Romantic Poets and the Culture of Posterity


Book Description

This 1999 book examines the way in which the Romantic period's culture of posterity inaugurates a tradition of writing which demands that the poet should write for an audience of the future: the true poet, a figure of neglected genius, can be properly appreciated only after death. Andrew Bennett argues that this involves a radical shift in the conceptualization of the poet and poetic reception, with wide-ranging implications for the poetry and poetics of the Romantic period. He surveys the contexts for this transformation of the relationship between poet and audience, engaging with issues such as the commercialization of poetry, the gendering of the canon, and the construction of poetic identity. Bennett goes on to discuss the strangely compelling effects which this reception theory produces in the work of Wordsworth, Coleridge, Keats, Shelley and Byron, who have come to embody, for posterity, the figure of the Romantic poet.




Legacies of Romanticism


Book Description

This book visits the Romantic legacy that was central to the development of literature and culture from the 1830s onward. Although critical accounts have examined aspects of this long history of indebtedness, this is the first study to survey both Nineteenth and Twentieth century culture. The authors consider the changing notion of Romanticism, looking at the diversity of its writers, the applicability of the term, and the ways in which Romanticism has been reconstituted. The chapters cover relevant historical periods and literary trends, including the Romantic Gothic, the Victorian era, and Modernism as part of a dialectical response to the Romantic legacy. Contributors also examine how Romanticism has been reconstituted within postmodern and postcolonial literature as both a reassessment of the Modernist critique and of the imperial contexts that have throughout this time-frame underpinned the Romantic legacy, bringing into focus the contemporaneity of Romanticism and its political legacy. This collection reveals the diversity and continuing relevance of the genre in new and exciting ways, offering insights into writers such as Browning, Ruskin, Pater, Wilde, Lewis, MacNeice, and Auster.




Romantic Poets and the Laughter of Feeling


Book Description

The Romantic period witnessed decisive interest in how feeling might align with forms of artistic expression. Many critical studies have focused on the serious side and melancholic moods of Romantic poets. Romantic Poets and the Laughter of Feeling instead embraces the sublime and the ridiculous to offer an original and compelling new reading of British Romanticism. It reveals the decisive role laughter and the laughable play in Romantic aesthetics, emotions, and ethics. Matthew Ward shows that laughter was one of the primary means by which Romantics embraced and expanded upon, but also frequently aped and lampooned, sympathetic feeling. The laughter of feeling is both the expression of sympathy and an articulation of its implications, prejudices, and constraints. For Romantic poets like Wordsworth, Shelley, and Keats, the sound of laughter carries the hope that greater knowledge of others derives from feeling for and with them through poetry, and this might lead to a better understanding of oneself. Yet laughter also makes these poets acutely aware that our emotional lives are utterly unfamiliar and perhaps ultimately unknowable. Their prosody of laughter enlivens and exposes; it embodies their sense of?and ambitions for?poetry, and yet calls those matters into the most comical and gravest doubt. Laughter helps define what it is to be human. This book shows that it also defines what it is to be a 'Romantic' poet.




English Romantic Poets and their Reading Audiences


Book Description

Thesis (M.A.) from the year 2002 in the subject English Language and Literature Studies - Literature, grade: 1,3 (A), Ruhr-University of Bochum (Faculty for Philology), language: English, abstract: The late eighteenth and early nineteenth centuries were a time of accelerating cultural, social, economic, and political change. The outbreak of the French Revolution in 1789 and the passing of the first Reform Bill in 1832 are the political cornerstones of an age that saw the promotion of human rights and civil liberties against established systems of absolutist governments and limited possibilities of political participation. Democratic ideas that form the constitutional basis of modern Western societies were developed and circulated in a highly-charged political and cultural climate, represented, defended and contested in a bourgeois public sphere that had only come into being as a space of rational contestation in England in the century between the Glorious Revolution and the French Revolution.1 In philosophy, perhaps the most far-reaching development in the eighteenth century was the exploration of the individual psyche. John Locke’s empiricist epistemology was based on the idea that the mind of the infant is like a tabula rasa and that there are no innate ideas or moral principles. Instead, Locke argued, the individual’s knowledge springs from his or her own sensory perceptions. This epistemology carried with it a serious social problem: in effect perceivers were deprived of shared views and, isolated in their own perceptions, were cut off from the environment that had produced their knowledge. “Equally isolated from objects and from others, Lockian perceivers can be certain of only their individual mental processes. [...] Certainty, knowledge, and truth become, at best, relational.”2 The problem of the individual’s position in and relation to a society that was already perceptibly fragmenting as a result of economic developments and increased social mobility was debated by philosophers throughout the eighteenth century. David Berkeley, the Earl of Shaftesbury, and Adam Smith all in their own ways tried to find a solution to the empirical dilemma they had inherited from Locke and sought to relocate the individual in a social context.3 [...] 1 Cf. Jürgen Habermas, Strukturwandel der Öffentlichkeit: Untersuchungen zu einer Kategorie der bürgerlichen Gesellschaft (Neuwied: Luchterhand, 1962). 2 Regina Hewitt, Wordsworth and the Empirical Dilemma (New York et al.: Peter Lang, 1990), 5f. 3 Ibid., 7-32.




Romanticism, Self-Canonization, and the Business of Poetry


Book Description

This is the first book to examine how Romantic writers transformed poetic collections to reach new audiences. In a series of case studies, Michael Gamer shows Romantic poets to be fundamentally social authors: working closely with booksellers, intimately involved in literary production, and resolutely concerned with current readers even as they presented themselves as disinterested artists writing for posterity. Exploding the myth of Romantic poets as naive, unworldly, or unconcerned with the practical aspects of literary production, this study shows them instead to be engaged with intellectual property, profit and loss, and the power of reprinting to reshape literary reputation. Gamer offers a fresh perspective on how we think about poetic revision, placing it between aesthetic and economic registers and foregrounding the centrality of poetic collections rather than individual poems to the construction of literary careers.




Elizabeth Bowen and the Dissolution of the Novel


Book Description

Elizabeth Bowen and the Dissolution of the Novel argues that the Anglo-Irish writer Elizabeth Bowen (1899-1973) is one of the most important, though undervalued, practitioners of the twentieth-century novel in English. This is an innovative study with significant implications for contemporary critical and theoretical writing. The authors contend that Bowen's work calls for a radically new conception of criticism and theory - and of the novel itself. Bowen's ten novels have been viewed as 'society' novels, novels of 'manners', modelled on - but inferior to - the writings of Henry James, E. M. Forster and Virginia Woolf. But the fundamental strangeness of Bowen's novels has gone largely unacknowledged.




Romanticism, Memory, and Mourning


Book Description

The subject of Romanticism, Memory, and Mourning could not be timelier with Zizek’s recent proclamation that we are ’living in the end times’ and in an era which is preoccupied with the process and consequences of ageing. We mourn both for our pasts and futures as we now recognise that history is a continuation and record of loss. Mark Sandy explores the treatment of grief, loss, and death across a variety of Romantic poetic forms, including the ballad, sonnet, epic, elegy, fragment, romance, and ode in the works of poets as diverse as Smith, Hemans, Blake, Wordsworth, Coleridge, Byron, Shelley, Keats, and Clare. Romantic meditations on grief, however varied in form and content, are self-consciously aware of the complexity and strength of feelings surrounding the consolation or disconsolation that their structures of poetic memory afford those who survive the imaginary and actual dead. Romantic mourning, Sandy shows, finds expression in disparate poetic forms, and how it manifests itself both as the spirit of its age, rooted in precise historical conditions, and as a proleptic power, of lasting transhistorical significance. Romantic meditations on grief and loss speak to our contemporary anxieties about the inevitable, but unthinkable, event of death itself.




Those Who Write for Immortality


Book Description

Great writers of the past whose works we still read and love will be read forever. They will survive the test of time. We remember authors of true genius because their writings are simply the best. Or . . . might there be other reasons that account for an author’s literary fate? This original book takes a fresh look at our beliefs about literary fame by examining how it actually comes about. H. J. Jackson wrestles with entrenched notions about recognizing genius and the test of time by comparing the reputations of a dozen writers of the Romantic period—some famous, some forgotten. Why are we still reading Jane Austen but not Mary Brunton, when readers in their own day sometimes couldn’t tell their works apart? Why Keats and not Barry Cornwall, who came from the same circle of writers and had the same mentor? Why not that mentor, Leigh Hunt, himself? Jackson offers new and unorthodox accounts of the coming-to-fame of some of Britain’s most revered authors and compares their reputations and afterlives with those of their contemporary rivals. What she discovers about trends, champions, institutional power, and writers’ conscious efforts to position themselves for posterity casts fresh light on the actual processes that lead to literary fame.




Reading, Writing, and Romanticism


Book Description

Bridging the gulf between materialist and idealist approaches this study, informed by an historical awareness of Romantic hermeneutics and its later developments, examines how readers are imagined, addressed, and figured in Romantic poetry




Romanticism and Celebrity Culture, 1750-1850


Book Description

An interdisciplinary collection of essays exploring how our modern idea of celebrity was created in the 18th and 19th centuries.