Hesketh [née Cowper], Harriet, Lady Hesketh (bap. 1733, d. 1807), cousin and intimate friend of the poet William Cowper

2004 ◽  
Author(s):  
James William Kelly
Keyword(s):  
Intimate Friend ◽  
William Cowper

Death in the City

2017 ◽  
Author(s):  
Kathryn A. Sloan
Keyword(s):  
Scientific Inquiry ◽  
The United States ◽  
Violent Death ◽  
Special Relationship ◽  
Intimate Friend ◽  
Counter Narrative ◽  
Wide Range ◽  
European Heritage ◽  
The City ◽  
The Temple

Popular culture has long conflated Mexico with the macabre. Some persuasive intellectuals argue that Mexicans have a special relationship with death, formed in the crucible of their hybrid Aztec-European heritage. Death is their intimate friend; death is mocked and accepted with irony and fatalistic abandon. The commonplace nature of death desensitizes Mexicans to suffering. Death, simply put, defines Mexico. There must have been historical actors who looked away from human misery, but to essentialize a diverse group of people as possessing a unique death cult delights those who want to see the exotic in Mexico or distinguish that society from its peers. Examining tragic and untimely death—namely self-annihilation—reveals a counter narrative. What could be more chilling than suicide, especially the violent death of the young? What desperation or madness pushed the victim to raise the gun to the temple or slip the noose around the neck? A close examination of a wide range of twentieth-century historical documents proves that Mexicans did not accept death with a cavalier chuckle nor develop a unique death cult, for that matter. Quite the reverse, Mexicans behaved just as their contemporaries did in Austria, France, England, and the United States. They devoted scientific inquiry to the malady and mourned the loss of each life to suicide.

William Cowper and His Circle: A Study of the Hannay Collection

1962 ◽  
Vol 24 (1) ◽  
pp. 2
Author(s):  
RYSKAMP ◽  
Cowper ◽  
Hesketh
Keyword(s):  
William Cowper

Principal Booksellers and Publishing Outlets

2018 ◽  
Author(s):  
Isabel Rivers
Keyword(s):  
Church Of England ◽  
John Wesley ◽  
Publishing History ◽  
William Cowper ◽  
Religious Books ◽  
History Of ◽  
George Whitefield ◽  
The Church

This chapter covers the publishing history of some of the main authors discussed in the book, the Congregationalists Isaac Watts, Philip Doddridge, and Elizabeth Rowe, the Methodists John Wesley and George Whitefield, and the Church of England evangelicals James Hervey, John Newton, and William Cowper; the publications of the major London dissenting booksellers, Edward and Charles Dilly, and Joseph Johnson; the printers and sellers for the smaller denominations, the Quakers and the Moravians; and some important provincial printers and sellers of religious books, Joshua Eddowes, Samuel Hazard, Thomas and Mary Luckman, Robert Spence, William Phorson, and John Fawcett.

Making Connections with Milton’s Epitaphium Damonis

Making Milton ◽  
2021 ◽  
pp. 31-41
Author(s):  
Blaine Greteman
Keyword(s):  
Collaborative Work ◽  
Important Place ◽  
Intimate Friend ◽  
Print Publication ◽  
Authorial Identity ◽  
Deep Well

Milton’s Epitaphium Damonis is often described as a profoundly lonely work, marking the loss of his oldest and most intimate friend, Charles Diodati. It also one of the first works to announce Milton’s epic ambitions, and accordingly it holds an important place in narratives that describe Milton as a singular, or even antisocial, poet, producing poetry from the deep well of his interior self. But this chapter examines the poem as a deeply social, collaborative work, and one of Milton’s important early experiments in using print publication to cultivate and maintain relationships. Milton needed printers to establish his name; printers like Augustine Mathewes and Matthew Simmons needed authors with established names as allies in their own extended war against print licensing and monopolies. The wider context of the Epitaphium Damonis’s production makes it clear that the circumstances of Milton’s stationers cannot be disentangled from the arc of his own career. His emerging authorial identity was not solitary but social, and print was an essential strategy for constructing, promoting, and preserving it.

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