{"id":594,"date":"2016-05-13T19:29:30","date_gmt":"2016-05-13T23:29:30","guid":{"rendered":"https:\/\/romanticimprov.utoronto.ca\/?p=594"},"modified":"2017-01-01T21:25:47","modified_gmt":"2017-01-02T02:25:47","slug":"suid167","status":"publish","type":"post","link":"https:\/\/romanticimprov.utoronto.ca\/?p=594","title":{"rendered":"Mary Shelley, Review of <i>La Guzla<\/i>"},"content":{"rendered":"<div id=\"aei-root\" lang=\"en-GB\"><!-- suid=167 --><\/p>\n<dl id=\"aei-dl-meta\">\n<dt>Performer Name:<\/dt>\n<dd>&nbsp;<\/dd>\n<dt>Performance Venue:<\/dt>\n<dd>&nbsp;<\/dd>\n<dt>Performance Date:<\/dt>\n<dd class=\"aei-half-line-below\">&nbsp;<\/dd>\n<dt>Author:<\/dt>\n<dd> Shelley, Mary<\/dd>\n<dt>Date Written:<\/dt>\n<dd>&nbsp;<\/dd>\n<dt>Language:<\/dt>\n<dd class=\"aei-half-line-below\"> English<\/dd>\n<dt>Publication Title:<\/dt>\n<dd>The Westminster Review<\/dd>\n<dt>Article Title:<\/dt>\n<dd> Review of <i>La Guzla, ou Choix de Poesies Illyriques recueillies dans la Dalmatie, la Bosnie, la Croatie et l&#8217; Herzegowine<\/i> (Paris 1827)<\/dd>\n<dt>Page Numbers:<\/dt>\n<dd>10:72<\/dd>\n<dt>Additional Info:<\/dt>\n<dd class=\"aei-half-line-below\">January 1829 issue<\/dd>\n<dt>Publisher:<\/dt>\n<dd>J. C. Stephens<\/dd>\n<dt>Place of Publication:<\/dt>\n<dd>London<\/dd>\n<dt>Date Published:<\/dt>\n<dd>1829<\/dd>\n<\/dl>\n<p class=\"aei-one-line-down\"><strong>Text:<\/strong><\/p>\n<blockquote id=\"aei-blockquote\">\n<p>The author&apos;s next work was in a very different style, resembling the first in one particular only, that it is an imitation. It is entitled the &quot;Guzla,&quot; and imports to be a translation of a collection of Illyrian national poems. We have in the preface some account of the players on the Guzla (a single-stringed guitar) and their mode of reciting to music, much in the manner of the Italian <i>improvisatori<\/i>.<\/p>\n<\/blockquote>\n<p class=\"aei-one-line-down\"><strong>Notes:<\/strong><\/p>\n<div id=\"aei-blocktext\">\n<\/p><\/div>\n<dl id=\"aei-dl-meta-unimportant\">\n<dt>Collected by:<\/dt>\n<dd> AE<\/dd>\n<\/dl>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Mary Shelley compares eastern European recitation to music in <i>La Guzla<\/i> to the practices of Italian improvisatori. <\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[27,134],"tags":[],"_links":{"self":[{"href":"https:\/\/romanticimprov.utoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/594"}],"collection":[{"href":"https:\/\/romanticimprov.utoronto.ca\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/romanticimprov.utoronto.ca\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/romanticimprov.utoronto.ca\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/romanticimprov.utoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=594"}],"version-history":[{"count":12,"href":"https:\/\/romanticimprov.utoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/594\/revisions"}],"predecessor-version":[{"id":3182,"href":"https:\/\/romanticimprov.utoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/594\/revisions\/3182"}],"wp:attachment":[{"href":"https:\/\/romanticimprov.utoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=594"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/romanticimprov.utoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=594"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/romanticimprov.utoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=594"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}