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Walford Davies, Damian (2012)
Publisher: Edinburgh University Press
Languages: English
Types: Article
Subjects: PR
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    • 13. 'John Thelwall and Popular Jacobin Allegory', 964.
    • 14. Ibid., 956.
    • 15. Imagining the King's Death, 106.
    • 16. 'John Thelwall and Popular Jacobin Allegory', 956, 959.
    • 17. See http://www.familysearch.org/Eng/Search/ customsearchresults.asp?LDS=2&last_name= Vellam, accessed 15 April 2011. See also note 31, below.
    • 18. John Thelwall, John Gilpin's Ghost; or, The Warning Voice of King Chanticleer: An Historical Ballad (London, 1795), iii-iv.
    • 19. See Damian Walford Davies, Presences that Disturb: Models of Romantic Identity in the Literature and Culture of the 1790s (Cardiff, 2002), 289: 'A word about this same robbery which Mr Combs or some other persons committed upon the property I sent to you. I gave it as my opinion in my letter which appears to have been intercepted that [we?] ought to commence an action against the magistrates & scoundrels concerned in both this robery [sic], & the infamous & illegal transaction of seizing your papers; & I repeat to you again that if you have the spirit to do so, I will undertake to procure you an attorney to conduct the business, & a Counsil to plead it without fee or reward. This is a piece of justice you owe to yourself, & to the Country'.
    • 20. See John Gilpin's Ghost, 2.
    • 21. See Imagining the King's Death, 449.
    • 22. See p. 4: 'It is a curious circumstance that not a soul in Oakham could ever get a single word of information from tradition or record - by hook or by crook, upon the important subject who the parents of this most special Attorney were, or whether he ever had either father or mother, till the fact was thus poetically revealed'.
    • 23. 'John Thelwall and Popular Jacobin Allegory', 965.
    • 24. Ibid., 966, 964.
    • 25. The Gentleman's Magazine, 55 (May 1785), 341.
    • 26. Thomas Paine, Rights of Man (London, 1791), 66, 67.
    • 27. The Gentlemen's Magazine, 55 (May 1785), 341-2.
    • 28. John Thelwall, The Peripatetic, ed. Judith Thompson (Detroit, 2001), 396.
    • 29. Ibid., 211-12.
    • 30. The Life of John Thelwall, 353-4.
    • 31. My thanks to Tony Wellstead, Archives Assistant at the Record Office for Leicestershire, Leicester and Rutland. The bride's name is clearly recorded as 'Susannah Vellam', and this is confirmed by her own signature.
    • 32. The image was taken by Simon Garbutt; I am grateful to him for allowing me to reproduce it here.
    • 33. See Kenneth Varty, 'Reynard in Leicestershire and Rutland', Transactions of the Leicestershire Archaeological and Historical Society, 38 (1962-3), 2-4, and the same author's Reynard the Fox: A Study of the Fox in Medieval English Art (Leicester, 1967), 31-42 and 140. My thanks to David Trotter for these references. See also Jennifer Westwood and Jacqueline Simpson, The Lore of the Land: A Guide to England's Legends, from Spring-heeled Jack to the Witches of Warboys (London, 2005), 605.
    • 34. See for example The Peripatetic, 158.
    • 35. Ibid., 275.
    • 36. See his commentary on the collection of classical busts at Wilton in the Monthly Magazine, 9 (February 1800), 16-19.
    • 37. The Peripatetic, 36.
    • 38. De Quincey offers the neologism in 'Suspiria de Profundis'; see Confessions of an English Opium-Eater and Other Writings, ed. Grevel Lindop (Oxford, 1998), 104.
    • 39. 'John Thelwall and Popular Jacobin Allegory', 968.
    • 40. See for example The Peripatetic, 191.
    • 41. See Richard Gravil, 'The Somerset Sound; or, The Darling Child of Speech', The Coleridge Bulletin, New Series 26 (Winter 2005), 12: 'first, “The Barking or Schoolboy Style”, as in “And, the, Lord, said, un, to, Mo, ses” . . . Second, the “Parish Clerk” style of delivery - allowing for syllables of different quantities and alternations of heavy and light, but without inflection of acute and grave (i.e. no ups and downs of pitch). Third, there is “The Clerical Drawl”, served up in “portions of half-enunciated sound, uniformly divided in equal quantities . . . terminating in imperfect murmurs” . . . Fourth among Thelwall's heresies is “The Cathedral Chaunt”, which he describes no further but [which] probably sounds something like Yeats'. The terms of Thelwall's classification are an interesting example of the continuities of his radical thought across that biographical fulcrum, the year 1800. As Gravil also records (p. 7n.), Thelwall claimed that he had noted the 'quantities and prosodial qualities of the syllables' of 'the entire service of the Church of England', should any clergyman wish to be coached in the craft. Surely such instruction would have involved a fair amount of irony (but of what kind?) on Thelwall's part.
    • 42. The Host addresses the nun's priest - 'Come neer, thou preest, com hyder, thou Sir John!' - and the narrator describes him as 'This sweete preest, this goodly man Sir John': 'Sir John' here being not a nickname for a priest (which it was) but apparently the priest's actual name.
    • 43. Imagining the King's Death, 113.
    • 44. See Presences that Disturb, 296.
    • 45. The French Revolution and British Popular Politics, 75.
    • 46. 'John Thelwall and Popular Jacobin Allegory', 969.
    • 47. See Presences that Disturb, 306-7.
    • 48. Image kindly supplied by the current proprietors of the Three Cocks Inn, Roy and Judith Duke.
    • 49. Nicholas Roe, 'Coleridge and John Thelwall: The Road to Nether Stowey', in The Coleridge Connection, ed. Richard Gravil and Molly Lefebure (Basingstoke, 1990), 76.
    • 50. See Judith Thompson, 'Citizen Juan Thelwall: In the Footsteps of a Free-Range Radical', Studies in Romanticism, 48, 1 (Spring 2009), 67-100. 'Free-range' resonates anew in the context of Thelwall-as-gamecock.
    • 51. See David Simpson, 'Public Virtues, Private Vices: Reading Between the Lines of Wordsworth's “Anecdote for Fathers”', in Subject to History: Ideology, Class, Gender, ed. David Simpson (Ithaca, NY, 1991), 163-90.
    • 52. S. T. Coleridge, Lectures 1795 on Politics and Religion, ed. Lewis Patton and Peter Mann (Princeton, NJ, 1971), 8. See also p. 37.
    • 53. The Jerwood Centre, Dove Cottage, 2010.58. Quoted by kind permission of The Wordsworth Trust. My thanks to the Curator, Jeff Cowton.
    • 54. See Michael Scrivener, 'The Rhetoric and Context of John Thelwall's “Memoir”', in Spirits of Fire: English Romantic Writers and Contemporary Historical Methods, ed. G. A. Rosso and Daniel P. Watkins (Rutherford, NJ, 1990), 112-30.
    • 55. See John Thelwall, Poems, Chiefly Written in Retirement (Hereford, 1801), xxxvi-xxxvii. In the postscript to the letter to Hardy, Thelwall states that he was assaulted by one of his Llyswen neighbours, and was 'under the necessity of indicting' the assailant - 'a fellow of a very desperate Character' - 'at the last quarter sessions at Brecknock'. This is true; see Presences that Disturb, 281 n.43.
    • 57. Presences that Disturb, 318. It is possible that Thelwall is referring here to Hazlitt's older brother, John, the painter and miniaturist, though this is unlikely.
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