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To Arthur R. Gledhill - October 11, 1891, Edwin Arlington Robinson

Edwin Arlington Robinson Letters and Transcriptions

No abstract provided.

The Voice Of The Phi Sigma -- 1886 -- Volume 08, No. 06, Phi Sigma

The Voice of the Phi Sigma

This item is part of the Phi Sigma collection at the College Archives & Special Collections department of Columbia College Chicago. Contact [email protected] for more information and to view the collection.

The Voice Of The Phi Sigma -- 1883 -- Volume 05, No. 04, Phi Sigma

The Voice of the Phi Sigma

This item is part of the Phi Sigma collection at the College Archives & Special Collections department of Columbia College Chicago. Contact [email protected] for more information and to view the collection.

Through The Khyber Pass To Sherpore Camp, Cabul. An Account Of Temperance Work Among Our Soldiers In The Cabul Field Force, Rev. J. Gelson Gregson

Books in English

This ‘Diary' originally appeared in the Indian Temperance Magazine-On Guard-and at the request of friends interested in the welfare of our soldiers in India, I now publish it in a more permanent form. There is no attempt on my part to make a book; my sole object has been to give permanency to a simple record of work among soldiers in the late Afghan campaign. Having shared their trials and dangers, I have much pleasure in bearing my testimony to their courage in battle, and to their patience in sickness-cheerfully enduring privations for the maintenance of the honour …

Bleak House. No. 15, Charles Dickens, H.K. Browne

Bleak House by Charles Dickens

No abstract provided.

Bleak House. No. 14, Charles Dickens, H.K. Browne

Bleak House by Charles Dickens

No abstract provided.

Bleak House. No. 08, Charles Dickens, H.K. Browne

Bleak House by Charles Dickens

No abstract provided.

Bleak House. No. 01, Charles Dickens, H.K. Browne

Bleak House by Charles Dickens

No abstract provided.

Fatal Jealousy; Or, Blood Will Have Blood! Containing The History Of Count Almagro And Duke Alphonso; Their Combat In The Dreadful Tournament And The Death Of The Beautiful Bellarmine, Through The Artifice Of Sophronia, Her Rival, Unknown

Gothic Archive Chapbooks

Fatal Jealousy opens during a Spanish campaign against the Moors. Count Almagro, a Spanish knight, is spared during combat by an old African prince, Razallah. Almagro later returns the favor by pledging to protect a dying Razallah’s daughter, Almora. The two are married, despite objections to the bride being an infidel, and Almora turns out to be the daughter of a Spanish couple imprisoned by a licentious Moor. Upon their return to Spain, Almagro and Almora retire to the country. Their only daughter, Sofronia, is betrothed to Alphonso, Duke of Tenedos. While in Madrid for a tournament, Alphonso falls in …

Almagro & Claude, Or The Monastic Murder [Transcript], Unknown

Gothic Archive Chapbooks

Almagro and Claude is a direct extraction from Matthew Lewis’ The Monk, retelling the banditti inset tale and incorporating the bleeding nun narrative.

The Marquis d’Axala changes his name to Don Almagro to conceal his rank, and begins his travels. On his way to Stasbourg, he is stranded in the woods at night, and ends up staying along with the Baroness Wildenheim in a woodcutter’s hut. Tipped off by the housemistress, Antonia, Don Almagro concludes that he and the Baroness have fallen into the hands of some banditti in disguise. Using the element of surprise, he attacks in conjunction …

The Distressed Nun [Transcript], Isaac Crookenden

Gothic Archive Chapbooks

Luvido di Brindoli, Florentine nobleman, had two children—a son, Vincentio and a daughter, Herselia. Vincentio bitterly envied Herselia believing that his father loved her more. One night Brindoli received two guests—Count Fovolli and his handsome young son, Henri Velasquez. Herselia instantly fell in love with Henry and confided the matter in his brother who contrived a plot to ruin her happiness forever. Accordingly, he encouraged Herselia to elope with Henry the next day, and, secretly informed Brindoli about it.

The next morning, Brindoli apprehended Herselia outside the palace, and condemned her to a life in a remote convent. After weeks …

The Lady's Drawing Room. Being A Faithful Picture Of The Great World. In Which The Various Humours Of Both Sexes Are Display'd. Drawn From The Life: And Interspers'd With Entertaining And Affecting Novels. The Second Edition., Unknown

Gothic Archive Sources and Related Materials

No abstract provided.

Phantastes Chapter 14: Winter's Tale, William Shakespeare

German Romantic and Other Influences

William Shakespeare (1564-1616), The Winter’s Tale, published in 1623 in the First Folio.

Phantastes Chapter 20: The Faithful Shepherdess, John Fletcher

German Romantic and Other Influences

John Fletcher (1579-1625) was a contemporary of William Shakespeare and followed him as main playwright for the King’s Men. The Faithful Shepherdess (produced in 1608, probably published in 1609) is also important for Fletcher’s definition of tragicomedy, which highlights the importance of near-death to the genre.

Phantastes Chapter 22: The Revenger's Tragedy, Cyril Tourneur

German Romantic and Other Influences

Cyril Tourneur (1575-1626) was an English dramatist, a contemporary of Shakespeare; Tourneur was also a soldier and politician. The Revenger’s Tragedy (1607), as its name implies, is a revenge tragedy, and comments on the battle to avenge the destruction by the giants that lead to the brothers’ deaths. Literary critics now believe that the play was written by Thomas Middleton (1580-1627).

Phantastes Chapter 24: The Honest Whore, Thomas Dekker, Thomas Middleton

German Romantic and Other Influences

Thomas Dekker (1572-1632) was a dramatist and writer of popular pamphlets describing London life. This line comes from the play The Honest Whore, Part II (1605 or 1606). The Honest Whore, Part I, a collaboration between Dekker and Thomas Middleton, was performed in 1604.

Phantastes Chapter 15: Campaspe, John Lyly

German Romantic and Other Influences

Campaspe, an Elizabethan play by John Lyly (1584). The lines quoted are from Act 3, Scene 4, and they indicate the notion of a Platonic beauty, an ideal beauty that the artist can never capture perfectly