, becomes a bride,The daughter of their prince, becomes a bride,A bride, to crown the comfort of the land:A bride, to crown the comfort of the land:And he, whose victories have obtain'd her hand,And he, whose victories have obtain'd her hand,Has taken with the dawn, so flies report,Has taken with the dawn, so flies report,His promised journey to the expecting courtHis promised journey to the expecting courtWith hasting pomp, and squires of high degree,With hasting pomp, and squires of high degree,The bold Giovanni, lord of Rimini. […]The bold Giovanni, lord of Rimini. […]

And hark! the approaching trumpets, with a startAnd hark! the approaching trumpets, with a startOn the smooth wind come dancing to the heart.On the smooth wind come dancing to the heart.A moment's hush succeeds; and from the walls,A moment's hush succeeds; and from the walls,Firm and at once, a silver answer calls.Firm and at once, a silver answer calls.Then press the crowd; and all who best can striveThen press the crowd; and all who best can striveIn shuffling struggle, tow'rd the palace drive,In shuffling struggle, tow'rd the palace drive,Where balconied and broad, of marble fair,Where balconied and broad, of marble fair,On pillars it o'erlooks the public square;On pillars it o'erlooks the public square;For there Duke Guido is to hold his stateFor there Duke Guido is to hold his stateWith his fair daughter, seated o'er the gate:—With his fair daughter, seated o'er the gate:—But the full place rejects the invading tide;But the full place rejects the invading tide;And after a rude heave from side to side,And after a rude heave from side to side,With angry faces turned, and feet regained,With angry faces turned, and feet regained,The peaceful press with order is maintained,The peaceful press with order is maintained,Leaving the door-ways only for the crowd,Leaving the door-ways only for the crowd,The space within for the procession proud.The space within for the procession proud.

For in this manner is the square set out:—For in this manner is the square set out:—The sides, path-deep, are crowded round about,The sides, path-deep, are crowded round about,And faced with guards, who keep the road entire;And faced with guards, who keep the road entire;And opposite to these, a brilliant quireAnd opposite to these, a brilliant quireOf knights and ladies hold the central spot,Of knights and ladies hold the central spot,Seated in groups upon a grassy plot;Seated in groups upon a grassy plot;The seats with boughs are shaded from aboveThe seats with boughs are shaded from aboveOf early trees transplanted from a grove,Of early trees transplanted from a grove,And in the midst, fresh whistling through the scene,And in the midst, fresh whistling through the scene,A lightsome fountain starts from out the green,A lightsome fountain starts from out the green,Clear and compact, till, at its height o'er-run,Clear and compact, till, at its height o'er-run,It shakes its loosening silver in the sun. […]It shakes its loosening silver in the sun. […]

Another start of trumpets, with reply;Another start of trumpets, with reply;And o'er the gate a sudden canopyAnd o'er the gate a sudden canopyRaises, on ivory shafts, a crimson shade,Raises, on ivory shafts, a crimson shade,And Guido issues with the princely maid,And Guido issues with the princely maid,And sits; — the courtiers fall on either side;And sits; — the courtiers fall on either side;But every look is fixed upon the bride,But every look is fixed upon the bride,Who pensive comes at first, and hardly hearsWho pensive comes at first, and hardly hearsThe enormous shout that springs as she appears,The enormous shout that springs as she appears,Till, as she views the countless gaze below,Till, as she views the countless gaze below,And faces that with grateful homage glow,And faces that with grateful homage glow,A home to leave, and husband yet to see,A home to leave, and husband yet to see,Fade in the warmth of that great charity;Fade in the warmth of that great charity;And hard it is, she thinks, to have no will;And hard it is, she thinks, to have no will;But not to bless these thousands, harder still:But not to bless these thousands, harder still:With that, a keen and quivering glance of tearsWith that, a keen and quivering glance of tearsScarce moves her patient mouth, and disappears;Scarce moves her patient mouth, and disappears;A smile is underneath, and breaks away,A smile is underneath, and breaks away,And round she looks and breathes, as best befits the And round she looks and breathes, as best befits the day.day.

What need I tell of lovely lips and eyes,What need I tell of lovely lips and eyes,A clipsome waist, and bosom's balmy rise,A clipsome waist, and bosom's balmy rise,The dress of bridal white, and the dark curlsThe dress of bridal white, and the dark curlsBedding an airy coronet of pearls?Bedding an airy coronet of pearls?There's not in all that crowd one gallant being,There's not in all that crowd one gallant being,Whom if his heart were whole, and rank agreeing,Whom if his heart were whole, and rank agreeing,It would not fire to twice of what he is,It would not fire to twice of what he is,To clasp her to his heart, and call her his.To clasp her to his heart, and call her his.

While thus with tip-toe looks the people gaze,While thus with tip-toe looks the people gaze,Another shout the neighb'ring quarters raise:Another shout the neighb'ring quarters raise:The train are in the town, and gathering nearThe train are in the town, and gathering nearWith noise of cavalry, and trumpets clear;With noise of cavalry, and trumpets clear;A princely music, unbedinned with drums:A princely music, unbedinned with drums:The mighty brass seems opening as it comes,The mighty brass seems opening as it comes,And now it fills, and now it shakes the air,And now it fills, and now it shakes the air,And now it bursts into the sounding square;And now it bursts into the sounding square;At which the crowd with such a shout rejoice,At which the crowd with such a shout rejoice,Each thinks he's deafened with his neighbour's voice.Each thinks he's deafened with his neighbour's voice.Then, with a long-drawn breath, the clangours die;Then, with a long-drawn breath, the clangours die;The palace trumpets give a last reply,The palace trumpets give a last reply,And clustering hoofs succeed, with stately stirAnd clustering hoofs succeed, with stately stirOf snortings proud and clinking furniture:Of snortings proud and clinking furniture:It seems as if the harnessed war were near;It seems as if the harnessed war were near;But in their garb of peace the train appear,But in their garb of peace the train appear,Their swords alone reserved, but idly hung,Their swords alone reserved, but idly hung,And the chains freed by which their shields were slung.And the chains freed by which their shields were slung.

First come the trumpeters, clad all in whiteFirst come the trumpeters, clad all in whiteExcept the breast, which wears a scutcheon bright.Except the breast, which wears a scutcheon bright.By four and four they ride, on horses grey;By four and four they ride, on horses grey;And as they sit along their easy way,And as they sit along their easy way,Stately and heaving to the sway below,Stately and heaving to the sway below,Each plants his trumpet on his saddle-bow.Each plants his trumpet on his saddle-bow.

The heralds next appear, in vests attiredThe heralds next appear, in vests attiredOf stiffening gold with radiant colours fired;Of stiffening gold with radiant colours fired;And then the pursuivants, who wait on these,And then the pursuivants, who wait on these,All dressed in painted richness to the knees:All dressed in painted richness to the knees:Each rides a dappled horse, and bears a shield,Each rides a dappled horse, and bears a shield,Charged with three heads upon a golden field.Charged with three heads upon a golden field.

Twelve ranks of squires come after, twelve in one,Twelve ranks of squires come after, twelve in one,With forked pennons lifted in the sun,With forked pennons lifted in the sun,Which tell, as they look backward in the wind,Which tell, as they look backward in the wind,The bearings of the knights that ride behind.The bearings of the knights that ride behind.Their steeds are ruddy bay; and every squireTheir steeds are ruddy bay; and every squireHis master's colour shews in his attire.His master's colour shews in his attire.

These past, and at a lordly distance, comeThese past, and at a lordly distance, comeThe knights themselves, and fill the quickening hum,The knights themselves, and fill the quickening hum,The flower of Rimini. Apart they ride,The flower of Rimini. Apart they ride,Six in a row, and with a various pride;Six in a row, and with a various pride;But all as fresh as fancy could desire,But all as fresh as fancy could desire,All shapes of gallantry on steeds of fire.All shapes of gallantry on steeds of fire.

Differing in colours is the knights' array,Differing in colours is the knights' array,The horses, black and chesnut, roan and bay;—The horses, black and chesnut, roan and bay;—The horsemen, crimson vested, purple, and white,—The horsemen, crimson vested, purple, and white,—All but the scarlet cloak for every knight,All but the scarlet cloak for every knight,Which thrown apart, and hanging loose behind,Which thrown apart, and hanging loose behind,Rests on the steed, and ruffles in the wind.Rests on the steed, and ruffles in the wind.Their caps of velvet have a lightsome fit,Their caps of velvet have a lightsome fit,Each with a dancing feather sweeping it,Each with a dancing feather sweeping it,Tumbling its white against their short dark hair;Tumbling its white against their short dark hair;But what is of the most accomplished air,But what is of the most accomplished air,All wear memorials of their lady's love,All wear memorials of their lady's love,A ribbon, or a scarf, or silken glove,A ribbon, or a scarf, or silken glove,Some tied about the arm, some at the breast,Some tied about the arm, some at the breast,Some, with a drag, dangling from the cap's crest.Some, with a drag, dangling from the cap's crest.

A Jar of Honey from Mount HyblaA Jar of Honey from Mount HyblaPASSING one day by the shop of Messrs. PASSING one day by the shop of Messrs. Fortnum and Mason in Piccadilly, we beheld in Fortnum and Mason in Piccadilly, we beheld in the window a little blue jar, labelled, “Sicilian the window a little blue jar, labelled, “Sicilian Honey.”—It was a jar of very humble Honey.”—It was a jar of very humble pretensions, if estimated according to its price pretensions, if estimated according to its price in the market. […] Antiquity, indeed, possessed in the market. […] Antiquity, indeed, possessed an abundance of precisely such jars. an abundance of precisely such jars. Furthermore, when you held the jar in the sun, Furthermore, when you held the jar in the sun, a spot of insufferable radiance came in the a spot of insufferable radiance came in the middle of its cheek, like a very laugh of light. middle of its cheek, like a very laugh of light. Then it contained honey—a thing which strikes Then it contained honey—a thing which strikes the dullest imaginations with a sense of the dullest imaginations with a sense of sweetness and the flowers […]. sweetness and the flowers […]. To introduce it, [to the readers] it is proper that To introduce it, [to the readers] it is proper that we call to their recollection the history of a we call to their recollection the history of a previous jar of their acquaintance, to which the previous jar of their acquaintance, to which the foregoing paragraph contains an allusion. They foregoing paragraph contains an allusion. They will be pleased to call to mind that eighteen will be pleased to call to mind that eighteen hundred years after the death of Solomon, and hundred years after the death of Solomon, and during the reign of the King of the Black Isles, during the reign of the King of the Black Isles, who was […] half petrified by the conduct of his who was […] half petrified by the conduct of his wife, a certain fisherman, after throwing his wife, a certain fisherman, after throwing his nets to no purpose, and beginning to be in nets to no purpose, and beginning to be in despair, succeeded in catching a jar of brass. despair, succeeded in catching a jar of brass. The brass, to be sure, seemed the only valuable The brass, to be sure, seemed the only valuable thing about the jar; but the fisherman thought thing about the jar; but the fisherman thought he could, at least, sell it for old metal. he could, at least, sell it for old metal.

Finding, however, that it was very heavy, and Finding, however, that it was very heavy, and furthermore closed with a seal, he wisely furthermore closed with a seal, he wisely resolved to open it first, and see what could be resolved to open it first, and see what could be got out of it. (We quote from Mr. got out of it. (We quote from Mr. Torrens’s Torrens’s Arabian Nights) Arabian Nights) The fisherman, The fisherman, therefore, “took a knife,”, said Mr Torrens and therefore, “took a knife,”, said Mr Torrens and “worked at the tin cover till he had separated it “worked at the tin cover till he had separated it from the jar; and he put it down by his side on from the jar; and he put it down by his side on the ground. Then he shook the jar, to tumble the ground. Then he shook the jar, to tumble out whatever might be in it, and found in it not a out whatever might be in it, and found in it not a thing. So he marvelled with extreme thing. So he marvelled with extreme amazement. But presently there came out of amazement. But presently there came out of the jar a vapour, and it rose up towards the the jar a vapour, and it rose up towards the heavens, and reached along the face of the heavens, and reached along the face of the earth; and after this, the vapour reached its earth; and after this, the vapour reached its height, and condensed, and became compact, height, and condensed, and became compact, and waved tremulously, and became an Ufreet and waved tremulously, and became an Ufreet (evil spirit), his head in the clouds, and his foot (evil spirit), his head in the clouds, and his foot on the soil, on the soil, his head like a domehis head like a dome, , his hand like a his hand like a harrowharrow, his two legs like pillars, his mouth like a , his two legs like pillars, his mouth like a pit, pit, his teeth like large stoneshis teeth like large stones, and his nostrils , and his nostrils like like basinsbasins, and his eyes were two , and his eyes were two lamps, lamps, austere and louringaustere and louring. Now, when the . Now, when the fisherman fisherman saw that Ufreetsaw that Ufreet, his muscles shivered, , his muscles shivered, and his teeth chattered, and his teeth chattered, and his palate was and his palate was dried updried up, and he knew not where he was.”, and he knew not where he was.”

George Crabbe George Crabbe (1754-(1754-1832)1832) The Village (1783)The Village (1783) Poems (1807)Poems (1807) The Borough (1810)The Borough (1810) Tales (1812)Tales (1812) Tales of the Hall (1819) Tales of the Hall (1819)

Biographical noteBiographical noteGeorge Crabbe was an English poet and clergyman. In his early years he George Crabbe was an English poet and clergyman. In his early years he worked as a surgeon. As a young man, his close friend Edmund Burke helped worked as a surgeon. As a young man, his close friend Edmund Burke helped him greatly in advancing his literary career and guiding his career in the him greatly in advancing his literary career and guiding his career in the church. Burke introduced him to the literary and artistic society of London, church. Burke introduced him to the literary and artistic society of London, including Sir Joshua Reynolds and Samuel Johnson. Burke also secured including Sir Joshua Reynolds and Samuel Johnson. Burke also secured Crabbe the important position of Chaplain to the Duke of Rutland. Crabbe Crabbe the important position of Chaplain to the Duke of Rutland. Crabbe served as a clergyman in various capacities for the rest of his life.served as a clergyman in various capacities for the rest of his life.

MeetingMeetingMY Damon was the first to wake MY Damon was the first to wake    The gentle flame that cannot die;    The gentle flame that cannot die; My Damon is the last to take My Damon is the last to take    The faithful bosom's softest sigh:    The faithful bosom's softest sigh: The life between is nothing worth, The life between is nothing worth,    O cast it from thy thought away!    O cast it from thy thought away! Think of the day that gave it birth, Think of the day that gave it birth,    And this its sweet returning day.    And this its sweet returning day. 

Buried be all that has been done, Buried be all that has been done,    Or say that naught is done amiss;    Or say that naught is done amiss; For who the dangerous path can shun For who the dangerous path can shun    In such bewildering world as this?    In such bewildering world as this? But love can every fault forgive, But love can every fault forgive,    Or with a tender look reprove;    Or with a tender look reprove; And now let naught in memory live And now let naught in memory live    But that we meet, and that we love.    But that we meet, and that we love. 

InebrietyInebriety

The mighty spirit, and its power, which stainsThe mighty spirit, and its power, which stainsThe bloodless cheek, and vivifies the brains,The bloodless cheek, and vivifies the brains,I sing. Say, ye, its fiery vot'ries true,I sing. Say, ye, its fiery vot'ries true,The jovial curate, and the shrill-tongued shrew;The jovial curate, and the shrill-tongued shrew;Ye, in the floods of limpid poison nurst,Ye, in the floods of limpid poison nurst,Where bowl the second charms like bowl the first;Where bowl the second charms like bowl the first;Say how, and why, the sparkling ill is shed,Say how, and why, the sparkling ill is shed,The heart which hardens, and which rules the head.The heart which hardens, and which rules the head.When winter stern his gloomy front uprears,When winter stern his gloomy front uprears,A sable void the barren earth appears;A sable void the barren earth appears;The meads no more their former verdure boast,The meads no more their former verdure boast,Fast bound their streams, and all their beauty […]Fast bound their streams, and all their beauty […]

The Village: Book IThe Village: Book IThe village life, and every care that reignsThe village life, and every care that reignsO'er youthful peasants and declining swains;O'er youthful peasants and declining swains;What labour yields, and what, that labour past,What labour yields, and what, that labour past,Age, in its hour of languor, finds at last;Age, in its hour of languor, finds at last;What forms the real picture of the poor,What forms the real picture of the poor,Demands a song—the Muse can give no more.Demands a song—the Muse can give no more.Fled are those times, if e'er such times were seen,Fled are those times, if e'er such times were seen,When rustic poets praised their native green;When rustic poets praised their native green;No shepherds now, in smooth alternate verse,No shepherds now, in smooth alternate verse,Their country's beauty or their nymphs' rehearse;Their country's beauty or their nymphs' rehearse;Yet still for these we frame the tender strain,Yet still for these we frame the tender strain,Still in our lays fond Corydons complain,Still in our lays fond Corydons complain,And shepherds' boys their amorous pains reveal,And shepherds' boys their amorous pains reveal,The only pains, alas! they never feel.The only pains, alas! they never feel.      On Mincio's banks, in Caesar's bounteous reign,On Mincio's banks, in Caesar's bounteous reign,If Tityrus found the Golden Age again,If Tityrus found the Golden Age again,Must sleepy bards the flattering dream prolong,Must sleepy bards the flattering dream prolong,Mechanic echoes of the Mantuan song?Mechanic echoes of the Mantuan song?From truth and nature shall we widely stray,From truth and nature shall we widely stray,Where Virgil, not where Fancy, leads the way?Where Virgil, not where Fancy, leads the way?      

Yes, thus the Muses sing of happy swains,Yes, thus the Muses sing of happy swains,Because the Muses never knew their pains.Because the Muses never knew their pains.They boast their peasants' pipes, but peasants nowThey boast their peasants' pipes, but peasants nowResign their pipes and plod behind the plough;Resign their pipes and plod behind the plough;And few amid the rural tribe have timeAnd few amid the rural tribe have timeTo number syllables and play with rhyme;To number syllables and play with rhyme;Save honest Duck, what son of verse could shareSave honest Duck, what son of verse could shareThe poet's rapture and the peasant's care?The poet's rapture and the peasant's care?Or the great labours of the field degradeOr the great labours of the field degradeWith the new peril of a poorer trade?With the new peril of a poorer trade?      From one chief cause these idle praises spring,From one chief cause these idle praises spring,That themes so easy few forbear to sing;That themes so easy few forbear to sing;They ask no thought, require no deep design,They ask no thought, require no deep design,But swell the song and liquefy the line;But swell the song and liquefy the line;The gentle lover takes the rural strain,The gentle lover takes the rural strain,A nymph his mistress and himself a swain;A nymph his mistress and himself a swain;With no sad scenes he clouds his tuneful prayer,With no sad scenes he clouds his tuneful prayer,But all, to look like her, is painted fair.But all, to look like her, is painted fair.I grant indeed that fields and flocks have charmsI grant indeed that fields and flocks have charmsFor him that gazes or for him that farms;For him that gazes or for him that farms;But when amid such pleasing scenes I traceBut when amid such pleasing scenes I traceThe poor laborious natives of the place,The poor laborious natives of the place,

And see the mid-day sun, with fervid ray,And see the mid-day sun, with fervid ray,On their bare heads and dewy temples play;On their bare heads and dewy temples play;While some, with feebler heads and fainter hearts,While some, with feebler heads and fainter hearts,Deplore their fortune, yet sustain their parts:Deplore their fortune, yet sustain their parts:Then shall I dare these real ills to hideThen shall I dare these real ills to hideIn tinsel trappings of poetic pride?In tinsel trappings of poetic pride?      No, cast by Fortune on a frowning coast,No, cast by Fortune on a frowning coast,Which can no groves nor happy valleys boast;Which can no groves nor happy valleys boast;Where other cares than those the Muse relates,Where other cares than those the Muse relates,And other shepherds dwell with other mates;And other shepherds dwell with other mates;By such examples taught, I paint the cot,By such examples taught, I paint the cot,As truth will paint it, and as bards will not:As truth will paint it, and as bards will not:Nor you, ye poor, of lettered scorn complain,Nor you, ye poor, of lettered scorn complain,To you the smoothest song is smooth in vain;To you the smoothest song is smooth in vain;O'ercome by labour and bowed down by time,O'ercome by labour and bowed down by time,Feel you the barren flattery of a rhyme?Feel you the barren flattery of a rhyme?Can poets soothe you, when you pine for bread,Can poets soothe you, when you pine for bread,By winding myrtles round your ruined shed?By winding myrtles round your ruined shed?Can their light tales your weighty griefs o'erpower,Can their light tales your weighty griefs o'erpower,Or glad with airy mirth the toilsome hour?Or glad with airy mirth the toilsome hour? [...] [...]

Walter Savage Landor Walter Savage Landor (1775-(1775-1864)1864)

Walter Savage Landor was born on the 30th of January, 1775, Walter Savage Landor was born on the 30th of January, 1775, and died at the age of eighty-nine in September, 1864. He and died at the age of eighty-nine in September, 1864. He was the eldest son of a physician at Warwick, and his second was the eldest son of a physician at Warwick, and his second name, Savage, was the family name of his mother, who name, Savage, was the family name of his mother, who owned two estates in Warwickshire-- Ipsley Court and owned two estates in Warwickshire-- Ipsley Court and Tachbrook--and had a reversionary interest in Hughenden Tachbrook--and had a reversionary interest in Hughenden Manor, Buckinghamshire. To this property, worth 80,000 Manor, Buckinghamshire. To this property, worth 80,000 pounds, her eldest son was heir. That eldest son was born a pounds, her eldest son was heir. That eldest son was born a poet, had a generous nature, and an ardent impetuous poet, had a generous nature, and an ardent impetuous temper. The temper, with its obstinate claim of temper. The temper, with its obstinate claim of independence, was too much for the head master of Rugby, independence, was too much for the head master of Rugby, who found in Landor the best writer of Latin verse among his who found in Landor the best writer of Latin verse among his boys, but one ready to fight him over difference of opinion boys, but one ready to fight him over difference of opinion about a Latin quantity. In 1793 Landor went to Trinity College, about a Latin quantity. In 1793 Landor went to Trinity College, Oxford. He had been got rid of at Rugby as unmanageable.Oxford. He had been got rid of at Rugby as unmanageable.After two years at Oxford, he was rusticated; thereupon he After two years at Oxford, he was rusticated; thereupon he gave up his chambers, and refused to return. Landor's father, gave up his chambers, and refused to return. Landor's father, who had been much tried by his unmanageable temper, then who had been much tried by his unmanageable temper, then allowed him 150 pounds a year to live with as he pleased, allowed him 150 pounds a year to live with as he pleased, away from home. He lived in South Wales--at Swansea, away from home. He lived in South Wales--at Swansea, Tenby, or elsewhere--and he sometimes went home to Tenby, or elsewhere--and he sometimes went home to Warwick for short visits. In South Wales he gave himself to full Warwick for short visits. In South Wales he gave himself to full communion with the poets and with Nature, and he fastened communion with the poets and with Nature, and he fastened with particular enthusiasm upon Milton. with particular enthusiasm upon Milton.

Rose Aylmer and GebirRose Aylmer and GebirLord Aylmer, who lived near Tenby, was among his friends. Rose Aylmer, whose name Lord Aylmer, who lived near Tenby, was among his friends. Rose Aylmer, whose name he has made through death imperishable, by linking it with a few lines of perfect music, he has made through death imperishable, by linking it with a few lines of perfect music, lent Landor "The Progress of Romance," a book published in 1785, by Clara Reeve, in lent Landor "The Progress of Romance," a book published in 1785, by Clara Reeve, in which he found the descriptionwhich he found the descriptionof an Arabian tale that suggested to him his poem of "Gebir.“Landor began "Gebir" in of an Arabian tale that suggested to him his poem of "Gebir.“Landor began "Gebir" in Latin, then turned it into English, and then vigorously condensed what he had written. Latin, then turned it into English, and then vigorously condensed what he had written. The poem was firstThe poem was firstpublished at Warwick as a sixpenny pamphlet in the year 1798, when Landor's age was published at Warwick as a sixpenny pamphlet in the year 1798, when Landor's age was twenty-three. Robert Southey was among the few who bought it, and he first made twenty-three. Robert Southey was among the few who bought it, and he first made known its power. In the best sense of the phrase, "Gebir" was written in classical known its power. In the best sense of the phrase, "Gebir" was written in classical English, not with a search for pompous words of classical origin to give false dignity to English, not with a search for pompous words of classical origin to give false dignity to style, but with strict endeavour to form terse English lines of apt words well compacted.style, but with strict endeavour to form terse English lines of apt words well compacted.

Rose AylmerRose AylmerAh what avails the sceptred race,Ah what avails the sceptred race,                  Ah what the form divine!Ah what the form divine!What every virtue, every grace!What every virtue, every grace!                  Rose Aylmer, all were thine.Rose Aylmer, all were thine.Rose Aylmer, whom these wakeful eyesRose Aylmer, whom these wakeful eyes                  May weep, but never see,May weep, but never see,A night of memories and of sighsA night of memories and of sighs                  I consecrate to thee.I consecrate to thee.

GebirGebirI sing the fates of Gebir. He had dweltI sing the fates of Gebir. He had dweltAmong those mountain-caverns which retainAmong those mountain-caverns which retainHis labours yet, vast halls and flowing wells,His labours yet, vast halls and flowing wells,Nor have forgotten their old master's nameNor have forgotten their old master's nameThough severed from his people here, incensedThough severed from his people here, incensedBy meditating on primeval wrongs,By meditating on primeval wrongs,He blew his battle-horn, at which uproseHe blew his battle-horn, at which uproseWhole nations; here, ten thousand of most mightWhole nations; here, ten thousand of most mightHe called aloud, and soon Charoba sawHe called aloud, and soon Charoba sawHis dark helm hover o'er the land of Nile,His dark helm hover o'er the land of Nile,What should the virgin do? should royal kneesWhat should the virgin do? should royal kneesBend suppliant, or defenceless hands engageBend suppliant, or defenceless hands engageMen of gigantic force, gigantic arms?Men of gigantic force, gigantic arms?For 'twas reported that nor sword sufficed,For 'twas reported that nor sword sufficed,Nor shield immense nor coat of massive mail,Nor shield immense nor coat of massive mail,But that upon their towering heads they boreBut that upon their towering heads they boreEach a huge stone, refulgent as the stars.Each a huge stone, refulgent as the stars.

This told she Dalica, then cried aloud:This told she Dalica, then cried aloud:"If on your bosom laying down my head"If on your bosom laying down my headI sobbed away the sorrows of a child,I sobbed away the sorrows of a child,If I have always, and Heaven knows I have,If I have always, and Heaven knows I have,Next to a mother's held a nurse's name,Next to a mother's held a nurse's name,Succour this one distress, recall those days,Succour this one distress, recall those days,Love me, though 'twere because you loved me then."Love me, though 'twere because you loved me then."But whether confident in magic ritesBut whether confident in magic ritesOr touched with sexual pride to stand implored,Or touched with sexual pride to stand implored,Dalica smiled, then spake: "Away those fears.Dalica smiled, then spake: "Away those fears.Though stronger than the strongest of his kind,Though stronger than the strongest of his kind,He falls--on me devolve that charge; he falls.He falls--on me devolve that charge; he falls.Rather than fly him, stoop thou to allure;Rather than fly him, stoop thou to allure;Nay, journey to his tents: a city stoodNay, journey to his tents: a city stoodUpon that coast, they say, by Sidad built,Upon that coast, they say, by Sidad built,Whose father Gad built Gadir; on this groundWhose father Gad built Gadir; on this groundPerhaps he sees an ample room for war.Perhaps he sees an ample room for war.Persuade him to restore the walls himselfPersuade him to restore the walls himselfIn honour of his ancestors, persuade -In honour of his ancestors, persuade -But wherefore this advice? young, unespoused,But wherefore this advice? young, unespoused,Charoba want persuasions! and a queen!"Charoba want persuasions! and a queen!""O Dalica!" the shuddering maid exclaimed,"O Dalica!" the shuddering maid exclaimed,"Could I encounter that fierce, frightful man?"Could I encounter that fierce, frightful man?Could I speak? no, nor sigh!"Could I speak? no, nor sigh!""And canst thou reign?”"And canst thou reign?”

Cried Dalica; "yield empire or comply."Cried Dalica; "yield empire or comply."Unfixed though seeming fixed, her eyes downcast,Unfixed though seeming fixed, her eyes downcast,The wonted buzz and bustle of the courtThe wonted buzz and bustle of the courtFrom far through sculptured galleries met her ear;From far through sculptured galleries met her ear;Then lifting up her head, the evening sunThen lifting up her head, the evening sunPoured a fresh splendour on her burnished throne--Poured a fresh splendour on her burnished throne--The fair Charoba, the young queen, complied.The fair Charoba, the young queen, complied.But Gebir when he heard of her approachBut Gebir when he heard of her approachLaid by his orbed shield, his vizor-helm,Laid by his orbed shield, his vizor-helm,His buckler and his corset he laid by,His buckler and his corset he laid by,And bade that none attend him; at his sideAnd bade that none attend him; at his sideTwo faithful dogs that urge the silent course,Two faithful dogs that urge the silent course,Shaggy, deep-chested, crouched; the crocodile,Shaggy, deep-chested, crouched; the crocodile,Crying, oft made them raise their flaccid earsCrying, oft made them raise their flaccid earsAnd push their heads within their master's hand.And push their heads within their master's hand.There was a brightening paleness in his face,There was a brightening paleness in his face,Such as Diana rising o'er the rocksSuch as Diana rising o'er the rocksShowered on the lonely Latmian; on his browShowered on the lonely Latmian; on his browSorrow there was, yet nought was there severe.Sorrow there was, yet nought was there severe.But when the royal damsel first he saw,But when the royal damsel first he saw,Faint, hanging on her handmaids, and her kneesFaint, hanging on her handmaids, and her kneesTottering, as from the motion of the car,Tottering, as from the motion of the car,His eyes looked earnest on her, and those eyesHis eyes looked earnest on her, and those eyesShowed, if they had not, that they might have loved,Showed, if they had not, that they might have loved,For there was pity in them at that hour.For there was pity in them at that hour.With gentle speech, and more with gentle looksWith gentle speech, and more with gentle looksHe soothed her; but lest Pity go beyond,He soothed her; but lest Pity go beyond,And crossed Ambition lose her lofty aim,And crossed Ambition lose her lofty aim,Bending, he kissed her garment and retired.Bending, he kissed her garment and retired.http://www.fullbooks.com/Gebir.html

William Hazlitt William Hazlitt (1778-1830)(1778-1830)

My First Acquaintance with PoetsMy First Acquaintance with PoetsThe Spirit of the AgeThe Spirit of the AgeGood NatureGood NatureA JourneyA JourneyThe disadvantage of Intellectual The disadvantage of Intellectual

SuperioritySuperiority

SELECTED WORKSSELECTED WORKSAn Essay on the Principles of Human Action An Essay on the Principles of Human Action (1805)(1805)A Reply to the Essay on Population by the Rev. T. R. MalthusA Reply to the Essay on Population by the Rev. T. R. Malthus (1807) (1807)The Round TableThe Round Table (1817) (1817)Characters of Shakespeare’s PlaysCharacters of Shakespeare’s Plays (1817, 1818) (1817, 1818)A View of the English Stage; or, a Series of Dramatic Criticisms A View of the English Stage; or, a Series of Dramatic Criticisms (1818)(1818)Lectures on the English PoetsLectures on the English Poets (1818, 1819) (1818, 1819)Lectures on the English Comic WritersLectures on the English Comic Writers (1819) (1819)Political Essays, with Sketches of Public CharactersPolitical Essays, with Sketches of Public Characters (1819) (1819)Lectures on the Dramatic Literature of the Age of ElizabethLectures on the Dramatic Literature of the Age of Elizabeth (1820) (1820)Table Talk; or, Original Essays on Man and MannersTable Talk; or, Original Essays on Man and Manners (1821) (1821)Liber Amoris; or, The New PygmalionLiber Amoris; or, The New Pygmalion (1823) (1823)The Spirit of the AgeThe Spirit of the Age (1825) (1825)The Plain Speaker; or, Opinions on Books, Men, and Things The Plain Speaker; or, Opinions on Books, Men, and Things (1826)(1826)The Life of Napoleon BuonaparteThe Life of Napoleon Buonaparte . (1828-30) . (1828-30)

Biographical notesBiographical notesWilliam Hazlitt was born in Maidstone in 1778. His mother, Grace Loftus, was William Hazlitt was born in Maidstone in 1778. His mother, Grace Loftus, was from a Dissenting family in Cambridgeshire, and his father, the Reverend from a Dissenting family in Cambridgeshire, and his father, the Reverend William Hazlitt, was an Irish Unitarian minister from Co. Tipperary. William Hazlitt, was an Irish Unitarian minister from Co. Tipperary. Hazlitt was educated at the Unitarian New College in Hackney, then studied Hazlitt was educated at the Unitarian New College in Hackney, then studied art and tried to earn a living as a portrait painter. art and tried to earn a living as a portrait painter. He was also keenly interested in philosophy and published his first book, A He was also keenly interested in philosophy and published his first book, A Study of the Principles of Human Action, in 1805. Study of the Principles of Human Action, in 1805. He later became a journalist and theatre critic, the first major drama critic in He later became a journalist and theatre critic, the first major drama critic in English, as well as the first major art critic, and one of the most gifted literary English, as well as the first major art critic, and one of the most gifted literary and general essayists in English. He is one of the greatest political journalists and general essayists in English. He is one of the greatest political journalists and one of the finest prose stylists in the language. and one of the finest prose stylists in the language. Unlike his contemporaries, Wordsworth, Coleridge and Southey, he remained Unlike his contemporaries, Wordsworth, Coleridge and Southey, he remained a lifelong radical, and this led to quarrels with friends, though his deep a lifelong radical, and this led to quarrels with friends, though his deep friendship with Charles Lamb and Leigh Hunt endured. friendship with Charles Lamb and Leigh Hunt endured. He is a master of the essay form. His books include Characters of He is a master of the essay form. His books include Characters of Shakespeare's Plays, The Round Table,Table-Talk, Political Essays, The Plain Shakespeare's Plays, The Round Table,Table-Talk, Political Essays, The Plain Speaker, Liber Amoris, The Spirt of the Age and a long life of Napoleon which Speaker, Liber Amoris, The Spirt of the Age and a long life of Napoleon which he published towards the end of his life. he published towards the end of his life. He died in 1830 in a rooming-house in Soho and is buried in St. Anne’s He died in 1830 in a rooming-house in Soho and is buried in St. Anne’s Churchyard nearby.Churchyard nearby.

http://www.ucl.ac.uk/hazlitt-society

Quotations from Hazlitt’s Quotations from Hazlitt’s EssaysEssays

"We do not connect the same feelings with the works of art as with "We do not connect the same feelings with the works of art as with those of Nature, because we refer them to man, and associate with those of Nature, because we refer them to man, and associate with them the separate interests and passions which we know belong to them the separate interests and passions which we know belong to those who are the authors or possessors of them.“ those who are the authors or possessors of them.“ On the Love of the Country (November, 1814) (November, 1814)

"Poetry is in all its shapes the language of the imagination and the "Poetry is in all its shapes the language of the imagination and the passions, of fancy and will. Nothing, therefore, can be more absurd passions, of fancy and will. Nothing, therefore, can be more absurd than the outcry which has been sometimes raised by frigid and than the outcry which has been sometimes raised by frigid and pedantic critics, for reducing the language of poetry to the standard pedantic critics, for reducing the language of poetry to the standard of common sense and reason: for the end and use of poetry, 'both at of common sense and reason: for the end and use of poetry, 'both at the first and now, was and is to hold the mirror up to nature', seen the first and now, was and is to hold the mirror up to nature', seen through the medium of passion and imagination, not divested of through the medium of passion and imagination, not divested of that medium by means of literal truth or abstract reason.“ that medium by means of literal truth or abstract reason.“ On Poetry (From:(From:Lectures on the English PoetsLectures on the English Poets, 1815-17), 1815-17)

"His "His Ancient MarinerAncient Mariner is his most remarkable performance, and the  is his most remarkable performance, and the only one that I could point out to anyone as giving an adequate idea only one that I could point out to anyone as giving an adequate idea of his great natural powers. ... He talked on for ever; and you wished of his great natural powers. ... He talked on for ever; and you wished him to talk on for ever. His thoughts did not seem to come with him to talk on for ever. His thoughts did not seem to come with labour and effort; but as if borne on the gusts of genius, and as if labour and effort; but as if borne on the gusts of genius, and as if the wings of his imagination lifted him from off his feet.“the wings of his imagination lifted him from off his feet.“Coleridge: From "Lectures on the English Poets“ (1818) (1818)

"An author wastes his time in painful study and obscure "An author wastes his time in painful study and obscure researches, ... when he thinks to grasp the luckless prize, finds it not researches, ... when he thinks to grasp the luckless prize, finds it not worth the trouble ... He thinks that the attainment of acknowledged worth the trouble ... He thinks that the attainment of acknowledged excellence will secure him the expression of those feelings in others, excellence will secure him the expression of those feelings in others, which the image and hope of it had excited in his own breast, but which the image and hope of it had excited in his own breast, but instead of that, he meets with ... squint-eyed suspicion, idiot instead of that, he meets with ... squint-eyed suspicion, idiot wonder, and grinning scorn.“wonder, and grinning scorn.“Disappointment (1820) (1820)

"A writer who has been accustomed to take a connected view of a "A writer who has been accustomed to take a connected view of a difficult question and to work it out gradually in all its bearings, may difficult question and to work it out gradually in all its bearings, may be very deficient in that quickness and ease which men of the world, be very deficient in that quickness and ease which men of the world, who are in the habit of hearing a variety of opinions, who pick up an who are in the habit of hearing a variety of opinions, who pick up an observation on one subject, and another on another, and who care observation on one subject, and another on another, and who care about none any farther than the passing away of an idle hour, about none any farther than the passing away of an idle hour, usually acquire. An author has studied a particular point – he has usually acquire. An author has studied a particular point – he has read, he has inquired, he has thought a great deal upon it: he is not read, he has inquired, he has thought a great deal upon it: he is not contented to take it up casually in common with others, to throw out contented to take it up casually in common with others, to throw out a hint, to propose an objection: he will either remain silent, uneasy, a hint, to propose an objection: he will either remain silent, uneasy, and dissatisfied, or he will begin at the beginning, and go through and dissatisfied, or he will begin at the beginning, and go through with it to the end.“with it to the end.“On the Conversation of Authors (September, 1820) (September, 1820)

"I have more confidence in the dead than the living. ... If you want to "I have more confidence in the dead than the living. ... If you want to know what any of the authors were who lived before our time, and know what any of the authors were who lived before our time, and are still objects of anxious inquiry, you have only to look into their are still objects of anxious inquiry, you have only to look into their works. But the dust and smoke and noise of modern literature have works. But the dust and smoke and noise of modern literature have nothing in common with the pure, silent air of immortality.“ nothing in common with the pure, silent air of immortality.“ On Reading Old Books (February, 1821) (February, 1821)

"... there is such a thing as an essential difference of character in "... there is such a thing as an essential difference of character in different individuals. We do not change our features with our different individuals. We do not change our features with our situations; neither do we change the capacities or inclinations which situations; neither do we change the capacities or inclinations which lurk beneath them.“lurk beneath them.“On Personal Character (March, 1821) (March, 1821)

"You do not go enough into society ... You would there find many "You do not go enough into society ... You would there find many people of sense and information whose names you never heard of. It people of sense and information whose names you never heard of. It is not those who have made most noise in the world who are persons is not those who have made most noise in the world who are persons of the greatest general capacity. It is the making the most of a of the greatest general capacity. It is the making the most of a little ... that brings men into notice. Individuals gain a reputation as little ... that brings men into notice. Individuals gain a reputation as they make a fortune, by application and by having set their minds they make a fortune, by application and by having set their minds upon it. ... By setting the opinion of others at defiance, you lose your upon it. ... By setting the opinion of others at defiance, you lose your self-respect. It is of no use that you still say, that you will do what is self-respect. It is of no use that you still say, that you will do what is right; your passions usurp the place of reason and whisper you, that right; your passions usurp the place of reason and whisper you, that whatever you are bent upon doing is right. You cannot put this whatever you are bent upon doing is right. You cannot put this deception on the public however, false or prejudiced their standard deception on the public however, false or prejudiced their standard may be; and the opinion of the world, therefore, acts as a may be; and the opinion of the world, therefore, acts as a seasonable check upon wilfulness and eccentricity.“seasonable check upon wilfulness and eccentricity.“Public Opinion (1821-22)(1821-22)

"Do not be surprised ... to find men talk exceedingly well on "Do not be surprised ... to find men talk exceedingly well on different subjects, who do not derive their information immediately different subjects, who do not derive their information immediately from books. ... common sense is not a monopoly, and experience and from books. ... common sense is not a monopoly, and experience and observation are sources of information open to the man of the world observation are sources of information open to the man of the world as well as to the retired student.“as well as to the retired student.“On the Conduct of Life (1822) (1822)

"There are those ... who seem always to be practising on their "There are those ... who seem always to be practising on their audience, as if they ... hold a general retainer, by which they are audience, as if they ... hold a general retainer, by which they are bound to explain every difficulty, and answer every objection that bound to explain every difficulty, and answer every objection that can be started. This, in private society, and among friends, is not can be started. This, in private society, and among friends, is not desirable. You thus lose the two great ends of conversation, which desirable. You thus lose the two great ends of conversation, which are to learn the sentiments of others, and see what they think of are to learn the sentiments of others, and see what they think of yours.“yours.“Characteristics (1823) (1823)

"I have observed that those who are the most inclined to assist "I have observed that those who are the most inclined to assist others are the least forward or peremptory with their advice; for others are the least forward or peremptory with their advice; for having our interest really at heart, they consider what can, rather having our interest really at heart, they consider what can, rather than what cannot be done, and aid our views and endeavour to avert than what cannot be done, and aid our views and endeavour to avert ill consequences by moderating our impatience and allaying ill consequences by moderating our impatience and allaying irritations, instead of thwarting our main design, which only tends to irritations, instead of thwarting our main design, which only tends to make us more extravagant and violent then ever.“make us more extravagant and violent then ever.“On the Spirit of Obligations (January, 1824) (January, 1824)

"... so in the outset of life we see no end to our desires nor to the "... so in the outset of life we see no end to our desires nor to the opportunities of gratifying them. We have as yet found no obstacle, opportunities of gratifying them. We have as yet found no obstacle, no disposition to flag, and it seems that we can go on so for ever. We no disposition to flag, and it seems that we can go on so for ever. We look round in a new world, full of life and motion, and ceaseless look round in a new world, full of life and motion, and ceaseless progress, and feel in ourselves all the vigour and spirit to keep pace progress, and feel in ourselves all the vigour and spirit to keep pace with it, and do not foresee from any present signs how we shall be with it, and do not foresee from any present signs how we shall be left behind in the race, decline into old age, and drop into the left behind in the race, decline into old age, and drop into the grave.“grave.“On The Feeling of Immortality in Youth (March, 1827) (March, 1827)

"Our unconscious impressions necessarily give colour to, and re-act "Our unconscious impressions necessarily give colour to, and re-act upon our conscious ones; and it is only when these two sets of feelings upon our conscious ones; and it is only when these two sets of feelings are in accord, that our pleasures are true and sincere; where there is a are in accord, that our pleasures are true and sincere; where there is a discordance and misunderstanding in this respect ... [then things ring] discordance and misunderstanding in this respect ... [then things ring] false and hollow. ... Both knowledge and sagacity are required, but false and hollow. ... Both knowledge and sagacity are required, but sagacity abridges and anticipates the labour of knowledge and sagacity abridges and anticipates the labour of knowledge and sometimes jumps instinctively at a conclusion; that is, the strength or sometimes jumps instinctively at a conclusion; that is, the strength or fineness of the feeling by association or analogy, sooner elicits the fineness of the feeling by association or analogy, sooner elicits the recollection of a previous and forgotten one in different circumstances, recollection of a previous and forgotten one in different circumstances, and the two together, by a sort of internal evidence and collective and the two together, by a sort of internal evidence and collective force, stamp any proposed solution with the character of truth or force, stamp any proposed solution with the character of truth or falsehood.“ falsehood.“ On Depth and Superficiality (1826) (1826)

"Fortune does not always smile on merit ... the race is not to the swift, "Fortune does not always smile on merit ... the race is not to the swift, nor the battle to the strong ... To be thought wise, it is for the most nor the battle to the strong ... To be thought wise, it is for the most part only necessary to seem so; and the noisy demagogue is easily part only necessary to seem so; and the noisy demagogue is easily translated, by the popular voice, into the orator and patriot. ... Men are translated, by the popular voice, into the orator and patriot. ... Men are in numberless instances qualified for certain things, for no other in numberless instances qualified for certain things, for no other reason than because they are qualified for nothing else. ... a dull reason than because they are qualified for nothing else. ... a dull plodding fellow will often do better than one of a more mercurial and plodding fellow will often do better than one of a more mercurial and fiery cast - the mere unconsciousness of his own deficiencies, or of any fiery cast - the mere unconsciousness of his own deficiencies, or of any thing beyond what he himself can do, reconciles him to his mechanical thing beyond what he himself can do, reconciles him to his mechanical progress, and enables him to perform all that lies in his power with progress, and enables him to perform all that lies in his power with labour and patience. By being content with mediocrity, he advances labour and patience. By being content with mediocrity, he advances beyond it; whereas the man of greater taste or genius may be beyond it; whereas the man of greater taste or genius may be supposed to fling down his pen or pencil in despair, haunted with the supposed to fling down his pen or pencil in despair, haunted with the idea of unattainable excellence, and ends in being nothing, because he idea of unattainable excellence, and ends in being nothing, because he cannot be every thing at once.“cannot be every thing at once.“On The Qualifications Necessary To Success In Life (1826) (1826)

"Those people who are uncomfortable in themselves are "Those people who are uncomfortable in themselves are disagreeable to others. ... If we look about us, and ask who are the disagreeable to others. ... If we look about us, and ask who are the agreeable and disagreeable people in the world, we shall see that it agreeable and disagreeable people in the world, we shall see that it does not so much depend on their virtues or vices - their does not so much depend on their virtues or vices - their understanding or stupidity - as on the degree of pleasure or pain understanding or stupidity - as on the degree of pleasure or pain they seem to feel in ordinary social intercourse.“they seem to feel in ordinary social intercourse.“On Disagreeable People (August, 1827) (August, 1827)

"It is a fearful shame and calamity ... The greater part of a "It is a fearful shame and calamity ... The greater part of a community ought not to be paupers or starving. When the interests community ought not to be paupers or starving. When the interests of the many are thus regularly and outrageously sacrificed to those of the many are thus regularly and outrageously sacrificed to those of the few, the social order needs repairing. A street lined with of the few, the social order needs repairing. A street lined with coaches and with beggars dying at the Steps of the doors, gives a coaches and with beggars dying at the Steps of the doors, gives a strong lesson to common thought and political foresight, if not to strong lesson to common thought and political foresight, if not to humanity.“humanity.“Malthus And The Liberties Of The Poor"(From: (From: Reply to MalthusReply to Malthus, 1807), 1807)

"Give me the clear blue sky over my head, and the green turf "Give me the clear blue sky over my head, and the green turf beneath my feet, a winding road before me, and a three hours' beneath my feet, a winding road before me, and a three hours' march to dinner -- and then to thinking! ... I begin to feel, think, and march to dinner -- and then to thinking! ... I begin to feel, think, and be myself again. Instead of an awkward silence, broken by attempts be myself again. Instead of an awkward silence, broken by attempts at wit or dull common-places, mine is that undisturbed silence of the at wit or dull common-places, mine is that undisturbed silence of the heart which alone is perfect eloquence.“ heart which alone is perfect eloquence.“ On Going on a Journey

"I think it is a rule that men in business should not be taught other "I think it is a rule that men in business should not be taught other things. Any one will be almost sure to make money who has no other things. Any one will be almost sure to make money who has no other idea in his head. A college education, or intense study of abstract idea in his head. A college education, or intense study of abstract truth, will not enable a man to drive a bargain ... The best politicians truth, will not enable a man to drive a bargain ... The best politicians are not those who are deeply grounded in mathematical or in ethical are not those who are deeply grounded in mathematical or in ethical science. Rules stand in the way of expediency. Many a man has been science. Rules stand in the way of expediency. Many a man has been hindered from pushing his fortune in the world by an early hindered from pushing his fortune in the world by an early cultivation of his moral sense ...“ cultivation of his moral sense ...“ On the Disadvantages of Intellectual Superiority

"To be a subject for painting, a prospect must present sharp, striking "To be a subject for painting, a prospect must present sharp, striking points of view or singular forms, or one object must relieve and set points of view or singular forms, or one object must relieve and set off another. There must be distinct stages and salient points for the off another. There must be distinct stages and salient points for the eye to rest upon or start from in its progress over the expanse eye to rest upon or start from in its progress over the expanse before it. ... The before it. ... The idealideal, in a word, is the height of the pleasing, that , in a word, is the height of the pleasing, that which satisfies and accords with the inmost longing of the soul: the which satisfies and accords with the inmost longing of the soul: the picturesque is merely a sharper and bolder impression of reality.“picturesque is merely a sharper and bolder impression of reality.“On the Picturesque and Ideal

"Perhaps the best cure for the fear of death is to reflect that life has "Perhaps the best cure for the fear of death is to reflect that life has a beginning as well as an end. There was a time when we were not: a beginning as well as an end. There was a time when we were not: this gives us no concern - why then should it trouble us that a time this gives us no concern - why then should it trouble us that a time will come when we shall cease to be?“will come when we shall cease to be?“On the Fear of Death

The Spirit of the Age: The Spirit of the Age: Hazlitt’s Hazlitt’s Opinions on his ContemporariesOpinions on his Contemporaries

Mr. Coleridge "... surveying themselves [persons of the greatest "... surveying themselves [persons of the greatest capacity] from the highest point of view, amidst the infinite variety capacity] from the highest point of view, amidst the infinite variety of the universe, their own share in it seems trifling, and scarce of the universe, their own share in it seems trifling, and scarce worth a thought; and they prefer the contemplation of all that is, or worth a thought; and they prefer the contemplation of all that is, or has been, or can be, to the making a coil [choice] about doing what, has been, or can be, to the making a coil [choice] about doing what, when done, is no better than vanity. ...when done, is no better than vanity. ...Such is the fate of genius in an age when, in the unequal contest Such is the fate of genius in an age when, in the unequal contest with sovereign wrong, every man is ground to powder who is not with sovereign wrong, every man is ground to powder who is not either a born slave, or who does not willingly and at once offer up either a born slave, or who does not willingly and at once offer up the yearnings of humanity and the dictates of reason as a welcome the yearnings of humanity and the dictates of reason as a welcome sacrifice to besotted prejudice and loathsome power.“sacrifice to besotted prejudice and loathsome power.“

Lord Byron "Perhaps the chief cause of most of Lord Byron's errors is, "Perhaps the chief cause of most of Lord Byron's errors is, that he is that anomaly in letters and in, society, a Noble Poet. It is a that he is that anomaly in letters and in, society, a Noble Poet. It is a double privilege, almost too much for humanity. He has all the pride double privilege, almost too much for humanity. He has all the pride of birth and genius. The strength of his imagination leads him to of birth and genius. The strength of his imagination leads him to indulge in fantastic opinions; the elevation of his rank sets censure indulge in fantastic opinions; the elevation of his rank sets censure at defiance. He becomes a pampered egotist. He has a seat in the at defiance. He becomes a pampered egotist. He has a seat in the House of Lords, a niche in the Temple of Fame. Every-day mortals, House of Lords, a niche in the Temple of Fame. Every-day mortals, opinions, things are not good enough for him to touch or think of."opinions, things are not good enough for him to touch or think of."

Mr. Wordsworth "He takes a subject or a story merely as pegs or loops "He takes a subject or a story merely as pegs or loops to hang thought and feeling on; the incidents are trifling, in to hang thought and feeling on; the incidents are trifling, in proportion to his contempt for imposing appearances; the proportion to his contempt for imposing appearances; the reflections are profound, according to the gravity and aspiring reflections are profound, according to the gravity and aspiring pretensions of his mind. ... No storm no shipwreck startles us by its pretensions of his mind. ... No storm no shipwreck startles us by its horrors; but the rainbow lifts its head in the cloud, and the breeze horrors; but the rainbow lifts its head in the cloud, and the breeze sighs through the withered fern. No sad vicissitude of fate, no sighs through the withered fern. No sad vicissitude of fate, no overwhelming catastrophe in nature deforms his page: but the dew-overwhelming catastrophe in nature deforms his page: but the dew-drop glitters on the bending flower, the tear collects in the drop glitters on the bending flower, the tear collects in the glistening eye. ... The vulgar do not read them [Wordsworth's glistening eye. ... The vulgar do not read them [Wordsworth's writings]; the learned, who see all things through books, do not writings]; the learned, who see all things through books, do not understand them; the great despise. The fashionable may ridicule understand them; the great despise. The fashionable may ridicule them: but the author has created himself an interest in the heart of them: but the author has created himself an interest in the heart of the retired and lonely student of nature, which can never die. ... He the retired and lonely student of nature, which can never die. ... He has described all these objects [of nature] in a way and with an has described all these objects [of nature] in a way and with an intensity of feeling that no one else had done before him, and has intensity of feeling that no one else had done before him, and has given a new view or aspect of nature. He is in this sense the most given a new view or aspect of nature. He is in this sense the most original poet now living, and the one whose writings could the least original poet now living, and the one whose writings could the least be spared: for they have no substitute elsewhere.“be spared: for they have no substitute elsewhere.“

Mr. Southey "He was an enthusiast, a fanatic, a leveller; he stuck at "He was an enthusiast, a fanatic, a leveller; he stuck at nothing that he thought would banish all pain and misery from the nothing that he thought would banish all pain and misery from the world ... But when he once believed after many staggering doubts world ... But when he once believed after many staggering doubts and painful struggles, that this was no longer possible, when his and painful struggles, that this was no longer possible, when his chimeras and golden dreams of human perfectibility vanished from chimeras and golden dreams of human perfectibility vanished from him, he turned suddenly round, and maintained that 'whatever is, is him, he turned suddenly round, and maintained that 'whatever is, is right.'"right.'"

Sir Walter Scott "He is a learned, a literal, a matter-of-fact expounder "He is a learned, a literal, a matter-of-fact expounder of truth or fable ... It is no wonder that the public repay with of truth or fable ... It is no wonder that the public repay with lengthened applause and gratitude the pleasure they receive. He lengthened applause and gratitude the pleasure they receive. He writes as fast as they can read, and he does not write himself down. writes as fast as they can read, and he does not write himself down. He is always in the public eye, and we do not tire of him. His worst is He is always in the public eye, and we do not tire of him. His worst is better than any other person's best. ... His works (taken together) better than any other person's best. ... His works (taken together) are almost like a new edition of human nature.“are almost like a new edition of human nature.“

Mr. Lamb "Mr. Lamb has the very soul of an antiquarian, as this Mr. Lamb "Mr. Lamb has the very soul of an antiquarian, as this implies a reflecting humanity; the film of the past hovers forever implies a reflecting humanity; the film of the past hovers forever before him. He is shy, sensitive, the reverse of every thing coarse, before him. He is shy, sensitive, the reverse of every thing coarse, vulgar, obtrusive, and common-place. ... He is borne along with no vulgar, obtrusive, and common-place. ... He is borne along with no pompous paradoxes, shines in no glittering tinsel of a fashionable pompous paradoxes, shines in no glittering tinsel of a fashionable phraseology, is neither fop nor sophist. He has none of the phraseology, is neither fop nor sophist. He has none of the turbulence or froth of new-fangled opinions”.turbulence or froth of new-fangled opinions”.

Mr. Leigh Hunt Leigh Hunt ... improves upon acquaintance. The author Leigh Hunt ... improves upon acquaintance. The author translates admirably, into the man. ... in conversation he is all life translates admirably, into the man. ... in conversation he is all life and animation, combining the vivacity of the school-boy with the and animation, combining the vivacity of the school-boy with the resources of the wit and the taste of the scholar. resources of the wit and the taste of the scholar.

Mr. Crabbe "Mr. Crabbe gives us one part of nature: the mean, the "Mr. Crabbe gives us one part of nature: the mean, the little, the disgusting, the distressing ... He gives us discoloured little, the disgusting, the distressing ... He gives us discoloured paintings of-life: helpless, repining, unprofitable; unedifying paintings of-life: helpless, repining, unprofitable; unedifying distress. He is not a philosopher, but a sophist, a misanthrope in distress. He is not a philosopher, but a sophist, a misanthrope in verse ..." verse ..."

My First Acquaintance with PoetsMy First Acquaintance with Poets““I arrived, and was well received. The country about Nether Stowey is beautiful, I arrived, and was well received. The country about Nether Stowey is beautiful, green and hilly, and near the sea-shore. I saw it but the other day, after an green and hilly, and near the sea-shore. I saw it but the other day, after an interval of twenty years, from a hill near Taunton. How was the map of my life interval of twenty years, from a hill near Taunton. How was the map of my life spread out before me, as the map of the country lay at my feet! In the spread out before me, as the map of the country lay at my feet! In the afternoon, Coleridge took me over to All-Foxden, a romantic old family mansion afternoon, Coleridge took me over to All-Foxden, a romantic old family mansion of the St Aubins, where Wordsworth lived. It was then in the possession of a of the St Aubins, where Wordsworth lived. It was then in the possession of a friend of the poet's, who gave him the free use of it. Somehow, that period (the friend of the poet's, who gave him the free use of it. Somehow, that period (the time just after the French Revolution) was not a time when time just after the French Revolution) was not a time when nothing was given nothing was given for nothingfor nothing. The mind opened and a softness might be perceived coming over . The mind opened and a softness might be perceived coming over the heart of individuals, beneath "the scales that fence" our self-interest. the heart of individuals, beneath "the scales that fence" our self-interest. Wordsworth himself was from home, but his sister kept house, and set before Wordsworth himself was from home, but his sister kept house, and set before us a frugal repast; and we had free access to her brother's poems, the "Lyrical us a frugal repast; and we had free access to her brother's poems, the "Lyrical Ballads," which were still in manuscript, or in the form of "Sybilline Leaves." I Ballads," which were still in manuscript, or in the form of "Sybilline Leaves." I dipped into a few of these with great satisfaction, and with the faith of a dipped into a few of these with great satisfaction, and with the faith of a novice. I slept that night in an old room with blue hangings, and covered with novice. I slept that night in an old room with blue hangings, and covered with the round-faced family portraits of the age of George I. and II., and from the the round-faced family portraits of the age of George I. and II., and from the wooded declivity of the adjoining park that overlooked my window, at the dawn wooded declivity of the adjoining park that overlooked my window, at the dawn of day, could ... hear the loud stag speak. In the outset of life (and particularly of day, could ... hear the loud stag speak. In the outset of life (and particularly at this time I felt it so) our imagination has a body to it. We are in a state at this time I felt it so) our imagination has a body to it. We are in a state between sleeping and waking, and have indistinct but glorious glimpses of between sleeping and waking, and have indistinct but glorious glimpses of strange shapes, and there is always something to come better than what we strange shapes, and there is always something to come better than what we see. As in our dreams the fullness of the blood gives warmth and reality to the see. As in our dreams the fullness of the blood gives warmth and reality to the coinage of the brain, so in youth our ideas are clothed, and fed, and pampered coinage of the brain, so in youth our ideas are clothed, and fed, and pampered with our good spirits; we breathe thick with thoughtless happiness, the weight with our good spirits; we breathe thick with thoughtless happiness, the weight of future years presses on the strong pulses of the heart, and we repose with of future years presses on the strong pulses of the heart, and we repose with undisturbed faith in truth and good. As we advance, we exhaust our fund of undisturbed faith in truth and good. As we advance, we exhaust our fund of enjoyment and of hope. We are no longer wrapped in enjoyment and of hope. We are no longer wrapped in lamb's-woollamb's-wool, lulled in , lulled in Elysium. As we taste the pleasures of life, their spirit evaporates, the sense Elysium. As we taste the pleasures of life, their spirit evaporates, the sense palls; and nothing is left but the phantoms, the lifeless shadows of what palls; and nothing is left but the phantoms, the lifeless shadows of what has has beenbeen!!

That morning, as soon as breakfast was over, we strolled out into the park, and That morning, as soon as breakfast was over, we strolled out into the park, and seating ourselves on the trunk of an old ash tree that stretched along the ground, seating ourselves on the trunk of an old ash tree that stretched along the ground, Coleridge read aloud, with a sonorous and musical voice the ballad of "Betty Foy." Coleridge read aloud, with a sonorous and musical voice the ballad of "Betty Foy." I was not critically or sceptically inclined. I saw touches of truth and nature, and I was not critically or sceptically inclined. I saw touches of truth and nature, and took the rest for granted. But in the "Thorn," the "Mad Mother," and the took the rest for granted. But in the "Thorn," the "Mad Mother," and the "Complaint of a Poor Indian Woman," I felt that deeper power and pathos which "Complaint of a Poor Indian Woman," I felt that deeper power and pathos which have been since acknowledged, In spite of pride, in erring reason's spite, — Pope, have been since acknowledged, In spite of pride, in erring reason's spite, — Pope, ""Essay on Man,Essay on Man," i. 293.as the characteristics of this author; and the sense of a " i. 293.as the characteristics of this author; and the sense of a new style and a new spirit in poetry came over me. It had to me something of the new style and a new spirit in poetry came over me. It had to me something of the effect that arises from the turning up of the fresh soil, or of the first welcome effect that arises from the turning up of the fresh soil, or of the first welcome breath of Spring. […] Coleridge and myself walked back to Stowey that evening, breath of Spring. […] Coleridge and myself walked back to Stowey that evening, and his voice sounded high […] as we passed through echoing grove, by fairy and his voice sounded high […] as we passed through echoing grove, by fairy stream or waterfall, gleaming in the summer moonlight! He lamented that stream or waterfall, gleaming in the summer moonlight! He lamented that Wordsworth was not prone enough to believe in the traditional superstitions of Wordsworth was not prone enough to believe in the traditional superstitions of the place, and that there was a something corporeal, a the place, and that there was a something corporeal, a matter-of-fact-nessmatter-of-fact-ness, a , a clinging to the palpable, or often to the petty, in his poetry, in consequence. ,His clinging to the palpable, or often to the petty, in his poetry, in consequence. ,His genius was not a spirit that descended to him through the air; it sprung out of the genius was not a spirit that descended to him through the air; it sprung out of the ground like a flower, or unfolded itself from a green spray, on which the goldfinch ground like a flower, or unfolded itself from a green spray, on which the goldfinch sang. He said, however (if I remember right), that this objection must be confined sang. He said, however (if I remember right), that this objection must be confined to his descriptive pieces, that his philosophic poetry had a grand and to his descriptive pieces, that his philosophic poetry had a grand and comprehensive spirit in it, so that his soul seemed to inhabit the universe like a comprehensive spirit in it, so that his soul seemed to inhabit the universe like a palace, and to discover truth by intuition, rather than by deduction. The next day palace, and to discover truth by intuition, rather than by deduction. The next day Wordsworth arrived from Bristol at Coleridge's cottage. I think I see him now. He Wordsworth arrived from Bristol at Coleridge's cottage. I think I see him now. He answered in some degree to his friend's description of him, but was more gaunt answered in some degree to his friend's description of him, but was more gaunt and Don Quixote-like. He was quaintly dressed (according to the and Don Quixote-like. He was quaintly dressed (according to the costumecostume of that  of that unconstrained period) in a brown fustian jacket and striped pantaloons. There unconstrained period) in a brown fustian jacket and striped pantaloons. There was something of a roll, a lounge in his gait, not unlike his own "Peter Bell." was something of a roll, a lounge in his gait, not unlike his own "Peter Bell." There was a severe, worn pressure of thought about his temples, a fire in his eye There was a severe, worn pressure of thought about his temples, a fire in his eye (as if he saw something in objects more than the outward appearance), an (as if he saw something in objects more than the outward appearance), an intense, high, narrow forehead, a Roman nose, cheeks furrowed by strong intense, high, narrow forehead, a Roman nose, cheeks furrowed by strong purpose and feeling, and a convulsive inclination to laughter about the mouth, a purpose and feeling, and a convulsive inclination to laughter about the mouth, a good deal at variance with the solemn, stately expression of the rest of his face.good deal at variance with the solemn, stately expression of the rest of his face.

He sat down and talked very naturally and freely, with a mixture of clear, He sat down and talked very naturally and freely, with a mixture of clear, gushing accents in his voice, a deep guttural intonation, and a strong tincture gushing accents in his voice, a deep guttural intonation, and a strong tincture of the northern of the northern burrburr, like the crust on wine. He instantly began to make havoc , like the crust on wine. He instantly began to make havoc of the half of a Cheshire cheese on the table, and said, triumphantly, that "his of the half of a Cheshire cheese on the table, and said, triumphantly, that "his marriage with experience had not been so productive as Mr. Southey's in marriage with experience had not been so productive as Mr. Southey's in teaching him a knowledge of the good things of this life." He had been to see teaching him a knowledge of the good things of this life." He had been to see the "Castle Spectre" by Monk Lewis, while at Bristol, and described it very well. the "Castle Spectre" by Monk Lewis, while at Bristol, and described it very well. He said "it fitted the taste of the audience like a glove." This He said "it fitted the taste of the audience like a glove." This ad ad captandumcaptandum merit was however by no means a recommendation of it, according  merit was however by no means a recommendation of it, according to the severe principles of the new school, which reject rather than court to the severe principles of the new school, which reject rather than court popular effect. Wordsworth, looking out of the low, latticed window, said, " popular effect. Wordsworth, looking out of the low, latticed window, said, " How beautifully the sun sets on that yellow bank !" I thought within myself, How beautifully the sun sets on that yellow bank !" I thought within myself, "with what eyes these poets see nature!" and ever after, when I saw the sun-"with what eyes these poets see nature!" and ever after, when I saw the sun-set stream upon the objects facing it, conceived I had made a discovery, or set stream upon the objects facing it, conceived I had made a discovery, or thanked Mr. Wordsworth for having made one for me! We went over to All-thanked Mr. Wordsworth for having made one for me! We went over to All-Foxden again the day following, and Wordsworth read us the story of" Peter Foxden again the day following, and Wordsworth read us the story of" Peter Bell" in the open air; and the comment upon it by his face and voice was very Bell" in the open air; and the comment upon it by his face and voice was very different from that of some later critics! Whatever might be thought of the different from that of some later critics! Whatever might be thought of the poem, his face was as a book where men might read strange matters," and he poem, his face was as a book where men might read strange matters," and he announced the fate of his hero in prophetic tones. There is a announced the fate of his hero in prophetic tones. There is a chantchant in the  in the recitation both of Coleridge and Wordsworth, which acts as a spell upon the recitation both of Coleridge and Wordsworth, which acts as a spell upon the hearer, and disarms the judgment. Perhaps they have deceived themselves by hearer, and disarms the judgment. Perhaps they have deceived themselves by making habitual use of this ambiguous accompaniment. Coleridge's manner is making habitual use of this ambiguous accompaniment. Coleridge's manner is more full, animated, and varied; Wordsworth's more equable, sustained, and more full, animated, and varied; Wordsworth's more equable, sustained, and internal. The one might be termed moreinternal. The one might be termed moredramaticdramatic, the other more , the other more lyricallyrical. . Coleridge has told me that he himself liked to compose in walking over uneven Coleridge has told me that he himself liked to compose in walking over uneven ground, or breaking through the straggling branches of a copse-wood; whereas ground, or breaking through the straggling branches of a copse-wood; whereas Wordsworth always wrote (if he could) walking up and down a straight gravel Wordsworth always wrote (if he could) walking up and down a straight gravel walk, or in some spot where the continuity of his verse met with no collateral walk, or in some spot where the continuity of his verse met with no collateral interruption. Returning that same evening, I got into a metaphysical argument interruption. Returning that same evening, I got into a metaphysical argument with Wordsworth, while Coleridge was explaining the different notes of the with Wordsworth, while Coleridge was explaining the different notes of the nightingale to his sister, in which we neither of us succeeded in making nightingale to his sister, in which we neither of us succeeded in making ourselves perfectly clear and intelligible. Thus I passed three weeks at Nether ourselves perfectly clear and intelligible. Thus I passed three weeks at Nether Stowey and in the neighbourhood, generally devoting the afternoons to a Stowey and in the neighbourhood, generally devoting the afternoons to a delightful chat in an arbour made of bark by the poet's friend Tom Poole, delightful chat in an arbour made of bark by the poet's friend Tom Poole, sitting under two fine elm trees, and listening to the bees humming round us sitting under two fine elm trees, and listening to the bees humming round us […]”[…]”

Thomas de Quincey Thomas de Quincey (1785-(1785-1859)1859)

Childhood and student lifeChildhood and student life De Quincey was born at 86 Cross Street, Manchester, De Quincey was born at 86 Cross Street, Manchester,

England.England. His father was a successful merchant with an His father was a successful merchant with an interest in literature who died when he was quite young. interest in literature who died when he was quite young. Soon after his birth the family went to The Farm and then Soon after his birth the family went to The Farm and then later to Greenheys, a larger country house in Chorlton-on-later to Greenheys, a larger country house in Chorlton-on-Medlock near Manchester. In 1796, three years after the Medlock near Manchester. In 1796, three years after the death of his father, Thomas Quincey, his mother — the death of his father, Thomas Quincey, his mother — the erstwhile Elizabeth Penson — took the nobilitary name De erstwhile Elizabeth Penson — took the nobilitary name De Quincey. In the same year, De Quincey's mother moved Quincey. In the same year, De Quincey's mother moved to Bath and enrolled him at King Edward's School, Bath.to Bath and enrolled him at King Edward's School, Bath.

De Quincey was a weak and sickly child. His youth was De Quincey was a weak and sickly child. His youth was spent in solitude, and when his elder brother, William, spent in solitude, and when his elder brother, William, came home, he wreaked havoc in the quiet surroundings. came home, he wreaked havoc in the quiet surroundings. De Quincey's mother was a woman of strong character De Quincey's mother was a woman of strong character and intelligence, but seems to have inspired more awe and intelligence, but seems to have inspired more awe than affection in her children. She brought them up very than affection in her children. She brought them up very strictly, taking De Quincey out of school after three years strictly, taking De Quincey out of school after three years because she was afraid he would become big-headed, because she was afraid he would become big-headed, and sending him to an inferior school and sending him to an inferior school at Wingfield in Wiltshire. It is purported that at this time, at Wingfield in Wiltshire. It is purported that at this time, in 1799, De Quincey first read in 1799, De Quincey first read Lyrical Ballads Lyrical Ballads by by Wordsworth and Coleridge.Wordsworth and Coleridge.

Thomas de Quincey by Sir John Watson-Gordon.

College, Carreer and Acquaintance with College, Carreer and Acquaintance with PoetsPoetsIn 1800, De Quincey, aged fifteen, was ready for the University of Oxford; his In 1800, De Quincey, aged fifteen, was ready for the University of Oxford; his scholarship was far in advance of his years. He was sent to Manchester Grammar scholarship was far in advance of his years. He was sent to Manchester Grammar School, in order that after three years' stay he might obtain a scholarship to Brasenose School, in order that after three years' stay he might obtain a scholarship to Brasenose College, Oxford, but he took flight after nineteen months. His first plan had been to College, Oxford, but he took flight after nineteen months. His first plan had been to reach William Wordsworth, whose reach William Wordsworth, whose Lyrical BalladsLyrical Ballads (1798) had consoled him in fits of  (1798) had consoled him in fits of depression and had awakened in him a deep reverence for the poet. But for that De depression and had awakened in him a deep reverence for the poet. But for that De Quincey was too timid, so he made his way to Chester, where his mother dwelt, in the Quincey was too timid, so he made his way to Chester, where his mother dwelt, in the hope of seeing a sister; he was caught by the older members of the family, but, through hope of seeing a sister; he was caught by the older members of the family, but, through the efforts of his uncle, Colonel Penson, received the promise of a guinea a week to the efforts of his uncle, Colonel Penson, received the promise of a guinea a week to carry out his later project of a solitary tramp through Wales. From July to November, carry out his later project of a solitary tramp through Wales. From July to November, 1802, De Quincey lived as a wayfarer. He soon lost his guinea by ceasing to keep his 1802, De Quincey lived as a wayfarer. He soon lost his guinea by ceasing to keep his family informed of his whereabouts, and had financial difficulties. Still apparently family informed of his whereabouts, and had financial difficulties. Still apparently fearing pursuit, he borrowed some money and travelled to London, where he tried to fearing pursuit, he borrowed some money and travelled to London, where he tried to borrow more. Having failed, he lived close to starvation rather than return to his family.borrow more. Having failed, he lived close to starvation rather than return to his family.This deprived period left a profound mark upon De Quincey's psychology, and upon the This deprived period left a profound mark upon De Quincey's psychology, and upon the writing he would later do; it forms a major and crucial part of the first section of the writing he would later do; it forms a major and crucial part of the first section of the ConfessionsConfessions, and re-appears in various forms throughout the vast body of his lifetime , and re-appears in various forms throughout the vast body of his lifetime literary work.literary work.Discovered by chance by his friends, De Quincey was brought home and finally allowed Discovered by chance by his friends, De Quincey was brought home and finally allowed to go to Worcester College, Oxford, on a reduced income. Here, we are told, "he came to go to Worcester College, Oxford, on a reduced income. Here, we are told, "he came to be looked upon as a strange being who associated with no one." In 1804, while at to be looked upon as a strange being who associated with no one." In 1804, while at Oxford, he began the occasional use of opium. He completed his studies, but failed to Oxford, he began the occasional use of opium. He completed his studies, but failed to take the oral examination leading to a degree; he left the university without take the oral examination leading to a degree; he left the university without graduating. He became an acquaintance of Samuel Taylor Coleridge and William graduating. He became an acquaintance of Samuel Taylor Coleridge and William Wordsworth, having already sought out Charles Lamb in London. His acquaintance with Wordsworth, having already sought out Charles Lamb in London. His acquaintance with Wordsworth led to his settling in 1809 at Grasmere, in the Lake District. His home for Wordsworth led to his settling in 1809 at Grasmere, in the Lake District. His home for ten years was Dove Cottage, which Wordsworth had occupied. De Quincey was married ten years was Dove Cottage, which Wordsworth had occupied. De Quincey was married in 1816, and soon after, having no money left, he took up literary work in earnest.in 1816, and soon after, having no money left, he took up literary work in earnest.http://en.wikipedia.org/wiki/Thomas_De_Quinceyhttp://en.wikipedia.org/wiki/Thomas_De_Quincey

Thomas de Quincey’s Thomas de Quincey’s WorksWorks

Confessions of an English Opium-EaterConfessions of an English Opium-Eater, 1822, 1822On the Knocking at the Gate in MacbethOn the Knocking at the Gate in Macbeth, 1823, 1823WalladmorWalladmor, 1825, 1825On Murder Considered as one of the Fine ArtsOn Murder Considered as one of the Fine Arts, 1827, 1827Klosterheim, or The MasqueKlosterheim, or The Masque, 1832, 1832Lake ReminiscencesLake Reminiscences, 1834–40, 1834–40Revolt of the TartarsRevolt of the Tartars, 1837, 1837The Avenger: A narrativeThe Avenger: A narrative, 1838, 1838The Logic of the Political EconomyThe Logic of the Political Economy, 1844, 1844Suspiria de ProfundisSuspiria de Profundis, 1845, 1845The English Mail-CoachThe English Mail-Coach, 1849, 1849Autobiographical SketchesAutobiographical Sketches, 1853, 1853California and the Gold ManiaCalifornia and the Gold Mania, 1854, 1854Selections Grave and Gay – Selections Grave and Gay – from the Writings, Published and Unpublished, by Thomas De from the Writings, Published and Unpublished, by Thomas De QuinceyQuincey, 1853–1860 (14 vols.), 1853–1860 (14 vols.)Romances and ExtravaganzasRomances and Extravaganzas, 1877, 1877

Thomas De Quincey from Modern English Books of Power, by George Hamlin Fitch

Posthumous collections of De Posthumous collections of De Quincey’s essaysQuincey’s essaysCollected WritingsCollected Writings, 1889, 1889Uncollected WritingsUncollected Writings, 1890, 1890The Posthumous WorksThe Posthumous Works, 1891–93, 1891–93MemorialsMemorials, 1891, 1891Literary CriticismLiterary Criticism, 1909, 1909The DiaryThe Diary, 1927, 1927Selected WritingsSelected Writings, 1937, 1937New EssaysNew Essays, 1966, 1966Literarische Portraits. Schiller, Herder, Lessing, GoetheLiterarische Portraits. Schiller, Herder, Lessing, Goethe, , German – German – Translation by Thomas Klandt. revonnah Verlag Hannover.Translation by Thomas Klandt. revonnah Verlag Hannover.The Works of Thomas De Quincey – The Works of Thomas De Quincey – 21 vols (London: Pickering 21 vols (London: Pickering and Chatto, 2000–2003) [This is the most up to date and scholarly edition]and Chatto, 2000–2003) [This is the most up to date and scholarly edition]

De Quincey's grave in St. Cuthbert's Kirkyard, Edinburgh

CONFESSIONS OF AN ENGLISH OPIUM-EATER:CONFESSIONS OF AN ENGLISH OPIUM-EATER:BEING AN EXTRACT FROM THELIFE OF A SCHOLAR.BEING AN EXTRACT FROM THELIFE OF A SCHOLAR.To the ReaderTo the ReaderI here present you, courteous reader, with the record of a remarkable period I here present you, courteous reader, with the record of a remarkable period in my life: according to my application of it, I trust that it will prove not in my life: according to my application of it, I trust that it will prove not merely an interesting record, but in a considerable degree useful and merely an interesting record, but in a considerable degree useful and instructive.  In instructive.  In thatthat hope it is that I have drawn it up; and  hope it is that I have drawn it up; and thatthat must be my  must be my apology for breaking through that delicate and honourable reserve which, for apology for breaking through that delicate and honourable reserve which, for the most part, restrains us from the public exposure of our own errors and the most part, restrains us from the public exposure of our own errors and infirmities.  Nothing, indeed, is more revolting to English feelings than the infirmities.  Nothing, indeed, is more revolting to English feelings than the spectacle of a human being obtruding on our notice his moral ulcers or scars, spectacle of a human being obtruding on our notice his moral ulcers or scars, and tearing away that “decent drapery” which time or indulgence to human and tearing away that “decent drapery” which time or indulgence to human frailty may have drawn over them; accordingly, the greater part frailty may have drawn over them; accordingly, the greater part of of ourour confessions (that is, spontaneous and extra-judicial confessions)  confessions (that is, spontaneous and extra-judicial confessions) proceed from demireps, adventurers, or swindlers: and for any such acts of proceed from demireps, adventurers, or swindlers: and for any such acts of gratuitous self-humiliation from those who can be supposed in sympathy with gratuitous self-humiliation from those who can be supposed in sympathy with the decent and self-respecting part of society, we must look to French the decent and self-respecting part of society, we must look to French literature, or to that part of the German which is tainted with the spurious literature, or to that part of the German which is tainted with the spurious and defective sensibility of the French.  All this I feel so forcibly, and so and defective sensibility of the French.  All this I feel so forcibly, and so nervously am I alive to reproach of this tendency, that I have for many nervously am I alive to reproach of this tendency, that I have for many months hesitated about the propriety of allowing this or any part of my months hesitated about the propriety of allowing this or any part of my narrative to come before the public eye until after my death (when, for many narrative to come before the public eye until after my death (when, for many reasons, the whole will be published); and it is not without an anxious review reasons, the whole will be published); and it is not without an anxious review of the reasons for and against this step that I have at last concluded on of the reasons for and against this step that I have at last concluded on taking it.taking it.Guilt and misery shrink, by a natural instinct, from public notice: they court Guilt and misery shrink, by a natural instinct, from public notice: they court privacy and solitude: and even in their choice of a grave will sometimes privacy and solitude: and even in their choice of a grave will sometimes sequester themselves from the general population of the churchyard, as if sequester themselves from the general population of the churchyard, as if declining to claim fellowship with the great family of man, and wishing (in declining to claim fellowship with the great family of man, and wishing (in the affecting language of Mr. Wordsworththe affecting language of Mr. Wordsworth ” ”Humbly to express / A penitential loneliness”.Humbly to express / A penitential loneliness”.

It is well, upon the whole, and for the interest of us all, that it should be so: It is well, upon the whole, and for the interest of us all, that it should be so: nor would I willingly in my own person manifest a disregard of such salutary nor would I willingly in my own person manifest a disregard of such salutary feelings, nor in act or word do anything to weaken them; but, on the one feelings, nor in act or word do anything to weaken them; but, on the one hand, as my self-accusation does not amount to a confession of guilt, so, on hand, as my self-accusation does not amount to a confession of guilt, so, on the other, it is possible that, if itthe other, it is possible that, if itdiddid, the benefit resulting to others from the , the benefit resulting to others from the record of an experience purchased at so heavy a price might compensate, by record of an experience purchased at so heavy a price might compensate, by a vast overbalance, for any violence done to the feelings I have noticed, and a vast overbalance, for any violence done to the feelings I have noticed, and justify a breach of the general rule.  Infirmity and misery do not of necessity justify a breach of the general rule.  Infirmity and misery do not of necessity imply guilt.  They approach or recede from shades of that dark alliance, in imply guilt.  They approach or recede from shades of that dark alliance, in proportion to the probable motives and prospects of the offender, and the proportion to the probable motives and prospects of the offender, and the palliations, known or secret, of the offence; in proportion as the temptations palliations, known or secret, of the offence; in proportion as the temptations to it were potent from the first, and the resistance to it, in act or in effort, to it were potent from the first, and the resistance to it, in act or in effort, was earnest to the last.  For my own part, without breach of truth or was earnest to the last.  For my own part, without breach of truth or modesty, I may affirm that my life has been, on the whole, the life of a modesty, I may affirm that my life has been, on the whole, the life of a philosopher: from my birth I was made an intellectual creature, and philosopher: from my birth I was made an intellectual creature, and intellectual in the highest sense my pursuits and pleasures have been, even intellectual in the highest sense my pursuits and pleasures have been, even from my schoolboy days.  If opium-eating be a sensual pleasure, and if I am from my schoolboy days.  If opium-eating be a sensual pleasure, and if I am bound to confess that I have indulged in it to an excess not yet bound to confess that I have indulged in it to an excess not yet recordedrecorded  {1} of any other man, it is no less true that I have struggled against this  of any other man, it is no less true that I have struggled against this fascinating enthralment with a religious zeal, and have at length fascinating enthralment with a religious zeal, and have at length accomplished what I never yet heard attributed to any other man—have accomplished what I never yet heard attributed to any other man—have untwisted, almost to its final links, the accursed chain which fettered me.  untwisted, almost to its final links, the accursed chain which fettered me.  Such a self-conquest may reasonably be set off in counterbalance to any kind Such a self-conquest may reasonably be set off in counterbalance to any kind or degree of self-indulgence.  Not to insist that in my case the self-conquest or degree of self-indulgence.  Not to insist that in my case the self-conquest was unquestionable, the self-indulgence open to doubts of casuistry, was unquestionable, the self-indulgence open to doubts of casuistry, according as that name shall be extended to acts aiming at the bare relief of according as that name shall be extended to acts aiming at the bare relief of pain, or shall be restricted to such as aim at the excitement of positive pain, or shall be restricted to such as aim at the excitement of positive pleasure.pleasure.(From the “London Magazine” for September(From the “London Magazine” for September 1821.) 1821.)http://www.gutenberg.org/files/2040/2040-h/2040-h.htmhttp://www.gutenberg.org/files/2040/2040-h/2040-h.htm

Illustratins on The Confessions of the Opium Eater Illustratins on The Confessions of the Opium Eater

Opium den in the East of LondonOpium den in the East of London

The story of the urban wanderer can be The story of the urban wanderer can be taken back to Thomas de Quincey and his taken back to Thomas de Quincey and his drug fuelled wanderings in Confessions of an drug fuelled wanderings in Confessions of an English Opium EaterEnglish Opium Eater

WOMEN IN THE WAVES - Laurence Chaves, WOMEN IN THE WAVES - Laurence Chaves, illustration from Thomas de Quincey's illustration from Thomas de Quincey's Confessions of an English Opium EaterConfessions of an English Opium Eater

Lawrence Chaves, The Confessions of an English Opium-EaterLawrence Chaves, The Confessions of an English Opium-Eater

"En algún lugar, no sé dónde, de alguna manera, no sé cómo, unos seres, no sé cuáles, libraban una batalla, un combate, una "En algún lugar, no sé dónde, de alguna manera, no sé cómo, unos seres, no sé cuáles, libraban una batalla, un combate, una agonía que se desarrollaba como un gran drama”.agonía que se desarrollaba como un gran drama”.

"Nobody will laugh long who deals much with opium: its pleasures even are of a grave and ..."Nobody will laugh long who deals much with opium: its pleasures even are of a grave and ...

Illustrations by Sonia WolfIllustrations by Sonia Wolf

Robert Southey Robert Southey (1774-(1774-1843)1843)

Robert Southey’s Robert Southey’s biographybiography

Robert Southey, the son of a linen draper, was born in Bristol in Robert Southey, the son of a linen draper, was born in Bristol in 1774. After his father's death an uncle sent him to Westminster 1774. After his father's death an uncle sent him to Westminster School but he was expelled in 1792 after denouncing flogging in School but he was expelled in 1792 after denouncing flogging in the school magazine.the school magazine.In 1794 Southey met Samuel Taylor Coleridge in Bristol and the two In 1794 Southey met Samuel Taylor Coleridge in Bristol and the two men became close friends. They developed radical political and men became close friends. They developed radical political and religious views and began making plans to emigrate to religious views and began making plans to emigrate to Pennsylvania where they intended to set up a commune based on Pennsylvania where they intended to set up a commune based on communistic values. Southey and Coleridge eventually abandoned communistic values. Southey and Coleridge eventually abandoned this plan and instead stayed in England where they concentrated this plan and instead stayed in England where they concentrated on communicating their radical ideas. This included the play they on communicating their radical ideas. This included the play they wrote together, wrote together, The Fall of RobespierreThe Fall of Robespierre. Southey also wrote the . Southey also wrote the republican play, republican play, Wat TylerWat Tyler..In 1795 Southey married Edith Fricker, whose elder sister, Sara In 1795 Southey married Edith Fricker, whose elder sister, Sara Fricker, married Samuel Taylor Coleridge. That year saw the Fricker, married Samuel Taylor Coleridge. That year saw the publication of his book publication of his book PoemsPoems and the epic poem,  and the epic poem, Joan of ArcJoan of Arc. . Between 1796 and 1798 he wrote many ballads, including Between 1796 and 1798 he wrote many ballads, including The The Inchcape RockInchcape Rock and  and The Battle of BlenheimThe Battle of Blenheim. Southey's poetry sold . Southey's poetry sold poorly and had to rely on the £160 a year allowance paid to him by poorly and had to rely on the £160 a year allowance paid to him by his friend Charles Wynn.his friend Charles Wynn.Southey gradually lost his radical opinions and in 1807 he was Southey gradually lost his radical opinions and in 1807 he was rewarded by being granted an annual allowance by rewarded by being granted an annual allowance by the Tory government. In 1809 Robert Southey joined the staff of the Tory government. In 1809 Robert Southey joined the staff of the the Quarterly ReviewQuarterly Review established by John Murray in 1809 as  established by John Murray in 1809 as a Tory rival to the Whig supporting a Tory rival to the Whig supporting Edinburgh ReviewEdinburgh Review. Other . Other contributors included the Tory politicians George Canning and contributors included the Tory politicians George Canning and the Marquis of Salisbury.the Marquis of Salisbury.In 1813 Robert Southey was appointed poet laureate. Southey was In 1813 Robert Southey was appointed poet laureate. Southey was criticised by Lord Byron and William Hazlitt who accused him of criticised by Lord Byron and William Hazlitt who accused him of betraying his political principles for money. In 1821 Southey betraying his political principles for money. In 1821 Southey commemorated the death of George III with his poem commemorated the death of George III with his poem A Vision of A Vision of JudgementJudgement. This included an attack on Lord Byron who replied . This included an attack on Lord Byron who replied with with The Vision of JudgementThe Vision of Judgement, one of the great satirical parodies of , one of the great satirical parodies of English literature.English literature.Southey wrote several books including: Southey wrote several books including: The Book of the The Book of the ChurchChurch (1824),  (1824), Sir Thomas MoreSir Thomas More (1829),  (1829), Essays Moral and Essays Moral and PoliticalPolitical (1832) and  (1832) and Lives of British AdmiralsLives of British Admirals (1833). Robert  (1833). Robert Southey died in 1843. (by Southey died in 1843. (by John SimkinJohn Simkin))http://www.spartacus.schoolnet.co.uk/Jsouthey.htmhttp://www.spartacus.schoolnet.co.uk/Jsouthey.htm

A 1797 caricature of Southey's early radical poetry

Robert Southey’s Robert Southey’s worksworks

The Fall of Robespierre The Fall of Robespierre (1794)(1794)Wat Tyler (written 1794; published 1817)Wat Tyler (written 1794; published 1817)Joan of Arc: An Epic Poem (1796)Joan of Arc: An Epic Poem (1796)Icelandic poetry or The Edda of Sæmund (1797)Icelandic poetry or The Edda of Sæmund (1797)Poems (1797–99)Poems (1797–99)Letters from Spain (1797)Letters from Spain (1797)Saint Patrick's Purgatory (1798)Saint Patrick's Purgatory (1798)"After Blenheim" (1798)"After Blenheim" (1798)Devil's Thoughts (1799)Devil's Thoughts (1799)The Old Man's Comforts and How He Gained Them (1799)The Old Man's Comforts and How He Gained Them (1799)Thalaba the DestroyerThalaba the Destroyer (1801) (1801)"The Inchcape Rock" (1802)"The Inchcape Rock" (1802)MadocMadoc (1805) (1805)The Curse of KehamaThe Curse of Kehama (1810) (1810)Roderick the Last of the GothsRoderick the Last of the Goths (1814) (1814)What Are Little Boys Made Of?What Are Little Boys Made Of? (1820 - popular children's nursery rhyme). (1820 - popular children's nursery rhyme).Recollections of the Lake PoetsRecollections of the Lake PoetsThe Story of the Three Bears (in the prose collection The Doctor)The Story of the Three Bears (in the prose collection The Doctor)Biographies: Biographies: the life and works of John Bunyan, John Wesley, William Cowper, Oliver the life and works of John Bunyan, John Wesley, William Cowper, Oliver Cromwell and Horatio Nelson.Cromwell and Horatio Nelson.The History of BrazilThe History of Brazil

After BlenheimAfter BlenheimThis is an anti-war poem written in 1796. The poem is set at the site This is an anti-war poem written in 1796. The poem is set at the site of the Battle of Blenheim (1704), with the questions of small children of the Battle of Blenheim (1704), with the questions of small children about a skull one of them has found. An old man tells two small about a skull one of them has found. An old man tells two small children of burned homes, civilian casualties, and rotting corpses. He children of burned homes, civilian casualties, and rotting corpses. He said repeatedly “I was a famous victory".said repeatedly “I was a famous victory".

Illustration from The Children's Encyclopædia.

In this story Old Kaspar has finished his work and is sitting in the sun in front of the cottage, watching his little granddaughter at play. Peterkin, his grandson, has been rolling a hard round object he found near the stream. He brings it to the old man, who explains that it is some poor fellow's skull. He admits that he often finds them while ploughing in the garden and little Wilhelmine looks up with wonder-waiting eyes. Kaspar explains to the children the story of the battle, that the Duke of Marlborough routed the French, although he admits he never understood the reason for the war himself.He also mentions that his father had a cottage by the rivulet but the soldiers burned it to the ground, and his father and mother had fled with their child.

After BlenheimAfter BlenheimIt was a summer evening,It was a summer evening,Old Kaspar's work was done,Old Kaspar's work was done,And he before his cottage doorAnd he before his cottage doorWas sitting in the sun,Was sitting in the sun,And by him sported on the greenAnd by him sported on the greenHis little grandchild Wilhelmine.His little grandchild Wilhelmine.She saw her brother PeterkinShe saw her brother PeterkinRoll something large and round,Roll something large and round,Which he beside the rivuletWhich he beside the rivuletIn playing there had found;In playing there had found;He came to ask what he had found,He came to ask what he had found,That was so large, and smooth, and round.That was so large, and smooth, and round.Old Kaspar took it from the boy,Old Kaspar took it from the boy,Who stood expectant by;Who stood expectant by;And then the old man shook his head,And then the old man shook his head,And, with a natural sigh,And, with a natural sigh,''Tis some poor fellow's skull,' said he,''Tis some poor fellow's skull,' said he,'Who fell in the great victory.'Who fell in the great victory.'I find them in the garden,'I find them in the garden,For there's many here about;For there's many here about;And often when I go to plough,And often when I go to plough,The ploughshare turns them out!The ploughshare turns them out!For many thousand men,' said he,For many thousand men,' said he,'Were slain in that great victory.''Were slain in that great victory.'

The Duke of Marlborough Signing the Despatch at Blenheim. Oil by Robert Alexander Hillingford.

'Now tell us what 'twas all about,''Now tell us what 'twas all about,'Young Peterkin, he cries;Young Peterkin, he cries;And little Wilhelmine looks upAnd little Wilhelmine looks upWith wonder-waiting eyes;With wonder-waiting eyes;'Now tell us all about the war,'Now tell us all about the war,And what they fought each other for.'And what they fought each other for.'

'It was the English,' Kaspar cried,'It was the English,' Kaspar cried,'Who put the French to rout;'Who put the French to rout;But what they fought each other for,But what they fought each other for,I could not well make out;I could not well make out;But everybody said,' quoth he,But everybody said,' quoth he,'That 'twas a famous victory.'That 'twas a famous victory.

'My father lived at Blenheim then,'My father lived at Blenheim then,Yon little stream hard by;Yon little stream hard by;They burnt his dwelling to the ground,They burnt his dwelling to the ground,And he was forced to fly;And he was forced to fly;So with his wife and child he fled,So with his wife and child he fled,Nor had he where to rest his head.Nor had he where to rest his head.

'With fire and sword the country round'With fire and sword the country roundWas wasted far and wide,Was wasted far and wide,And many a childing mother then,And many a childing mother then,And new-born baby died;And new-born baby died;But things like that, you know, must beBut things like that, you know, must beAt every famous victory.At every famous victory.

'They say it was a shocking sight'They say it was a shocking sightAfter the field was won;After the field was won;For many thousand bodies hereFor many thousand bodies hereLay rotting in the sun;Lay rotting in the sun;But things like that, you know, must beBut things like that, you know, must beAfter a famous victory.After a famous victory.

'Great praise the Duke of Marlbro' won,'Great praise the Duke of Marlbro' won,And our good Prince Eugene.'And our good Prince Eugene.''Why, 'twas a very wicked thing!''Why, 'twas a very wicked thing!'Said little Wilhelmine.Said little Wilhelmine.'Nay… nay… my little girl,' quoth he,'Nay… nay… my little girl,' quoth he,'It was a famous victory.'It was a famous victory.

'And everybody praised the Duke'And everybody praised the DukeWho this great fight did win.'Who this great fight did win.''But what good came of it at last?''But what good came of it at last?'Quoth little Peterkin.Quoth little Peterkin.'Why that I cannot tell,' said he,'Why that I cannot tell,' said he,'But 'twas a famous victory.' 'But 'twas a famous victory.' 

The Story of the Three Bears, the original The Story of the Three Bears, the original Goldilocks storyGoldilocks storyPerhaps Robert Southey’s most enduring Perhaps Robert Southey’s most enduring contribution to literary history is theimmortal contribution to literary history is theimmortal children's classic, children's classic, The Story of the Three BearsThe Story of the Three Bears, the , the originalGoldilocks story, (often known today originalGoldilocks story, (often known today as as "Goldilocks and the Three Bears""Goldilocks and the Three Bears").).This famous children's story was already known at This famous children's story was already known at Southey’s time but it was present only in the oral Southey’s time but it was present only in the oral tradition.  Robert Southey was the first author to tradition.  Robert Southey was the first author to record it in narrative form and so it was first record it in narrative form and so it was first published in a volume of his writings (‘The Doctor’) published in a volume of his writings (‘The Doctor’) in 1837. (The same year, writer George Nicol in 1837. (The same year, writer George Nicol published a version published a version in rhymein rhyme based upon Southey's  based upon Southey's prose tale, with Southey approving it). Both versions prose tale, with Southey approving it). Both versions tell of three bears and an old woman who trespasses tell of three bears and an old woman who trespasses upon their property. Since then, a many publications upon their property. Since then, a many publications of the story, told by different authors, followed and of the story, told by different authors, followed and it is important to point out that the it is important to point out that the tale experienced two significant changes during its tale experienced two significant changes during its early publication history. Southey's elderly early publication history. Southey's elderly antagonist (an old hairy woman, described at various antagonist (an old hairy woman, described at various points in the story as impudent, bad, foul-mouthed, points in the story as impudent, bad, foul-mouthed, ugly, dirty and a vagrant) was transformed in fact ugly, dirty and a vagrant) was transformed in fact into a pretty little girl called Goldilocks, and his into a pretty little girl called Goldilocks, and his three male bears became Father, Mother, and Baby three male bears became Father, Mother, and Baby Bear. What was originally a fearsome oral tale Bear. What was originally a fearsome oral tale became a cozy family story with only a hint of became a cozy family story with only a hint of menace. The story has seen various interpretations menace. The story has seen various interpretations and is really one of the most popular fairy tales in and is really one of the most popular fairy tales in the English language.the English language.http://aversimasini.blogspot.com.br/2010/12/robert-southey-story-of-three-bears.htmlhttp://aversimasini.blogspot.com.br/2010/12/robert-southey-story-of-three-bears.html

Illustration by Arthur Rackham

The StoryThe Story

ONCE upon a time there were three Bears, who lived together in a house of ONCE upon a time there were three Bears, who lived together in a house of their own in a wood. One of them was a Little, Small, Wee Bear; and one was their own in a wood. One of them was a Little, Small, Wee Bear; and one was a Middle-sized Bear, and the other was a Great, Huge Bear. They had each a a Middle-sized Bear, and the other was a Great, Huge Bear. They had each a pot for their porridge, [...] and they had each a chair to sit in […] and they pot for their porridge, [...] and they had each a chair to sit in […] and they had each a bed to sleep in[…].had each a bed to sleep in[…].One day, after they had made the porridge for their breakfast and poured it One day, after they had made the porridge for their breakfast and poured it into their porridge pots, they walked out into the wood while the porridge was into their porridge pots, they walked out into the wood while the porridge was cooling, that they might not burn their mouths by beginning too soon to eat cooling, that they might not burn their mouths by beginning too soon to eat it. And while they were walking a little old woman came to the house. She it. And while they were walking a little old woman came to the house. She could not have been a good, honest, old woman; for, first, she looked in at could not have been a good, honest, old woman; for, first, she looked in at the window, and then she peeped in at the keyhole, and, seeing nobody in the window, and then she peeped in at the keyhole, and, seeing nobody in the house, she lifted the latch. The door was not fastened, because the bears the house, she lifted the latch. The door was not fastened, because the bears were good bears, who did nobody any harm, and never suspected that were good bears, who did nobody any harm, and never suspected that anybody would harm them. So the little old woman opened the door and anybody would harm them. So the little old woman opened the door and went in; and well pleased she was when she saw the porridge on the table. If went in; and well pleased she was when she saw the porridge on the table. If she had been a good little old woman she would have waited till the bears she had been a good little old woman she would have waited till the bears came home, and then, perhaps, they would have asked her to breakfast, for came home, and then, perhaps, they would have asked her to breakfast, for they were good hears-a little rough or so, as the manner of bear's is, but for they were good hears-a little rough or so, as the manner of bear's is, but for all that very good-natured and hospitable. But she was an impudent, bad old all that very good-natured and hospitable. But she was an impudent, bad old woman, and set about helping herself. […]woman, and set about helping herself. […]

Illustration from Childhood's Favorites and Fairy Stories

Goldilocks caught in Baby Bear's bed – by Brooke

"Scrapefoot" illustration by John D. Batten

Thalaba the DestroyerThalaba the DestroyerPlot:Plot: Thalaba opens with the wandering footsteps of a woman, Thalaba opens with the wandering footsteps of a woman, who is flying with her son over the desarts of Arabia, and who is flying with her son over the desarts of Arabia, and the boy is soon left crying in the wilderness, over the the boy is soon left crying in the wilderness, over the lifeless remains of his mother. This child is Thalaba, who lifeless remains of his mother. This child is Thalaba, who by a miracle has escaped from a murderer who has by a miracle has escaped from a murderer who has sacrificed his father, an old Arab, named Hodeisa, and all sacrificed his father, an old Arab, named Hodeisa, and all his race. The murderer is the agent of a party of his race. The murderer is the agent of a party of magicians, who dwell in the caverns of Domdaniel, at the magicians, who dwell in the caverns of Domdaniel, at the bottom of the ocean, and who have been informed that bottom of the ocean, and who have been informed that their destroyer is to spring up from the race of Hodeisa. their destroyer is to spring up from the race of Hodeisa. The conflicts between Thalaba and these magicians form The conflicts between Thalaba and these magicians form the subject of the poem, and at length the young hero the subject of the poem, and at length the young hero penetrates into the retreat of his enemies, and, like penetrates into the retreat of his enemies, and, like another Samson, perishes along with them beneath the another Samson, perishes along with them beneath the ruins of their cavern. (Living Poets of England (1827) 2:7).ruins of their cavern. (Living Poets of England (1827) 2:7).http://spenserians.cath.vt.edu/TextRecord.php?action=GET&textsid=35535http://spenserians.cath.vt.edu/TextRecord.php?action=GET&textsid=35535

Thalaba The DestroyerThalaba The DestroyerHow beautiful is night!How beautiful is night!A dewy freshness fills the silent air,A dewy freshness fills the silent air,No mist obscures, no little cloudNo mist obscures, no little cloudBreaks the whole serene of heaven:Breaks the whole serene of heaven:In full-orbed glory the majestic moonIn full-orbed glory the majestic moonRolls thro the dark blue depths.Rolls thro the dark blue depths.Beneath her steady rayBeneath her steady rayThe desert circle spreads,The desert circle spreads,Like the round ocean, girdled with the sky.Like the round ocean, girdled with the sky.How beautiful is night!How beautiful is night!

Who at this untimely hourWho at this untimely hourWanders o’er the desert sands?Wanders o’er the desert sands?No station is in view,No palm-grove isNo station is in view,No palm-grove islanded amid the waste.The mother and her landed amid the waste.The mother and her child,child,The widow and the orphan at this hourThe widow and the orphan at this hourWander o’er the desert sands.Wander o’er the desert sands.

Alas! the setting sunAlas! the setting sunSaw Zeinab in her bliss,Saw Zeinab in her bliss,Hodeirah’s wife beloved.Hodeirah’s wife beloved.Alas! the wife beloved,Alas! the wife beloved,The fruitful mother late,The fruitful mother late,Whom when the daughters of Arabia namedWhom when the daughters of Arabia namedThey wished their lot like her’s;They wished their lot like her’s;She wanders o’er the desert sandsShe wanders o’er the desert sandsA wretched widow now,A wretched widow now,The fruitful mother of so fair a race,The fruitful mother of so fair a race,With only one preserved,With only one preserved,She wanders o’er the wilderness.She wanders o’er the wilderness.

No tear relieved the burthen of her heart;No tear relieved the burthen of her heart;Stunned with the heavy woe she felt like oneStunned with the heavy woe she felt like oneHalf-wakened from a midnight dream of blood.Half-wakened from a midnight dream of blood.But sometimes when her boyBut sometimes when her boyWould wet her hand with tears,Would wet her hand with tears,And looking up to her fixed countenance,And looking up to her fixed countenance,Amid his bursting sobsAmid his bursting sobsSay the dear name of MOTHER, then would sheSay the dear name of MOTHER, then would sheUtter a feeble groan.Utter a feeble groan.At length collecting, Zeinab turned her eyesAt length collecting, Zeinab turned her eyesTo heaven, exclaiming, “praised be the Lord!To heaven, exclaiming, “praised be the Lord!““He gave,He gave,[1] he takes away, he takes away,““The Lord our God is good!” […]The Lord our God is good!” […]

She had not wept till that assuaging prayer....She had not wept till that assuaging prayer....The fountains of her eyes were opened then,The fountains of her eyes were opened then,And tears relieved her heart.And tears relieved her heart.She raised her swimming eyes to Heaven,She raised her swimming eyes to Heaven,““Allah, thy will be done!Allah, thy will be done!““Beneath the dispensation of thy wrathBeneath the dispensation of thy wrath““I groan, but murmur not.I groan, but murmur not.““The Day of the Trial will come,The Day of the Trial will come,““When I shall understand how profitableWhen I shall understand how profitable““It is to suffer now.”It is to suffer now.”

Young Thalaba in silence heard reproof,Young Thalaba in silence heard reproof,His brow in manly frowns was knit,His brow in manly frowns was knit,With manly thoughts his heart was full.With manly thoughts his heart was full.““Tell me who slew my father?Tell me who slew my father?” ” cried the boy.Zeinab replied and said,cried the boy.Zeinab replied and said,““I knew not that there lived thy father’s foe.I knew not that there lived thy father’s foe.““The blessings of the poor for himThe blessings of the poor for him““Went daily up to Heaven,Went daily up to Heaven,““In distant lands the traveller told his praise.In distant lands the traveller told his praise.““I did not think there livedI did not think there lived““Hodeirah’s enemy.”Hodeirah’s enemy.”

““But I will hunt him thro’ the earth!But I will hunt him thro’ the earth!””Young Thalaba exclaimed.Young Thalaba exclaimed.““Already I can bend my father’s bow,Already I can bend my father’s bow,““Soon will my arm have strengthSoon will my arm have strength““To drive the arrow-feathers to his heart.”To drive the arrow-feathers to his heart.”

Zeinab replied, “O Thalaba, my child,Zeinab replied, “O Thalaba, my child,““Thou lookest on to distant days,Thou lookest on to distant days,““And we are in the desert far from men!”And we are in the desert far from men!”

Not till that moment her afflicted heartNot till that moment her afflicted heartHad leisure for the thought.Had leisure for the thought.She cast her eyes around,She cast her eyes around,Alas! no tents were thereAlas! no tents were thereBeside the bending sands;Beside the bending sands;No palm tree rose to spot the wilderness.No palm tree rose to spot the wilderness.The dark blue sky closed roundThe dark blue sky closed roundAnd restedAnd rested[2] like a dome like a domeUpon the circling waste.Upon the circling waste.She cast her eyes around,She cast her eyes around,Famine and Thirst were there.Famine and Thirst were there.Then the mother bowed her head,Then the mother bowed her head,And wept upon her child.And wept upon her child.

... Sudden a cry of wonder... Sudden a cry of wonderFrom Thalaba aroused her,From Thalaba aroused her,She raised her head, and sawShe raised her head, and sawWhere high in air a stately palace rose.Where high in air a stately palace rose.Amid a grove emboweredAmid a grove emboweredStood the prodigious pile,Stood the prodigious pile,Trees of such ancient majestyTrees of such ancient majestyTowered not on Yemen’s happy hills,Towered not on Yemen’s happy hills,Nor crowned the stately brow of Nor crowned the stately brow of Lebanon.Fabric so vast, so lavishly enriched,Lebanon.Fabric so vast, so lavishly enriched,For Idol, or for Tyrant, never yetFor Idol, or for Tyrant, never yetRaised the slave race of menIn Raised the slave race of menIn Rome, nor in the elder Babylon,Rome, nor in the elder Babylon,Nor old Persepolis,Nor old Persepolis,Nor where the family of GreeceNor where the family of GreeceHymned Eleutherian Jove.Hymned Eleutherian Jove.Here studding azureHere studding azure[3] tablatures tablaturesAnd rayed with feeble light,And rayed with feeble light,Star-like the ruby and the diamond shone:Star-like the ruby and the diamond shone:Here on the golden towersHere on the golden towersThe yellow moon-beam lay;The yellow moon-beam lay;Here with white splendour floods the silver wall.Here with white splendour floods the silver wall.Less wonderous pile and less magnificentLess wonderous pile and less magnificentSennamarSennamar[4] built at Hirah, tho’ his art built at Hirah, tho’ his artSealed with one stone the ample edificeSealed with one stone the ample edificeAnd made its colours, like the serpents skinAnd made its colours, like the serpents skinPlay with a changeful beauty: him, its LordPlay with a changeful beauty: him, its LordJealous lest after-effort might surpassJealous lest after-effort might surpassThe now unequalled palace, from its heightThe now unequalled palace, from its heightDashed on the pavement down.Dashed on the pavement down.

Thalaba the Destroyer.Thalaba the Destroyer.Several episodes in Robert Southey's long Arabian tale recall similar Several episodes in Robert Southey's long Arabian tale recall similar things in the Faerie Queene; there are scenes where the symbolism things in the Faerie Queene; there are scenes where the symbolism borders on allegory, though much of the action and imagery appears borders on allegory, though much of the action and imagery appears purely sensational, as irregular as Southey's irregular stanzas (which purely sensational, as irregular as Southey's irregular stanzas (which Shelley would imitate a decade later in his Queen Mab allegory). In the Shelley would imitate a decade later in his Queen Mab allegory). In the course of the Thalaba Southey takes epigraphs from four of Spenser's course of the Thalaba Southey takes epigraphs from four of Spenser's works.works.

Preface: "In the continuation of the Arabian Tales, the Domdaniel is Preface: "In the continuation of the Arabian Tales, the Domdaniel is mentioned; a seminary for evil magicians, under the roots of the sea. mentioned; a seminary for evil magicians, under the roots of the sea. From this seed the present romance has grown. Let me not be supposed From this seed the present romance has grown. Let me not be supposed to prefer the rhythm in which it is written, abstractedly considered, to to prefer the rhythm in which it is written, abstractedly considered, to the regular blank verse; the noblest measure, in my judgment, of which the regular blank verse; the noblest measure, in my judgment, of which our admirable language is capable. For the following Poem I have our admirable language is capable. For the following Poem I have preferred it, because it suits the varied subject: it is the Arabesque preferred it, because it suits the varied subject: it is the Arabesque ornament of an Arabian tale" Works (1837) 4:xv.ornament of an Arabian tale" Works (1837) 4:xv.

Lord Byron: "Thalaba, Mr. SOUTHEY'S second poem, is written in open Lord Byron: "Thalaba, Mr. SOUTHEY'S second poem, is written in open defiance of precedent poetry. Mr. S. wished to produce something novel, defiance of precedent poetry. Mr. S. wished to produce something novel, and succeeded to a miracle. Joan of Arc was marvellous enough, but and succeeded to a miracle. Joan of Arc was marvellous enough, but Thalaba was one of those poems 'which,' in the words of PORSON, 'will Thalaba was one of those poems 'which,' in the words of PORSON, 'will be read when Homer and Virgil are forgotten, but — not till then'" Lord be read when Homer and Virgil are forgotten, but — not till then'" Lord Byron, English Bards and Scotch Reviewers (1809) in Poetical Works, ed. Byron, English Bards and Scotch Reviewers (1809) in Poetical Works, ed. E. H. Coleridge (1898-1904) 1:313n.E. H. Coleridge (1898-1904) 1:313n.http://spenserians.cath.vt.edu/TextRecord.php?action=GET&textsid=35535http://spenserians.cath.vt.edu/TextRecord.php?action=GET&textsid=35535

The Curse of KehamaThe Curse of KehamaI charm thy life, I charm thy life, From the weapons of strife, From the weapons of strife, From stone and from wood, From stone and from wood, From fire and from flood, From fire and from flood, From the serpent’s tooth, From the serpent’s tooth, And the beast of blood.And the beast of blood.From sickness I charm thee, From sickness I charm thee, And time shall not harm thee; And time shall not harm thee; But earth, which is mine, But earth, which is mine, Its fruits shall deny thee; Its fruits shall deny thee; And water shall hear me, And water shall hear me, And know thee and flee thee: And know thee and flee thee: And the winds shall not touch And the winds shall not touch theetheeWhen they pass by thee, When they pass by thee, And the dews shall not wet theeAnd the dews shall not wet theeWhen they fall nigh thee.When they fall nigh thee.And thou shalt seek death, And thou shalt seek death, To release thee, in vain; To release thee, in vain; Thou shalt live in thy pain, Thou shalt live in thy pain, While Kehama shall reign, While Kehama shall reign, With a fire in thy heart, With a fire in thy heart, And a fire in thy brain.And a fire in thy brain.And sleep shall obey me, And sleep shall obey me, And visit thee never, And visit thee never, And the curse shall be on theeAnd the curse shall be on theeForever and ever. Forever and ever. 

Wat TylerWat TylerSome of Southey’s contemporaries attacked him, seeig him as a selling out for money Some of Southey’s contemporaries attacked him, seeig him as a selling out for money and respectability. In 1817 Southey was confronted with the surreptitious publication of a and respectability. In 1817 Southey was confronted with the surreptitious publication of a radical play, radical play, Wat TylerWat Tyler, which he had written in 1794 at the height of his radical period. , which he had written in 1794 at the height of his radical period. This was instigated by his enemies in an attempt to embarrass the Poet Laureate and This was instigated by his enemies in an attempt to embarrass the Poet Laureate and highlight his apostasy from radical poet to supporter of the Tory establishment. One of his highlight his apostasy from radical poet to supporter of the Tory establishment. One of his most savage critics was William Hazlitt. In his portrait of Southey, in most savage critics was William Hazlitt. In his portrait of Southey, in The Spirit of the AgeThe Spirit of the Age, , he wrote: "He wooed Liberty as a youthful lover, but it was perhaps more as a mistress he wrote: "He wooed Liberty as a youthful lover, but it was perhaps more as a mistress than a bride; and he has since wedded with an elderly and not very reputable lady, called than a bride; and he has since wedded with an elderly and not very reputable lady, called Legitimacy." Southey largely ignored his critics but was forced to defend himself when Legitimacy." Southey largely ignored his critics but was forced to defend himself when William Smith, a member of Parliament, rose in the House of Commons on 14 March to William Smith, a member of Parliament, rose in the House of Commons on 14 March to attack him. In a spirited response Southey wrote an open letter to the MP, in which he attack him. In a spirited response Southey wrote an open letter to the MP, in which he explained that he had always aimed at lessening human misery and bettering the explained that he had always aimed at lessening human misery and bettering the condition of all the lower classes and that he had only changed in respect of "the means condition of all the lower classes and that he had only changed in respect of "the means by which that amelioration was to be effected". As he put it, "that as he learnt to by which that amelioration was to be effected". As he put it, "that as he learnt to understand the institutions of his country, he learnt to appreciate them rightly, to love, understand the institutions of his country, he learnt to appreciate them rightly, to love, and to revere, and to defend them."and to revere, and to defend them."He was often mocked for what were seen as sycophantic odes to the king, most notably He was often mocked for what were seen as sycophantic odes to the king, most notably in Byron's long ironic dedication of in Byron's long ironic dedication of Don JuanDon Juan to Southey. In the poem Southey is  to Southey. In the poem Southey is dismissed as insolent, narrow and shabby. This was based both on Byron's disrespect for dismissed as insolent, narrow and shabby. This was based both on Byron's disrespect for Southey's literary talent, and his disdain for what he perceived as Southey's hypocritical Southey's literary talent, and his disdain for what he perceived as Southey's hypocritical turn to conservative politics later in life.turn to conservative politics later in life.The source of much of the animosity between the two men can be traced back to Byron's The source of much of the animosity between the two men can be traced back to Byron's belief that Southey had spread rumours about himself and Percy Shelley being in a belief that Southey had spread rumours about himself and Percy Shelley being in a "League of Incest" during their time on Lake Geneva in 1816, a claim that Southey "League of Incest" during their time on Lake Geneva in 1816, a claim that Southey strenuously denied. strenuously denied. In response, Southey attacked what he called the Satanic School among modern poets in In response, Southey attacked what he called the Satanic School among modern poets in the preface to his poem, the preface to his poem, A Vision of JudgementA Vision of Judgement, written following the death of George III. , written following the death of George III. While not referring to Byron by name, it was clearly directed at him, and Byron retaliated While not referring to Byron by name, it was clearly directed at him, and Byron retaliated with with The Vision of JudgmentThe Vision of Judgment, a brilliant parody of Southey's poem., a brilliant parody of Southey's poem.

Who was Wat Tyler?Who was Wat Tyler?WatWat  TylerTyler died 15 June 1381. He was a leader of the  died 15 June 1381. He was a leader of the 1381 Peasants' Revolt in England. He marched a group of 1381 Peasants' Revolt in England. He marched a group of protesters from Canterbury to the capital to oppose the protesters from Canterbury to the capital to oppose the institution of a poll tax. While the brief rebellion enjoyed institution of a poll tax. While the brief rebellion enjoyed early success, Tyler was killed by officers of King Richard early success, Tyler was killed by officers of King Richard II during negotiations at Smithfield in London. Having II during negotiations at Smithfield in London. Having pledged allegiance to the Crown, he and his supporters pledged allegiance to the Crown, he and his supporters had asked to speak to the monarch - who consented, had asked to speak to the monarch - who consented, saying that they would receive compensation for their saying that they would receive compensation for their complaints if they recognised that English law be fully complaints if they recognised that English law be fully observed, and adding that if they went home peacefully observed, and adding that if they went home peacefully they would be pardoned. According to a contemporary they would be pardoned. According to a contemporary chronicler, Tyler acted contemptuously, calling for a flagon chronicler, Tyler acted contemptuously, calling for a flagon of water to rinse his mouth 'because of the great heat that of water to rinse his mouth 'because of the great heat that he was in' and when he received the water 'he rinsed his he was in' and when he received the water 'he rinsed his mouth in a very rude and disgusting fashion before the mouth in a very rude and disgusting fashion before the King's face'. Tyler was arrested by the Mayor of King's face'. Tyler was arrested by the Mayor of London, William Walworth. Then he reacted, lashing out London, William Walworth. Then he reacted, lashing out with his dagger. The Mayor, who happened to be wearing with his dagger. The Mayor, who happened to be wearing armour, was saved: he slashed his attacker across the armour, was saved: he slashed his attacker across the neck and head with his sword. Another of the king's neck and head with his sword. Another of the king's servants stabbed the man again, causing the fatal wound. servants stabbed the man again, causing the fatal wound. Tyler managed to ride thirty yards on his horse yet was Tyler managed to ride thirty yards on his horse yet was too weak to continue, whereupon he was dragged to the too weak to continue, whereupon he was dragged to the ground and publicly decapitated, his head being placed ground and publicly decapitated, his head being placed atop a pole and carried through the city to be displayed atop a pole and carried through the city to be displayed on London Bridge.on London Bridge. Richard II revoked all the promises and Richard II revoked all the promises and retributions he had promised Tyler. This effectively ended retributions he had promised Tyler. This effectively ended the Revolt.the Revolt.

Wat Tyler's death (left to right: [unidentified]; SirWilliam Walworth, Mayor of London (wielding sword); Wat Tyler; Richard II of England; andJohn Cavendish, esquire to Richard II (bearing 

Peasants' Revolt (death of Wat Tyler)

ACT I.ACT I.                    SCENE, A BLACKSMITH'S-SHOPSCENE, A BLACKSMITH'S-SHOPWat Tyler at work within. A May-poleWat Tyler at work within. A May-polebefore the Door.before the Door.  ALICE, PIERS, &c. ALICE, PIERS, &c. SONG. SONG. 

CHEERFUL on this holiday,1CHEERFUL on this holiday,1Welcome we the merry May.2Welcome we the merry May.2  On ev'ry sunny hillock spread,3On ev'ry sunny hillock spread,3The pale primrose rears her head;The pale primrose rears her head;4Rich with sweets the western gale5Rich with sweets the western gale5Sweeps along the cowslip'd dale.6Sweeps along the cowslip'd dale.6Every bank with violets gay,7Every bank with violets gay,7Smiles to welcome in the May.8Smiles to welcome in the May.8The linnet from the budding grove,9The linnet from the budding grove,9Chirps her vernal song of love.10Chirps her vernal song of love.10The copse resounds the throstle's notes,11The copse resounds the throstle's notes,11On each wild gale sweet music floats;12On each wild gale sweet music floats;12And melody from every spray,13And melody from every spray,13Welcomes in the merry May.14 Welcomes in the merry May.14 Cheerful on this holiday,15Cheerful on this holiday,15Welcome we the merry May.16 Welcome we the merry May.16 

[[DanceDance. . During the Dance, Tyler lays down hisDuring the Dance, Tyler lays down hisHammer, and sits mournfully down before his Door.Hammer, and sits mournfully down before his Door.16sd                                 [[To him.To him.

HOB CARTER. Why so sad, neighbour?—do not these gay sports,HOB CARTER. Why so sad, neighbour?—do not these gay sports,17This revelry of youth, recall the days18This revelry of youth, recall the days18When we too mingled in the revelry;19When we too mingled in the revelry;19And lightly tripping in the And lightly tripping in the morris dance2020Welcomed the merry month?Welcomed the merry month?21    

TYLER.         Aye, we were young;22TYLER.         Aye, we were young;22No cares had quell'd the hey-day of the blood:23No cares had quell'd the hey-day of the blood:23We sported deftly in the April morning,24We sported deftly in the April morning,24Nor mark'd the black clouds gathering o'er our noon;25Nor mark'd the black clouds gathering o'er our noon;25Nor fear'd the storm of night.26Nor fear'd the storm of night.26

HOB          HOB          Beshrew me, Tyler,27 me, Tyler,27But my heart joys to see the imps so cheerful!28But my heart joys to see the imps so cheerful!28Young, hale, and happy, why should they destroy29Young, hale, and happy, why should they destroy29These blessings by reflection?30These blessings by reflection?30

TYLER.      Look ye, neighbour—31TYLER.      Look ye, neighbour—31You have known me long.32You have known me long.32

A painting by Alan Sorrell. The image portrays the peasants storming into Southchurch Hall

HOB.          Since we were boys together,33HOB.          Since we were boys together,33And play'd at And play'd at barley-brake, and danc'd the morris:—34, and danc'd the morris:—34Some five-and-twenty years!35Some five-and-twenty years!35

TYLER.         Was not I young,36TYLER.         Was not I young,36And hale and happy?37And hale and happy?37

HOB. Cheerful as the best.38HOB. Cheerful as the best.38

TYLER. Have not I been a staid, hard-working man?39TYLER. Have not I been a staid, hard-working man?39Up with the lark at labour—sober—honest—40Up with the lark at labour—sober—honest—40Of an unblemish'd character?41Of an unblemish'd character?41

HOB.        Who doubts it,42HOB.        Who doubts it,42There's never a man in Essex bears a better.43There's never a man in Essex bears a better.43

TYLER. And shall not these, tho' young, and hale and happy,44TYLER. And shall not these, tho' young, and hale and happy,44Look on with sorrow to the future hour?45Look on with sorrow to the future hour?45Shall not reflection poison all their pleasures?46Shall not reflection poison all their pleasures?46When I—the honest, staid, hard-working47When I—the honest, staid, hard-working47Tyler, Toil thro' the long course of the summer's day,48Tyler, Toil thro' the long course of the summer's day,48Still toiling, yet still poor! when with hard labour49Still toiling, yet still poor! when with hard labour49Scarce can I furnish out my daily food—50Scarce can I furnish out my daily food—50

RICHARD II: Appeal to mob after Wat Tyler's death, 1846

And age comes on to steal away my strength,51And age comes on to steal away my strength,51And leave me poor and wretched! Why should this be?52And leave me poor and wretched! Why should this be?52My youth was regular—my labour constant—53My youth was regular—my labour constant—53I married an industrious, virtuous woman;54I married an industrious, virtuous woman;54Nor while I toiled and sweated at the anvil,55Nor while I toiled and sweated at the anvil,55Sat she neglectful of her spinning wheel.—56Sat she neglectful of her spinning wheel.—56Hob—I have only six groats in the world,57Hob—I have only six groats in the world,57And they must soon by law be taken from me.58And they must soon by law be taken from me.58

HOB HOB Curse on these taxes—one succeeds another—59—one succeeds another—59Our ministers—panders of a king's will—60Our ministers—panders of a king's will—60Drain all our wealth away—waste it in revels—61Drain all our wealth away—waste it in revels—61And lure, or force away our boys, who should be62And lure, or force away our boys, who should be62The props of our old age!—to fill their armies63The props of our old age!—to fill their armies63And feed the crows of France! year follows year,64And feed the crows of France! year follows year,64And still we madly prosecute the war;—65And still we madly prosecute the war;—65Draining our wealth—distressing our poor peasants—66Draining our wealth—distressing our poor peasants—66Slaughtering our youths—and all to crown our chiefs67Slaughtering our youths—and all to crown our chiefs67With Glory!—I detest the hell-sprung name.68With Glory!—I detest the hell-sprung name.68

TYLER. What matters me who wears the crown of France?69TYLER. What matters me who wears the crown of France?69Whether a Richard or a Whether a Richard or a Charles possess it?70 possess it?70They reap the glory—they enjoy the spoil—71They reap the glory—they enjoy the spoil—71

19th-century illustration, "Death of Wat Tyler," drawn by L.P.Leyendecker. Rebel leader Wat Tyler is killed by the mayor of London during the Peasants'

We pay—we bleed!—The sun would shine as cheerly72We pay—we bleed!—The sun would shine as cheerly72The rains of heaven as seasonably fall;73The rains of heaven as seasonably fall;73Tho' neither of these royal pests existed.74Tho' neither of these royal pests existed.74

HOB. Nay—as for that, we poor men should fare better!75HOB. Nay—as for that, we poor men should fare better!75No legal robbers then should force away76No legal robbers then should force away76The hard-earn'd wages of our honest toil.77The hard-earn'd wages of our honest toil.77The Parliament for ever cries The Parliament for ever cries more money,more money,7878The service of the state demands more money.79The service of the state demands more money.79Just heaven! of what service is the state?80Just heaven! of what service is the state?80

TYLER Oh! 'tis of vast importance! who should pay for81TYLER Oh! 'tis of vast importance! who should pay for81The luxuries and riots of the court?82The luxuries and riots of the court?82Who should support the flaunting courtier's pride,83Who should support the flaunting courtier's pride,83Pay for their midnight revels, their rich garments,84Pay for their midnight revels, their rich garments,84Did not the state enforce?—Think ye, my friend,85Did not the state enforce?—Think ye, my friend,85That I—a humble blacksmith, here at Deptford,86That I—a humble blacksmith, here at Deptford,86Would part with these six groats—earn'd by hard toil,87Would part with these six groats—earn'd by hard toil,87All that I have! To massacre the Frenchmen,88All that I have! To massacre the Frenchmen,88Murder as enemies men I never saw!89Murder as enemies men I never saw!89Did not the state compel me?89Did not the state compel me?89((Tax gatherers pass byTax gatherers pass by) ) There they go, privileg'd There they go, privileg'd r___s!_90                        (PIERS (PIERS andand ALICE  ALICE advance to him.advance to him. ) )90sd

ALICE. Did we not dance it well to-day, my father?91ALICE. Did we not dance it well to-day, my father?91You know I always lov'd these village sports,92You know I always lov'd these village sports,92Even from my infancy, and yet methinks93Even from my infancy, and yet methinks93I never tript along the mead so gaily.94I never tript along the mead so gaily.94You know they chose me queen, and your friend Piers95You know they chose me queen, and your friend Piers95Wreath'd me this cowslip garland for my head—96Wreath'd me this cowslip garland for my head—96Is it not simple?—you are sad, my father!97Is it not simple?—you are sad, my father!97You should have rested from your work to-day,98You should have rested from your work to-day,98And given a few hours up to merriment—99And given a few hours up to merriment—99But you are so serious!100But you are so serious!100

TYLER.              Serious, my good girl!101TYLER.              Serious, my good girl!101I may well be so: when I look at thee102I may well be so: when I look at thee102It makes me sad! thou art too fair a flower103It makes me sad! thou art too fair a flower103To bear the wintry wind of poverty!104 To bear the wintry wind of poverty!104

PIERS. Yet I have often head you speak of riches105PIERS. Yet I have often head you speak of riches105Even with contempt: they cannot purchase peace,106Even with contempt: they cannot purchase peace,106Or innocence; or virtue—sounder sleep107Or innocence; or virtue—sounder sleep107Waits on the weary plowman's lowly bed,108Waits on the weary plowman's lowly bed,108Than on the downy couch of luxury109Than on the downy couch of luxury109Lulls the rich slave of pride and indolence.110Lulls the rich slave of pride and indolence.110I never wish for wealth! My arm is strong,111I never wish for wealth! My arm is strong,111And I can purchase by it a coarse meal,112And I can purchase by it a coarse meal,112And hunger savours it.113And hunger savours it.113

TYLER.           Young man, thy mind114TYLER.           Young man, thy mind114Has yet to bear the hard lesson of experience.115Has yet to bear the hard lesson of experience.115Thou art yet young, the blasting breath of want116Thou art yet young, the blasting breath of want116Has not yet froze the current of thy blood.117Has not yet froze the current of thy blood.117

PIERS. Fare not the birds well, as from spray to spray118PIERS. Fare not the birds well, as from spray to spray118Blithsome they bound—yet find their simple food119Blithsome they bound—yet find their simple food119Scattered abundantly?120TYLERNo fancied boundaries of mine and thine121Scattered abundantly?120TYLERNo fancied boundaries of mine and thine121Restrain their wanderings: Nature gives enough122Restrain their wanderings: Nature gives enough122For all; but Man, with arrogant selfishness,123For all; but Man, with arrogant selfishness,123Proud of his heaps, hoards up superfluous stores124Proud of his heaps, hoards up superfluous stores124Robb'd from his weaker fellows, starves the poor,125Robb'd from his weaker fellows, starves the poor,125Or gives to pity what he owes to justice!126Or gives to pity what he owes to justice!126

PIERS. So I have heard our good friend John Ball preach.127PIERS. So I have heard our good friend John Ball preach.127

ALICE. My father, wherefore was John Ball imprisoned?128ALICE. My father, wherefore was John Ball imprisoned?128Was he not charitable, good, and pious?129Was he not charitable, good, and pious?129I have heard him say that all mankind are brethren,130I have heard him say that all mankind are brethren,130And that like brethren they should love each other;—131And that like brethren they should love each other;—131Was not that doctrine pious?132Was not that doctrine pious?132

TYLER.              Rank sedition—133TYLER.              Rank sedition—133High treason, every syllable, my child!134High treason, every syllable, my child!134The priests cry out on him for heresy,135The priests cry out on him for heresy,135The nobles all detest him as a rebel,136The nobles all detest him as a rebel,136And this good man, this minister of Christ,137And this good man, this minister of Christ,137This man, the friend and brother of mankind,138This man, the friend and brother of mankind,138Lingers in the dark dungeon!—my dear Alice,139Lingers in the dark dungeon!—my dear Alice,139Retire awhile.140           (Retire awhile.140           (ExitExit ALICE.) ALICE.)

http://www.rc.umd.edu/editions/wattyler/text_act1.htmlhttp://www.rc.umd.edu/editions/wattyler/text_act1.html

Women Writers:Women Writers:

Anna Laetitia BarbaudAnna Laetitia Barbaud

Mary RobinsonMary Robinson

Charlotte SmithCharlotte Smith

Romantic Painters:Romantic Painters:

William William TurnerTurner

John CostableJohn Costable

Benjamin Benjamin Robert HaydonRobert Haydon

Romantic Schools:Romantic Schools: According to Meyer Abrams: “Writers in Wordsworth’s lifetime did According to Meyer Abrams: “Writers in Wordsworth’s lifetime did

not think of themselves as ‘Romantic’. The word was not applied not think of themselves as ‘Romantic’. The word was not applied until half a century later, by English historians. Contemporary until half a century later, by English historians. Contemporary critics and reviewers treated them as independent individuals or critics and reviewers treated them as independent individuals or else grouped them (often invidiously, but with some basis in fact) else grouped them (often invidiously, but with some basis in fact) into a number of separate schools” (into a number of separate schools” (The Norton Anthology of English The Norton Anthology of English LieratureLierature).).

Lake SchoolLake School: of poets from the Lake District like Wordsworth, : of poets from the Lake District like Wordsworth, Coleridge, Southey.Coleridge, Southey.

Cockney SchoolCockney School: a derogatory term for the Londoners Hunt, : a derogatory term for the Londoners Hunt, Hazlitt, Keats.Hazlitt, Keats.

Satanic SchoolSatanic School: that includes Byron, Shelley and their followers. : that includes Byron, Shelley and their followers. Shelley provides a good example of his satanism in the poem Julian and Maddalo, in Shelley provides a good example of his satanism in the poem Julian and Maddalo, in

a passage echoing Paradise Lost, II, ll. 555-561: “Our talk grew somewhat serious, a passage echoing Paradise Lost, II, ll. 555-561: “Our talk grew somewhat serious, as may be / Talk interrupted with such raillery / As mocks itself, because it cannot as may be / Talk interrupted with such raillery / As mocks itself, because it cannot scorn / The thoughts it would extinguish: – it was forlorn / Yet pleasing, such as scorn / The thoughts it would extinguish: – it was forlorn / Yet pleasing, such as once, so poets tell, / The devils held within the dales of hell / Concerning God, once, so poets tell, / The devils held within the dales of hell / Concerning God, freewill and destiny:” (ll. 36-42). Shelley’s satanism consists mainly in a mocking freewill and destiny:” (ll. 36-42). Shelley’s satanism consists mainly in a mocking criticism adressed to Christianity and institucional religion.criticism adressed to Christianity and institucional religion.

Lake SchoolLake SchoolIn his In his Journal of A Visit to the Lake District in 1769 Journal of A Visit to the Lake District in 1769 (October 8), Thomas Gray (October 8), Thomas Gray registered:registered:““[I] enter'd [I] enter'd WestmorelandWestmoreland a second time. now begin to see  a second time. now begin to see HelmHelm-Crag distinguish'd -Crag distinguish'd from its rugged neighbours not so much by its height, as by the strange broken outline from its rugged neighbours not so much by its height, as by the strange broken outline of its top, like some gigantic building demolish'd, & the stones that composed it, flung of its top, like some gigantic building demolish'd, & the stones that composed it, flung cross each other in wild confusion. just beyond it opens one of the sweetest landscapes, cross each other in wild confusion. just beyond it opens one of the sweetest landscapes, that art ever attempted to imitate. (the bosom of ythat art ever attempted to imitate. (the bosom of yee mountains spreading here into a  mountains spreading here into a broad bason) discovers in the midst Grasmere-water. its margin is hollow'd into small broad bason) discovers in the midst Grasmere-water. its margin is hollow'd into small bays with bold eminences some of rock, some of soft turf, that half conceal, and vary bays with bold eminences some of rock, some of soft turf, that half conceal, and vary the figure of the little lake they command, from the shore a low promontory pushes the figure of the little lake they command, from the shore a low promontory pushes itself far into the water, & on it stands a white village with the parish-church rising in itself far into the water, & on it stands a white village with the parish-church rising in the midst of it, hanging enclosures, corn-fields, & meadows green as an emerald with the midst of it, hanging enclosures, corn-fields, & meadows green as an emerald with their trees & hedges & cattle fill up the whole space from the edge of the water & just their trees & hedges & cattle fill up the whole space from the edge of the water & just opposite to you is a large farm-house at the bottom of a steep smooth lawn embosom'd opposite to you is a large farm-house at the bottom of a steep smooth lawn embosom'd in old woods, win old woods, wchch climb half way up the mountain's side, & discover above them a  climb half way up the mountain's side, & discover above them a broken line of crags, that crown the scene. not a single red tile, no flaring Gentleman's broken line of crags, that crown the scene. not a single red tile, no flaring Gentleman's house, or garden-walls, break in upon the repose of this little unsuspected paradise, but house, or garden-walls, break in upon the repose of this little unsuspected paradise, but all is peace, rusticity, & happy poverty in its neatest most becoming attire. The road all is peace, rusticity, & happy poverty in its neatest most becoming attire. The road winds here over winds here over GrasmereGrasmere-hill, whose rocks soon conceal the water from your sight, yet -hill, whose rocks soon conceal the water from your sight, yet it is continued along behind them, & contracting itself to a river communicates with it is continued along behind them, & contracting itself to a river communicates with Ridale-water, another small lake, but of inferior size & beauty. it seems shallow too, for Ridale-water, another small lake, but of inferior size & beauty. it seems shallow too, for large patches of reeds appear pretty far within it. into this vale the road descends. on large patches of reeds appear pretty far within it. into this vale the road descends. on the opposite banks large & ancient woods mount up the hills, & just to the left of our the opposite banks large & ancient woods mount up the hills, & just to the left of our way stands way stands RydaleRydale-hall, the family-seat of S-hall, the family-seat of Srr Mic: Fleming, but now a farm-house, a  Mic: Fleming, but now a farm-house, a large old-fashion'd fabrick surrounded with wood & not much too good for its present large old-fashion'd fabrick surrounded with wood & not much too good for its present destination. Sdestination. SrrMichael is now on his travels, & all this timber far & wide belongs to him. Michael is now on his travels, & all this timber far & wide belongs to him. I tremble for it, when he returns, near the house rises a huge crag call'd I tremble for it, when he returns, near the house rises a huge crag call'd Rydale-headRydale-head, , wwchch is said to command a full view of Wynander-mere, & I doubt it not, for within a mile  is said to command a full view of Wynander-mere, & I doubt it not, for within a mile that great Lake is visible even from the road, as to going up the crag one might as well that great Lake is visible even from the road, as to going up the crag one might as well go up Skiddaw”.go up Skiddaw”.

Biographia LiterariaBiographia LiterariaIn chapter IV, Coleridge asserts his intention to justify the foundation of a In chapter IV, Coleridge asserts his intention to justify the foundation of a school:school:

““I HAVE wandered far from the object in view, but as I fancied to myself I HAVE wandered far from the object in view, but as I fancied to myself readers who would respect the feelings that had tempted me from the main readers who would respect the feelings that had tempted me from the main road ; so I dare calculate on not a few, who will warmly sympathize with road ; so I dare calculate on not a few, who will warmly sympathize with them. At present it will be sufficient for my purpose, if I have proved, 5 that them. At present it will be sufficient for my purpose, if I have proved, 5 that Mr. Southey's writings no more than my own furnished the original occasion Mr. Southey's writings no more than my own furnished the original occasion to this fiction of a new school of poetry, and to the clamors against its to this fiction of a new school of poetry, and to the clamors against its supposed founders and proselytes.supposed founders and proselytes.” (p. 40)” (p. 40)

Origin of the Term: Satanic SchoolOrigin of the Term: Satanic SchoolThe name Satanic School was coined by Robert Southey to refer to poets of The name Satanic School was coined by Robert Southey to refer to poets of scandalous behavious and low ethics in preface of the poem A Vision of the scandalous behavious and low ethics in preface of the poem A Vision of the Judgement, whic he dedicated to King George, in homage to his death. Byron Judgement, whic he dedicated to King George, in homage to his death. Byron reacted and wrote a parody of Southey’s poem, published under the reacted and wrote a parody of Southey’s poem, published under the pseudonym Quevedo Redivivus. In the Preface, Byron, as a good satyrist, pseudonym Quevedo Redivivus. In the Preface, Byron, as a good satyrist, mocks Southey, hinting that he was a fool who tampered with a theme which mocks Southey, hinting that he was a fool who tampered with a theme which was not his business.was not his business.

“ “Byron's Byron's Vision of JudgmentVision of Judgment was a response to Robert Southey's  was a response to Robert Southey's Vision of Vision of JudgementJudgement published in 1820. King George III died on 29 January 1820, and  published in 1820. King George III died on 29 January 1820, and Southey, the Poet Laureate, commemorated his elevation into heaven. In the Southey, the Poet Laureate, commemorated his elevation into heaven. In the poem Southey also took a swipe at Byron and his "Satanic school." Byron's poem Southey also took a swipe at Byron and his "Satanic school." Byron's poem imagines the same scene from a very different political perspective.poem imagines the same scene from a very different political perspective.” ” (Jack Lynch)(Jack Lynch)The The Satanic SchoolSatanic School was a name applied by  was a name applied by Robert Southey to a class of  to a class of writers headed by writers headed by Byron and  and Shelley, because, according to him, their , because, according to him, their productions were "characterized by a productions were "characterized by a Satanic spirit of pride and audacious  spirit of pride and audacious impiety."impiety."

Satanic SchoolSatanic School “ “The term was, therefore, initially coined in Southey's The term was, therefore, initially coined in Southey's A A

Vision of JudgementVision of Judgement (1821) as one of opprobrium and  (1821) as one of opprobrium and moral condemnation. However, Byron took some delight moral condemnation. However, Byron took some delight in Southey's description of him as an author of in Southey's description of him as an author of "monstrous combinations of horrors and mockery, "monstrous combinations of horrors and mockery, lewdness and impiety." Byron responded to Southey with lewdness and impiety." Byron responded to Southey with his own his own Vision of JudgmentVision of Judgment, […] where Southey appears , […] where Southey appears as a scribbler writing encomiums on weak kings. Byron, as a scribbler writing encomiums on weak kings. Byron, however, additionally took up the theme of a "Satanic" however, additionally took up the theme of a "Satanic" school and developed the "Byronic hero" (not to be school and developed the "Byronic hero" (not to be confused with Samuel Taylor Coleridge's "Satanic Hero") confused with Samuel Taylor Coleridge's "Satanic Hero") who would, like Satan in who would, like Satan in Paradise LostParadise Lost, be a tragic figure , be a tragic figure who is admirable even when wrong”.who is admirable even when wrong”.

‘‘The term expressed Southey’s disapproval of the The term expressed Southey’s disapproval of the unorthodox views and lifestyles of the poets’.unorthodox views and lifestyles of the poets’.

http://en.wikipedia.org/wiki/Satanic_Schoolhttp://global.britannica.com/EBchecked/topic/524836/satanic-schoolhttp://global.britannica.com/EBchecked/topic/524836/satanic-school

The Vision of Judgment The Vision of Judgment By "Quevedo Redivivus”By "Quevedo Redivivus”

PREFACEPREFACEIt hath been wisely said, that "One fool makes many"; and it hath been poetically observed—It hath been wisely said, that "One fool makes many"; and it hath been poetically observed—"[That] fools rush in where angels fear to tread.""[That] fools rush in where angels fear to tread."If Mr. Southey had not rushed in where he had no business, and where he If Mr. Southey had not rushed in where he had no business, and where he never was before, and never will be again, the following poem would not never was before, and never will be again, the following poem would not have been written. It is not impossible that it may be as good as his own, have been written. It is not impossible that it may be as good as his own, seeing that it cannot, by any species of stupidity, natural or acquired, seeing that it cannot, by any species of stupidity, natural or acquired, be be worseworse. The gross flattery, the dull impudence, the renegado intolerance, . The gross flattery, the dull impudence, the renegado intolerance, and impious cant, of the poem by the author of "Wat Tyler," are something so and impious cant, of the poem by the author of "Wat Tyler," are something so stupendous as to form the sublime of himself — containing the quintessence stupendous as to form the sublime of himself — containing the quintessence of his own attributes.of his own attributes.So much for his poem — a word on his preface. In this preface it has pleased So much for his poem — a word on his preface. In this preface it has pleased the magnanimous Laureate to draw the picture of a supposed "Satanic the magnanimous Laureate to draw the picture of a supposed "Satanic School," the which he doth recommend to the notice of the legislature; School," the which he doth recommend to the notice of the legislature; thereby adding to his other laurels the ambition of those of an informer. If thereby adding to his other laurels the ambition of those of an informer. If there exists anywhere, except in his imagination, such a School, is he not there exists anywhere, except in his imagination, such a School, is he not sufficiently armed against it by his own intense vanity? The truth is that there sufficiently armed against it by his own intense vanity? The truth is that there are certain writers whom Mr. S. imagines, like Scrub, to have "talked of are certain writers whom Mr. S. imagines, like Scrub, to have "talked of himhim; ; for they laughed consumedly."for they laughed consumedly."

I think I know enough of most of the writers to whom he is supposed to I think I know enough of most of the writers to whom he is supposed to allude, to assert, that they, in their individual capacities, have done more allude, to assert, that they, in their individual capacities, have done more good, in the charities of life, to their fellow-creatures, in any one year, than good, in the charities of life, to their fellow-creatures, in any one year, than Mr. Southey has done harm to himself by his absurdities in his whole life; and Mr. Southey has done harm to himself by his absurdities in his whole life; and this is saying a great deal. But I have a few questions to ask. […]with what this is saying a great deal. But I have a few questions to ask. […]with what conscience dare conscience dare hehe call the attention of the laws to the publications of others,  call the attention of the laws to the publications of others, be they what they may?be they what they may?I say nothing of the cowardice of such a proceeding; its meanness speaks for I say nothing of the cowardice of such a proceeding; its meanness speaks for itself; but I wish to touch upon the itself; but I wish to touch upon the motivemotive, which is neither more nor less , which is neither more nor less than that Mr. S. has been laughed at a little in some recent publications, as than that Mr. S. has been laughed at a little in some recent publications, as he was of yore in the he was of yore in the Anti-jacobinAnti-jacobin, by his present patrons. Hence all this , by his present patrons. Hence all this "skimble scamble stuff" about "Satanic," and so forth. However, it is worthy "skimble scamble stuff" about "Satanic," and so forth. However, it is worthy of him — "of him — "qualis ab inceptoqualis ab incepto.“.“

Cockney SchoolCockney SchoolThe The "Cockney School""Cockney School" refers to a group of poets and essayists  refers to a group of poets and essayists writing in England in the second and third decades of the 19th writing in England in the second and third decades of the 19th century. The term came in the form of hostile reviews in century. The term came in the form of hostile reviews in Blackwood's Blackwood's MagazineMagazine in 1817. Its primary target was Leigh Hunt, but John  in 1817. Its primary target was Leigh Hunt, but John Keats and William Hazlitt were also included. None of these men Keats and William Hazlitt were also included. None of these men could properly be regarded as a cockney, and Hazlitt was not even could properly be regarded as a cockney, and Hazlitt was not even born in London. Each of the writers was derided for a slightly different born in London. Each of the writers was derided for a slightly different quality. Keats, for example, was accused of "low diction" for rhyming quality. Keats, for example, was accused of "low diction" for rhyming "thorns/fawns" in "Sleep and Poetry" and other rhymes which "thorns/fawns" in "Sleep and Poetry" and other rhymes which suggested a working class speech. Hunt and Hazlitt were similarly suggested a working class speech. Hunt and Hazlitt were similarly vilified for their diction, but the criticisms were more ideological with vilified for their diction, but the criticisms were more ideological with them than with Keats. John Wilson Croker perpetuated the term them than with Keats. John Wilson Croker perpetuated the term "Cockney School" beyond the pages of "Cockney School" beyond the pages of Blackwood'sBlackwood's in 1818 when he  in 1818 when he attacked Keats's attacked Keats's Endymion Endymion in the in the Quarterly Review.Quarterly Review.

The term, and the campaign against Hunt and the others, was not a The term, and the campaign against Hunt and the others, was not a question of aesthetics. It was, instead, an attack on the class question of aesthetics. It was, instead, an attack on the class background of the authors and their aspirations to the highest level background of the authors and their aspirations to the highest level of the literati, and it was, additionally, a reaction to the "Cockney" of the literati, and it was, additionally, a reaction to the "Cockney" politics of the authors. The political, reformist agenda and the politics of the authors. The political, reformist agenda and the democratic ideology of Hunt and Hazlitt were offensive to democratic ideology of Hunt and Hazlitt were offensive to the the BlackwoodsBlackwoods review staff, and the cultural and class background of  review staff, and the cultural and class background of the authors was introduced as a mechanism. Percy Bysshe the authors was introduced as a mechanism. Percy Bysshe Shelley was accused of being similarly offensive politically, but the Shelley was accused of being similarly offensive politically, but the reviewers excused him for his genius (and, of course, his high birth).reviewers excused him for his genius (and, of course, his high birth).The second generation of the Romantic movement was as politically The second generation of the Romantic movement was as politically and economically revolutionary as it was aesthetically challenging to and economically revolutionary as it was aesthetically challenging to the the status quo,status quo, and the controversy and partial reviewers responsible  and the controversy and partial reviewers responsible for the creation of the "Cockney School" epithet foreground how for the creation of the "Cockney School" epithet foreground how offensive it was to the establishment that lower class persons might offensive it was to the establishment that lower class persons might emerge. emerge. http://en.wikipedia.org/wiki/Cockney_Schoolhttp://en.wikipedia.org/wiki/Cockney_School

The Blackwood’s Magazine (attack on Hunt)The Blackwood’s Magazine (attack on Hunt)““WHILE the whole critical world is occupied with, balancing the merits, WHILE the whole critical world is occupied with, balancing the merits, whether in theory or in execution, of what is commonly called THE LAKE- whether in theory or in execution, of what is commonly called THE LAKE- SCHOOL, it is strange that no one seems to think it at all necessary to say a SCHOOL, it is strange that no one seems to think it at all necessary to say a single word about another new school of poetry which has of late sprung up single word about another new school of poetry which has of late sprung up among us. This school has not, I believe, as yet received any name ; but if I among us. This school has not, I believe, as yet received any name ; but if I may be permitted to have the honour of christening it, it may henceforth be may be permitted to have the honour of christening it, it may henceforth be referred to by the designation of THE COCKNEY SCHOOL. Its chief Doctor and referred to by the designation of THE COCKNEY SCHOOL. Its chief Doctor and Professor is Mr Leigh Hunt, a man certainly of some talents, of extravagant Professor is Mr Leigh Hunt, a man certainly of some talents, of extravagant pretensions both in wit, poetry, and politics, and withal of exquisitely bad pretensions both in wit, poetry, and politics, and withal of exquisitely bad taste, and extremely vulgar modes of thinking and manners in all respects. taste, and extremely vulgar modes of thinking and manners in all respects. He is a man of little education. He knows absolutely no- thing of Greek, He is a man of little education. He knows absolutely no- thing of Greek, almost nothing of Latin, and his knowledge of Italian literature is confined to almost nothing of Latin, and his knowledge of Italian literature is confined to a few of the most popular of Petrarch's sonnets, and an imperfect a few of the most popular of Petrarch's sonnets, and an imperfect acquaintance with Ariosto, through the medium of Mr Hoole.[…] With this acquaintance with Ariosto, through the medium of Mr Hoole.[…] With this stock of knowledge, Mr Hunt presumes to become the founder of a new stock of knowledge, Mr Hunt presumes to become the founder of a new school of poetry, and throws away entirely the chance which he might have school of poetry, and throws away entirely the chance which he might have had of gaining some true Poetical had he been less lofty in his pretensions. had of gaining some true Poetical had he been less lofty in his pretensions. The story of Rimini is not wholly undeserving of praise. It possesses some The story of Rimini is not wholly undeserving of praise. It possesses some tolerable passages, […] But such is the wretched taste in which the greater tolerable passages, […] But such is the wretched taste in which the greater part of the work is executed,, that most certainly no man who reads it once part of the work is executed,, that most certainly no man who reads it once will ever be able to prevail upon himself to read it again. One feels the same will ever be able to prevail upon himself to read it again. One feels the same disgust at the idea of opening Rimini, that impresses itself on the mind of a disgust at the idea of opening Rimini, that impresses itself on the mind of a man of fashion, when he is invited to enter, for a second time, the gilded man of fashion, when he is invited to enter, for a second time, the gilded drawing-room of a little mincing boarding-school mistress, who would fain drawing-room of a little mincing boarding-school mistress, who would fain have an have an At HomeAt Home in her house. Every thing is pretence, affectation, finery,  in her house. Every thing is pretence, affectation, finery, and gaudiness”.and gaudiness”.On the Cockney School of Poetry IOn the Cockney School of Poetry I  (1817)   (1817) by by John Gibson Lockhart

All the great poets of our country have been men of some rank in society, All the great poets of our country have been men of some rank in society, and there is no vulgarity in any of their writings; but Mr Hunt cannot utter a and there is no vulgarity in any of their writings; but Mr Hunt cannot utter a dedication, or even a note, without betraying the dedication, or even a note, without betraying the ShibbolethShibboleth of low birth and  of low birth and low habits. He is the ideal of a Cockney Poet. He raves perpetually about low habits. He is the ideal of a Cockney Poet. He raves perpetually about "green fields," "jaunty streams," and "o'er-arching leafiness," exactly as a "green fields," "jaunty streams," and "o'er-arching leafiness," exactly as a Cheapside shop-keeper does about the beauties of his box on the Camberwell Cheapside shop-keeper does about the beauties of his box on the Camberwell road. Mr Hunt is altogether unacquainted with the face of nature in her road. Mr Hunt is altogether unacquainted with the face of nature in her magnificent scenes; he has never seen any mountain higher than Highgate-magnificent scenes; he has never seen any mountain higher than Highgate-hill, nor reclined by any stream more pastoral than the Serpentine River. But hill, nor reclined by any stream more pastoral than the Serpentine River. But he is determined to be a poet eminently rural, and he rings the changes—till he is determined to be a poet eminently rural, and he rings the changes—till one is sick of him, on the beauties of the different "high views" which he has one is sick of him, on the beauties of the different "high views" which he has taken of God and nature, in the course of some Sunday dinner parties, at taken of God and nature, in the course of some Sunday dinner parties, at which he has assisted in the neighbourhood of London. His books are indeed which he has assisted in the neighbourhood of London. His books are indeed not known in the country; his fame as a poet (and I might almost say, as a not known in the country; his fame as a poet (and I might almost say, as a politician too) is entirely confined to the young attorneys and embryo-politician too) is entirely confined to the young attorneys and embryo-barristers about town. In the opinion of these competent judges, London is barristers about town. In the opinion of these competent judges, London is the world—and Hunt is a Homer.” the world—and Hunt is a Homer.” On the Cockney School of Poetry IOn the Cockney School of Poetry I  (1817)   (1817) by by John Gibson Lockharthttp://en.wikisource.org/wiki/Blackwood%27s_Magazine/http://en.wikisource.org/wiki/Blackwood%27s_Magazine/On_the_Cockney_School_of_Poetry_IOn_the_Cockney_School_of_Poetry_I

Bkackwood’s MagazineBkackwood’s Magazine (attack on Keats’ (attack on Keats’ Endymion)Endymion)

OF all the manias of this mad age, the most incurable, as well as the most common, OF all the manias of this mad age, the most incurable, as well as the most common, seems to be no other than the seems to be no other than the MetromanieMetromanie. […] To witness the disease of any human . […] To witness the disease of any human understanding, however feeble, is distressing; but the spectacle of an able mind understanding, however feeble, is distressing; but the spectacle of an able mind reduced to a state of insanity is of course ten times more afflicting. It is with such reduced to a state of insanity is of course ten times more afflicting. It is with such sorrow as this that we have contemplated the case of Mr John Keats. This young man sorrow as this that we have contemplated the case of Mr John Keats. This young man appears to have received from nature talents of an excellent, perhaps even of a appears to have received from nature talents of an excellent, perhaps even of a superior order—talents which, devoted to the purposes of any useful profession, must superior order—talents which, devoted to the purposes of any useful profession, must have rendered him a respectable, if not an eminent citizen. His friends, we understand, have rendered him a respectable, if not an eminent citizen. His friends, we understand, destined him to the career of medicine, and he was bound apprentice some years ago destined him to the career of medicine, and he was bound apprentice some years ago to a worthy apothecary in town. But all has been undone by a sudden attack of the to a worthy apothecary in town. But all has been undone by a sudden attack of the malady to which we have alluded. Whether Mr John had been sent home with a diuretic malady to which we have alluded. Whether Mr John had been sent home with a diuretic or composing draught to some patient far gone in the poetical mania, we have not or composing draught to some patient far gone in the poetical mania, we have not heard. This much is certain, that he has caught the infection, and that thoroughly. For heard. This much is certain, that he has caught the infection, and that thoroughly. For some time we were in hopes, that he might get off with a violent fit or two; but of late some time we were in hopes, that he might get off with a violent fit or two; but of late the symptoms are terrible. The phrenzy of the "Poems" was bad enough in, its way ; but the symptoms are terrible. The phrenzy of the "Poems" was bad enough in, its way ; but it did not alarm us half so seriously as the calm, settled, imperturbable drivelling idiocy it did not alarm us half so seriously as the calm, settled, imperturbable drivelling idiocy of "Endymion." We hope, however, that in so young a person, and with a constitution of "Endymion." We hope, however, that in so young a person, and with a constitution originally so good, even now the disease is not utterly incurable. Time, firm treatment, originally so good, even now the disease is not utterly incurable. Time, firm treatment, and rational restraint, do much for many apparently hopeless invalids; and if Mr Keats and rational restraint, do much for many apparently hopeless invalids; and if Mr Keats should happen, at some interval of reason, to cast is eye upon our pages, he may should happen, at some interval of reason, to cast is eye upon our pages, he may perhaps be convinced of the existence of his malady, which, in such cases, is often all perhaps be convinced of the existence of his malady, which, in such cases, is often all that is necessary to put the patient in a fair way of being cured.that is necessary to put the patient in a fair way of being cured.

The readers of the Examiner newspaper were informed, some time ago, by a solemn The readers of the Examiner newspaper were informed, some time ago, by a solemn paragraph, in Mr Hunt's best style, of the appearance of two new stars of glorious paragraph, in Mr Hunt's best style, of the appearance of two new stars of glorious magnitude and splendour in the poetical horizon of the land of Cockaigne. One of these magnitude and splendour in the poetical horizon of the land of Cockaigne. One of these turned out, by and by, to be no other than Mr John Keats. This precocious adulation turned out, by and by, to be no other than Mr John Keats. This precocious adulation confirmed the wavering apprentice in his desire to quit the gallipots, and at the same confirmed the wavering apprentice in his desire to quit the gallipots, and at the same time excited in his too susceptible mind a fatal admiration for the character and talents time excited in his too susceptible mind a fatal admiration for the character and talents of the most worthless and affected of all the versifiers of our time. One of his first of the most worthless and affected of all the versifiers of our time. One of his first productions was the following sonnet, "productions was the following sonnet, "written on the daywritten on the day  when Mr Leigh Hunt left when Mr Leigh Hunt left prisonprison." It will be recollected, that the cause of Hunt's confinement was a series of libels ." It will be recollected, that the cause of Hunt's confinement was a series of libels against his sovereign, and that its fruit was the odious and incestuous "Story of Rimini.“against his sovereign, and that its fruit was the odious and incestuous "Story of Rimini.“"What though, for shewing truth to flattered state,"What though, for shewing truth to flattered state,Kind Hunt was shut in prison, yet has he.Kind Hunt was shut in prison, yet has he.In his immortal spirit been as freeIn his immortal spirit been as freeAs the sky-searching lark, and as elate. […]As the sky-searching lark, and as elate. […]The absurdity of the thought in this sonnet is, however, if possible, sur- passed in The absurdity of the thought in this sonnet is, however, if possible, sur- passed in another, "another, "addressed to Haydon" the painter, that clever, but mostaddressed to Haydon" the painter, that clever, but mostaffected artist, who as affected artist, who as little resembles Raphael in genius as he does in per- son, notwithstanding the foppery of little resembles Raphael in genius as he does in per- son, notwithstanding the foppery of having his hair curled over his shoul- ders in the old Italian fashion. In this exquisite piece having his hair curled over his shoul- ders in the old Italian fashion. In this exquisite piece it will be observed, that Mr Keats classes together WORDS-WORTH, HUNT, and HAYDON, it will be observed, that Mr Keats classes together WORDS-WORTH, HUNT, and HAYDON, as the three greatest spirits of the age, and that he alludes to himself, and some others as the three greatest spirits of the age, and that he alludes to himself, and some others of the rising brood of Cockneys, as likely to attain hereafter an equally honourable of the rising brood of Cockneys, as likely to attain hereafter an equally honourable elevation. Wordsworth and Hunt ! what a juxta-position ! The purest, the loftiest, and, we elevation. Wordsworth and Hunt ! what a juxta-position ! The purest, the loftiest, and, we do not fear to say it, the most classical of living English poets, joined together in the do not fear to say it, the most classical of living English poets, joined together in the same compliment with the meanest, the filthiest, and the most vulgar of Cockney same compliment with the meanest, the filthiest, and the most vulgar of Cockney poetasters. No wonder that he who could be guilty of this should class Haydon with poetasters. No wonder that he who could be guilty of this should class Haydon with Raphael, and himself with Spencer. " Great spirits now on earth are sojourning;” […]Raphael, and himself with Spencer. " Great spirits now on earth are sojourning;” […]

The nations are to listen and be dumb! and why, good Johnny Keats? be- cause Leigh The nations are to listen and be dumb! and why, good Johnny Keats? be- cause Leigh Hunt is editor of the Examiner, and Haydon has painted the judgment of Solomon, and Hunt is editor of the Examiner, and Haydon has painted the judgment of Solomon, and you and Cornelius Webb, and a few more city sparks, are pleased to look upon you and Cornelius Webb, and a few more city sparks, are pleased to look upon yourselves as so many future Shak- speares and Miltons ! The world has really some yourselves as so many future Shak- speares and Miltons ! The world has really some reason to look to its foun- dations ! Here is a tempestus in ma- tula with a vengeance. reason to look to its foun- dations ! Here is a tempestus in ma- tula with a vengeance. At the period when these sonnets were published, Mr Keats had no hesitation in saying, At the period when these sonnets were published, Mr Keats had no hesitation in saying, that lie looked on himself as " not yet a glorious denizen of the wide heaven of poetry," that lie looked on himself as " not yet a glorious denizen of the wide heaven of poetry," but he had many fine soothing visions of coming greatness, and many rare plans of but he had many fine soothing visions of coming greatness, and many rare plans of study to pre- pare him for it. The following we think is very pretty raving.study to pre- pare him for it. The following we think is very pretty raving." Why so sad a moan ?" Why so sad a moan ?Life is the rose's hope while yet unblown ;Life is the rose's hope while yet unblown ;The reading of an ever-changing tale ;The reading of an ever-changing tale ;The light uplifting of a maiden's veil ;The light uplifting of a maiden's veil ;A pigeon tumbling in clear summer air ;A pigeon tumbling in clear summer air ;A laughing school-boy, without grief or care.A laughing school-boy, without grief or care.Riding the springing branches of an elm.”Riding the springing branches of an elm.”On the Cockney School of Poetry IVOn the Cockney School of Poetry IV  (1818)   (1818) by John Gibson Lockhartby John Gibson Lockharthttp://en.wikisource.org/wiki/Blackwood%27s_Magazine/http://en.wikisource.org/wiki/Blackwood%27s_Magazine/On_the_Cockney_School_of_Poetry_IVOn_the_Cockney_School_of_Poetry_IV

Divergence of opinions and feelings Divergence of opinions and feelings upon the same subject: Byron and upon the same subject: Byron and Keats on the Elgin MarblesKeats on the Elgin MarblesLord Eglin made an expedition to the Parthenon in Greece, returning with a significant number of marble statues and friezes, which he subsequently sold to the British Museum in 1816.Source: The Longman Anthology of Poetry (Palgrave, 2006)

Byron’s opinionByron’s opinionChilde Harold’s Pilgrimage, Canto IIChilde Harold’s Pilgrimage, Canto II

XIXI But who, of all the plunders of yon fane But who, of all the plunders of yon fane On high, where Pallas linger'd, loth to flee On high, where Pallas linger'd, loth to flee The latest relic of her ancient reign; The latest relic of her ancient reign; The last, the worst, dull spoiler, who was he? The last, the worst, dull spoiler, who was he? Blush, Caledonia! such thy son could be! Blush, Caledonia! such thy son could be! England! I joy no child he was of thine: England! I joy no child he was of thine: Thy free-born men should spare what once was free; Thy free-born men should spare what once was free; Yet they could violate each saddening shrine, Yet they could violate each saddening shrine, And bear these altars o'er the long-reluctant brine. And bear these altars o'er the long-reluctant brine.

XIIXII But most the modern Pict's ignoble boast, 100 But most the modern Pict's ignoble boast, 100 To rive what Goth, and Turk, and Time hath spared: To rive what Goth, and Turk, and Time hath spared: Cold as the crags upon his native coast, Cold as the crags upon his native coast, His mind as barren and his heart as hard, His mind as barren and his heart as hard, Is he whose head conceived, whose hand prepared, Is he whose head conceived, whose hand prepared, Aught to displace Athena's poor remains: Aught to displace Athena's poor remains: Her sons too weak the sacred shrine to guard, Her sons too weak the sacred shrine to guard, Yet felt some portion of their mother's pains, Yet felt some portion of their mother's pains, And never knew, till then, the weight of Despot's chains. And never knew, till then, the weight of Despot's chains.

XIIIXIII What! shall it e'er be said by British tongue, What! shall it e'er be said by British tongue, Albion was happy in Athena's tears? 110 Albion was happy in Athena's tears? 110 Though in thy name the slaves her bosom wrung, Though in thy name the slaves her bosom wrung, Tell not the deed to blushing Europe's ears; Tell not the deed to blushing Europe's ears; The ocean queen, the free Britannia, bears The ocean queen, the free Britannia, bears The last poor plunder from a bleeding land: The last poor plunder from a bleeding land: Yes, she, whose gen'rous aid her name endears, Yes, she, whose gen'rous aid her name endears, Tore down those remnants with a harpy's hand, Tore down those remnants with a harpy's hand, Which envious Eld forbore, and tyrants left to stand. Which envious Eld forbore, and tyrants left to stand.

XIVXIV Where was thine Aegis, Pallas! that appall'd Where was thine Aegis, Pallas! that appall'd Stern Alaric and Havoc on their way? Stern Alaric and Havoc on their way? Where Peleus' son? whom Hell in vain enthrall'd, 120 Where Peleus' son? whom Hell in vain enthrall'd, 120 His shade from Hades upon that dread day His shade from Hades upon that dread day Bursting to light in terrible array! Bursting to light in terrible array! What! could not Pluto spare the chief once more, What! could not Pluto spare the chief once more, To scare a second robber from his prey? To scare a second robber from his prey? Idly he wander'd on the Stygian shore, Idly he wander'd on the Stygian shore, Nor now preserved the walls he loved to shield before. Nor now preserved the walls he loved to shield before.

XVXV Cold is the heart, fair Greece, that looks on thee, Cold is the heart, fair Greece, that looks on thee, Nor feels as lovers o'er the dust they loved; Nor feels as lovers o'er the dust they loved; Dull is the eye that will not weep to see Dull is the eye that will not weep to see Thy walls defaced, thy mouldering shrines removed 130 Thy walls defaced, thy mouldering shrines removed 130 By British hands, which it had best behov'd By British hands, which it had best behov'd To guard those relics ne'er to be restored. To guard those relics ne'er to be restored. Curst be the hour when their isle they roved, Curst be the hour when their isle they roved, And once again thy hapless bosom gored, And once again thy hapless bosom gored, And snatch'd thy shrinking Gods to northern climes abhorr'd!And snatch'd thy shrinking Gods to northern climes abhorr'd!

Appendix to Canto the Second. Note AAppendix to Canto the Second. Note A““To rive what Goth, and Turk na Time hath spared” (XII, l. 2)To rive what Goth, and Turk na Time hath spared” (XII, l. 2)At this moment (January 3, 1810) besides what has been already deposited in London, na At this moment (January 3, 1810) besides what has been already deposited in London, na Hydriot vessel is at Pyraeus to receive every portable relic. Thus, as I heard a young Hydriot vessel is at Pyraeus to receive every portable relic. Thus, as I heard a young Greek observe, common with many of his countrymen – for, lost as they are, they yet feel Greek observe, common with many of his countrymen – for, lost as they are, they yet feel on this occasion – thus may Lord Elgin boast of having ruined Athens. Na Italian painter of on this occasion – thus may Lord Elgin boast of having ruined Athens. Na Italian painter of the first eminence, named Lusieri, is the agent of devastation; [...] he has proved the able the first eminence, named Lusieri, is the agent of devastation; [...] he has proved the able instrument of plunder. [...] Lord Elgin has been extremely happy in his choice of Signor instrument of plunder. [...] Lord Elgin has been extremely happy in his choice of Signor Lusieri. While he and his patrons confined themselves to tasting medals [...] and Lusieri. While he and his patrons confined themselves to tasting medals [...] and cheapening gems, their little absurdities are as harmless as [...] fox hunting, [...] or any cheapening gems, their little absurdities are as harmless as [...] fox hunting, [...] or any such pastime; but when they carry away three or four shiploads of the most valuable and such pastime; but when they carry away three or four shiploads of the most valuable and massy relics that time and barbarism have left to the mot injured and most celebrated of massy relics that time and barbarism have left to the mot injured and most celebrated of cities; when they destroy, in a vain attempt to tear down, those works which have been cities; when they destroy, in a vain attempt to tear down, those works which have been the admiration of ages, I know no motive which can excuse, no name which can the admiration of ages, I know no motive which can excuse, no name which can designate, the perpetrators of this dastardly devastation. [...] On this occasion I speak designate, the perpetrators of this dastardly devastation. [...] On this occasion I speak impartially: I am not a collector or admirer of collections, consequently no rival: but I have impartially: I am not a collector or admirer of collections, consequently no rival: but I have some early prepossessions in favour of Greece, and do not think the honour of England some early prepossessions in favour of Greece, and do not think the honour of England advanced by plunder [...]”. advanced by plunder [...]”. (Lord Byron. P. 128-129).(Lord Byron. P. 128-129).

On Seeing the Elgin MarblesOn Seeing the Elgin MarblesBY JOHN KEATSBY JOHN KEATS

My spirit is too weak—mortalityMy spirit is too weak—mortalityWeighs heavily on me like unwilling sleep,Weighs heavily on me like unwilling sleep,And each imagined pinnacle and steepAnd each imagined pinnacle and steepOf godlike hardship tells me I must dieOf godlike hardship tells me I must dieLike a sick eagle looking at the sky.Like a sick eagle looking at the sky.Yet ’tis a gentle luxury to weepYet ’tis a gentle luxury to weepThat I have not the cloudy winds to keepThat I have not the cloudy winds to keepFresh for the opening of the morning’s eye.Fresh for the opening of the morning’s eye.Such dim-conceived glories of the brainSuch dim-conceived glories of the brainBring round the heart an undescribable feud;Bring round the heart an undescribable feud;So do these wonders a most dizzy pain,So do these wonders a most dizzy pain,That mingles Grecian grandeur with the rudeThat mingles Grecian grandeur with the rudeWasting of old time—with a billowy main—Wasting of old time—with a billowy main—A sun—a shadow of a magnitude.A sun—a shadow of a magnitude.

The Forerunners of The Forerunners of RomanticismRomanticismRomanticism followed the path opened by the Pre-Romanticism followed the path opened by the Pre-Romantic poets who developed their poetry aside from Romantic poets who developed their poetry aside from the main stream of Augustan Age, dictated by Driden, the main stream of Augustan Age, dictated by Driden, Pope and Samuel Johnson, based on the principles of Pope and Samuel Johnson, based on the principles of Classicism in Literature and Racionalism and Mechanicism Classicism in Literature and Racionalism and Mechanicism in Philosophy.in Philosophy.Pre-Romantics were: James Thomson, Edward Young, Pre-Romantics were: James Thomson, Edward Young, Thomas Gray, William Collins, Oliver Goldsmith, William Thomas Gray, William Collins, Oliver Goldsmith, William Lisle Bowels, William Cowper, Mark Akenside, James Lisle Bowels, William Cowper, Mark Akenside, James Beattie, Erasmus Darwin. Besides, Romanticism received Beattie, Erasmus Darwin. Besides, Romanticism received the influence of a revival of medievalism, found in James the influence of a revival of medievalism, found in James Macpherson’s Ossian, in Thomas Chatterton, in the Macpherson’s Ossian, in Thomas Chatterton, in the collections of ballads by the bishop Thomas Percy and by collections of ballads by the bishop Thomas Percy and by Allan Ramsay, in the Wartons and Horace Walpole. Allan Ramsay, in the Wartons and Horace Walpole.

The Augistan AgeThe Augistan AgeDrydenDrydenPopePopeJohnsonJohnsonJohn LockeJohn Locke

John Dryden (1631-1700)John Dryden (1631-1700)Selected worksSelected worksAstraea Redux, 1660, 1660The Wild Gallant (comedy), 1663 (comedy), 1663The Indian Emperour (tragedy), 1665 (tragedy), 1665Annus MirabilisAnnus Mirabilis (poem), 1667 (poem), 1667The Enchanted IslandThe Enchanted Island (comedy), 1667, an  (comedy), 1667, an adaptation with William adaptation with William D'Avenant of Shakespeare's D'Avenant of Shakespeare's The TempestThe TempestSecret Love, or The Maiden QueenSecret Love, or The Maiden Queen, 1667, 1667An Essay of Dramatick PoesieAn Essay of Dramatick Poesie, 1668, 1668An Evening's LoveAn Evening's Love (comedy), 1668 (comedy), 1668Tyrannick LoveTyrannick Love (tragedy), 1669 (tragedy), 1669The Conquest of GranadaThe Conquest of Granada, 1670, 1670The Assignation, or Love in a NunneryThe Assignation, or Love in a Nunnery, 1672, 1672Marriage à la modeMarriage à la mode, 1672, 1672Amboyna, or the Cruelties of the Dutch to the Amboyna, or the Cruelties of the Dutch to the English MerchantsEnglish Merchants, 1673, 1673The Mistaken HusbandThe Mistaken Husband (comedy), 1674 (comedy), 1674

Aureng-zebeAureng-zebe, 1675, 1675 All for LoveAll for Love, 1678, 1678 OedipusOedipus (heroic drama), 1679,  (heroic drama), 1679, Absalom and AchitophelAbsalom and Achitophel, 1681, 1681 The Spanish FryarThe Spanish Fryar, 1681, 1681 MacFlecknoeMacFlecknoe, 1682, 1682 The MedalThe Medal, 1682, 1682 Religio LaiciReligio Laici, 1682, 1682 Threnodia AugustalisThrenodia Augustalis, 1685, 1685 The Hind and the PantherThe Hind and the Panther, 1687, 1687 A Song for St. Cecilia's DayA Song for St. Cecilia's Day, 1687, 1687 Britannia RedivivaBritannia Rediviva, 1688, written to mark the birth of a Prince of Wales., 1688, written to mark the birth of a Prince of Wales. AmphitryonAmphitryon, 1690, 1690 Don Sebastian (play)Don Sebastian (play), 1690, 1690 Creator Spirit, by whose aidCreator Spirit, by whose aid, 1690. , 1690. Translation of Rabanus Maurus' Veni Creator SpiritusTranslation of Rabanus Maurus' Veni Creator Spiritus King ArthurKing Arthur, 1691, 1691 CleomenesCleomenes, 1692, 1692 Love TriumphantLove Triumphant, 1694, 1694 The Works of VirgilThe Works of Virgil, 1697, 1697 Alexander's FeastAlexander's Feast, 1697, 1697 Fables, Ancient and ModernFables, Ancient and Modern, 1700, 1700 The Art of SatireThe Art of Satire To the Memory of Mr. Oldham, 1684To the Memory of Mr. Oldham, 1684

Alexander Pope Alexander Pope (1688-(1688-1744)1744)

Major worksMajor works1709: 1709: PastoralsPastorals1711: 1711: An Essay on CriticismAn Essay on Criticism1712: 1712: MessiahMessiah1712: 1712: The Rape of the LockThe Rape of the Lock (enlarged in 1714) (enlarged in 1714)1713: 1713: Windsor ForestWindsor Forest1715–1720: Translation of the 1715–1720: Translation of the IliadIliad1717: 1717: Eloisa to AbelardEloisa to Abelard1717: 1717: Three Hours After MarriageThree Hours After Marriage1717: 1717: Elegy to the Memory of an Unfortunate LadyElegy to the Memory of an Unfortunate Lady1723–1725: 1723–1725: The Works of Shakespeare, in Six VolumesThe Works of Shakespeare, in Six Volumes1725–1726: Translation of the 1725–1726: Translation of the OdysseyOdyssey1727: 1727: Peri Bathous, Or the Art of Sinking in PoetryPeri Bathous, Or the Art of Sinking in Poetry1728: 1728: The DunciadThe Dunciad1733–1734: 1733–1734: Essay on ManEssay on Man1735: 1735: The Prologue to the SatiresThe Prologue to the Satires  1735: Epistle to Dr Arbuthnot1735: Epistle to Dr Arbuthnot  1735: Who breaks a butterfly upon a wheel?1735: Who breaks a butterfly upon a wheel?1700: 1700: Ode on SolitudeOde on Solitude

Samuel JohnsonSamuel Johnson (1709- (1709-1784)1784)

Major worksMajor works

Essays, pamphlets, periodicals, sermonsEssays, pamphlets, periodicals, sermons1732–33  1732–33  Birmingham JournalBirmingham Journal17471747Plan for a Dictionary of the English LanguagePlan for a Dictionary of the English Language1750–52  1750–52  The RamblerThe Rambler1753–541753–54The AdventurerThe Adventurer17561756Universal VisiterUniversal Visiter1756-1756-The Literary Magazine, or Universal ReviewThe Literary Magazine, or Universal Review1758–601758–60The Idle (1758–1760)The Idle (1758–1760)17701770The False Alarm The False Alarm 17711771Thoughts on the Late Transactions Respecting Falkland's Thoughts on the Late Transactions Respecting Falkland's IslandsIslands17741774The PatriotThe Patriot17751775A Journey to the Western Islands of ScotlandA Journey to the Western Islands of ScotlandTaxation No TyrannyTaxation No Tyranny17811781The Beauties of JohnsonThe Beauties of Johnson

PoetryPoetry17281728MessiahMessiah, a translation into Latin of Alexander Pope's , a translation into Latin of Alexander Pope's MessiahMessiah17381738LondonLondon17471747Prologue at the Opening of the Theatre in Drury LanePrologue at the Opening of the Theatre in Drury Lane17491749The Vanity of Human WishesThe Vanity of Human WishesIrene, a TragedyIrene, a Tragedy

Biographies, criticismBiographies, criticism17441744Life of Mr Richard SavageLife of Mr Richard Savage17451745Miscellaneous Observations on the Tragedy of MacbethMiscellaneous Observations on the Tragedy of Macbeth1756"Life of Browne" in Thomas Browne's 1756"Life of Browne" in Thomas Browne's Christian MoralsChristian MoralsProposals for Printing, by Subscription, the Dramatick Works of William Proposals for Printing, by Subscription, the Dramatick Works of William ShakespeareShakespeare17651765Preface to the Plays of William ShakespearePreface to the Plays of William ShakespeareThe Plays of William ShakespeareThe Plays of William Shakespeare1779–811779–81Lives of the PoetsLives of the Poets

DictionaryDictionary17551755Preface to a Dictionary of the English LanguagePreface to a Dictionary of the English LanguageA Dictionary of the English LanguageA Dictionary of the English Language

NovellasNovellas17591759The History of Rasselas, Prince of AbissiniaThe History of Rasselas, Prince of Abissinia

John LockeJohn Locke (1632-1704) (1632-1704)List of major worksList of major worksA Letter Concerning TolerationA Letter Concerning Toleration, 1689., 1689.(1690) (1690) A Second Letter Concerning TolerationA Second Letter Concerning Toleration(1692) (1692) A Third Letter for TolerationA Third Letter for Toleration(1689) (1689) Two Treatises of GovernmentTwo Treatises of Government(1690) (1690) An Essay Concerning Human UnderstandingAn Essay Concerning Human Understanding(1691) (1691) Some Considerations on the consequences of Some Considerations on the consequences of the Lowering of Interest and the Raising of the Value the Lowering of Interest and the Raising of the Value of Moneyof Money(1693) (1693) Some Thoughts Concerning EducationSome Thoughts Concerning Education(1695) (1695) The Reasonableness of Christianity, as The Reasonableness of Christianity, as Delivered in the ScripturesDelivered in the Scriptures(1695) (1695) A Vindication of the Reasonableness of A Vindication of the Reasonableness of ChristianityChristianity

Major posthumous manuscriptsMajor posthumous manuscripts(1660) (1660) First Tract of GovernmentFirst Tract of Government (or  (or the English Tractthe English Tract))((c.c.1662) 1662) Second Tract of GovernmentSecond Tract of Government (or  (or the Latin Tractthe Latin Tract))(1664) (1664) Questions Concerning the Law of NatureQuestions Concerning the Law of Nature  (1667) (1667) Essay Concerning TolerationEssay Concerning Toleration(1706) (1706) Of the Conduct of the UnderstandingOf the Conduct of the Understanding(1707) (1707) A paraphrase and notes on the Epistles of St. Paul to A paraphrase and notes on the Epistles of St. Paul to the Galatians, 1 and 2 Corinthians, Romans, Ephesiansthe Galatians, 1 and 2 Corinthians, Romans, Ephesians

The Precursors of The Precursors of RomanticismRomanticism

James Thomson James Thomson (1700-1748)(1700-1748)SPRING.SPRING.““CCOME, gentle SPRING, AETHEREAL MILDNESS, come,OME, gentle SPRING, AETHEREAL MILDNESS, come,And from the bosom of yon dropping cloud,And from the bosom of yon dropping cloud,While music wakes around, veil'd in a showerWhile music wakes around, veil'd in a showerOf shadowing roses, on our plains descend.Of shadowing roses, on our plains descend.O HERTFORD, fitted, or to shine in courts,O HERTFORD, fitted, or to shine in courts,With unaffected grace; or walk the plain,With unaffected grace; or walk the plain,With INNOCENCE and MEDITATION join'dWith INNOCENCE and MEDITATION join'dIn soft assemblage, listen to my song,In soft assemblage, listen to my song,

That thy own Season paints; when NATURE allThat thy own Season paints; when NATURE allIs blooming, and benevolent like thee.Is blooming, and benevolent like thee.AND see where surly WINTER passes off,AND see where surly WINTER passes off,Far to the north, and calls his ruffian blasts;Far to the north, and calls his ruffian blasts;His blasts obey, and quit the howling hill,His blasts obey, and quit the howling hill,The shatter'd forestThe shatter'd forest, , and the ravag'd vale:and the ravag'd vale:While softer gales succeed, at whose kind touch,While softer gales succeed, at whose kind touch,Dissolving snows in livid torrents lost,Dissolving snows in livid torrents lost,The mountains lift their green heads to the sky.The mountains lift their green heads to the sky.As yet the trembling year is unconfirm'd,As yet the trembling year is unconfirm'd,And WINTER oft at eve resumes the breeze,And WINTER oft at eve resumes the breeze,Chills the pale morn, and bids his driving sleetsChills the pale morn, and bids his driving sleetsDeform the day delightless; so that scarceDeform the day delightless; so that scarceThe Bittern knows the time, with bill ingulphtThe Bittern knows the time, with bill ingulphtTo shake the sounding marsh; […] Then no moreTo shake the sounding marsh; […] Then no moreTh' expansive atmosphere is cramp'd with cold,Th' expansive atmosphere is cramp'd with cold,But full of life, and vivifying soul,But full of life, and vivifying soul,Lifts the light clouds sublime, and spreads them thin,Lifts the light clouds sublime, and spreads them thin,Fleecy, and white, o'er all-surrounding heaven.”Fleecy, and white, o'er all-surrounding heaven.”

Wordsworth on ThomsonWordsworth on Thomson””Something less than sixty years after the publication of the Something less than sixty years after the publication of the Paradise LostParadise Lost    appeared Thomson’s appeared Thomson’s Winter;Winter; which was speedily followed by his other  which was speedily followed by his other Seasons. It is a work of inspiration; much of it is written from himself, and Seasons. It is a work of inspiration; much of it is written from himself, and nobly from himself. How was it received? ‘It was no sooner read,’ says one of nobly from himself. How was it received? ‘It was no sooner read,’ says one of his contemporary biographers, ‘than universally admired: those only his contemporary biographers, ‘than universally admired: those only excepted who had not been used to feel, or to look for anything in poetry, excepted who had not been used to feel, or to look for anything in poetry, beyond abeyond apointpoint of satirical or epigrammatic wit, a smart  of satirical or epigrammatic wit, a smart antithesisantithesis richly  richly trimmed with rime, or the softness of an trimmed with rime, or the softness of an elegiacelegiac complaint. to such his manly  complaint. to such his manly classical spirit could not readily commend itself; till, after a more attentive classical spirit could not readily commend itself; till, after a more attentive perusal, they had got the better of their prejudices, and either acquired or perusal, they had got the better of their prejudices, and either acquired or affected a truer taste. A few others stood aloof, merely because they had affected a truer taste. A few others stood aloof, merely because they had long before fixed the articles of their poetical creed, and resigned themselves long before fixed the articles of their poetical creed, and resigned themselves to an absolute despair of ever seeing anything new and original. These were to an absolute despair of ever seeing anything new and original. These were somewhat mortified to find their notions disturbed by the appearance of a somewhat mortified to find their notions disturbed by the appearance of a poet, who seemed to owe nothing but to nature and his own genius. But, in a poet, who seemed to owe nothing but to nature and his own genius. But, in a short time, the applause became unanimous; every one wondering how so short time, the applause became unanimous; every one wondering how so many pictures, and pictures so familiar, should have moved them but faintly many pictures, and pictures so familiar, should have moved them but faintly to what they felt in his descriptions. His disgressions too, the overflowings of to what they felt in his descriptions. His disgressions too, the overflowings of a tender benevolent heart, charmed the reader no less; leaving him in doubt, a tender benevolent heart, charmed the reader no less; leaving him in doubt, whether he should more admire the Poet or love the Man.’whether he should more admire the Poet or love the Man.’

This case appears to bear strongly against us:—but we must distinguish This case appears to bear strongly against us:—but we must distinguish between wonder and legitimate admiration. The subject of the work is the between wonder and legitimate admiration. The subject of the work is the changes produced in the appearances of nature by the revolution of the year: changes produced in the appearances of nature by the revolution of the year: and, by undertaking to write in verse, Thomson pledged himself to treat his and, by undertaking to write in verse, Thomson pledged himself to treat his subject as became a Poet. Now, it is remarkable that, excepting the subject as became a Poet. Now, it is remarkable that, excepting the nocturnal nocturnal Reverie of Lady Winchelsea,Reverie of Lady Winchelsea, and a passage or two in the  and a passage or two in the Windsor Windsor ForestForest of Pope, the poetry of the period intervening between the publication  of Pope, the poetry of the period intervening between the publication of the of the Paradise LostParadise Lost and the  and the SeasonsSeasons does not contain a single new image of  does not contain a single new image of external nature; and scarcely presents a familiar one from which it can be external nature; and scarcely presents a familiar one from which it can be inferred that the eye of the Poet has been steadily fixed upon his object, inferred that the eye of the Poet has been steadily fixed upon his object, much less that his feelings had urged him to work upon it in the spirit of much less that his feelings had urged him to work upon it in the spirit of genuine imagination. to what a low state knowledge of the most obvious and genuine imagination. to what a low state knowledge of the most obvious and important phenomena had sunk, is evident from the style in which Dryden important phenomena had sunk, is evident from the style in which Dryden has executed a description of Night in one of his Tragedies, and Pope his has executed a description of Night in one of his Tragedies, and Pope his translation of the celebrated moonlight scene in the translation of the celebrated moonlight scene in the Iliad.Iliad. A blind man, in the  A blind man, in the habit of attending accurately to descriptions casually dropped from the lips habit of attending accurately to descriptions casually dropped from the lips of those around him, might easily depict these appearances with more truth. of those around him, might easily depict these appearances with more truth. Dryden’s lines are vague, bombastic, and senseless; 5 those of Pope, though Dryden’s lines are vague, bombastic, and senseless; 5 those of Pope, though he had Homer to guide him, are throughout false and contradictory. The he had Homer to guide him, are throughout false and contradictory. The verses of Dryden, once highly celebrated, are forgotten; those of Pope still verses of Dryden, once highly celebrated, are forgotten; those of Pope still retain their hold upon public estimation,—nay, there is not a passage of retain their hold upon public estimation,—nay, there is not a passage of descriptive poetry, which at this day finds so many and such ardent admirers. descriptive poetry, which at this day finds so many and such ardent admirers. Strange to think of an enthusiast, as may have been the case with Strange to think of an enthusiast, as may have been the case with thousands, reciting those verses under the cope of a moonlight sky, without thousands, reciting those verses under the cope of a moonlight sky, without having his raptures in the least disturbed by a suspicion of their absurdity!—having his raptures in the least disturbed by a suspicion of their absurdity!—If these two distinguished writers could habitually think that the visible If these two distinguished writers could habitually think that the visible universe was of so little consequence to a poet, that it was scarcely universe was of so little consequence to a poet, that it was scarcely necessary for him to cast his eyes upon it, we may be assured that those necessary for him to cast his eyes upon it, we may be assured that those passages of the elder poets which faithfully and poetically describe the passages of the elder poets which faithfully and poetically describe the phenomena of nature, were not at that time holden in much estimation, and phenomena of nature, were not at that time holden in much estimation, and that there was little accurate attention paid to those appearances.that there was little accurate attention paid to those appearances.(Wordsworth. (Wordsworth. Essay Supplementary to the Preface, 1815.)Essay Supplementary to the Preface, 1815.)

Edward YoungEdward Young (1683-1765) (1683-1765)

Thomas Gray Thomas Gray (1716-1771)(1716-1771)

William Collins William Collins (1721-1779)(1721-1779)

Oliver Goldsmith Oliver Goldsmith (1728-(1728-1774)1774)

William Lisle Bowels William Lisle Bowels (1762-1850)(1762-1850)

SONNET VIII.SONNET VIII.TO THE RIVER ITCHIN, NEAR WINTON.TO THE RIVER ITCHIN, NEAR WINTON.Itchin, when I, behold thy banks again,Itchin, when I, behold thy banks again,Thy crumbling margin, and thy silver breast,Thy crumbling margin, and thy silver breast,On which the self-same tints still seem to rest,On which the self-same tints still seem to rest,Why feels my heart the shiv'ring sense of pain?Why feels my heart the shiv'ring sense of pain?Is it, that many a summer's day has pastIs it, that many a summer's day has pastSince, in life's morn, I carol'd on thy side?Since, in life's morn, I carol'd on thy side?Is it, that oft, since then, my heart has sigh'd,Is it, that oft, since then, my heart has sigh'd,As Youth, and Hope's delusive gleams, flew fast?As Youth, and Hope's delusive gleams, flew fast?Is it that those, who circled on thy shore,Is it that those, who circled on thy shore,Companions of my youth, now meet no more?Companions of my youth, now meet no more?Whate'er the cause, upon thy banks I bendWhate'er the cause, upon thy banks I bendSorrowing, yet feel such solace at my heart,Sorrowing, yet feel such solace at my heart,As at the meeting of some long-lost friend,As at the meeting of some long-lost friend,From whom, in happier hours, we wept to part.From whom, in happier hours, we wept to part.

Sonnet: To The River OtterSonnet: To The River Otterby Samuel Taylor Coleridgeby Samuel Taylor Coleridge

Dear native Brook! wild Streamlet of the West!Dear native Brook! wild Streamlet of the West!How many various-fated years have past,How many various-fated years have past,What happy and what mournful hours, since lastWhat happy and what mournful hours, since lastI skimm'd the smooth thin stone along thy breast,I skimm'd the smooth thin stone along thy breast,Numbering its light leaps! yet so deep imprestNumbering its light leaps! yet so deep imprestSink the sweet scenes of childhood, that mine eyesSink the sweet scenes of childhood, that mine eyesI never shut amid the sunny ray,I never shut amid the sunny ray,But straight with all their tints thy waters rise,But straight with all their tints thy waters rise,Thy crossing plank, thy marge with willows grey,Thy crossing plank, thy marge with willows grey,And bedded sand that vein'd with various dyesAnd bedded sand that vein'd with various dyesGleam'd through thy bright transparence! On my way,Gleam'd through thy bright transparence! On my way,Visions of Childhood! oft have ye beguil'dVisions of Childhood! oft have ye beguil'dLone manhood's cares, yet waking fondest sighs:Lone manhood's cares, yet waking fondest sighs:Ah! that once more I were a careless Child! Ah! that once more I were a careless Child! 

William Cowper William Cowper (1731-(1731-1800)1800)

The TaskThe Task

““Nor rural sights alone, but rural soundsNor rural sights alone, but rural soundsExhilarate the spirit, and restoreExhilarate the spirit, and restoreThe tone of languid Nature. Mighty winds,The tone of languid Nature. Mighty winds,That sweep the skirt of some far-spreading woodThat sweep the skirt of some far-spreading woodOf ancient growth, make music not unlikeOf ancient growth, make music not unlikeThe dash of ocean on his winding shore,The dash of ocean on his winding shore,And lull the spirit while they fill the mind,And lull the spirit while they fill the mind,Unnumbered branches waving in the blast,Unnumbered branches waving in the blast,And all their leaves fast fluttering, all at once.And all their leaves fast fluttering, all at once.Nor less composure waits upon the roarNor less composure waits upon the roarOf distant floods, or on the softer voiceOf distant floods, or on the softer voiceOf neighbouring fountain, or of rills that slipOf neighbouring fountain, or of rills that slipThrough the cleft rock, and, chiming as they fallThrough the cleft rock, and, chiming as they fallUpon loose pebbles, lose themselves at lengthUpon loose pebbles, lose themselves at lengthIn matted grass, that with a livelier greenIn matted grass, that with a livelier greenBetrays the secret of their silent course.Betrays the secret of their silent course.Nature inanimate employs sweet sounds,Nature inanimate employs sweet sounds,But animated Nature sweeter stillBut animated Nature sweeter stillTo soothe and satisfy the human ear”.To soothe and satisfy the human ear”.

Mark AkensideMark Akenside (1721-1770) (1721-1770)The Pleasures Of Imagination The Pleasures Of Imagination BOOK I BOOK I

“With what attractive charms this goodly frame“With what attractive charms this goodly frameOf Nature touches the consenting heartsOf Nature touches the consenting heartsOf mortal men; and what the pleasing storesOf mortal men; and what the pleasing storesWhich beauteous imitation thence derivesWhich beauteous imitation thence derivesTo deck the poet's, or the painter's toil;To deck the poet's, or the painter's toil;My verse unfolds. Attend, ye gentle pow'rsMy verse unfolds. Attend, ye gentle pow'rsOf musical delight! and while I singOf musical delight! and while I singYour gifts, your honours, dance around my strain.Your gifts, your honours, dance around my strain.Thou, smiling queen of every tuneful breast,Thou, smiling queen of every tuneful breast,Indulgent Fancy! from the fruitful banksIndulgent Fancy! from the fruitful banksOf Avon, whence thy rosy fingers cullOf Avon, whence thy rosy fingers cullFresh flowers and dews to sprinkle on the turfFresh flowers and dews to sprinkle on the turfWhere Shakspeare lies, be present: and with theeWhere Shakspeare lies, be present: and with theeLet Fiction come, upon her vagrant wingsLet Fiction come, upon her vagrant wingsWafting ten thousand colours through the air,Wafting ten thousand colours through the air,Which, by the glances of her magic eye,Which, by the glances of her magic eye,She blends and shifts at will, through countless forms,She blends and shifts at will, through countless forms,Her wild creation. Goddess of the lyre,Her wild creation. Goddess of the lyre,Which rules the accents of the moving sphere,Which rules the accents of the moving sphere,Wilt thou, eternal Harmony! descendWilt thou, eternal Harmony! descendAnd join this festive train? for with thee comesAnd join this festive train? for with thee comesThe guide, the guardian of their lovely sports,The guide, the guardian of their lovely sports,Majestic Truth; and where Truth deigns to come,Majestic Truth; and where Truth deigns to come,Her sister Liberty will not be far.Her sister Liberty will not be far.

Oft have the laws of each poetic strainOft have the laws of each poetic strainThe critic-verse imploy'd; yet still unsungThe critic-verse imploy'd; yet still unsungLay this prime subject, tho' importing mostLay this prime subject, tho' importing mostA poet's name: for fruitless is th' attempt,A poet's name: for fruitless is th' attempt,By dull obedience and the curb of rules,By dull obedience and the curb of rules,For creeping toil to climb the hard ascentFor creeping toil to climb the hard ascentOf high Parnassus. Nature's kindling breathOf high Parnassus. Nature's kindling breathMust fire the chosen genius; nature's handMust fire the chosen genius; nature's handMust string his nerves, and imp his eagle-wingsMust string his nerves, and imp his eagle-wingsExulting o'er the painful steep to soarExulting o'er the painful steep to soarHigh as the summit; there to breathe at largeHigh as the summit; there to breathe at largeAethereal air; with bards and sages old,Aethereal air; with bards and sages old,Immortal sons of praise. These flatt'ring scenesImmortal sons of praise. These flatt'ring scenesTo this neglected labour court my song;To this neglected labour court my song;Yet not unconscious what a doubtful taskYet not unconscious what a doubtful taskTo paint the finest features of the mind,To paint the finest features of the mind,And to most subtile and mysterious thingsAnd to most subtile and mysterious thingsGive colour, strength, and motion. But the loveGive colour, strength, and motion. But the loveOf nature and the muses bids explore,Of nature and the muses bids explore,Thro' secret paths erewhile untrod by man,Thro' secret paths erewhile untrod by man,The fair poetic region, to detectThe fair poetic region, to detectUntasted springs, to drink inspiring draughts;Untasted springs, to drink inspiring draughts;And shade my temples with unfading flow'rsAnd shade my temples with unfading flow'rsCull'd from the laureate vale's profound recess,Cull'd from the laureate vale's profound recess,Where never poet gain'd a wreath before.Where never poet gain'd a wreath before.

From heav'n my strains begin; from heaven descendsFrom heav'n my strains begin; from heaven descendsThe flame of genius to the human breast,The flame of genius to the human breast,And love and beauty, and poetic joyAnd love and beauty, and poetic joyAnd inspiration. Ere the radiant sunAnd inspiration. Ere the radiant sunSprung from the east, or 'mid the vault of nightSprung from the east, or 'mid the vault of nightThe moon suspended her serener lamp;The moon suspended her serener lamp;Ere mountains, woods, or streams adorn'd the globe;Ere mountains, woods, or streams adorn'd the globe;Or wisdom taught the sons of men her lore;Or wisdom taught the sons of men her lore;Then liv'd th' almighty ONE: then, deep-retir'dThen liv'd th' almighty ONE: then, deep-retir'dIn his unfathom'd essence, view'd at largeIn his unfathom'd essence, view'd at largeThe uncreated images things;The uncreated images things;The radiant sun, the moon's nocturnal lamp,The radiant sun, the moon's nocturnal lamp,The mountains, woods and streams, the rolling globe,The mountains, woods and streams, the rolling globe,And wisdom's form coelestial. From the firstAnd wisdom's form coelestial. From the firstOf days, on them his love divine he fix'd,Of days, on them his love divine he fix'd,His admiration: till in time compleat,His admiration: till in time compleat,What he admir'd and lov'd, his vital smileWhat he admir'd and lov'd, his vital smileUnfolded into being. Hence the breathUnfolded into being. Hence the breathOf life informing each organic frame,Of life informing each organic frame,Hence the green earth, and wild resounding waves;Hence the green earth, and wild resounding waves;Hence light and shade alternate; warmth and cold;Hence light and shade alternate; warmth and cold;And clear autumnal skies and vernal show'rs,And clear autumnal skies and vernal show'rs,And all the fair variety of things.And all the fair variety of things.

But not alike to every mortal eyeBut not alike to every mortal eyeIs this great scene unveil'd. For since the claimsIs this great scene unveil'd. For since the claimsOf social life, to different labours urgeOf social life, to different labours urgeThe active pow'rs of man; with wise intentThe active pow'rs of man; with wise intentThe hand of nature on peculiar mindsThe hand of nature on peculiar mindsImprints a diff'rent byass, and to eachImprints a diff'rent byass, and to eachDecrees its province in the common toil.Decrees its province in the common toil.To some she taught the fabric of the sphere,To some she taught the fabric of the sphere,The changeful moon, the circuit of the starrs,The changeful moon, the circuit of the starrs,The golden zones of heav'n: to some she gaveThe golden zones of heav'n: to some she gaveTo weigh the moment of eternal things,To weigh the moment of eternal things,Of time, and space, and fate's unbroken chain,Of time, and space, and fate's unbroken chain,And will's quick impulse: others by the handAnd will's quick impulse: others by the handShe led o'er vales and mountains, to exploreShe led o'er vales and mountains, to exploreWhat healing virtue swells the tender veinsWhat healing virtue swells the tender veinsOf herbs and flow'rs; or what the beams of mornOf herbs and flow'rs; or what the beams of mornDraw forth, distilling from the clifted rindDraw forth, distilling from the clifted rindIn balmy tears. But some, to higher hopesIn balmy tears. But some, to higher hopesWere destin'd; some within a finer mouldWere destin'd; some within a finer mouldShe wrought, and temper'd with a purer flame.She wrought, and temper'd with a purer flame.To these the sire omnipotent unfoldsTo these the sire omnipotent unfoldsThe world's harmonious volume, there to readThe world's harmonious volume, there to readThe transcript of himself. On every partThe transcript of himself. On every partThey trace the bright impressions of his hand:They trace the bright impressions of his hand:In earth or air, the meadow's purple stores,In earth or air, the meadow's purple stores,The moon's mild radiance, or the virgin's formThe moon's mild radiance, or the virgin's formBlooming with rosy smiles, they see portray'dBlooming with rosy smiles, they see portray'dThat uncreated beauty, which delightsThat uncreated beauty, which delightsThe mind supreme. They also feel her charms,The mind supreme. They also feel her charms,Enamour'd; they partake th' eternal joy.”Enamour'd; they partake th' eternal joy.”

James BeattieJames Beattie (1735-1803) (1735-1803)The Minstrel; or, the Progress of Genius. A Poem. Book the The Minstrel; or, the Progress of Genius. A Poem. Book the First.First.Ah! who can tell how hard it is to climbAh! who can tell how hard it is to climbThe steep where Fame's proud temple shines afar!The steep where Fame's proud temple shines afar!Ah! who can tell how many a soul sublimeAh! who can tell how many a soul sublimeHath felt the influence of malignant star,Hath felt the influence of malignant star,And waged with Fortune an eternal war!And waged with Fortune an eternal war!Check'd by the scoff of Pride, by Envy's frown,Check'd by the scoff of Pride, by Envy's frown,And Poverty's unconquerable bar,And Poverty's unconquerable bar,In life's low vale remote hath pined alone,In life's low vale remote hath pined alone,Then drops into the grave, unpitied and unknown! […]Then drops into the grave, unpitied and unknown! […]

Liberal, not lavish, is kind Nature's hand;Liberal, not lavish, is kind Nature's hand;Nor was perfection made for man below.Nor was perfection made for man below.Yet all her schemes with nicest art are plann'd,Yet all her schemes with nicest art are plann'd,Good counteracting ill, and gladness wo.Good counteracting ill, and gladness wo.With gold and gems if Chilian mountains glow,With gold and gems if Chilian mountains glow,If bleak and barren Scotia's hills arise;If bleak and barren Scotia's hills arise;There plague and poison, lust and rapine grow;There plague and poison, lust and rapine grow;Here peaceful are the vales, and pure the skies,Here peaceful are the vales, and pure the skies,And freedom fires the soul, and sparkles in the eyes.And freedom fires the soul, and sparkles in the eyes.

Then grieve not, thou to whom th' indulgent MuseThen grieve not, thou to whom th' indulgent MuseVouchsafes a portion of celestial fire;Vouchsafes a portion of celestial fire;Nor blame the partial Fates, if they refuseNor blame the partial Fates, if they refuseTh' imperial banquet, and the rich attire.Th' imperial banquet, and the rich attire.Know thine own worth, and reverence the lyre.Know thine own worth, and reverence the lyre.Wilt thou debase the heart which God refined?Wilt thou debase the heart which God refined?No; let thy heaven-taught soul to heaven aspire,No; let thy heaven-taught soul to heaven aspire,To fancy, freedom, harmony, resign'd;To fancy, freedom, harmony, resign'd;Ambition's groveling crew for ever left behind.Ambition's groveling crew for ever left behind.

Erasmus DarwinErasmus Darwin (1731-1802) (1731-1802)ZOONOMIA.ZOONOMIA.Sect. I.Sect. I.

OF MOTION.OF MOTION.““The whole of nature may be supposed to consist The whole of nature may be supposed to consist of two essences or substances; one of which may of two essences or substances; one of which may be termed spirit, and the other matter. The be termed spirit, and the other matter. The former of these possesses the power to former of these possesses the power to commence or produce motion, and the latter to commence or produce motion, and the latter to receive and communicate it. So that motion, receive and communicate it. So that motion, considered as a cause, immediately precedes considered as a cause, immediately precedes every effect; and, considered as an effect, it every effect; and, considered as an effect, it immediately succeeds every cause.immediately succeeds every cause.The MOTIONS OF MATTER may be divided into The MOTIONS OF MATTER may be divided into two kinds, primary and secondary. The secondary two kinds, primary and secondary. The secondary motions are those, which are given to or received motions are those, which are given to or received from other matter in motion. Their laws have from other matter in motion. Their laws have been successfully investigated by philosophers in been successfully investigated by philosophers in their treatises on mechanic powers. These their treatises on mechanic powers. These motions are distinguished by this circumstance, motions are distinguished by this circumstance, that the velocity multiplied into the quantity of that the velocity multiplied into the quantity of matter of the body acted upon is equal to the matter of the body acted upon is equal to the velocity multiplied into the quantity of matter of velocity multiplied into the quantity of matter of the acting body.the acting body.

The primary motions of matter may be divided into three classes, those belonging to The primary motions of matter may be divided into three classes, those belonging to gravitation, to chemistry, and to life; and each class has its peculiar laws. Though these gravitation, to chemistry, and to life; and each class has its peculiar laws. Though these three classes include the motions of solid, liquid, and aerial bodies; there is three classes include the motions of solid, liquid, and aerial bodies; there is nevertheless a fourth division of motions; I mean those of the supposed ethereal fluids nevertheless a fourth division of motions; I mean those of the supposed ethereal fluids of magnetism, electricity, heat, and light; whose properties are not so well investigated of magnetism, electricity, heat, and light; whose properties are not so well investigated as to be classed with sufficient accuracy.as to be classed with sufficient accuracy.

1st.1st. The gravitating motions include the annual and diurnal rotation of the earth and The gravitating motions include the annual and diurnal rotation of the earth and planets, the flux and reflux of the ocean, the descent of heavy bodies, and other planets, the flux and reflux of the ocean, the descent of heavy bodies, and other phænomena of gravitation. The unparalleled sagacity of the great NEWTON has phænomena of gravitation. The unparalleled sagacity of the great NEWTON has deduced the laws of this class of motions from the simple principle of the general deduced the laws of this class of motions from the simple principle of the general attraction of matter. These motions are distinguished by their tendency to or from the attraction of matter. These motions are distinguished by their tendency to or from the centers of the sun or planets. […]centers of the sun or planets. […]

3d.3d. The third class includes all the motions of the animal and vegetable world; as well The third class includes all the motions of the animal and vegetable world; as well those of the vessels, which circulate their juices, and of the muscles, which perform those of the vessels, which circulate their juices, and of the muscles, which perform their locomotion, as those of the organs of sense, which constitute their ideas.their locomotion, as those of the organs of sense, which constitute their ideas.

This last class of motion is the subject of the following pages; which, though conscious This last class of motion is the subject of the following pages; which, though conscious of their many imperfections, I hope may give some pleasure to the patient reader, and of their many imperfections, I hope may give some pleasure to the patient reader, and contribute something to the knowledge and to the cure of diseases.”contribute something to the knowledge and to the cure of diseases.”

SECT. SECT. IVIV..LAWS OF ANIMAL CAUSATION.LAWS OF ANIMAL CAUSATION.““II. The fibres, which constitute the muscles and organs of sense, possess a power of . The fibres, which constitute the muscles and organs of sense, possess a power of contraction. The circumstances attending the exertion of this power of CONTRACTION contraction. The circumstances attending the exertion of this power of CONTRACTION constitute the laws of animal motion, as the circumstances attending the exertion of constitute the laws of animal motion, as the circumstances attending the exertion of the power of ATTRACTION constitute the laws of motion of inanimate matter.the power of ATTRACTION constitute the laws of motion of inanimate matter.IIII. The spirit of animation is the immediate cause of the contraction of animal fibres, it . The spirit of animation is the immediate cause of the contraction of animal fibres, it resides in the brain and nerves, and is liable to general or partial diminution or resides in the brain and nerves, and is liable to general or partial diminution or accumulation.accumulation.IIIIII. The stimulus of bodies external to the moving organ is the remote cause of the . The stimulus of bodies external to the moving organ is the remote cause of the original contractions of animal fibres.original contractions of animal fibres.IVIV. A certain quantity of stimulus produces irritation, which is an exertion of the spirit of . A certain quantity of stimulus produces irritation, which is an exertion of the spirit of animation exciting the fibres into contraction.animation exciting the fibres into contraction.VV. A certain quantity of contraction of animal fibres, if it be perceived at all, produces . A certain quantity of contraction of animal fibres, if it be perceived at all, produces pleasure; a greater or less quantity of contraction, if it be perceived at all, produces pleasure; a greater or less quantity of contraction, if it be perceived at all, produces pain; these constitute sensation.pain; these constitute sensation.VIVI. A certain quantity of sensation produces desire or aversion; these constitute . A certain quantity of sensation produces desire or aversion; these constitute volition.volition.VIIVII. All animal motions which have occurred at the same time, or in immediate . All animal motions which have occurred at the same time, or in immediate succession, become so connected, that when one of them is reproduced, the other has succession, become so connected, that when one of them is reproduced, the other has a tendency to accompany or succeed it. When fibrous contractions succeed or a tendency to accompany or succeed it. When fibrous contractions succeed or accompany other fibrous contractions, the connection is termed association; when accompany other fibrous contractions, the connection is termed association; when fibrous contractions succeed sensorial motions, the connexion is termed causation; fibrous contractions succeed sensorial motions, the connexion is termed causation; when fibrous and sensorial motions reciprocally introduce each other, it is termed when fibrous and sensorial motions reciprocally introduce each other, it is termed catenation of animal motions. All these connections are said to be produced by habit, catenation of animal motions. All these connections are said to be produced by habit, that is, by frequent repetition. These laws of animal causation will be evinced by that is, by frequent repetition. These laws of animal causation will be evinced by numerous facts, which occur in our daily exertions; and will afterwards be employed to numerous facts, which occur in our daily exertions; and will afterwards be employed to explain the more recondite phænomena of the production, growth, diseases, and decay explain the more recondite phænomena of the production, growth, diseases, and decay of the animal system.”of the animal system.”

Christopher Smart Christopher Smart (1722-(1722-1791)1791)

The Influence of Middle The Influence of Middle AgesAges

Allan RamsayAllan RamsayThomas PercyThomas PercyJames MacphersonJames MacphersonThomas ChatertonThomas ChatertonJoseph WartonJoseph WartonHorace WalpoleHorace Walpole

Allan Ramsay Allan Ramsay (1686-1758)(1686-1758)

The Tea-Table Miscellany (1724-32)The Tea-Table Miscellany (1724-32)Th ever Green, being a Collection of Scots Th ever Green, being a Collection of Scots Poems, wrote by the Ingenious before 1600 Poems, wrote by the Ingenious before 1600 (1724)(1724)The Gentle Shepherd (1725)The Gentle Shepherd (1725)

Thomas PercyThomas Percy (1729-1811) (1729-1811)

Five Pieces of Runic Poetry (1763)Five Pieces of Runic Poetry (1763)Reliquies of Ancient English Poetry (1765)Reliquies of Ancient English Poetry (1765)

James MacphersonJames Macpherson (1736- (1736-1796)1796)

The Highlander (1758)The Highlander (1758)Fragments of Ancient Poetry collected in the Fragments of Ancient Poetry collected in the Highlands of Scotland, and Translated from Highlands of Scotland, and Translated from the Gaelic or Esre language (1760)the Gaelic or Esre language (1760)Poems of Ossian (1760)Poems of Ossian (1760)Fingal: An Ancient Epic Poem in Six Books Fingal: An Ancient Epic Poem in Six Books (1762)(1762)Temora: An Epic Poem in Six Books (1763)Temora: An Epic Poem in Six Books (1763)

Thomas ChattertonThomas Chatterton (1752- (1752-1770)1770)

The Rowley Poems (1764) – The Rowley Poems (1764) – 'Poems supposed to have been written at 'Poems supposed to have been written at Bristol, by Thomas Rowley and others, in the Fifteenth Century‘ Bristol, by Thomas Rowley and others, in the Fifteenth Century‘ (1777)(1777)An Elegy on the much lamented Death of William Beckford, Esq An Elegy on the much lamented Death of William Beckford, Esq (1770)(1770)The Execution of Sir Charles Bawdwin (1772)The Execution of Sir Charles Bawdwin (1772)The Death of Chatterton, 1856, by Henry Wallis, the most famous image of Chatterton in the 19th century. The figure of the poet was modelled by the young George Meredith.

Thomas Warton, the Thomas Warton, the eldest eldest (1688-1745)(1688-1745)

Ragnar LodbrogRagnar Lodbrog

Thomas Warton, the Thomas Warton, the youngest youngest (1728-1790)(1728-1790)Joseph Warton Joseph Warton (1722-1800)(1722-1800)

History of English Poetry, in three volumes History of English Poetry, in three volumes (1774, 1778, 1781)(1774, 1778, 1781)

Horace WalpoleHorace Walpole (1717- (1717-1797)1797)

The Castle of Otranto (1764-5)The Castle of Otranto (1764-5)

The Conception of The Conception of PoetryPoetry

Classicism regarded poetry as the imitation of Nature and Classicism regarded poetry as the imitation of Nature and human life and actions, as a mirror held up against the human life and actions, as a mirror held up against the outer world.outer world.

Romanticism sees poetry as the expression of the poet’s Romanticism sees poetry as the expression of the poet’s feelings and thoughts at the time composition. For feelings and thoughts at the time composition. For Wordsworth, poetry is “the spontaneous overflow of Wordsworth, poetry is “the spontaneous overflow of powerful feelings”. Wordsworth’s method involves powerful feelings”. Wordsworth’s method involves “emotion recollected in tranquility”.“emotion recollected in tranquility”.

The source of a poem:The source of a poem: outer world-individual poetouter world-individual poet

According to Meyer Abrams Wordsworth “located the source of a According to Meyer Abrams Wordsworth “located the source of a poem not in the outer world, but in the individual poet, and specified poem not in the outer world, but in the individual poet, and specified that the essencial materials of a poem were not external people and that the essencial materials of a poem were not external people and events, but the inner feelings of the author, or external objects only events, but the inner feelings of the author, or external objects only after these have been transformed or irradiated by the author’s after these have been transformed or irradiated by the author’s feelings” feelings” ((The Norton Anthology of English Literature, 2000, p. 7The Norton Anthology of English Literature, 2000, p. 7).).

Sensorialism:Sensorialism: In In Observations on ManObservations on Man, David , David Hartley argued that one Hartley argued that one becomes aware of sensory events as impressions, and that ideas are becomes aware of sensory events as impressions, and that ideas are derived by noticing similarities and differences between impressions derived by noticing similarities and differences between impressions and then by naming them. Connections resulting from the and then by naming them. Connections resulting from the coincidence of impressions create linkages, so that the occurrence of coincidence of impressions create linkages, so that the occurrence of one impression triggers those links and calls up the memory of those one impression triggers those links and calls up the memory of those ideas with which it is associated.ideas with which it is associated.

In this sense, in Tintern Abbey Wordsworth derives thought and In this sense, in Tintern Abbey Wordsworth derives thought and meditation from the impressions of the external, natural scenery.meditation from the impressions of the external, natural scenery.

Romanticism: Main Romanticism: Main CurrentsCurrents

The Spirit of The Age: The Spirit of The Age: the prevailing Romantic the prevailing Romantic MoodMoodTradition: Tradition: Following the steps of the eighteenth-Following the steps of the eighteenth-century poets outside Johnson’s classical tradition century poets outside Johnson’s classical tradition (Dryden, Pope).(Dryden, Pope).Pre-Romanticism: Pre-Romanticism: The Forerunners of Romanticism: The Forerunners of Romanticism: James Thomson, Thomas Gray, William Collins, Oliver James Thomson, Thomas Gray, William Collins, Oliver Goldsmith, William Cowper, Mark Akenside, John Lislie Goldsmith, William Cowper, Mark Akenside, John Lislie Bowels.Bowels.

The major Romantic The major Romantic GenresGenres

AutobiographyAutobiographyOdeOdePopular Ballads and SongsPopular Ballads and Songs

Major Romantic Major Romantic ThemesThemes

Beauty: the sacred status of the poet and poetry;Beauty: the sacred status of the poet and poetry;Love;Love;Nature;Nature;The Poet’s Mind;The Poet’s Mind;Sensation and Imagination;Sensation and Imagination;The Connection between Man and the Universe;The Connection between Man and the Universe;The past: infancy and the Middle Age;The past: infancy and the Middle Age;The journey;The journey;Self-consciousness;Self-consciousness;The contrary States of Humanity: joy and suffering;The contrary States of Humanity: joy and suffering;Prophetic views on the Fall and Redemption of Humankind;Prophetic views on the Fall and Redemption of Humankind;The French Revolution;The French Revolution;

Beauty: the essence of Beauty: the essence of contemplationcontemplation

The Romantics believed that Beauty could to heal The Romantics believed that Beauty could to heal men’s soul.men’s soul.

““A thing of beauty is a joy forever:A thing of beauty is a joy forever:Its loveliness increases: it will neverIts loveliness increases: it will neverPass into nothingness; but still will keepPass into nothingness; but still will keepA bower quiet for us, and a sleepA bower quiet for us, and a sleepFull of sweet dreams, and health, and quiet breathing.Full of sweet dreams, and health, and quiet breathing.Therefore, on every morrow, are we wreathingTherefore, on every morrow, are we wreathingA flowering band to bind us to the earth,A flowering band to bind us to the earth,Spite of despndence, of the inhuman dearthSpite of despndence, of the inhuman dearthOf noble natures, of the gloomy days,Of noble natures, of the gloomy days,Of all the unhealthy and o’er-darkened waysOf all the unhealthy and o’er-darkened waysMade for our searching: yes, in spite of all,Made for our searching: yes, in spite of all,Some shape of beauty moves away the pallSome shape of beauty moves away the pallFrom our dark spirits.”From our dark spirits.”(Endymion: A Poetic Romance, ll. 1-13. 1817)(Endymion: A Poetic Romance, ll. 1-13. 1817)

Landscape with Diana Appearing to Endymion, by Zuccarelli

They also believed that Nature would connect them with eternity through imagination:

“I held unconscious intercourse with BeautyOld as Creation”. (The Prelude, Book I, Wordsworth)

Romantic Love: unfulfilled or free loveRomantic Love: unfulfilled or free love"Perfect love has this advantage in it, that it leaves the possessor of it nothing "Perfect love has this advantage in it, that it leaves the possessor of it nothing

farther to desire. ... the soul finds absolute content, for which it seeks to live, or farther to desire. ... the soul finds absolute content, for which it seeks to live, or dares to die.“ William Hazlitt dares to die.“ William Hazlitt Unaltered Love & Perfect Love (1823)Unaltered Love & Perfect Love (1823)

The Romantic writers often depict love as an unfulfilled sentiment or affair taking The Romantic writers often depict love as an unfulfilled sentiment or affair taking place in a tragic, sad story. For instance, the unrealized romances of Heathcliff place in a tragic, sad story. For instance, the unrealized romances of Heathcliff and Catherine or the Werther’s forbiden passion for Charlotte, or even and Catherine or the Werther’s forbiden passion for Charlotte, or even Wordsworth’s impossibility of realizing his relationship with Annete Vallon due to Wordsworth’s impossibility of realizing his relationship with Annete Vallon due to the circomstances in France with the beginning of Terror, which prevented him the circomstances in France with the beginning of Terror, which prevented him from returning to that country – the incident inspired Vauldracour and Julia. This from returning to that country – the incident inspired Vauldracour and Julia. This type of love was based on the promise of eternal and infinite sentiment towards type of love was based on the promise of eternal and infinite sentiment towards one person, on the dedication of one’s feeling only to one beloved. Let’s think of one person, on the dedication of one’s feeling only to one beloved. Let’s think of Keats’ love to Fanny Brawne.Keats’ love to Fanny Brawne.

On the other hand, poets and lovers such as Sheley and Byron broke with social On the other hand, poets and lovers such as Sheley and Byron broke with social convention to follow their individual will and sentiments, conducting their affair convention to follow their individual will and sentiments, conducting their affair with liberty:with liberty:

““Love withers under constraints. Its very essence is liberty; it is comparable neither Love withers under constraints. Its very essence is liberty; it is comparable neither with obedience, jealousy, nor fear; it is there most pure, perfect, and unlimited with obedience, jealousy, nor fear; it is there most pure, perfect, and unlimited where its votaries are in confidence, equality and unreserve” (Queen Mab, 1813). where its votaries are in confidence, equality and unreserve” (Queen Mab, 1813).

For Shelley, love is free, and to promise love forever for the same woman is the For Shelley, love is free, and to promise love forever for the same woman is the same as to promise always to believe the same creed, since both vows exclude same as to promise always to believe the same creed, since both vows exclude men from all inquiry. men from all inquiry.

To AsraTo AsraAre there two things, of all which men possess, Are there two things, of all which men possess,    That are so like each other and so near,   That are so like each other and so near,   As mutual Love seems like to Happiness?   As mutual Love seems like to Happiness?   Dear Asra, woman beyond utterance dear!   Dear Asra, woman beyond utterance dear!   This Love which ever welling at my heart,   This Love which ever welling at my heart,   Now in its living fount doth heave and fall,   Now in its living fount doth heave and fall,   Now overflowing pours thro' every part   Now overflowing pours thro' every part   Of all my frame, and fills and changes all,   Of all my frame, and fills and changes all,   Like vernal waters springing up through snow,   Like vernal waters springing up through snow,  This Love that seeming great beyond the power  This Love that seeming great beyond the power  Of growth, yet seemeth ever more to grow,  Of growth, yet seemeth ever more to grow,  Could I transmute the whole to one rich Dower  Could I transmute the whole to one rich Dower  Of Happy Life, and give it all to Thee,  Of Happy Life, and give it all to Thee,  Thy lot, methinks, were Heaven, thy age, Eternity!  Thy lot, methinks, were Heaven, thy age, Eternity!

Many a time the real love, or perhaps the most Many a time the real love, or perhaps the most momentous and burning passion, either momentous and burning passion, either abiding or momentary, should be disguised.abiding or momentary, should be disguised.

Bright Star,Bright Star, by John Keats by John Keats

Bright star, would I were stedfast as thou art—Bright star, would I were stedfast as thou art—                  Not in lone splendour hung aloft the Not in lone splendour hung aloft the nightnightAnd watching, with eternal lids apart,And watching, with eternal lids apart,                  Like nature's patient, sleepless Eremite,Like nature's patient, sleepless Eremite,The moving waters at their priestlike taskThe moving waters at their priestlike task                  Of pure ablution round earth's human Of pure ablution round earth's human shores,shores,Or gazing on the new soft-fallen maskOr gazing on the new soft-fallen mask                  Of snow upon the mountains and the Of snow upon the mountains and the moors—moors—No—yet still stedfast, still unchangeable,No—yet still stedfast, still unchangeable,                  Pillow'd upon my fair love's ripening Pillow'd upon my fair love's ripening breast,breast,To feel for ever its soft fall and swell,To feel for ever its soft fall and swell,                  Awake for ever in a sweet unrest,Awake for ever in a sweet unrest,Still, still to hear her tender-taken breath,Still, still to hear her tender-taken breath,And so live ever—or else swoon to death.And so live ever—or else swoon to death.

Keats utters his ove for Fanny Brawne. For the Romantics, Nothing can be stronger nor more beautiful than love. Love must be destined to last forever, even beyond the subject’s live. Love is the most supreme source of joy, and without it, the lover prefers death. For Keas, love must be pure and virtuous, a solemn devotion to the beloved.

Text transcribed by Keats into a volume of Shakespeare in late September 1820.Text transcribed by Keats into a volume of Shakespeare in late September 1820.

InfancyInfancyFor the Romantics, infancy and For the Romantics, infancy and childhood were connected with Nature. childhood were connected with Nature. The early experiences were the sources The early experiences were the sources of the adults’ inspiration and of the adults’ inspiration and imagination as well as the source of imagination as well as the source of their humanity.their humanity.

NatureNature “ “[…] For I was reared[…] For I was rearedIn the great city, pent 'mid cloisters dim,In the great city, pent 'mid cloisters dim,And saw nought lovely but the sky and stars.And saw nought lovely but the sky and stars.But But thouthou, my babe! shalt wander like a breeze, my babe! shalt wander like a breezeBy lakes and sandy shores, beneath the cragsBy lakes and sandy shores, beneath the cragsOf ancient mountain, and beneath the clouds,Of ancient mountain, and beneath the clouds,Which image in their bulk both lakes and shoresWhich image in their bulk both lakes and shoresAnd mountain crags: […]”And mountain crags: […]”(Frost at Midnight, Coleridge)(Frost at Midnight, Coleridge)

Nature: a wild, remote, uncultivated Nature: a wild, remote, uncultivated realm, untouched by man’s handrealm, untouched by man’s handXXIVXXIV Thus bending o'er the vessel's laving side, Thus bending o'er the vessel's laving side, To gaze on Dian's wave-reflected sphere, To gaze on Dian's wave-reflected sphere, The soul forgets her schemes of Hope and Pride, 210 The soul forgets her schemes of Hope and Pride, 210 And flies unconscious o'er each backward year. And flies unconscious o'er each backward year. None are so desolate but something dear, None are so desolate but something dear, Dearer than self, possesses or possess'd Dearer than self, possesses or possess'd A thought, and claims the homage of a tear; A thought, and claims the homage of a tear; A flashing pang! of which the weary breast A flashing pang! of which the weary breast Would still, albeit in vain, the heavy heart divest. Would still, albeit in vain, the heavy heart divest.

XXVXXV To sit on rocks, to muse o'er flood and fell, To sit on rocks, to muse o'er flood and fell, To slowly trace the forest shady scene, To slowly trace the forest shady scene, Where things that own not man's dominion dwell, Where things that own not man's dominion dwell, And mortal foot hath ne'er or rarely been; 220 And mortal foot hath ne'er or rarely been; 220 To climb the trackless mountain all unseen, To climb the trackless mountain all unseen, With the wild flock that never needs a fold; With the wild flock that never needs a fold; Alone o'er steeps and foaming falls to lean, Alone o'er steeps and foaming falls to lean, This is not solitude; 'tis but to hold This is not solitude; 'tis but to hold Converse with Nature's charms, and view her stores unroll'd. Converse with Nature's charms, and view her stores unroll'd. ((Childe Harold’s Pilgrimage, II, ll. 208-225Childe Harold’s Pilgrimage, II, ll. 208-225))

XXVIXXVI But midst the crowd, the hum, the shock of men, But midst the crowd, the hum, the shock of men, To hear, to see, to feel, and to possess, To hear, to see, to feel, and to possess, And roam along, the world's tired denizen, And roam along, the world's tired denizen, With none who bless us, none whom we can bless; With none who bless us, none whom we can bless; Minions of splendour shrinking from distress! 230 Minions of splendour shrinking from distress! 230 None that, with kindred consciousness endued, None that, with kindred consciousness endued, If we were not, would seem to smile the less If we were not, would seem to smile the less Of all that flatter'd, follow'd, sought, and sued; Of all that flatter'd, follow'd, sought, and sued; This is to be alone; this, this is solitude! This is to be alone; this, this is solitude!

XXVIIXXVII More blest the life of godly eremite, More blest the life of godly eremite, Such as on lonely Athos my be seen, Such as on lonely Athos my be seen, Watching at eve upon the giant height, Watching at eve upon the giant height, Which looks o'er waves so blue, skies so serene, Which looks o'er waves so blue, skies so serene, That he who there at such an hour hath been That he who there at such an hour hath been Will wistful linger on that hallow'd spot; 240 Will wistful linger on that hallow'd spot; 240 Then slowly tear him from the witching scene, Then slowly tear him from the witching scene, Sigh forth one wish that such had been his lot, Sigh forth one wish that such had been his lot, Then turn to hate a world he had almost forgot. Then turn to hate a world he had almost forgot. ((Childe Harold’s Pilgrimage, II, ll. 226-243Childe Harold’s Pilgrimage, II, ll. 226-243))

Nature teaches and nourishes manNature teaches and nourishes manXXXVIXXXVI Away! nor let me loiter in my song, Away! nor let me loiter in my song, For we have many a mountain-path to tread, For we have many a mountain-path to tread, And many a varied shore to sail along, And many a varied shore to sail along, By pensive Sadness, not by Fiction, led – By pensive Sadness, not by Fiction, led – Climes, fair withal as ever mortal head 320 Climes, fair withal as ever mortal head 320 Imagines in its little schemes of thought; Imagines in its little schemes of thought; Or e'er in new Utopias were ared, Or e'er in new Utopias were ared, To teach man what he might be, or he ought; To teach man what he might be, or he ought; If that corrupted thing could ever such be taught. If that corrupted thing could ever such be taught.

XXXVIIXXXVII Dear Nature is the kindest mother still, Dear Nature is the kindest mother still, Though always changing, in her aspect mild; Though always changing, in her aspect mild; From her bare bosom let me take my fill, From her bare bosom let me take my fill, Her never-wean'd, though not her favour'd child. Her never-wean'd, though not her favour'd child. Oh! she is fairest in her features wild, Oh! she is fairest in her features wild, Where nothing polish'd dares pollute her path: 330 Where nothing polish'd dares pollute her path: 330 To me by day or night she ever smiled, To me by day or night she ever smiled, Though I have mark'd her when none other hath, Though I have mark'd her when none other hath, And sought her more and more, and loved her best in wrath.And sought her more and more, and loved her best in wrath.((Childe Harold’s Pilgrimage, II, ll. 316-333Childe Harold’s Pilgrimage, II, ll. 316-333))

The Sublime in NatureThe Sublime in Nature The idea of the sublime in Nature involves smething The idea of the sublime in Nature involves smething

that is so powerful that we cannot control it. The human that is so powerful that we cannot control it. The human being is tiny and mean before the vastness and being is tiny and mean before the vastness and greatness of Nature.greatness of Nature.

The word sublime means high, elevated. It refers to The word sublime means high, elevated. It refers to what is lofty, grand or exalted in thought, expression or what is lofty, grand or exalted in thought, expression or manner. It indicates something or someone of manner. It indicates something or someone of outstanding spiritual, intellectual or moral worth; or outstanding spiritual, intellectual or moral worth; or tending to inapire awe due to elavated qualities, such tending to inapire awe due to elavated qualities, such as beauty, nobility or grandeur, or transcendent as beauty, nobility or grandeur, or transcendent excelence. excelence.

(Adapted from Kenney Mencher’s Romanticism (Adapted from Kenney Mencher’s Romanticism in Art)in Art)

The Spirit of the AgeThe Spirit of the Age““For the Literature of England, an energetic development of which For the Literature of England, an energetic development of which

has ever preceded or accompanied a great and free development has ever preceded or accompanied a great and free development of the national will, has arisen as it were from a new birth. In spite of the national will, has arisen as it were from a new birth. In spite of the low-thoughted envy which would undervalue contemporary of the low-thoughted envy which would undervalue contemporary merit, our own will be a memorable age in intellectuual merit, our own will be a memorable age in intellectuual achievements, and we live among such philosophers as surpass achievements, and we live among such philosophers as surpass beyond comparison any who have appeared since the last beyond comparison any who have appeared since the last national struggle for civil and religious liberty. The most unfailing national struggle for civil and religious liberty. The most unfailing herald, comanion, and follower of the awakening of a great herald, comanion, and follower of the awakening of a great people to work a beneficial change in opinion and institution, is people to work a beneficial change in opinion and institution, is Poetry. At such periods there is na accumulation of the power of Poetry. At such periods there is na accumulation of the power of communicating and receiving na intense and impassioned communicating and receiving na intense and impassioned conceptions respecting man and nature. The persons in whom conceptions respecting man and nature. The persons in whom this power resides, may often, as far as regards many portions of this power resides, may often, as far as regards many portions of their natures, have little apparent correspondence with that spirit their natures, have little apparent correspondence with that spirit of good of which they are the ministers”.of good of which they are the ministers”.

((A Defence of Poetry, by Shelley. In Reiman, 1777. p. 507-508A Defence of Poetry, by Shelley. In Reiman, 1777. p. 507-508))

““But even whilst they deny or abjure, they are yet But even whilst they deny or abjure, they are yet compelled to surve, the Power which is seated upon the compelled to surve, the Power which is seated upon the throne of their own soul. It is impossible to read the throne of their own soul. It is impossible to read the compositions of the most celebrated writers of the compositions of the most celebrated writers of the present day without being startled with the electric life present day without being startled with the electric life which burns within their words. They measure the which burns within their words. They measure the circumpherence and sound the depths of human nature circumpherence and sound the depths of human nature with a comprehensive and all penetrating spirit, and they with a comprehensive and all penetrating spirit, and they are themselves perhaps the most sincerely astonished at are themselves perhaps the most sincerely astonished at its manifestations, for it is less their spirit than the spirit its manifestations, for it is less their spirit than the spirit of the age. Poets are the hierophants of na of the age. Poets are the hierophants of na unaprehended inspiration, the mirrors of the gigantic unaprehended inspiration, the mirrors of the gigantic shadows which futurity casts upon the present, the shadows which futurity casts upon the present, the words which express what they understand not; the words which express what they understand not; the trumpets which sing to battle, and feel not what they trumpets which sing to battle, and feel not what they inspire: the influence which is moved not, but moves. inspire: the influence which is moved not, but moves. Poets are the unacknowledged legislators of the World”.Poets are the unacknowledged legislators of the World”.

((A Defence of Poetry, by Shelley. In Reiman, 1777. p. 507-508A Defence of Poetry, by Shelley. In Reiman, 1777. p. 507-508))

The arrival of a poet: The arrival of a poet: a gift of the a gift of the Spirit of Age – Hazlitt on his impressions of Spirit of Age – Hazlitt on his impressions of ColeridgeColeridge

Coleridge had agreed to come over and see my father, Coleridge had agreed to come over and see my father, according to the courtesy of the country, as Mr. Rowe's according to the courtesy of the country, as Mr. Rowe's probable successor; but in the meantime, I had gone to probable successor; but in the meantime, I had gone to hear him preach the Sunday after his arrival. A poet and hear him preach the Sunday after his arrival. A poet and a philosopher getting up into a Unitarian pulpit to preach a philosopher getting up into a Unitarian pulpit to preach the gospel was a romance in these degenerate days, a the gospel was a romance in these degenerate days, a sort of revival of the primitive spirit of Christianity, which sort of revival of the primitive spirit of Christianity, which was not to be resisted.was not to be resisted.

It was in January of 1798, that I rose one morning before It was in January of 1798, that I rose one morning before daylight, to walk ten miles in the mud, to hear this daylight, to walk ten miles in the mud, to hear this celebrated person preach. Never, the longest day I have celebrated person preach. Never, the longest day I have to live, shall I have such another walk as this cold, raw, to live, shall I have such another walk as this cold, raw, comfortless one, in the winter of the year 1798. […]comfortless one, in the winter of the year 1798. […]

((My First Acquaintance with PoetsMy First Acquaintance with Poets))

The preacher then launched into his subject, like an eagle The preacher then launched into his subject, like an eagle dallying with the wind. The sermon was upon peace and dallying with the wind. The sermon was upon peace and war; upon church and state—not their alliance, but their war; upon church and state—not their alliance, but their separation—on the spirit of the world and the spirit of separation—on the spirit of the world and the spirit of Christianity, not as the same, but as opposed to one Christianity, not as the same, but as opposed to one another. He talked of those who had "inscribed the cross of another. He talked of those who had "inscribed the cross of Christ on banners dripping with human gore." He made a Christ on banners dripping with human gore." He made a poetical and pastoral excursion—and to show the fatal poetical and pastoral excursion—and to show the fatal effects of war, drew a striking contrast between the simple effects of war, drew a striking contrast between the simple shepherd-boy, driving his team afield, or sitting under the shepherd-boy, driving his team afield, or sitting under the hawthorn, piping to his flock, "as though he should never hawthorn, piping to his flock, "as though he should never be old" and the same poor country lad, crimped, be old" and the same poor country lad, crimped, kidnapped brought into town, made drunk at an alehouse, kidnapped brought into town, made drunk at an alehouse, turned into a wretched drummer-boy, with his hair sticking turned into a wretched drummer-boy, with his hair sticking on end with powder and pomatum, a long cue at his back, on end with powder and pomatum, a long cue at his back, and tricked out in the loathsome finery of the profession of and tricked out in the loathsome finery of the profession of blood: […]blood: […]

((My First Acquaintance with PoetsMy First Acquaintance with Poets))

And for myself, I could not have been more delighted And for myself, I could not have been more delighted if I had heard the music of the spheres. Poetry and if I had heard the music of the spheres. Poetry and Philosophy had met together. Truth and Genius had Philosophy had met together. Truth and Genius had embraced, under the eye and with the sanction of embraced, under the eye and with the sanction of Religion. This was even beyond my hopes. I returned Religion. This was even beyond my hopes. I returned home well satisfied. The sun that was still labouring home well satisfied. The sun that was still labouring pale and wan through the sky, obscured by thick pale and wan through the sky, obscured by thick mists, seemed an emblem of the mists, seemed an emblem of the good causegood cause; and the ; and the cold dank drops of dew, that hung half melted on the cold dank drops of dew, that hung half melted on the beard of the thistle, had something genial and beard of the thistle, had something genial and refreshing in them; for there was a spirit of hope and refreshing in them; for there was a spirit of hope and youth in all nature, that turned everything into good. youth in all nature, that turned everything into good. The face of nature had not then the brand of JUS The face of nature had not then the brand of JUS DIVINUM on it:DIVINUM on it:

((My First Acquaintance with PoetsMy First Acquaintance with Poets))

Keats: on Haydon’s intellectual Keats: on Haydon’s intellectual dinnerdinner

““Great spirits now on earth are sojourning;Great spirits now on earth are sojourning; He of the cloud, the cataract, the lake,He of the cloud, the cataract, the lake, Who on Helvellyn’s summit, wide awake,Who on Helvellyn’s summit, wide awake,Catches his freshness from Archangel’s wing:Catches his freshness from Archangel’s wing:He of the rose, the violet, the spring,He of the rose, the violet, the spring, The social smile, the chain of Freedom’s sake:The social smile, the chain of Freedom’s sake: And lo! – whose steadfastness would never takeAnd lo! – whose steadfastness would never takeA meaner sound than Raphael’s whispering.A meaner sound than Raphael’s whispering.And other spirits there are standing apartAnd other spirits there are standing apart Upon the forehead of the age to come;Upon the forehead of the age to come;These, these will give the world another heart,These, these will give the world another heart, And other pulses. Hear ye not the humAnd other pulses. Hear ye not the humOf mighty workings [in a distant Mart]?Of mighty workings [in a distant Mart]? Listen awile, ye nations, and be dumb”.Listen awile, ye nations, and be dumb”.((Addressed to [Haydon], by Keats. In: Barnard, 1977. p. Addressed to [Haydon], by Keats. In: Barnard, 1977. p.

7575))

Sonnet probably composed after dining with Haydon on November 19th, 1816. In that occasion, Wordsworth, Charles Lamb, Leigh Hunt, and Keats met at Haydon’s house. Where thay discussed on varied subjects and Wordsworth caused a mighty impression on Keats.

On Going A Journey On Going A Journey (Hazlitt)(Hazlitt)

ONE of the pleasantest things in the world is going a journey; but I like to go ONE of the pleasantest things in the world is going a journey; but I like to go by myself. I can enjoy society in a room; but out of doors, Nature is company by myself. I can enjoy society in a room; but out of doors, Nature is company enough for me. I am then never less alone than when alone. "The fields his enough for me. I am then never less alone than when alone. "The fields his study, Nature was his book."—Bloomfield, "study, Nature was his book."—Bloomfield, "The Farmer's Boy,"The Farmer's Boy," "Spring," 31. "Spring," 31.I cannot see the wit of walking and talking at the same time. When I am in the I cannot see the wit of walking and talking at the same time. When I am in the country I wish to vegetate like the country. I am not for criticising hedgerows country I wish to vegetate like the country. I am not for criticising hedgerows and black cattle. I go out of town in order to forget the town and all that is in and black cattle. I go out of town in order to forget the town and all that is in it. There are those who for this purpose go to watering-places, and carry the it. There are those who for this purpose go to watering-places, and carry the metropolis with them. I like more elbow-room and fewer encumbrances. I like metropolis with them. I like more elbow-room and fewer encumbrances. I like solitude, when I give myself up to it for the sake of solitude; nor do I ask for solitude, when I give myself up to it for the sake of solitude; nor do I ask for “whom I may whisper solitude is sweet”. — Cowper, "“whom I may whisper solitude is sweet”. — Cowper, "Retirement,Retirement," 741-742" 741-742The soul of a journey is liberty, perfect liberty, to think, feel, do, just as one The soul of a journey is liberty, perfect liberty, to think, feel, do, just as one pleases. We go a journey chiefly to be free of all impediments and of all pleases. We go a journey chiefly to be free of all impediments and of all inconveniences; to leave ourselves behind much more than to get rid of inconveniences; to leave ourselves behind much more than to get rid of others. It is because I want a little breathing-space to muse on indifferent others. It is because I want a little breathing-space to muse on indifferent matters, where Contemplation “May plume her feathers and let grow her matters, where Contemplation “May plume her feathers and let grow her wings, / That in the various bustle of resort / Were all too ruffled, and wings, / That in the various bustle of resort / Were all too ruffled, and sometimes impair'd”, — Milton, "sometimes impair'd”, — Milton, "ComusComus," 378-380, that I absent myself from ," 378-380, that I absent myself from the town for a while, without feeling at a loss the moment I am left by myself. the town for a while, without feeling at a loss the moment I am left by myself. […] Give me the clear blue sky over my head, and the green turf beneath my […] Give me the clear blue sky over my head, and the green turf beneath my feet, a winding road before me, and a three hours march to dinner—and then feet, a winding road before me, and a three hours march to dinner—and then to thinking!to thinking!

It is hard if I cannot start some game on these lone heaths. I laugh I run, I leap, I sing for joy. It is hard if I cannot start some game on these lone heaths. I laugh I run, I leap, I sing for joy. From the point of yonder rolling cloud I plunge into my past being, and revel there as the sun-From the point of yonder rolling cloud I plunge into my past being, and revel there as the sun-burnt Indian plunges headlong into the wave that wafts him to his native shore. Then long-burnt Indian plunges headlong into the wave that wafts him to his native shore. Then long-forgotten things like " sunken wrack and sumless treasuries," burst upon my eager sight, and forgotten things like " sunken wrack and sumless treasuries," burst upon my eager sight, and I begin to feel, think, and be myself again. Instead of an awkward silence, broken by attempts I begin to feel, think, and be myself again. Instead of an awkward silence, broken by attempts at wit or dull commonplaces, mine is that undisturbed silence of the heart which alone is at wit or dull commonplaces, mine is that undisturbed silence of the heart which alone is perfect eloquence. No one likes puns, alliterations, antitheses, argument, and analysis better perfect eloquence. No one likes puns, alliterations, antitheses, argument, and analysis better than I do; but I sometimes had rather be without them. "Leave, oh, leave me to my repose !" I than I do; but I sometimes had rather be without them. "Leave, oh, leave me to my repose !" I have just now other business in hand, which would seem idle to you, but is with me "very stuff have just now other business in hand, which would seem idle to you, but is with me "very stuff o' the conscience." Is not this wild rose sweet without a comment? Does not this daisy leap to o' the conscience." Is not this wild rose sweet without a comment? Does not this daisy leap to my heart set in its 'coat of emerald? Yet if I were to explain to you the circumstance that had my heart set in its 'coat of emerald? Yet if I were to explain to you the circumstance that had so endeared it to me you would only smile. Had I not better then keep it to myself, and let it so endeared it to me you would only smile. Had I not better then keep it to myself, and let it serve me to brood over, from here to yonder craggy point and from thence onward to the far-serve me to brood over, from here to yonder craggy point and from thence onward to the far-distant horizon? I should be but bad company all that way, and therefore prefer being alone. I distant horizon? I should be but bad company all that way, and therefore prefer being alone. I have heard it said that you may, when the moody fit comes on, walk or ride on by yourself, have heard it said that you may, when the moody fit comes on, walk or ride on by yourself, and indulge your reveries. But this looks like a breach of manners, a neglect of others, and and indulge your reveries. But this looks like a breach of manners, a neglect of others, and you are thinking all the time that you ought to rejoin your party. […] I like to be either entirely you are thinking all the time that you ought to rejoin your party. […] I like to be either entirely to myself, or entirely at the disposal of others; to talk or be silent, to walk or sit still, to be to myself, or entirely at the disposal of others; to talk or be silent, to walk or sit still, to be sociable or solitary. […] So I cannot talk and think, or indulge in melancholy musing and lively sociable or solitary. […] So I cannot talk and think, or indulge in melancholy musing and lively conversation by fits and starts. "Let me have a companion of my way," says Sterne, "were it conversation by fits and starts. "Let me have a companion of my way," says Sterne, "were it but to remark how the shadows lengthen as the sun declines." It is beautifully said; but, in my but to remark how the shadows lengthen as the sun declines." It is beautifully said; but, in my opinion, this continual comparing of notes interferes with the involuntary impression of things opinion, this continual comparing of notes interferes with the involuntary impression of things upon the mind, and hurts the sentiment. If you only hint what you feel in a kind of dumb upon the mind, and hurts the sentiment. If you only hint what you feel in a kind of dumb show, it is insipid: if you have to explain it, it is making a toil of a pleasure. You cannot read show, it is insipid: if you have to explain it, it is making a toil of a pleasure. You cannot read the book of Nature without being perpetually put to the trouble of translating it for the benefit the book of Nature without being perpetually put to the trouble of translating it for the benefit of others. I am for this synthetical method on a journey in preference to the analytical. I am of others. I am for this synthetical method on a journey in preference to the analytical. I am content to lay in a stock of ideas then, and to examine and anatomise them afterwards. I want content to lay in a stock of ideas then, and to examine and anatomise them afterwards. I want to see my vague notions float like the down of the thistle before the breeze, and not to have to see my vague notions float like the down of the thistle before the breeze, and not to have them entangled in the briars and thorns of controversy”.them entangled in the briars and thorns of controversy”.