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==The work==
''The Imaginary Conversations'' were begun when Landor was living in [[Florence]] and were initially published as they were completed between 1824
Placing the conversations in the context of his complete works, the reviewer of ''[[The Athenaeum (British magazine)|The Athenaeum]]'' commented that "his prose style is poetical in conception and dramatic in utterance; his conversations are, as has been said, one-act dramas, and his dramas are but dialogues in verse."<ref>''The Athenaeum'', 1876, [https://books.google.com/books?id=VVhDAQAAMAAJ&dq=Landor+%22dialogues+in+verse%22&pg=PA167 p.167]</ref> His biographer [[Sidney Colvin]], too, saw in "the excellence of Landor's English, the strength, dignity, and harmony of his prose style, qualities in which he was obviously without a living rival."<ref>Colvin 1881, p.107</ref> Against acceptance of the arguments there, however, must be set the evident bias of the author's viewpoint, a tendency satirised in a parody of the time<ref>"Imaginary Conversation between Mr Walter Savage Landor and the Editor of Blackwood’s Magazine", ''Eclectic Museum of Foreign Literature, Science and Art'', Volume 2 (1843), [https://books.google.com/books?id=aVUCAAAAIAAJ&dq=Landor+Colloquies&pg=PA311 pp.311-325]</ref> and confirmed by subsequent criticism.<ref>PMLA 38.4 (1923), [https://www.cambridge.org/core/journals/pmla/article/abs/walter-savage-landor-as-a-critic-of-literature/81C81AA35BD2002B451DC8F6269F07FD "Walter Savage Landor as a Critic of Literature"]</ref>
==Order of conversations==
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:* Dialogues of Sovereigns and Statesmen.<ref>[https://books.google.com/books?id=eW4JAAAAQAAJ vol. III, 1876 edition]</ref>
:* Dialogues of Literary Men,<ref>[https://books.google.com/books?id=0psHAQAAIAAJ vol. IV, 1876 edition]</ref>
:* Dialogues of Literary Men (contd); Dialogues of Famous Women.<ref>
:* Miscellaneous Dialogues.<ref>[https://books.google.com/books?id=UW4JAAAAQAAJ Vol. VI, 1876 edition]</ref>
==Background==
The possibility has been mentioned that Landor was speaking biographically when, in the course of a later work, he has Petrarch describe how, "among the chief pleasures of my life, and among the commonest of my occupations, was the bringing before me such heroes and heroines of antiquity, such poets and sages, such of the prosperous and unfortunate as most interested me"
As a keen Classicist, Landor would have been aware of the prior example of [[Lucian]]'s ''Dialogues of the Dead'' and its revived influence on European literature. In fact, a new translation of the Greek work by [[William Tooke]] had appeared in 1820 and Landor was later to include a sceptical Lucian in debate with the dogmatic Christian Timotheus in his own ''Conversations''.<ref>''The Oxford History of Classical Reception in English Literature'', OUP 2012, [https://books.google.com/books?id=Bby6BwAAQBAJ&dq=Landor+%22dialogues+in+verse%22&pg=PA42 vol. 4, p.42]</ref> Recognising the debt, [[Henry Duff Traill]] later included a dialogue between [[Plato]] and Landor himself (who had no great opinion of the philosopher) in his ''The New Lucian'' (1884).<ref>''The New Lucian, a series of dialogues of the dead'', Chapman and Hall, [https://books.google.com/books?id=l6EIAAAAQAAJ&dq=Landor+%22dialogues+of+the+dead%22&pg=PA59 pp.59-84]</ref>
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Lucian's work had been a cheerful and satirical deformation of [[Socratic dialogue]], imagined as taking place among the inhabitants and personnel of the Greek [[Hades]]. Revived in the [[Renaissance]], it served as the model for [[Giovanni Boccaccio]], in whose ''[[De casibus virorum illustrium]]'' (The Downfall of the Famous), members of the 1st century Roman imperial clan quarrel over whose behaviour among them had been the most infamous.<ref>[https://www.jstor.org/stable/j.ctvfxv8zd Book 7, "A Quarrel between Tiberius, Gaius Caligula, and Valeria Messalina"]</ref> Later in France, [[Bernard Le Bovier de Fontenelle]] composed ''New Dialogues of the Dead'' (''Nouveaux dialogues des morts'', 1683) in which the exchange of ideas between a range of Classical and later personalities illustrate their relativity over time in a more concentrated Socratic form than Lucian's. He was followed by [[François Fénelon]], whose ''Dialogues des Morts'' (1712) included a consideration of political themes as well. In their wake, dialogues of the dead spread as a genre across Europe.<ref>George Armstrong Kelly, ''Mortal Politics in 18th Century France'', Berghahn Books 1986, [https://www.jstor.org/stable/23232311?read-now=1&refreqid=excelsior%3A3087488ada0ce7cb90819f914ea2662e&seq=2#page_scan_tab_contents pp.75-102]</ref>
In England there appeared a set of contemporary dialogues titled ''English Lucian'' in 1703,<ref>[https://lib.ugent.be/catalog/eco01:T113226 University of Ghent]</ref> well before English translations of Fontenelle and Fénelon<ref>[https://wellcomecollection.org/works?query=%22Dialogues%2C+English%22&page=2 Wellcome Collection]</ref> and [[George Lyttelton, 1st Baron Lyttelton|George Lyttelton]]'s elegant imitation of them in his own ''Dialogues of the Dead'' (1760).<ref>[https://www.gutenberg.org/files/17667/17667-h/17667-h.htm Gutenberg]</ref> But by the time of the Asian contributions among the "Miscellaneous Conversations" in Landor's work, other models had offered themselves. In the case of the eight sections of "The Emperor of China and Tsing-ti", with their humorous comments on the idiosyncrasies of the time as viewed from the point of view of an outsider from another culture, they included such works as Lyttleton's ''Letters from a Persian in England, to his Friend at Ispahan'' (1735)<ref>[https://babel.hathitrust.org/cgi/pt?id=uc1.31175035205940&view=1up&seq=9&skin=2021 Hathi Trust]</ref> and [[Oliver Goldsmith]]'s ''Letters from a Citizen of the World to his Friends in the East'' (1760),<ref>[https://archive.org/details/citizenworld04goldgoog Online archive]</ref> themselves following previous French models.<ref>Woo-Lih Dun Ho, ''Goldsmith's Chinese Letters through Chinese Eyes'', Boston University Graduate School 1950, [https://open.bu.edu/bitstream/handle/2144/4771/Lo_Woo-Lih_1950_web.pdf?...1 p.3]</ref> Landor's work, therefore, can be perceived as a prolongation and bringing to perfection of already established modes of contrasting ideas and personalities in a more immediate way than the formal essay.
==Interliterary mentions==
[[Algernon Charles Swinburne]] concluded his essay on the author in the 1882 volume of the ''Encyclopaedia Britannica'' with the opinion that "the very finest flower of his dialogues is probably to be found in the single volume ''Imaginary Conversations of Greeks and Romans''; his command of passion and pathos may be tested by its success in the distilled and concentrated tragedy of ''Tiberius and Vipsania'', where for once he shows a quality more proper to romantic than classical imagination: the subtle and sublime and terrible power to enter the dark vestibule of distraction, to throw the whole force of his fancy, the whole fire of his spirit, into the shadowing passion (as Shakespeare calls it) of gradually imminent insanity. Yet, if this and all other studies from ancient history or legend could be subtracted from the volume of his work, enough would be left whereon to rest the foundation of a fame which time could not sensibly impair."<ref>Enc. Brit. 9th edition, vol.14, [https://digital.nls.uk/encyclopaedia-britannica/archive/193676496#?c=0&m=0&s=0&cv=289&xywh=316%2C807%2C1628%2C1340 p.280]</ref>
In section 92 of "[[The Gay Science]]" (1882), [[Friedrich Nietzsche]] declared that "I look only on [[Giacomo Leopardi]], [[Prosper Merimée]], [[Ralph Waldo Emerson]] and Walter Savage Landor, the author of ''Imaginary Conversations'', as worthy to be called masters of prose."<ref>''The Gay Science'', Dover Thrift Edition (2020), [https://books.google.com/books?id=g9_kDwAAQBAJ&dq=Landor+%22The+Gay+Science%22&pg=PA79 p.79]</ref>
In chapter 2 of ''[[Howards End]]'' (1910), Margaret Schlegel runs to comfort her brother Tibby, who is ill in bed with hay fever: "The only thing that made life worth living was the thought of Walter Savage Landor, from whose ''Imaginary Conversations'' she had promised to read at frequent intervals during that day.”<ref>[https://books.google.com/books?id=IxOKDwAAQBAJ Google Books]</ref>
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==Bibliography==
Colvin, Sidney. [https://books.google.com/books?id=PXMRAAAAYAAJ ''Landor''], Macmillan & Co. 1881.
==References==
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