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James Tilly Matthews (1770 – 10 January 1815) was a British merchant of Welsh and Huguenot descent who was committed to the Bethlem Royal Hospital in 1797 after developing politically charged delusions which led him to disrupt sessions of the House of Commons of Great Britain.
As Frank Kermode said: "'The Middle Years' stands somewhat apart from the other stories of the literary life; the tone is darker, the ironies less vivid, the relationship between old and young more intimate and more understanding." This gentler approach, free from bitterness about James's own problems as an artist, has attracted sometimes ...
The Gay & Lesbian Review said that Michael Jackson – The Magic, the Madness, the Whole Story was a "comprehensive and even-handed biography". [7] In a 2015 retrospective on Jackson, NBC News noted that "Taraborrelli has written what might be the definitive biography of the star. Michael Jackson: The Magic, The Madness, The whole Story". [8]
Louis Lambert is an 1832 novel by French novelist and playwright Honoré de Balzac (1799–1850), included in the Études philosophiques section of his novel sequence La Comédie humaine. Set mostly in a school at Vendôme, it examines the life and theories of a boy genius fascinated by the Swedish philosopher Emanuel Swedenborg (1688–1772).
In some of his numerous literary enterprises he had the help of Charles Nodier. Croft wrote the Life of Edward Young inserted in Samuel Johnson's Lives of the Poets. [2] In 1780 he published Love and Madness, a Story too true, in a series of letters between Parties whose names could perhaps be mentioned were they less known or less lamented.
Gogol evokes common images of madness in his characterization of Poprishchin – auditory hallucination (the talking dogs), delusions of grandeur (thinking he is the King of Spain), and the institutional context of the asylum and its effect on the individual. In the second half of the nineteenth century, "Diary of a Madman" was frequently cited ...
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The Hamlet of the supposed earlier play also uses his perceived madness as a guise to escape suspicion. Eliot believes that in Shakespeare's version, however, Hamlet is driven by a motive greater than revenge, his delay in exacting revenge is left unexplained, and that Hamlet's madness is meant to arouse the king's suspicion rather than avoid it.