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By Peter Swaab (auth.)
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Additional resources for The Regions of Sara Coleridge’s Thought: Selected Literary Criticism
In other cases I have followed the HRC and Jerwood Centre in giving dates from postmarks or internal evidence. ” in some cases where I have been able to confirm a date. In other doubtful cases I have given the date with a question mark, putting the question mark after the uncertain element of the date. For extracts drawn from published books or articles where the manuscript is not available, I give the date of publication of the work, together with the authorial or editorial attributed date for the extract, in a few cases also noting further information that suggests an amendment to the attributed date.
But the simple reason why I scribble so much, and yet never have anything to present to you, is this. I begin jogtrottishly to arrange and legibly transcribe what I have written; but for the life of me I can no more transcribe it as it was written than I can walk over again the track in my mortal pilgrimage which I pursued last year. My thoughts have outgrown their former moulds and containers; they have sprouted out on all sides. My former expressions are now inadequate; they do not define the shades of thought, the nice distinctions which I wish to introduce.
The reviewer writes: “With so vivid a fancy, so fertile an invention, and with such true poetic feeling, we are sure that we shall receive productions of a still higher class from the same quarter” (p. 277). † The review begins: “A charming tale of fairy fiction, which has been put into writing as it dropped from the lips of Mademoiselle Taglioni, by one of her youthful pages. ” Filippo Taglioni choreographed the premiere of Schneitzhoeffer’s La Sylphide as a showcase for his daughter, the dancer Marie Taglioni.