{"title":"Janine Barchas, The Lost Books of Jane Austen","authors":"B. Lau","doi":"10.3366/rom.2023.0583","DOIUrl":"https://doi.org/10.3366/rom.2023.0583","url":null,"abstract":"","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42742837","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article identifies for the first time the ‘lone antiquary’, which Charlotte Smith refers to in her poem Beachy Head, as Rev. James Douglas, one of the most significant and interesting early archaeological writers. My contention is that not only do Douglas’s specific findings and theories about stratigraphy, fossilisation and the culture of Britain’s earliest inhabitants contribute to the historical, antiquarian background to Smith’s poem but also that the transformative nature of his poetics informs her work. In particular, both Douglas and Smith are concerned with the relationships between facts and fancy, rubble and aura, scepticism and belief. I argue that the barrows, which Douglas excavated and upon which Smith mused, were an important site for the development of the Romantic archaeological imagination and, as such, represent a suggestive contribution to the new Material Romanticism critical turn.
{"title":"Beachy Head, Ancient Barrows and the ‘Alembic’ of Romantic Archaeological Poetics","authors":"J. Wallace","doi":"10.3366/rom.2023.0578","DOIUrl":"https://doi.org/10.3366/rom.2023.0578","url":null,"abstract":"This article identifies for the first time the ‘lone antiquary’, which Charlotte Smith refers to in her poem Beachy Head, as Rev. James Douglas, one of the most significant and interesting early archaeological writers. My contention is that not only do Douglas’s specific findings and theories about stratigraphy, fossilisation and the culture of Britain’s earliest inhabitants contribute to the historical, antiquarian background to Smith’s poem but also that the transformative nature of his poetics informs her work. In particular, both Douglas and Smith are concerned with the relationships between facts and fancy, rubble and aura, scepticism and belief. I argue that the barrows, which Douglas excavated and upon which Smith mused, were an important site for the development of the Romantic archaeological imagination and, as such, represent a suggestive contribution to the new Material Romanticism critical turn.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44777568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lucasta Miller, L.E.L.: The Lost Life and Scandalous Death of Letitia Elizabeth Landon, the Celebrated ‘Female Byron’","authors":"T. Mclean","doi":"10.3366/rom.2023.0588","DOIUrl":"https://doi.org/10.3366/rom.2023.0588","url":null,"abstract":"","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44656657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article I consider the ways that two of the chief influences on Burns’s creative life, the satanic and the sexual, are bedfellows and reveal Romantic ribaldry. Both sources of inspiration were discovered in his youth; both appear as mysterious, uncontrollable impulses that are not only depicted with humour but also suggest that, for Burns, comedy is drawn from and aligned with transgressive powers that are instinct with the making of poetry. Burns’s comic demonic is crucial to appreciating the distinctive character of his writing, but it also allows us to better appreciate the ways in which the ridiculous is aligned with the Romantic. Burns was no ‘Heaven-taught ploughman’ as we know. Though he played up to the image, he must have been tickled by it too, given how far from ‘heaven taught’ he liked to imagine his muses being. The laughter of Burns’s Satanism provides a vital contrast to the sublime, visionary company we have long associated with Romanticism. Encouraged by and combining the bawdier moments of Milton’s Paradise Lost with the supernaturalism of rural Scottish folklore, Burns’s comic demonic is something we would do well to take more seriously if not more solemnly as regards Romantic Satanism.
{"title":"Burns, Satan, and the Sin of Rhyme","authors":"M. Ward","doi":"10.3366/rom.2022.0562","DOIUrl":"https://doi.org/10.3366/rom.2022.0562","url":null,"abstract":"In this article I consider the ways that two of the chief influences on Burns’s creative life, the satanic and the sexual, are bedfellows and reveal Romantic ribaldry. Both sources of inspiration were discovered in his youth; both appear as mysterious, uncontrollable impulses that are not only depicted with humour but also suggest that, for Burns, comedy is drawn from and aligned with transgressive powers that are instinct with the making of poetry. Burns’s comic demonic is crucial to appreciating the distinctive character of his writing, but it also allows us to better appreciate the ways in which the ridiculous is aligned with the Romantic. Burns was no ‘Heaven-taught ploughman’ as we know. Though he played up to the image, he must have been tickled by it too, given how far from ‘heaven taught’ he liked to imagine his muses being. The laughter of Burns’s Satanism provides a vital contrast to the sublime, visionary company we have long associated with Romanticism. Encouraged by and combining the bawdier moments of Milton’s Paradise Lost with the supernaturalism of rural Scottish folklore, Burns’s comic demonic is something we would do well to take more seriously if not more solemnly as regards Romantic Satanism.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43412717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Charles Lamb’s Essays of Elia (1820–25) are often seen as minor contributions to the Romantic tradition, and the essays themselves playfully foreground their own minority. This article traces the self-deprecating humour of the Elia essays to the writer’s perceived inability to generate for himself the kind of self-enclosure which is envisioned by the Romantic lyric. It reads solitude as both a wished-for state and a concept under formation in the Elia writings, and argues that humour – with its masks, alternate selves, and performance of roles – offers Lamb an alternative to the more serious authority of Wordsworth and Coleridge, and a way of ‘making do’ with imperfect environmental conditions for creativity.
{"title":"Charles Lamb’s Imperfect Solitudes","authors":"Eliza Haughton-Shaw","doi":"10.3366/rom.2022.0564","DOIUrl":"https://doi.org/10.3366/rom.2022.0564","url":null,"abstract":"Charles Lamb’s Essays of Elia (1820–25) are often seen as minor contributions to the Romantic tradition, and the essays themselves playfully foreground their own minority. This article traces the self-deprecating humour of the Elia essays to the writer’s perceived inability to generate for himself the kind of self-enclosure which is envisioned by the Romantic lyric. It reads solitude as both a wished-for state and a concept under formation in the Elia writings, and argues that humour – with its masks, alternate selves, and performance of roles – offers Lamb an alternative to the more serious authority of Wordsworth and Coleridge, and a way of ‘making do’ with imperfect environmental conditions for creativity.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44565935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From his unpublished juvenilia to The Young Duke (1831), Benjamin Disraeli tested his literary potential mainly through writing in the satirical, comic, or even farcical mode. One way or another, all his fictional works from 1826 to 1830 were meant to make people laugh, or at least smile, and appreciate the young author’s wit and humorous talent for irony and comic exaggeration. He sidelined this practice in the 1830s, when he mainly experimented with other narrative genres and modes of representation, eventually parading in Venetia (1837) a new sobriety of tone such as suited an aspiring Tory politician in the year of Victoria’s accession. Working within this developmental framework, my article sets out to investigate the young Disraeli’s penchant for laughter in connection with the fun-loving vein running in the family. It focuses on Vivian Grey, Part I, and relates it to Flim-Flams!, or, the Life and Errors of My Uncle and the Amours of My Aunt (1805), a quirky satirical ‘romance’ Isaac D’Israeli completed round about the time his eldest son was born. In highlighting the contextual similarities and carnivalesque qualities of the two works, the article offers an eccentric approach to the Romantic/early-Victorian generational changeover.
{"title":"Laughing with Young Ben: Vivian Grey, Flim-Flams!, and the Perplexities of Satirical Writing","authors":"Luisa Villa","doi":"10.3366/rom.2022.0568","DOIUrl":"https://doi.org/10.3366/rom.2022.0568","url":null,"abstract":"From his unpublished juvenilia to The Young Duke (1831), Benjamin Disraeli tested his literary potential mainly through writing in the satirical, comic, or even farcical mode. One way or another, all his fictional works from 1826 to 1830 were meant to make people laugh, or at least smile, and appreciate the young author’s wit and humorous talent for irony and comic exaggeration. He sidelined this practice in the 1830s, when he mainly experimented with other narrative genres and modes of representation, eventually parading in Venetia (1837) a new sobriety of tone such as suited an aspiring Tory politician in the year of Victoria’s accession. Working within this developmental framework, my article sets out to investigate the young Disraeli’s penchant for laughter in connection with the fun-loving vein running in the family. It focuses on Vivian Grey, Part I, and relates it to Flim-Flams!, or, the Life and Errors of My Uncle and the Amours of My Aunt (1805), a quirky satirical ‘romance’ Isaac D’Israeli completed round about the time his eldest son was born. In highlighting the contextual similarities and carnivalesque qualities of the two works, the article offers an eccentric approach to the Romantic/early-Victorian generational changeover.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45180801","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Humour within the letters and personal writings of Romantic poets and authors has remained relatively neglected. Similarly seldom studied is the Scottish Romantic poet Thomas Campbell (1777–1844). Calling into question John Anster’s assessment of Campbell’s letters as a ‘weary heap of good-for-nothing evidence’, this article will attempt to give his unpublished epistles their rightful prominence in studies of Romanticism. Campbell’s correspondence reveals humorous descriptions of cooks kicking cats, which jostle with declarations of explicit disgust against ‘second-rate writers’, and detailed accounts of Campbell’s numerous illnesses. By shedding light on the use of humour in his letters, this article will challenge current preconceptions of Campbell, and show how he used humour to forge and maintain relationships in both his personal and his business correspondence.
{"title":"Humour in the Letters of Thomas Campbell","authors":"Amy Wilcockson","doi":"10.3366/rom.2022.0565","DOIUrl":"https://doi.org/10.3366/rom.2022.0565","url":null,"abstract":"Humour within the letters and personal writings of Romantic poets and authors has remained relatively neglected. Similarly seldom studied is the Scottish Romantic poet Thomas Campbell (1777–1844). Calling into question John Anster’s assessment of Campbell’s letters as a ‘weary heap of good-for-nothing evidence’, this article will attempt to give his unpublished epistles their rightful prominence in studies of Romanticism. Campbell’s correspondence reveals humorous descriptions of cooks kicking cats, which jostle with declarations of explicit disgust against ‘second-rate writers’, and detailed accounts of Campbell’s numerous illnesses. By shedding light on the use of humour in his letters, this article will challenge current preconceptions of Campbell, and show how he used humour to forge and maintain relationships in both his personal and his business correspondence.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45618237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：