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Redressing a gap in Chartism studies, Rob Breton focuses on the fiction that emerged from the movement, placing it in the context of the Victorian novel and reading it against the works aimed at the middle-class. Breton examines works by well-known writers such as Ernest Jones and Thomas Cooper alongside those of obscure or anonymous writers, rejecting the charge that Chartist fiction fails aesthetically, politically, and culturally. Rather, Breton suggests, it constitutes a type of anti-fiction in which the expectations of narrative are revealed as irreconcilable to the real world. Taking up a range of genres, including the historical romance and social-problem story, Breton theorizes the emergence of the fiction against Marxist conceptualizations of cultural hegemony. In situating Chartist fiction in periodical print culture and specific historical moments, this book shows the ways in which it serves as a critique of mainstream Victorian fiction.
In the two centuries between the first performance of The School for Scandal by Richard Brinsley Sheridan and the outbreak of the First World War, the stage provided an accurate mirror of the changing mores of English society. "High comedy," Newell W. Sawyer writes, "views man as a social animal in the midst of his fellows, with customs, conventions, and traditions of his own devising, and prods him gently or mockingly, as he stands confounded by that which he has made." The comedy of manners became, from its prototype, a dramatic category reflecting the life, thought, and manners of upper-class society, faithful to its traditions and philosophy, and as such offers an ideal medium for such a study as Professor Sawyer has here undertaken. The result is a book that is at once entertaining and serious, a study of two centuries of the British stage,
Shakespeare is usually set apart from his contemporaries, in kind no less than quality. This book, the long-awaited final volume in the Oxford History of English Literature, sees Elizabethan drama as drawn together by a shared need to deal with contradictory pressures from heterogeneous audiences, censorious authorities, profit driven managers, and authors looking for classic status and social esteem. Hunter follows the compromises and contradictions of the Elizabethan repertory, examining how Shakespeare and his fellow dramatists were able to move easily from vulgar realism to poetic transcendence.