Leigh Hunt and Wordsworth's Poems, 1815

1981 ◽  
Vol 12 (1) ◽  
pp. 89-91
Author(s):  
Nicholas Roe
Keyword(s):  
Leigh Hunt

The Blackwood's Attacks on Leigh Hunt

1992 ◽  
Vol 47 (1) ◽  
pp. 1-31 ◽  
Author(s):  
Kim Wheatley
Keyword(s):  
Leigh Hunt

Lounging on the Sofa with Leigh Hunt: A New Source for the Notes in Melville's Shakespeare Volume

2008 ◽  
Vol 63 (1) ◽  
pp. 104-115
Author(s):  
Geoffrey Sanborn
Keyword(s):  
Herman Melville ◽  
Nathaniel Hawthorne ◽  
Review Essay ◽  
Implied Reader ◽  
Moby Dick ◽  
Leigh Hunt ◽  
Quarterly Review ◽  
Periodical Essay

Abstract The argument of this essay is that several of the notes that Herman Melville wrote in the back leaves of one of his Shakespeare volumes——notes that have been an object of interest and speculation ever since their discovery in the 1930s——were responses to essays written by Leigh Hunt and collected in a volume called The Indicator. In all likelihood, Melville read these essays——along with a Quarterly Review essay by Francis Palgrave, which has previously been shown to be the source of other notes in the back of the Shakespeare volume——on the sofa of his father-in-law, Lemuel Shaw, shortly before or after the birth of his son Malcolm in February 1849. The discovery of the new source is important both as an aid in identifying when and where Melville took all of these notes and as an indication of how carefully Melville studied the British periodical essay before beginning Moby-Dick (1851). In the essays of writers like Hunt, he encountered a form that seemed as though it could stretch to accommodate his literary and philosophical ambitions without sacrificing the companionship of the implied reader. For at least two years, Melville would believe enough in the possibilities of that form to compose his miraculously sociable expressions of unresolvable hope and rage, to give voice to the seemingly ““wicked,”” and yet to feel, as he told Nathaniel Hawthorne, ““spotless as the lamb.””

Leigh Hunt, The Story of Rimini (1816), title page and first page of Hunt's dedication to Byron

2021 ◽  
Keyword(s):  
Good Reason ◽  
Title Page ◽  
Liberal Politics ◽  
Leigh Hunt

There was good reason for Hunt to dedicate his poem to Byron. For one thing, Byron helped him secure John Murray as a publisher--and for another, the name "Byron" attached to almost any publication, regardless of quality, was an excellent sales tool. Rimini, with its bodice-ripping apparatus, would probably have sold reasonably well even without the dedication. Murray was repelled by Hunt, regarding him as a money-grubber with unacceptably liberal politics.

The first item in the first issue of The Liberal: Byron's The Vision of Judgement

2021 ◽  
Keyword(s):  
Romantic Period ◽  
Poet Laureate ◽  
Robert Southey ◽  
Leigh Hunt

The Liberal is one of the most important journals of the Romantic period, the brainchild of Shelley, Leigh Hunt, and Byron. It was inevitable that Byron's poem, an attack on Robert Southey, the poet laureate, would be in the first issue. 7,000 copies were printed and 4,000 sold, enough to make the new journal a huge success.

‘Called hither by the commotion of the times’: Martineau and the Press, 1837–1850

2020 ◽  
pp. 180-219
Author(s):  
Iain Crawford
Keyword(s):  
Working Class ◽  
Rapid Evolution ◽  
Mass Market ◽  
Leigh Hunt ◽  
The Press ◽  
The Times

This chapter connects Martineau’s contribution to shaping the Victorian press during its extraordinary rapid evolution during the 1840s to her work for Dickens at Household Words and shows that her agenda for the press developed earlier and was far more nuanced than has been previously recognized. Establishing herself in the elite intellectual quarterlies, simultaneously working with Charles Knight on the Penny Magazine and other projects aimed at mass-market working-class readers, and contributing to Thornton Leigh Hunt and G.G. Lewes’s progressive weekly The Leader in 1850-51, Martineau developed a remarkably flexible and constantly evolving journalistic presence that, in the 1850s and early 1860s, would allow her to become a consistent presence in both mass-market and elite press venues, to appear, simultaneously, in daily, weekly, monthly and quarterly outlets.

To Leigh Hunt 420

Joseph Severn ◽  
2017 ◽  
pp. 230-233
Author(s):  
Joseph Severn
Keyword(s):  
Leigh Hunt

Conclusion: the emergence of Tasso’s psychobiography

2017 ◽  
Author(s):  
Jason Lawrence
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Leigh Hunt ◽  
Late Twentieth ◽  
Absent Mother ◽  
Late Twentieth Century

The conclusion traces how the psychoanalytical approach utilised in late twentieth-century Freudian interpretations of Tasso’s life and work, by Margaret Ferguson and Giampiero Giamperi for example, had been pre-empted in English biographical accounts of the poet from the second half of the nineteenth century. J. A. Symonds and Leigh Hunt both focus on the same autobiographical poem, the unfinished Canzone al Metauro, as these later psycho-biographical readings to try to account for Tasso’s troubled relationships with his absent mother and particularly his father Bernardo. The conclusion argues that the absence of a clearly defined vocabulary for psychoanalytical discourse pre-Freud does not diminish the acuity of these earlier biographical observations on the poet.

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