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Hours of Idleness.
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I fell in love with Romantic poetry when I was young. Then, after a gap of several years, I began to write historical fiction, and it was at this time that I found myself being drawn once more to the Romantic poets, this time as people as much as for their work. I discovered their place in the world, contested and controversial, and their influence became a driving light to me and my characters. InBeneath Black Clouds and White, Delphi explains: “It has a pulse, you see, like any other living thing. You must treat each poem as though it were alive.” I feel the same way!
This book is like looking at the two mirrored sides of the soul. The beauty and simplicity of innocence against the calculated approach of experience. There is one poem in it, "The Little Black Boy", which is a beautiful look through a spectacular naivety at the issue of slavery and racism as it was in the late 18th Century. It features the line:
William Blake's Songs of Innocence and of Experience includes some of the visionary poet's finest and best-loved poems such as 'The Lamb', 'The Chimney-Sweeper' and 'The Tiger'.
Part of the Macmillan Collector's Library, a series of stunning, clothbound, pocket-sized classics with gold-foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition has a foreword by Peter Harness.
Blake's work is instantly recognizable by its flamboyance and inventiveness. This gorgeous edition contains stunning reproductions of the fifty-four plates of the poems and illustrations together, which Blake etched himself and coloured by…
I fell in love with Romantic poetry when I was young. Then, after a gap of several years, I began to write historical fiction, and it was at this time that I found myself being drawn once more to the Romantic poets, this time as people as much as for their work. I discovered their place in the world, contested and controversial, and their influence became a driving light to me and my characters. InBeneath Black Clouds and White, Delphi explains: “It has a pulse, you see, like any other living thing. You must treat each poem as though it were alive.” I feel the same way!
I’m a person with limited interests so, as well as loving history and poetry, I also collect bits of both… Ballads and Lyrical Pieces is one of the only books I can boast about having a first edition of!
I have a lot of time for Walter Scott, not only as a writer, but as a cultural politician and a folklorist. A lot of the pieces in this book are not solely his work, but the reimagining of local ballads. After scooping up these, there’s no wonder he went on to invent the romanticised “Scottishness” we recognise today. This book, 15 years before Scott influenced George IV’s visit to Scotland, shows where his own influences came from.
Leopold is delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure…
I fell in love with Romantic poetry when I was young. Then, after a gap of several years, I began to write historical fiction, and it was at this time that I found myself being drawn once more to the Romantic poets, this time as people as much as for their work. I discovered their place in the world, contested and controversial, and their influence became a driving light to me and my characters. InBeneath Black Clouds and White, Delphi explains: “It has a pulse, you see, like any other living thing. You must treat each poem as though it were alive.” I feel the same way!
I’m a sucker for a good primary source, but I’m even more of a fan of the 1.5 sources. I love the sources which are of the time but are influenced as much by rumour as fact. This collection of essays does its best to be objective, but there are people amongst these pages who have been so strongly immortalised in popular opinion, but sometimes facts have been discarded in favour of Hazlitt’s own opinion. But, from the point of view of a historical fiction writer, this is priceless, because it unearths a contemporary viewpoint and opens a window onto the thoughts of a people about The Spirit of the Age!
This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.
I fell in love with Romantic poetry when I was young. Then, after a gap of several years, I began to write historical fiction, and it was at this time that I found myself being drawn once more to the Romantic poets, this time as people as much as for their work. I discovered their place in the world, contested and controversial, and their influence became a driving light to me and my characters. InBeneath Black Clouds and White, Delphi explains: “It has a pulse, you see, like any other living thing. You must treat each poem as though it were alive.” I feel the same way!
I first came across this book through Twitter, and was very excited to find it on my present pile later in the year! This is a brilliant telling of each aspect of Keats’ life, looking at the impact the young poet had on those around him, those who knew him by reputation, and those who are still impacted by his legacy – the author included! The research and deliverance of this book is clearly a labour of love, and it makes for engaging reading and a sympathetic look at this historical figure.
Why Keats? Well, Henry Fotherby in my own book has the same overall outlook as the young poet – but he manages to complete his path to becoming a surgeon!
_We read fine things but never feel them to the full until we have gone the same steps as the Author_.' (John Keats to J.H. Reynolds, Teignmouth May 1818)
John Keats is one of Britain's best-known and most-loved poets. Despite dying in Rome in 1821, at the age of just 25, his poems continue to inspire a new generation who reinterpret and reinvent the ways in which we consume his work.
Apart from his long association with Hampstead, North London, he has not previously been known as a poet of 'place' in the way we associate Wordsworth with the Lake…
After 15 years as a screenwriter (and some heartbreaking near misses with the big screen), I turned my pen to novel writing, with an adaptation of a script I’d sold four times. My new book, Love and Fury: A Novel of Mary Wollstonecraft, is hot off the press this year and tells the story of one of the great writers and thinkers of the late 18th century, mother of Mary Shelley, and widely regarded as the mother of feminism. I’m drawn to larger-than-life, brilliant, charismatic, complicated figures whose own trajectories have altered our own. I’m now at work on a collection of short stories and an adaptation of Mr. Dickens and His Carol for the stage.
The giants of English biography (Janet Todd, Claire Tomalin, Lyndall Gordon) have written brilliant books about Wollstonecraft, but the one I went back to time and again (most dog-eared, underlined, annotated) was this dual biography of Mary Wollstonecraft and her daughter Mary Shelley. An absolute page-turner, it reads like a novel, bringing this extraordinary mother and daughter to vivid life in alternating chapters that reveal parallels in who they were, what they believed, and how they lived.
***AS READ ON BBC RADIO 4*** NATIONAL BOOK CRITICS CIRCLE AWARD WINNER
'A gripping account of the heartbreaks and triumphs of two of history's most formidable female intellectuals, Mary Wollstonecraft and Mary Shelley. Gordon has reunited mother and daughter through biography, beautifully weaving their narratives for the first time.' Amanda Foreman
English feminist Mary Wollstonecraft and author Mary Shelley were mother and daughter, yet these two extraordinary women never knew one another. Nevertheless, their passionate and pioneering lives remained closely intertwined, their choices, dreams and tragedies eerily similar.
Both women became famous writers and wrote books that changed literary history,…
I started my professional writing career in 1987 having founded the small press writers’ magazine, Quartos, which ran for nine years until its merger with Acclaim in 1996 to become The New Writer, as well as authoring several creative writing how-to books – including Horror Upon Horror. In addition to acting as judge for national writing competitions, I've also tutored at writers’ workshops including The Annual Writers’ Conference (Winchester College), The Summer School (University of Wales), Horncastle College (Lincolnshire), and the Cheltenham Literature Festival. Having been a staunch supporter of the Gothic Society and a regular contributor to its quarterly magazine, Udolpho, I have also created the series of The Vampyre’s Tale novels.
As contemporary Gothic author and artist Franklin Bishop observe, John Polidori ‘was responsible for introducing into English fiction the enduring image of the vampyre in the guise of a suave, cynical, and murderous English Lord. With the presentation of Lord Ruthven [Byron] as a vampyre, Polidori created a personification of evil that countless authors have since imitated in attempting to satisfy the enormous public interest in this genre of literature. The literary-metamorphosed vampire that emerged from the Villa Diadoti ‘ghost story’ contest quickly developed a life force of its own – which was not surprising since it was the collective brainchild of Byron and his physician John Polidori – and created a minor literary scandal when it was published in 1818. The Vampyre was based on Lord Byron’s unfinished story "Fragment of a Novel," but it is arguably the most influential vampire work of the early 19th century.
I am a chameleon scholar. Though my first love is poetry, I have written about all the arts, about 18th-century authors (especially Samuel Johnson), about theories of literature and literary vocations, about Sappho and other abandoned women, about ancients and moderns and chess and marginal glosses and the meaning of life and, most recently, the Scientific Revolution. But I am a teacher too, and The Ordering of the Arts grew out of my fascination with those writers who first taught readers what to look for in painting, music and poetry—what works were best, what works could change their lives. That project has inspired my own life and all my writing.
This classic study introduced me and the whole world of critics and scholars to theoretical perspectives that still resonate among historians of literature and culture.
It defines a momentous change: the shift from views of art as a mirror—a reflection of things as they are—to a lamp—a radiant projection from the hearts and minds of its creators. This revolution in aesthetic principles, formulated by German and British theorists, also resulted in new ways of looking at nature and in new kinds of poetry.
Abrams charts the depths of Romantic theory; and his work helped spur a revival of interest in the Romantics—now often cherished as the first modern poets.
I am a chameleon scholar. Though my first love is poetry, I have written about all the arts, about 18th-century authors (especially Samuel Johnson), about theories of literature and literary vocations, about Sappho and other abandoned women, about ancients and moderns and chess and marginal glosses and the meaning of life and, most recently, the Scientific Revolution. But I am a teacher too, and The Ordering of the Arts grew out of my fascination with those writers who first taught readers what to look for in painting, music and poetry—what works were best, what works could change their lives. That project has inspired my own life and all my writing.
This book about rebels itself rebels against historians such as Abrams, who view Romanticism as a single movement unified by an expressive theory of art.
Instead, Butler argues, there are many different sorts of Romantics, and they are best understood not through theories of art but through "the fierce personal and artistic politics of an age in the midst of profound change." That Age of Revolution had begun in the 1760s, and the ordering of the arts reflects debates about the social standing of the arts, not any consensus. Butler relishes these conflicts.
She pays attention to the groundswell of "art for the people" as well as "the war of the intellectuals," and she is not afraid to embrace the chaos and complications that thwart any effort to paint all arts and artists with one brush.
The Age of Revolutions and its aftermath is unparalleled in English literature. Its poets include Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats; its novelists, Jane Austen and Scott. But how is it that some of these writers were apparently swept up in Romanticism, and others not? Studies of Romanticism have tended to adopt the Romantic viewpoint. They value creativity, imagination and originality - ideas which nineteenth-century writers themselves used to promote a new image of their calling. Romantics, Rebels and Reactionaries puts the movement in to its historical setting and provides a new insight in Romanticism itself, showing that one…
My background is in academic film analysis, although this has opened doors to many subjects: literature, music, philosophy, political economy… My students are always encouraged to think beyond their "home" discipline when they come to university. I believe that if you study a subject deep enough, it will lead to all the others. So far, my research has led me from classical music through Hollywood biopics and Romanic philosophy to some of the most fundamental questions about the construction and social organisation of creative labour in the modern world. I find that the most enjoyable books explain the world to us whilst reflecting upon what that act of explanation means.
An interdisciplinary study taken to its logical conclusion. Starting with a powerful interpretation of Romanticism back in the 1950s, Peckham’s work culminated in an ambitious "general theory of human behaviour."
In essence, this book helped me understand that explanation is a form of violence–all languages, and all cultures, strive to enforce predictable behaviour in other human beings. Despite his flaws, Peckham offers a fascinating example of the power of interdisciplinarity. All subjects, when followed through, lead to all the others.
Explanation and Power was first published in 1988. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The meaning of any utterance or any sign is the response to that utterance or sign: this is the fundamental proposition behind Morse Peckham's Explanation and Power. Published in 1979 and now available in paperback for the first time, Explanation and Power grew out of Peckham's efforts, as a scholar of Victorian literature, to understand the nature of Romanticism. His search ultimately led back to-and built upon-the…
If you ask people to name a book set in the Regency period, your money is safe if you bet on them picking a Jane Austen. But the Regency was about much more than manners and matrimony. In my own areas of interest – justice, money, and financial crime – everything was changing, with the widespread introduction of paper money and cheques, the recognition that those on trial should have a defence as well as a prosecution, and the creation of modern police in the form of the Metropolitan Police. Dickens made the Victorian era famous, but the decades before good Queen V ascended the throne are equally fascinating.
And this choice is a sneaky one: it was published in 1826, but it’s actually set in the late 21st century. I couldn’t resist including it for three reasons: it’s a product of the 1820s (and deals with several social concerns of the time, such as republicanism), it’s written by a woman (and my other four choices aren’t), and its rather apposite storyline concerns a mysterious pandemic that rapidly sweeps across the entire globe, ultimately resulting in the near-extinction of humanity (leaving just the last man)… It wasn’t popular at the time – widely considered to be Shelley’s weakest work – but to be fair to her, she was simply ahead of the game and had invented the genre of dystopian fiction. Read in that light, it’s a brave and fascinating work.
With an Introduction and Notes by Dr Pamela Bickley, The Godolphin and Latymer School, formerly of Royal Holloway, University of London.
The Last Man is Mary Shelley's apocalyptic fantasy of the end of human civilisation. Set in the late twenty-first century, the novel unfolds a sombre and pessimistic vision of mankind confronting inevitable destruction. Interwoven with her futuristic theme, Mary Shelley incorporates idealised portraits of Shelley and Byron, yet rejects Romanticism and its faith in art and nature.
Mary Wollstonecraft Shelley (1797-1851) was the only daughter of Mary Wollstonecraft, author of Vindication of the Rights of Woman, and the radical…
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