Hostname: page-component-848d4c4894-pftt2 Total loading time: 0 Render date: 2024-05-01T08:22:59.528Z Has data issue: false hasContentIssue false
  • English
  • Français

IMPERIAL DECADENCE: THE MAKING OF THE MYTHS IN EDWARD BULWER-LYTTON'S THE LAST DAYS OF POMPEII

Published online by Cambridge University Press:  28 May 2012

William St Clair  and
Annika Bautz
William St Clair
Affiliation:
School of Advanced study, University of London, University of Plymouth
Annika Bautz
Affiliation:
School of Advanced study, University of London, University of Plymouth
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Research Article
Information
Victorian Literature and Culture , Volume 40 , Issue 2 , September 2012 , pp. 359 - 396
Copyright
Copyright © Cambridge University Press 2012

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Alexander, Isabella. “‘Neither Bolt nor Chain, Iron Safe nor Private Watchman, Can Prevent the Theft of Words’: The Birth of the Performing Right in Britain.” Privilege and Property: Essays on the History of Copyright. Ed. Deazley, R., Kretschmer, M., Bently, L.. Cambridge: Open Book, 2010. 321–46.Google Scholar
Altick, Richard. The English Common Reader, A Social History of the Mass Reading Public 1800–1900. Chicago: U of Chicago P, 1957.Google Scholar
Altick, Richard. The Shows of London. Cambridge: Belknap, 1978.Google Scholar
Bank, Rosemarie. “Theatre and Narrative Fiction in the Work of the Nineteenth-Century American Playwright Louisa Medina.” Theatre History Studies 3 (1983): 55–67.Google Scholar
Booth, M., et al. , eds. The Revels History of Drama in English: Vol. 6, 1750–1880. London: Methuen, 1975.Google Scholar
[Burford, Robert.] Description of a view of the ruins of the city of Pompeii, representing the forum, with the adjoining edifice and surrounding country, now exhibiting in the panorama, Strand. Painted from drawings taken on the spot by Mr. Burford. London: J. and C. Adlard Printers, 1824.Google Scholar
Burford, Robert. Description of a view of the ruins of the city of Pompeii and the surrounding country, now exhibiting at the Panorama, Leicester Square. Painted by the proprietor, Robert Burford, assisted by H. C. Selous. London: Geo. Nichols, 1849.Google Scholar
Calé, Luisa. Fuseli's Milton's Gallery: “Turning Readers into Spectators.” Oxford: Oxford UP, 2006.CrossRefGoogle Scholar
Davis, Tracy. The Economics of the British Stage 1800–1914. Cambridge: Cambridge UP, 2000.Google Scholar
Dicks, Guy. The John Dicks Press. London: lulu.com, 2006.Google Scholar
Groth, Helen. “Cosmopolitan Sympathies: Edward Bulwer-Lytton's Sensational Tale of Pompeii.” Literature and Sensation. Ed. Uhlmann, Anthony. Newcastle: Cambridge Scholars, 2009. 12–23.Google Scholar
Malamud, Margaret. Ancient Rome and Modern America. Chichester: Wiley-Blackwell, 2009.Google Scholar
Maxwell, Richard. The Victorian Illustrated Book. Charlottesville: U of Virginia P, 2002.Google Scholar
Mitchell, Leslie. Bulwer Lytton: The Rise and Fall of a Victorian Man of Letters. London: Hambledon Continuum, 2003.Google Scholar
Simmons, James. “Bulwer and Vesuvius: The topicality of The Last Days of Pompeii.” Nineteenth-Century Ficti on 24 (June 1969): 103–05.CrossRefGoogle Scholar
Tanitch, Robert. London Stage in the Nineteenth Century. Lancaster: Carnegie, 2010.Google Scholar

WORKS CITED

Acland, A. H. D.A Guide to the Choice of Books for Students and General Readers. London: Stanford, 1891.Google Scholar
Ascione, Gina Carla. “Il ‘souvenir di Pompei.’ Dalle immagini neoclassiche alla diffusione dell'epoca della riproducabilità tecnica.” Rivista di Studi Pompeiani 12/13 (2001–02): 35–51.Google Scholar
Austen, Jane. Emma. 1816. Harmondsworth: Penguin, 1996.Google Scholar
Barthes, Roland. Image, Music Text. Trans. Heath, Stephen. London: Fontana, 1977.Google Scholar
Bautz, Annika. The Reception of Jane Austen and Walter Scott. London: Continuum, 2007.Google Scholar
Beard, Mary. Pompeii: The Life of a Roman Town. London: Profile, 2008.Google Scholar
Beard, Mary. “Taste and the Antique: Visiting Pompeii in the Nineteenth-century.” Forthcoming: Rediscovering the Ancient World on the Bay of Naples. Ed. Mattusch, Carol and Willette, Thomas. Web. 7 Sept. 2011.Google Scholar
Bigsby, C., and Wilmeth, D., eds. The Cambridge History of American Theatre, Vol 1: Beginnings to 1870. Cambridge: Cambridge UP, 2008.Google Scholar
Blessington, Marguerite, Countess of. Lady Blessington at Naples. Ed. Clay, Edith. London: Hamish Hamilton, 1979.Google Scholar
Blessington, Marguerite. The Idler in Italy. Paris: Baudry, 1839.Google Scholar
Bourke, Edmond de. Notice sur les Ruines les plus Remarquable de Naples et de ses Environs, Rédigée par sa Veuve. Paris: privately printed, 1823.Google Scholar
Bridges, Meilee. “Objects of Affection: Necromantic Pathos in Bulwer-Lytton's City of the Dead.” Hales and Paul. 90–104.CrossRefGoogle Scholar
Bulwer Lytton, Edward. Athens: Its Rise and Fall. London: Saunders and Otley, 1837.Google Scholar
Bulwer Lytton, Edward. England and the English. London: Bentley, 1833.Google Scholar
Bulwer Lytton, Edward. Rienzi, Last of the Roman Tribunes. London: Routledge, 1840.Google Scholar
Bulwer Lytton, Rosina. Cheveley: A Man of Honour. 1839. Ed. Mulvey-Roberts, Marie. London: Pickering & Chatto, 2005.Google Scholar
Calloway, Stephen, and Orr, Lynn F., eds. The Cult of Beauty: The Aesthetic Movement 1860–1900. Exhibition catalogue. London: Victoria & Albert Museum, 2011.Google Scholar
Clark, Rev. Francis E., and Clark, Harriet E.. Our Journey around the World. Hartford, 1895.Google Scholar
Daly, Nicholas. “The Volcanic Disaster Narrative: From Pleasure Garden to Canvas, Page, and Stage.” Victorian Studies 53.2 (Winter 2011): 255–85.CrossRefGoogle Scholar
Donohue, Joseph, ed. The Cambridge History of British Theatre, Vol.2, 1660–1895. Cambridge: Cambridge UP, 2004.Google Scholar
Donohue, Joseph. “The Theatre from 1800–1895.” Donohue 219–71.Google Scholar
Easson, Angus. “‘At Home’ with the Romans: Domestic Archaeology in The Last Days of Pompeii.” The Subverting Vision of Bulwer Lytton. Ed. Christensen, Allan. Newark: U of Delaware P, 2004. 100–15.Google Scholar
Eustace, Rev. John Chedwode. A Classical Tour through Italy An. MDCCCII, Fourth edition, revised and enlarged. Leghorn: Glaucus Masi, 1817.Google Scholar
Feaver, William. The Art of John Martin. Oxford: Oxford UP, 1975.Google Scholar
“Fictitious Writing.” Atkinson's Casket. April 1837: 186.Google Scholar
Fielding, T. H.The Art of Engraving: With the Various Modes of Operation, under the Following Different Divisions: Etching, Soft-ground Etching, Line Engraving, Chalk and Stipple, Aquatint, Mezzotint, Lithography, Wood Engraving, Medallic Engraving, Electrography, and Photography. London: M. A. Nattali, 1844.Google Scholar
Fitzon, Thorsten. Reisen in das befremdliche Pompeji, Antiklassizistische Antikenwahrnehmung deutscher Italienenreisender 1750–1870. Berlin: de Gruyter, 2004.CrossRefGoogle Scholar
Flanders, Judith. Consuming Passions: Leisure and Pleasure in Victorian Britain. London: Harper, 2006.Google Scholar
Frost, Simon. “A Toga Tale of Ingomar the Barbarian.” Publishing History 66 (2009): 7–30.Google Scholar
Gell, William. Pompeiana: The Topography, Edifices and Ornaments. 2nd ed. London: Jennings and Chaplin, 1832.Google Scholar
Gell, William. Reminiscences of Sir Walter Scott's Residence in Italy. 1832. London: Thomas Nelson, 1957.Google Scholar
Gell, William. Sir William Gell in Italy: Letters to the Society of Dilettanti. Ed. Clay, E.. London: Hamilton, 1976.Google Scholar
Gettman, Royal. A Victorian Publisher: A Study of the Bentley Papers. Cambridge: Cambridge UP, 1960.Google Scholar
Goldhill, Simon. Victorian Culture and Classical Antiquity: Art, Opera, Fiction, and the Proclamation of Modernity. Princeton: Princeton UP, 2011.Google Scholar
Grell, Chantal. Herculaneum et Pompei dans les Récits des Voyageurs Français du XVIIIe Siècle. Naples: Institut français de Naples, 1982.CrossRefGoogle Scholar
Hales, Shelley, and Paul, Joanna, eds. Pompeii in the Public Imagination from its Rediscovery to Today. Oxford: Oxford UP, 2012 (forthcoming).Google Scholar
Hartnoll, Phyllis, and Found, Peter. The Concise Oxford Companion to the Theatre. Oxford: Oxford UP, 1993.Google Scholar
Holder, Heidi. “The East-End Theatre.” Cambridge Companion to Victorian and Edwardian Theatre. Ed. Powell, Kerry. Cambridge: Cambridge UP, 2004.Google Scholar
Howard, Diana. London Theatres and Music Halls, 1850–1950. London: The Library Association, 1970.Google Scholar
Jenkyns, Richard. The Victorians and Ancient Greece. Oxford: Blackwell, 1980.Google Scholar
Lamothe, Alex. de. Le Fou de Vésuve. 5th ed.Paris: Blériot Frères, 1879.Google Scholar
Leavis, Q. D.Fiction and the Rise of the Reading Public. London: Chatto & Windus, 1932.Google Scholar
Lockhart, John Gibson. Life of Sir Walter Scott. Edinburgh: Cadell, London: Murray, 1838.Google Scholar
Lubbock, Sir John. The Choice of Books. Philadelphia: Henry Altemus, 1896.Google Scholar
Lytton, V., Earl of [Bulwer-Lytton's grandson]. The Life of Edward Bulwer, First Lord Lytton. London: Macmillan, 1913.Google Scholar
Mayer, David, ed. Playing out the Empire: Ben-Hur and Other Toga Plays and Films, 1883–1908. A Critical Anthology. Oxford: Clarendon P, 1994.CrossRefGoogle Scholar
Mayer, David. “Romans in Britain 1886–1910: Pain's ‘The Last Days of Pompeii.’” Theatrephile 2.5 (Winter 1984–85): 41–50.Google Scholar
Moody, Jane. Illegitimate Theatre in London, 1770–1840. Cambridge: Cambridge UP, 2000.Google Scholar
Moormann, E. M. “Guides in the Vesuvius Area Eternalised in Travelogues and Fiction.” Rivista di Studi Pompeiani 14 (2003): 31–48.Google Scholar
Morton, H. V.A Traveller in Southern Italy. London: Methuen, 1969.Google Scholar
Mumby, Frank Arthur. The House of Routledge 1834–1934. London: Routledge, 1936.Google Scholar
Newton, Rev. Thomas. Dissertations on the Prophecies. London: 1769.Google Scholar
Parslow, Christopher. “Camillo Paderni's Monumenti Antichi and Archaeology in Pompeii in the 1760s.” Rivista di Studi Pompeiani 18 (2007): 7–22.Google Scholar
Pisa, Alberto, and Mackenzie, W. M.. Pompeii, Painted by Alberto Pisa, Described by W. M. Mackenzie. Edinburgh: A & C Black, 1910.Google Scholar
Pompeii as Source and Inspiration: Reflections in Eighteenth and Nineteenth Century Art, An Exhibition. Ann Arbor: The Museum, 1977.Google Scholar
Rogers, Samuel. Italy, a Poem. 1822–28. London, 1835.Google Scholar
Ruins of Sacred and Historic Lands. Edinburgh: Nelson, 1850.Google Scholar
Russell, Dave. “Popular Entertainment 1776–1895.” Donohue, 369–87.CrossRefGoogle Scholar
Sargant, E. B., and Wishaw, Bernhard. A Guide Book to Books. London: Frowde, 1891.Google Scholar
Scott, Walter. Dedicatory epistle. Ivanhoe. 1819. Ed. Tulloch, Graham. Harmondsworth: Penguin, 2000. 5–14.Google Scholar
Seville, Catherine. “Edward Bulwer-Lytton dreams of copyright.” Victorian Literature and Finance. Ed. O'Gorman, F.. Oxford: Oxford UP, 2007. 55–72.CrossRefGoogle Scholar
Seznec, Jean. “Pompeii and Herculaneum in Eighteenth century French Literature.” Archaeology (1949): 150–58.Google Scholar
Shell, Alison. “Publishing Pompeii: A Study in Cultural Censorships.” Biblion 4:2 (1995–96): 17–34.Google Scholar
Shelley, Mary. Rambles in Germany and Italy. London, 1844.Google Scholar
[Sherer, Joseph M.]. Scenes and Impressions of Egypt and Italy, By the author of “Sketches in India.” London: Longman, 1825.Google Scholar
Staehli, Adrian. “Katastrophenszenarien: Der Untergang von Pompeji in Bildern.” Ed. Felicia S. Meynersen and Carola Reinsberg. Jenseits von Pompeji. Faszination und Rezeption. Mainz, 2011. 1–40.Google Scholar
St Clair, William. “Following up The Reading Nation.” Cambridge History of the Book in Britain Vol. 6, 1830–1914. Ed. McKitterick, David. Cambridge: Cambridge UP, 2009. 704–34.Google Scholar
St Clair, William. The Reading Nation in the Romantic Period. Cambridge: Cambridge UP, 2004.Google Scholar
Stephens, John. The Profession of the Playwright: British Theatre 1800–1900. Cambridge: Cambridge UP, 1992.CrossRefGoogle Scholar
Swanson, Vern. Alma-Tadema: The Painter of the Victorian Vision of the Ancient World. London: Ash & Grant, 1977.Google Scholar
Volney, Count Constantin F. de. The Ruins or a Survey of the Revolutions of Empires. Trans. from the French. London: J. Johnson, 1792.Google Scholar
Walker, Stanwood. “A False Start for the Classical-Historical Novel: Lockhart's Valerius and the Limits of Scott's Historicism.” Nineteenth-Century Literature 57.2 (2002): 179–209.CrossRefGoogle Scholar
Whyte, Sir Frederick. Life of W. T. Stead. London, 1925.Google Scholar
Willis, N. P.Pencillings by the Way. 2nd ed. London: Macrone, 1836.Google Scholar
Wilson, William Rae. Records of a Route through France and Italy. London: Longman, Rees, Orme, Brown, Green, & Longman, 1835.Google Scholar
Wilson, William Rae. Travels in the Holy Land, Egypt, Etc. London: Longmans, 1831.Google Scholar
Worrall, David. Theatric Revolution: Drama, Censorship, and Romantic Period Subcultures 1773–1832. Oxford: Oxford UP 2006.CrossRefGoogle Scholar