By T. Hoagwood
From tune to Print is a learn of the main cultural transition from oral different types of paintings and discourse to the economic tradition of print that occurred in the course of the business Revolution. via a dialogue of old musical kinds (classical, biblical, and early-modern poetry of song), this e-book explores the typographical simulation of song and oral poetry in the course of the 19th century. unique and leading edge, this paintings exhibits how the musical writings of Romantic poets, equivalent to Wordsworth, Coleridge, Byron, and Keats, evoke old cultures and historic settings whereas supplying a critique in their personal imitative varieties and the trendy, advertisement context during which they appear.
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Additional info for From Song to Print: Romantic Pseudo-Songs (Nineteenth-Century Major Lives and Letters)
11 Though Thomas Chatterton’s forgeries of the Rowley poems were less popular than the Ossian poems, upon first publication, they were frequently mentioned and more widely admired among Romanticperiod readers and poets. When Percy was consulted about the authenticity of the Rowley poems, in 1773, he determined that they were modern fabrications. In 1789, Robert Chambers wrote to Percy that Chatterton’s “falsification” was “clumsy and unskilful”;12 “it is admitted, I think, by all, that some of the verses which have been printed as the compositions of Rowley and others of the 15th century were really written by Chatterton” (778).
Here, he was surprised by the larger army of General David Lesly. Montrose retreated. In Scott’s account, this defeat reversed Montrose’s sequence of victories decisively, and he was unable afterward to achieve any successes against the rebelling Covenanters. com - licensed to Universitetsbiblioteket i Tromsoe - PalgraveConnect - 2011-03-08 32 33 Scott portrays the rebels negatively: “Lesly abused his victory, and dishounoured his arms, by slaughtering, in cold blood, many of the prisoners whom he had taken” (2: 211).
Scott’s position is closer to Percy’s, emphasizing the imaginative power of the minstrel considered as “a highly gifted individual,” a poet, rather than merely a musician: “Above all, to attain the highest point of his profession, the poet must have that original power of embodying and detailing circumstances, which can place before the eyes of others a scene which only exists in his own imagination” (1: 4). Scott calls the minstrel a “bard” or “poet” as if those three terms were synonyms. The minstrel, he writes, has a “high and creative faculty”: the “arrangement of words into poetical rhythm .
From Song to Print: Romantic Pseudo-Songs (Nineteenth-Century Major Lives and Letters) by T. Hoagwood