Timothy Rood
- Published in print:
- 2007
- Published Online:
- January 2010
- ISBN:
- 9780199279678
- eISBN:
- 9780191707261
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199279678.003.0012
- Subject:
- Classical Studies, European History: BCE to 500CE
This chapter argues that if the 18th century was ‘the age of Thermopylae’, Marathon began to overtake its main competitor in cultural prominence during the 19th century, a trend that seems to have ...
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This chapter argues that if the 18th century was ‘the age of Thermopylae’, Marathon began to overtake its main competitor in cultural prominence during the 19th century, a trend that seems to have been inaugurated in Britain by its equation with Waterloo both in the poetry of Byron and in wider public discourse. The particular focus is on the way the two battles were united in an exhibition of new paintings by Benjamin Robert Haydon that opened in London in March 1830. Haydon's obsession can be traced back to the acrimonious national debate over the best form of public monument with which to commemorate the victory at Waterloo, when it was suggested that a replica of the Parthenon (believed by many to be a monument to the Persian Wars) should be erected on Primrose Hill. The failure of the London Parthenon campaign was followed, however, by the building of the ‘Calton Hill Parthenon’, in Edinburgh, the ‘Athens of the North’.Less
This chapter argues that if the 18th century was ‘the age of Thermopylae’, Marathon began to overtake its main competitor in cultural prominence during the 19th century, a trend that seems to have been inaugurated in Britain by its equation with Waterloo both in the poetry of Byron and in wider public discourse. The particular focus is on the way the two battles were united in an exhibition of new paintings by Benjamin Robert Haydon that opened in London in March 1830. Haydon's obsession can be traced back to the acrimonious national debate over the best form of public monument with which to commemorate the victory at Waterloo, when it was suggested that a replica of the Parthenon (believed by many to be a monument to the Persian Wars) should be erected on Primrose Hill. The failure of the London Parthenon campaign was followed, however, by the building of the ‘Calton Hill Parthenon’, in Edinburgh, the ‘Athens of the North’.
Barbara Lounsberry
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780813062952
- eISBN:
- 9780813051833
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813062952.003.0008
- Subject:
- Literature, 20th-century Literature and Modernism
Woolf expands her 1926 diary. In February, she begins “a new convention”: starting each entry on a new page, her “habit in writing serious literature.” In May, she reaches outward toward public ...
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Woolf expands her 1926 diary. In February, she begins “a new convention”: starting each entry on a new page, her “habit in writing serious literature.” In May, she reaches outward toward public history with a diary of the General Strike. She then turns inward for eleven titled “State of Mind” probes: probes of the boundaries between sense, thought, and art. In October, she imagines “an endeavour at something mystic, spiritual; the thing that exists when we aren’t there.” The diaries she reads propel her toward this place. Across the year Woolf returns often to Beatrice Webb’s memoir My Apprenticeship, woven around diary extracts. These extracts supply notions for To the Lighthouse, The Waves, Flush, and Three Guineas—and especially for A Room of One’s Own and “Professions for Women.” In September, Woolf reviews the Journals of Thomas Cobden-Sanderson. His questing journals encourage Woolf’s search for “the mystical side of this solitude,” she writes, or what Webb calls the great Unknown. Soon after, Woolf reviews the Life of Benjamin Robert Haydon, Historical Painter, from his Autobiography and Journals. Haydon’s Journals offer her a memorable moment for To the Lighthouse and matter for A Room of One’s Own—and more.Less
Woolf expands her 1926 diary. In February, she begins “a new convention”: starting each entry on a new page, her “habit in writing serious literature.” In May, she reaches outward toward public history with a diary of the General Strike. She then turns inward for eleven titled “State of Mind” probes: probes of the boundaries between sense, thought, and art. In October, she imagines “an endeavour at something mystic, spiritual; the thing that exists when we aren’t there.” The diaries she reads propel her toward this place. Across the year Woolf returns often to Beatrice Webb’s memoir My Apprenticeship, woven around diary extracts. These extracts supply notions for To the Lighthouse, The Waves, Flush, and Three Guineas—and especially for A Room of One’s Own and “Professions for Women.” In September, Woolf reviews the Journals of Thomas Cobden-Sanderson. His questing journals encourage Woolf’s search for “the mystical side of this solitude,” she writes, or what Webb calls the great Unknown. Soon after, Woolf reviews the Life of Benjamin Robert Haydon, Historical Painter, from his Autobiography and Journals. Haydon’s Journals offer her a memorable moment for To the Lighthouse and matter for A Room of One’s Own—and more.
Jonathan Bate
- Published in print:
- 1989
- Published Online:
- October 2011
- ISBN:
- 9780198129943
- eISBN:
- 9780191671883
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198129943.003.0008
- Subject:
- Literature, Shakespeare Studies, 19th-century Literature and Romanticism
Charles Cowden Clarke asserted that John Keats' eyes filled with tears when he was moved by the image in Cymbeline that he saw when he was still a schoolboy. However, this story may be believed to ...
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Charles Cowden Clarke asserted that John Keats' eyes filled with tears when he was moved by the image in Cymbeline that he saw when he was still a schoolboy. However, this story may be believed to have been exaggerated since Clarke's memory and correctness as a biographer may have well been influenced by the fact that he was trying to demonstrate how his friend was, at such an early age, already affected and moved by Shakespeare and his works. Although it may already be a well-known fact that Keats's works exhibited how he had greatly admired and respected Shakespeare, Clarke admits that Keats only came to know Shakespeare's works when he himself already became a writer. As the chapter also provides an account on painter Benjamin Robert Haydon's view on Shakespeare, we explore how Hazlitt also served as one of the fundamental figures in which Keats owes his fascination with Shakespeare to.Less
Charles Cowden Clarke asserted that John Keats' eyes filled with tears when he was moved by the image in Cymbeline that he saw when he was still a schoolboy. However, this story may be believed to have been exaggerated since Clarke's memory and correctness as a biographer may have well been influenced by the fact that he was trying to demonstrate how his friend was, at such an early age, already affected and moved by Shakespeare and his works. Although it may already be a well-known fact that Keats's works exhibited how he had greatly admired and respected Shakespeare, Clarke admits that Keats only came to know Shakespeare's works when he himself already became a writer. As the chapter also provides an account on painter Benjamin Robert Haydon's view on Shakespeare, we explore how Hazlitt also served as one of the fundamental figures in which Keats owes his fascination with Shakespeare to.
Jessica Fay (ed.)
- Published in print:
- 2021
- Published Online:
- September 2021
- ISBN:
- 9781800859531
- eISBN:
- 9781800852334
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781800859531.003.0004
- Subject:
- Literature, 19th-century Literature and Romanticism
Part III marks a shift in the exchange between the two families as Lady Beaumont begins to write independently to Wordsworth on a regular basis. A major focus of her letters to Wordsworth of 1814 and ...
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Part III marks a shift in the exchange between the two families as Lady Beaumont begins to write independently to Wordsworth on a regular basis. A major focus of her letters to Wordsworth of 1814 and 1815 is the sale and reception of The Excursion. Another major concern around this time is the production of the frontispiece engravings (from paintings by Sir George) to Wordsworth’s Poems and The White Doe of Rylstone (1815). This section also contains details of paintings by Washington Allston, as well as insights into Edward Nash and William Westall, and Beaumont’s assessment of Haydon’s Christ’s Entry into Jerusalem. Beaumont gives detailed appraisals of the actors Edmund Kean, Eliza O’Neill, and John Philip Kemble. In addition, letters in Part III contain two eye-witness descriptions of the battlefield of Waterloo.Less
Part III marks a shift in the exchange between the two families as Lady Beaumont begins to write independently to Wordsworth on a regular basis. A major focus of her letters to Wordsworth of 1814 and 1815 is the sale and reception of The Excursion. Another major concern around this time is the production of the frontispiece engravings (from paintings by Sir George) to Wordsworth’s Poems and The White Doe of Rylstone (1815). This section also contains details of paintings by Washington Allston, as well as insights into Edward Nash and William Westall, and Beaumont’s assessment of Haydon’s Christ’s Entry into Jerusalem. Beaumont gives detailed appraisals of the actors Edmund Kean, Eliza O’Neill, and John Philip Kemble. In addition, letters in Part III contain two eye-witness descriptions of the battlefield of Waterloo.
