{"title":"David Stewart, The Form of Poetry in the 1820s and 1830s: A Period of Doubt","authors":"K. Hall","doi":"10.3366/rom.2022.0572","DOIUrl":"https://doi.org/10.3366/rom.2022.0572","url":null,"abstract":"","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41742194","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 focuses on several unexplored relationships between the poetry of Robert Burns and Lord Byron. In the first part of the article, I discuss how Burns and Byron manipulated their chosen verse forms to perform an ironic account of their own productions, which are often critical not only of conventional tastes, but also of their role as poets. In the second part of this article, I turn to two satires: ‘A Dream’, a poem that featured in Burns’s debut volume, Poems, Chiefly in the Scottish Dialect (1786), and Byron’s ‘The Vision of Judgment’ (1822). Here I explore the shared satiric sympathies of the poets, examining how Burns’s and Byron’s satires reflect a similarity in temperament and geniality, despite criticising political or poetic foes, namely King George III and Robert Southey.
{"title":"‘The Art of Easy Writing’: The Case of Burns and Byron","authors":"J. Phipps","doi":"10.3366/rom.2022.0563","DOIUrl":"https://doi.org/10.3366/rom.2022.0563","url":null,"abstract":"This article focuses on several unexplored relationships between the poetry of Robert Burns and Lord Byron. In the first part of the article, I discuss how Burns and Byron manipulated their chosen verse forms to perform an ironic account of their own productions, which are often critical not only of conventional tastes, but also of their role as poets. In the second part of this article, I turn to two satires: ‘A Dream’, a poem that featured in Burns’s debut volume, Poems, Chiefly in the Scottish Dialect (1786), and Byron’s ‘The Vision of Judgment’ (1822). Here I explore the shared satiric sympathies of the poets, examining how Burns’s and Byron’s satires reflect a similarity in temperament and geniality, despite criticising political or poetic foes, namely King George III and Robert Southey.","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":"49613102","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}
The pseudonymously authored The Feast of the Fishes (1808) is one of several ‘papillonades’ published for children in the early nineteenth century. Like other papillonades, this short poem depicts anthropomorphic animals in order to offer a satirical perspective on the conventions of polite society. The poem’s playful mock-heroic tone is, however, undermined by its depiction of a shark in pursuit of a slave ship. The image of sharks following slave ships was a potent symbol in abolitionist discourse, but its appearance within this comedic context makes its intended impact difficult to discern. In what spirit is this disturbing image offered? How are readers to make sense of the scarcely veiled horror of what is being depicted both verbally and visually? Addressing these questions, this article reassesses the generic identity of children’s literature and its relationship to the satirical and political discourse of the Romantic period.
{"title":"The Feast of the Fishes: Satire, Slavery and Romantic-Period Children’s Literature","authors":"R. Ritter","doi":"10.3366/rom.2022.0566","DOIUrl":"https://doi.org/10.3366/rom.2022.0566","url":null,"abstract":"The pseudonymously authored The Feast of the Fishes (1808) is one of several ‘papillonades’ published for children in the early nineteenth century. Like other papillonades, this short poem depicts anthropomorphic animals in order to offer a satirical perspective on the conventions of polite society. The poem’s playful mock-heroic tone is, however, undermined by its depiction of a shark in pursuit of a slave ship. The image of sharks following slave ships was a potent symbol in abolitionist discourse, but its appearance within this comedic context makes its intended impact difficult to discern. In what spirit is this disturbing image offered? How are readers to make sense of the scarcely veiled horror of what is being depicted both verbally and visually? Addressing these questions, this article reassesses the generic identity of children’s literature and its relationship to the satirical and political discourse of the Romantic period.","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":"46602273","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}
Satire and libel have always been closely linked, but in the anxious political climate of the Romantic period, the relationship came under new pressure. This article examines the fraught connection between satire and libel through a case study: a quarrel between the Irish radical Peter Finnerty and George Manners, editor of the loyalist Satirist, or Monthly Meteor. In February 1809, Finnerty brought an action for libel against the magazine, known for its scurrilous articles. Surprisingly he won his case, but received a pittance in damages. The dispute points to the fluidity between the law courts and the press in this period; indeed, Manners considered satire a necessary supplement to legislative authority in correcting social deviance. With Manners’ scurrilous magazine an embarrassment to more respectable Tories, the two men’s argument sheds light on the uncomfortably close proximity of the figures of the ‘satirist’ and the ‘libeller’ in the early nineteenth century.
{"title":"The Satirist and the Libeller: Peter Finnerty and the Satirist Magazine","authors":"F. Milne","doi":"10.3366/rom.2022.0567","DOIUrl":"https://doi.org/10.3366/rom.2022.0567","url":null,"abstract":"Satire and libel have always been closely linked, but in the anxious political climate of the Romantic period, the relationship came under new pressure. This article examines the fraught connection between satire and libel through a case study: a quarrel between the Irish radical Peter Finnerty and George Manners, editor of the loyalist Satirist, or Monthly Meteor. In February 1809, Finnerty brought an action for libel against the magazine, known for its scurrilous articles. Surprisingly he won his case, but received a pittance in damages. The dispute points to the fluidity between the law courts and the press in this period; indeed, Manners considered satire a necessary supplement to legislative authority in correcting social deviance. With Manners’ scurrilous magazine an embarrassment to more respectable Tories, the two men’s argument sheds light on the uncomfortably close proximity of the figures of the ‘satirist’ and the ‘libeller’ in the early nineteenth century.","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":"47928765","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":"Elizabeth A. Neiman, Minerva’s Gothics: The Politics and Poetics of Romantic Exchange, 1780–1820","authors":"C. Davies","doi":"10.3366/rom.2022.0570","DOIUrl":"https://doi.org/10.3366/rom.2022.0570","url":null,"abstract":"","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":"45133686","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}
Following Frank Kermode’s distinction, in The Sense of an Ending, between the stability of myth and the changeability of fiction, Keats’s ‘Ode on Indolence’ offers an understated self-conscious presentation of myth and fiction in comparison with the Nightingale and Grecian Urn odes. All three of these odes invest in mythologies as much as they remain alert to their own poetic frames and the fictive nature of the fictions behind them. This poetic self-awareness reconnects Keats’s odes with the reality of death behind the mythic figures of nightingale, urn, and indolence. Such subtle, shifting, self-awareness is also the hallmark of Keats’s ‘To Autumn’ and the poetic legacy it bestows to Wallace Stevens’s ‘Sunday Morning’, ‘Autumn Refrain’, and ‘The Woman in Sunshine’.
{"title":"The Sense of an Ending: Poetic Spaces and Closure in Keats’s 1819 Odes","authors":"M. Sandy","doi":"10.3366/rom.2022.0554","DOIUrl":"https://doi.org/10.3366/rom.2022.0554","url":null,"abstract":"Following Frank Kermode’s distinction, in The Sense of an Ending, between the stability of myth and the changeability of fiction, Keats’s ‘Ode on Indolence’ offers an understated self-conscious presentation of myth and fiction in comparison with the Nightingale and Grecian Urn odes. All three of these odes invest in mythologies as much as they remain alert to their own poetic frames and the fictive nature of the fictions behind them. This poetic self-awareness reconnects Keats’s odes with the reality of death behind the mythic figures of nightingale, urn, and indolence. Such subtle, shifting, self-awareness is also the hallmark of Keats’s ‘To Autumn’ and the poetic legacy it bestows to Wallace Stevens’s ‘Sunday Morning’, ‘Autumn Refrain’, and ‘The Woman in Sunshine’.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43282428","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}
Keats’s poems written in the years leading up to his annus mirabilis, 1819, frequently feature books, but those references and images vanish from his poetic production in 1819 and the subsequent publication of that verse in his 1820 volume. This essay attempts to account for that shift in his poetics by exploring Keats’s relation to his friend and mentor Leigh Hunt, proposing that this poetic shift attends Keats’s political departure from Hunt’s privatised, metropolitan imagination in favour of a more public and egalitarian poetics of dispossession.
{"title":"Keats’s Vanishing Books","authors":"E. Rohrbach","doi":"10.3366/rom.2022.0552","DOIUrl":"https://doi.org/10.3366/rom.2022.0552","url":null,"abstract":"Keats’s poems written in the years leading up to his annus mirabilis, 1819, frequently feature books, but those references and images vanish from his poetic production in 1819 and the subsequent publication of that verse in his 1820 volume. This essay attempts to account for that shift in his poetics by exploring Keats’s relation to his friend and mentor Leigh Hunt, proposing that this poetic shift attends Keats’s political departure from Hunt’s privatised, metropolitan imagination in favour of a more public and egalitarian poetics of dispossession.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47427219","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}
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