Wordsworth’s text was commissioned by the Rev Joseph Wilkinson, an amateur artist with a love for the Lakes, and it first appeared anonymously alongside Wilkinson’s engravings as Select Views in Cumberland, Westmoreland and Lancashire (1810). By comparing cottages to stars in the night sky he suggests both their beauty, and the harmonious pattern formed by their interlinking networks in the landscape of the Lake District. These lines from A description of the scenery of the lakes in the north of England, published in 1822, show William Wordsworth’s affection for the traditional lakeland cottage. Like separated stars with clouds between. Or glancing on each other cheerful looks, See CORDIS website at The contribution is available in OA at the below link.Cottages in the Vale of Lorton engraving by Rev Joseph Wilkinson from Select Views in Cumberland, Westmoreland, and Lancashire (1810)Ĭlustered like stars some few, but single most, This research is part of the Horizon 2020 project called "Opening Romanticism: Reimagining Romantic Drama for New Audiences"(OpeRaNew) ID 892230 within the ERC programme Horizon 2020 MSCA-IF-2019. Despite the interest shown by John Philip Kemble, the greatest tragic actor of the age and the manager of Drury Lane Theatre, Hubert De Vere never reached the stage or, more surprisingly, the printed page, preordaining its subsequent critical eclipse. My talk, "Between a Pastoral and Melodrama: Frances Burney and the Romantic Stage", offers a new dimension to the appraisal of Burney’s dramaturgy by focusing on 'Hubert De Vere, a Pastoral Tragedy,' written during Burney’s years at George III’s court (1786-1794). Although a number of interesting contributions have since reformulated Burney scholarship in terms of comedy (discussing, for instance, the comic elements in Evelina, or the genteel comedies The Witlings and A Busy Day), the tragic component of Burney’s opus remains one of the last frontiers of enquiry. Paradoxically, this critical disregard has partly continued even after the watershed publication of Burney’s Complete Plays (Sabor ed.) in 1995. It is well known that the neglect of the dramatic works composed by Frances Burney (1752-1840) was largely caused by the unwavering opposition put up by her father, the famed musicologist Charles Burney, who shared the strong anti-theatrical prejudice that characterized the century as a whole. When followed by the release of white butterflies (alluding to the Times editorial 'Who Breaks A Butterfly On A Wheel?' criticising the overly harsh drug sentences of Keith Richard, Mick Jagger and Brian Jones back in 1967), Jagger's wearing the costume on the occasion of a memorial concert for Jones was also meant to be symbolic, drawing on English romanticism in a special pleading on behalf of the rock star as a persecuted artist. Jagger had placed himself in a quasi-Shelleyan pose in treating Brian Jones's death in a manner analogous to that of Keats having been the Adonais of Percy Bysshe Shelley's poem read by Jagger prior to the Stones' performance, as well as by wearing a "Byronic costume" and thus retaining his branding as a heroic hedonist. that of Lord Byron back in the 1820s in the Greek War of Independence, which, although a myth (since Byron never actualy wore the fustanella apart from an 1814 London portrait-sitting of him "in the dress of an Albanian"), must be considered part of a coordinated mise en scène contrived by Jagger. A notable British precedent for wearing the fustanella, viz. The Evzone fustanella looks feminine to anyone unfamiliar with the Balkan traditional male dress and it occasioned much scandal and speculation in the contemporary British press about Jagger's motivations in thus 'cross-dressing'. What some reporters styled "the frilly frock" was inspired by the fustanella, a skirt-like garment worn by the Evzone elite ceremonial unit of the Greek Royal (since 1974: Presidential) Guard, having originated in a type of kilt, usually white and with many folds, worn by Greek men during the 19th century. The "little girl's white party frock" became the talking point in the press the next day.
Jagger wore the white voile, Michael Fish-designed frock at the July 5 memorial concert in Hyde Park, just 48 hours after the death of fellow band member Brian Jones. The motives behind the bona fide uniform derivation represented by The Rolling Stones lead, Mick Jagger, in his white 'frock-dress' worn in 1969 are complex.
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