Scholarship on Keats’s fascination with Milton has tended to focus on his response to Paradise Lost. This article sheds new light on Keats’s engagement with Milton by exploring the significance of his reading of Samson Agonistes with Charles Armitage Brown during their walking tour of North England and Scotland in the summer of 1818. I suggest that Milton’s rendering of human suffering in Samson Agonistes answered Keats’s previous doubts about Milton’s ability to ‘think into the human heart’, enabling him to revise his ideas about epic and further conceptualise the work of the poet as an act of healing. In Samson Agonistes Keats found a model of poetry that puts pain, patient suffering, and limited vision at its core. These ideas became central to Hyperion and The Fall of Hyperion, the epic fragments which bookend Keats’s ‘living year’ between the autumns of 1818 and 1819.
{"title":"‘Patient Travail’: Keats and Samson Agonistes","authors":"Meiko O’Halloran","doi":"10.3366/rom.2022.0549","DOIUrl":"https://doi.org/10.3366/rom.2022.0549","url":null,"abstract":"Scholarship on Keats’s fascination with Milton has tended to focus on his response to Paradise Lost. This article sheds new light on Keats’s engagement with Milton by exploring the significance of his reading of Samson Agonistes with Charles Armitage Brown during their walking tour of North England and Scotland in the summer of 1818. I suggest that Milton’s rendering of human suffering in Samson Agonistes answered Keats’s previous doubts about Milton’s ability to ‘think into the human heart’, enabling him to revise his ideas about epic and further conceptualise the work of the poet as an act of healing. In Samson Agonistes Keats found a model of poetry that puts pain, patient suffering, and limited vision at its core. These ideas became central to Hyperion and The Fall of Hyperion, the epic fragments which bookend Keats’s ‘living year’ between the autumns of 1818 and 1819.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44664565","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 essay reads Keats’s 1819 poetry alongside Michael O’Neill’s poems about his terminal illness. It focuses on Keats’s abandonment of Hyperion and The Fall of Hyperion in favour of ‘To Autumn’ through a juxtaposed reading of ‘cloudy trophies’ and ‘quiet power’. The Hyperion poems explore the collapse of the Poetical Character in the face of incurable, immortal suffering. While the spring odes, exemplified in a reading of ‘Ode on Melancholy’, attempt to balance the dynamic between a speaker and its poetic subject through apostrophe, the conclusions of the odes are self-cancelling. ‘To Autumn’ signals a breakthrough from curative to palliative poetics through the simultaneous celebration of life insisting on itself and the process of dying. The contrast between Guy’s Hospital and the Hospital of St Cross in Winchester underlines the shift in vision from incurable suffering to palliative, quiet power.
{"title":"From Cloudy Trophies to Quiet Power: Keats’s Hyperions, the 1819 Odes, and Michael O’Neill’s Late Poetry","authors":"H. Thomson","doi":"10.3366/rom.2022.0550","DOIUrl":"https://doi.org/10.3366/rom.2022.0550","url":null,"abstract":"This essay reads Keats’s 1819 poetry alongside Michael O’Neill’s poems about his terminal illness. It focuses on Keats’s abandonment of Hyperion and The Fall of Hyperion in favour of ‘To Autumn’ through a juxtaposed reading of ‘cloudy trophies’ and ‘quiet power’. The Hyperion poems explore the collapse of the Poetical Character in the face of incurable, immortal suffering. While the spring odes, exemplified in a reading of ‘Ode on Melancholy’, attempt to balance the dynamic between a speaker and its poetic subject through apostrophe, the conclusions of the odes are self-cancelling. ‘To Autumn’ signals a breakthrough from curative to palliative poetics through the simultaneous celebration of life insisting on itself and the process of dying. The contrast between Guy’s Hospital and the Hospital of St Cross in Winchester underlines the shift in vision from incurable suffering to palliative, quiet power.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43693310","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}
Robert Merry is now infamous as the ringleader of the Della Cruscan school of poets, whose poetry, nurtured in the pages of newspapers like the World and the Oracle, became something of a phenomenon in the 1780s and 90s. In 1783, however, he was just another young British dilettante in Florence whose first book Poems by R***** M**** (Florence, 1783) appears to have made little impact on the literary scene. In this essay, I examine a poem from this collection, ‘Sapho to Phaon: an Epistle’, and suggest that it is quite possible this early poem of Merry’s was an influence on Mary Robinson’s far more famous sonnet sequence, Sappho and Phaon (1796). Sappho and Phaon is typically regarded as Robinson’s most accomplished and overtly feminist works; the virtual antithesis of her ephemeral Della Cruscan productions. This essay suggests, however, that the sequence might also be seen productively as a continuation of the poet’s intertextual dialogue with Robert Merry. Viewed in this light, Sappho and Phaon’s Della Cruscan legacy becomes clear.
{"title":"Sap(p)hos and Phaons: Robert Merry, Mary Robinson and the Romantic History of the Lesbian Poet","authors":"C. Knowles","doi":"10.3366/rom.2022.0539","DOIUrl":"https://doi.org/10.3366/rom.2022.0539","url":null,"abstract":"Robert Merry is now infamous as the ringleader of the Della Cruscan school of poets, whose poetry, nurtured in the pages of newspapers like the World and the Oracle, became something of a phenomenon in the 1780s and 90s. In 1783, however, he was just another young British dilettante in Florence whose first book Poems by R***** M**** (Florence, 1783) appears to have made little impact on the literary scene. In this essay, I examine a poem from this collection, ‘Sapho to Phaon: an Epistle’, and suggest that it is quite possible this early poem of Merry’s was an influence on Mary Robinson’s far more famous sonnet sequence, Sappho and Phaon (1796). Sappho and Phaon is typically regarded as Robinson’s most accomplished and overtly feminist works; the virtual antithesis of her ephemeral Della Cruscan productions. This essay suggests, however, that the sequence might also be seen productively as a continuation of the poet’s intertextual dialogue with Robert Merry. Viewed in this light, Sappho and Phaon’s Della Cruscan legacy becomes clear.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44293193","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":"Deborah Weiss The Female Philosopher and her Afterlives: Mary Wollstonecraft, the British Novel, and the Transformation of Feminism, 1796–1811","authors":"J. Wharton","doi":"10.3366/rom.2022.0543","DOIUrl":"https://doi.org/10.3366/rom.2022.0543","url":null,"abstract":"","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42861380","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 essay offers a reconsideration of the philosophy of ‘This Lime-Tree Bower my Prison’ (1797). While some previous critical accounts have been dismissive of the utility of applying George Berkeley’s thought to the poem, I argue that the poem draws on the part of Berkeley’s philosophy now known as subjective idealism. In A Treatise Concerning the Principles of Human Knowledge (1710), Berkeley posits that all objects are simply collections of ideas, an idea’s existence consisting in its being perceived (‘ esse is percipi’). I contend that when Coleridge imagines Lamb ‘gazing round […] till all doth seem / Less gross than bodily, a living Thing / That acts upon the mind’, he is depicting Lamb as realizing that the world is composed of ideas that emanate from the powerful mind of God. The poem therefore occupies an important transitional point in Coleridge’s intellectual development when he was, briefly, a Berkeleian idealist.
这篇文章提供了一个重新思考的哲学“这石灰树凉亭我的监狱”(1797)。虽然之前的一些评论对将乔治·伯克利的思想应用于这首诗的效用不屑一顾，但我认为这首诗借鉴了伯克利哲学中现在被称为主观唯心主义的部分。在《关于人类知识原理的论述》(1710年)中，伯克利认为所有的对象都是观念的简单集合，观念的存在在于它被感知(“esse is percepi”)。我认为，当柯勒律治想象兰姆“环顾四周，直到一切看起来/比肉体更粗俗，一个活生生的东西/作用于心灵”时，他是在把兰姆描绘成意识到世界是由来自上帝强大心灵的思想组成的。因此，这首诗在柯勒律治的智力发展中占据了一个重要的过渡点，当时他是一个短暂的伯克利理想主义者。
{"title":"‘Less gross than bodily’: Berkeleian Idealism in ‘This Lime-Tree Bower my Prison’","authors":"Jacob Lloyd","doi":"10.3366/rom.2022.0534","DOIUrl":"https://doi.org/10.3366/rom.2022.0534","url":null,"abstract":"This essay offers a reconsideration of the philosophy of ‘This Lime-Tree Bower my Prison’ (1797). While some previous critical accounts have been dismissive of the utility of applying George Berkeley’s thought to the poem, I argue that the poem draws on the part of Berkeley’s philosophy now known as subjective idealism. In A Treatise Concerning the Principles of Human Knowledge (1710), Berkeley posits that all objects are simply collections of ideas, an idea’s existence consisting in its being perceived (‘ esse is percipi’). I contend that when Coleridge imagines Lamb ‘gazing round […] till all doth seem / Less gross than bodily, a living Thing / That acts upon the mind’, he is depicting Lamb as realizing that the world is composed of ideas that emanate from the powerful mind of God. The poem therefore occupies an important transitional point in Coleridge’s intellectual development when he was, briefly, a Berkeleian idealist.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44320094","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 presents a detailed new analysis of the conception, composition, publication, and immediate reception of John William Polidori’s influential story, ‘The Vampyre’ (1819), first attributed to Lord Byron. Polidori was instrumental in publishing the tale – and did so with a certain guile as part of a larger literary strategy. Yet he nevertheless fell victim to the duplicity of the publisher Henry Colburn. Polidori was consequently vilified by the Byron circle, which ultimately wrecked his career as a writer. What emerges from this close attention to publication is that the text is unlikely to have been written in 1816 at the Villa Diodati, alongside Frankenstein, but two and a half years later. This therefore challenges its significance as a supposed portrait of Byron, and allows Byron’s own contribution to vampire fiction (‘A Fragment’) to be re-evaluated. The paper also examines the pieces published alongside ‘The Vampyre’ on its first appearance, suggesting the likely authors of these supplementary texts.
本文对约翰·威廉·波利多里（John William Polidori）的影响深远的故事《吸血鬼》（the Vampyre，1819）的概念、构成、出版和直接接受进行了详细的新分析，该故事最初被认为是拜伦勋爵的作品。波利多里在出版这个故事中发挥了重要作用——作为更大的文学策略的一部分，他这样做带有一定的狡诈。然而，他却成了出版商亨利·科尔伯恩口是心非的牺牲品。波利多里因此受到拜伦圈子的诽谤，这最终毁掉了他的作家生涯。这种对出版的密切关注表明，这本书不太可能写于1816年，与弗兰肯斯坦一起在迪奥达蒂别墅，而是两年半后。因此，这挑战了它作为拜伦肖像的意义，并使拜伦自己对吸血鬼小说的贡献（《碎片》）得以重新评估。这篇论文还考察了《吸血鬼》首次亮相时与之一起发表的文章，提出了这些补充文本的可能作者。
{"title":"Polidori’s ‘The Vampyre’: Composition, Publication, Deception","authors":"Nick Groom","doi":"10.3366/rom.2022.0536","DOIUrl":"https://doi.org/10.3366/rom.2022.0536","url":null,"abstract":"This article presents a detailed new analysis of the conception, composition, publication, and immediate reception of John William Polidori’s influential story, ‘The Vampyre’ (1819), first attributed to Lord Byron. Polidori was instrumental in publishing the tale – and did so with a certain guile as part of a larger literary strategy. Yet he nevertheless fell victim to the duplicity of the publisher Henry Colburn. Polidori was consequently vilified by the Byron circle, which ultimately wrecked his career as a writer. What emerges from this close attention to publication is that the text is unlikely to have been written in 1816 at the Villa Diodati, alongside Frankenstein, but two and a half years later. This therefore challenges its significance as a supposed portrait of Byron, and allows Byron’s own contribution to vampire fiction (‘A Fragment’) to be re-evaluated. The paper also examines the pieces published alongside ‘The Vampyre’ on its first appearance, suggesting the likely authors of these supplementary texts.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46129590","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 essay argues that the impact of Bewick’s natural histories on nineteenth-century reading culture owed not simply to their engravings but to an innovative manipulation of the affordances of the material form of the book-volume. Governed by a commitment to the printed book as a formative medium in the making of reading relations, Bewick reconfigured the fundamental unit of illustrated natural history, the double-structured unit of description, and altered the dynamics of natural history reading. Repositioning readers so as to bring them into closer proximity both to the book and to the natural world around them, his celebrated bird book brings into view often overlooked linkages between the period’s intensified bookishness, emergent knowledge fields, the reading public, and generic innovation that were to reshape the culture of reading in the nineteenth century.
{"title":"A Bookish Intervention: Thomas Bewick’s British Birds and the Reconfiguration of Illustrated Natural History","authors":"I. Ferris","doi":"10.3366/rom.2022.0538","DOIUrl":"https://doi.org/10.3366/rom.2022.0538","url":null,"abstract":"This essay argues that the impact of Bewick’s natural histories on nineteenth-century reading culture owed not simply to their engravings but to an innovative manipulation of the affordances of the material form of the book-volume. Governed by a commitment to the printed book as a formative medium in the making of reading relations, Bewick reconfigured the fundamental unit of illustrated natural history, the double-structured unit of description, and altered the dynamics of natural history reading. Repositioning readers so as to bring them into closer proximity both to the book and to the natural world around them, his celebrated bird book brings into view often overlooked linkages between the period’s intensified bookishness, emergent knowledge fields, the reading public, and generic innovation that were to reshape the culture of reading in the nineteenth century.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42164025","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":"Emily Senior The Caribbean and the Medical Imagination, 1764–1834: Slavery, Disease and Colonial Modernity and Nikki Hessell Romantic Literature and the Colonised World: Lessons from Indigenous Translations","authors":"D. Coleman","doi":"10.3366/rom.2022.0541","DOIUrl":"https://doi.org/10.3366/rom.2022.0541","url":null,"abstract":"","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48804140","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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