Synthesized answer
This specific collection of L.E.L.'s work is in the public domain worldwide because it was published before January 1, 1931, and the author died at least 100 years ago [1].
The Creative Commons CC0 1.0 Universal Public Domain Dedication means that the person who associated this work with the dedication has waived all their rights to it under copyright law [1]. Practically, this allows anyone to copy, modify, distribute, and perform the work, even for commercial purposes, without needing permission [1]. This status provides the benefit of unrestricted use [1].
Synthesized from the book passages below. Chat with the book on Feynman for follow-up.
From the book
← Landon in The Literary Gazette 1823 ( 1823 ) by Letitia Elizabeth Landon → 2247789 Landon in The Literary Gazette 1823 1823 Letitia Elizabeth Landon This work was published before January 1, 1931, and is in the public domain worldwide because the author died at least 100 years ago. Public domain Public domain false false This work is available under the Creative Commons CC0 1.0 Universal Public Domain Dedication . The person who associated a work with this deed has dedicated the work to the public domain by waiving all of their rights to the work worldwide under copyright law, including all…
or thee The breath of immortality. Maid of earth, Mandalla is free to call Aza the queen of his heart and hall!—L. E. L. ↑ This poem appears in its entirety in The Improvisatrice and Other Poems (1824) ↑ the text here shows 'guest' but this was corrected in later appearances of this poem ↑ eyeballs' (apostrophe) in the Improvisatrice version ↑ In the Improvisatrice version, this and the next seven lines are enclosed in speech marks, as coming from Mandalla ↑ again, here, and in the closing passages, speech marks were inserted in the Improvisatrice version
Grecian poets sung When on Beauty's lips they hung, Till the essenced song became Like that kiss, half dew, half flame. Thine each frail and lovely thing, The first blossoms of the spring: Violets, ere the sun ray Drinks their fragrant life away; Roses, ere their crimson breast Throws aside its green moss vest; Young hearts, or ere toil, or care, Or gold, has left a sully there. Thine, too, other gifts above, Every sign and shape of love, Its first smile, and its first sigh, Its hope, its despondency, Its joy, its sorrow, all belong To thy so delicious song. Fair Erato , vowed to thee, If a…
For works with similar titles, see Stanzas (Letitia Elizabeth Landon) . ← Stanzas - Twine not those red roses Poems ( 1823 ) by Letitia Elizabeth Landon Stanzas - Farewell, farewell! then both are free Song - When last we parted → 2256563 Poems — Stanzas - Farewell, farewell! then both are free 1823 Letitia Elizabeth Landon Literary Gazette, 24th May 1823, Page 332-333 STANZAS. Farewell, farewell! then both are free,— At least we both renounce our chain; And love's most precious boon will be Never to feel the like again. There is no gift beneath the sky, No fairy charm, no syren lure, Would…
← Medallion Conclusion Poems ( 1823 ) by Letitia Elizabeth Landon Vandyke consulting his Mistress on a Picture in Cooke's Exhibition. Hope, from a design by a Lady → 2252340 Poems — Vandyke consulting his Mistress on a Picture in Cooke's Exhibition. 1823 Letitia Elizabeth Landon Literary Gazette, 15th March 1823, Page 171 ORIGINAL POETRY. POETICAL CATALOGUE OF PICTURES. [To be continued occasionally.] Vandyke consulting his Mistress on a Picture in Cooke's Exhibition . Beautiful Art! my worship is for thee— The heart's entire devotion. When I look Upon thy radiant wonders, every pulse Is…
More questions about this book
- Considering that these are individual pieces published in *The London Literary Gazette* over a specific year, what academic or historical motivations might compel someone to compile them into a singular collection, and what unique challenges might a compiler like Peter J. Bolton face in this process?
- The table of contents lists both traditional poems and entries titled "Medallion Wafers." What does the inclusion and specific titling of these "wafers" suggest about the nature of *The London Literary Gazette* in 1823, and how might they relate thematically or functionally to L.E.L.'s other poetic contributions?
- Imagine you are explaining L.E.L.'s creative output during 1823. How does the chronological listing of her diverse publications help you infer her thematic interests or engagement with contemporary trends, and what crucial information *isn't* provided in this excerpt that you would need for a more complete understanding of her work at that time?
- Based on the varied titles presented in the table of contents (e.g., "Cupid Riding a Peacock," "The Soldier's Grave," "Leander and Hero," "The Crusader"), what prevailing literary genres, popular themes, or cultural interests of early 19th-century Britain can you deduce L.E.L. was exploring, and what does this variety suggest about the anticipated readership of *The London Literary Gazette*?