By Nicola J. Watson (auth.)
This unique, witty, illustrated learn deals the 1st analytical heritage of the increase and improvement of literary tourism in nineteenth-century Britain, linked to authors from Shakespeare, grey, Keats, Burns and Scott, the Brontë sisters, and Thomas Hardy. useful for the coed of trip and literature of the 19th century.
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Additional resources for The Literary Tourist: Readers and Places in Romantic & Victorian Britain
Tellingly, that restoration was overtaken in 1793 when Edmond Malone, the age's most influential Shakespeare editor, notoriously persuaded the vicar to paint the coloured bust stone-colour, so as to render it, as he thought, more as it must have been originally. 30 The effect would also, of course, have been to make it more uniform with the eighteenth-century poetic memorials in Westminster Abbey. The touristic impulse to take relics - whether pieces chipped off the monument, artefacts made from the mulberry tree that Shakespeare was supposed to have planted with his own hands or from the crabapple tree under which he was supposed to have slept off a drinkingbinge, bits of 'Shakespeare's chair', or, a Victorian preference, sprigs of ivy from the churchyard and elsewhere - marks the emergence of a new model of tourism driven by a desire on the part of the tourist to construct a more intimate and exclusive relationship with the writer than is supposed to be available through mere reading.
Consonant with this effect, by 1815 Thomas Mathias was noting that the churchyard had become the site of more than mere imaginary wandering with the poet: Lord of the various lyre! devout we turn Our pilgrim step to thy supreme abode, And tread with awe the solitary road To deck with votive wreaths thy hallow'd urn! 48 Although the conceit of the 'votive wreaths' and 'hallow'd urn' is old-fashioned for 1815, the sentiment is not- it is as romantic as the third canto of Childe Harold's Pilgrimage published the following year.
Texts - or rather, readings of texts - make places in their own image. In a city cemetery If in the case of Stoke Pages the material reality of the poet's grave is subsequently supplemented so as to correspond to the Elegy, the graves of Keats and Shelley in the Protestant cemetery outside Rome were from the start designed so as to correspond with Shelley's elegy for Keats, Adonais (1821). Like Gray's grave, they would nonetheless attract supplementary memorial too, designed to make them correspond more nearly to later Victorian readings of the poem.