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This volume collects together a wealth of material ranging from verse parodies originally published in pamphlet form, to longer works such as P.G. Patmore's parodies of the works of Byron, Lamb and Hazlitt.
This volume collects together a wealth of material ranging from verse parodies originally published in pamphlet form, to longer works such as P.G. Patmore's parodies of the works of Byron, Lamb and Hazlitt.
This volume collects together a wealth of material ranging from verse parodies originally published in pamphlet form, to longer works such as P.G. Patmore's parodies of the works of Byron, Lamb and Hazlitt.
This volume collects together a wealth of material ranging from verse parodies originally published in pamphlet form, to longer works such as P.G. Patmore's parodies of the works of Byron, Lamb and Hazlitt.
This volume collects together a wealth of material ranging from verse parodies originally published in pamphlet form, to longer works such as P.G. Patmore's parodies of the works of Byron, Lamb and Hazlitt.
This volume collects together a wealth of material ranging from verse parodies originally published in pamphlet form, to longer works such as P.G. Patmore's parodies of the works of Byron, Lamb and Hazlitt.
This volume collects together a wealth of material ranging from verse parodies originally published in pamphlet form, to longer works such as P.G. Patmore's parodies of the works of Byron, Lamb and Hazlitt.
This reset collection brings together a wealth of material ranging from verse parodies originally published in pamphlet form, circulated in manuscript, or published in periodicals, to longer works such as P.G. Patmore's prose parodies. The anti-Jacobin's parodies were endlessly inventive, witty, and partisan, and influenced a generation of parodic counterings.
This book argues for the importance of blasphemy in shaping the literature and readership of Percy Bysshe Shelley and of the Romantic period more broadly. Not only are perceptions of blasphemy taken to be inextricable from politics, this book also argues for blasphemous ‘irreverence’ as both inspiring and necessitating new poetic creativity. The book reveals the intersection of blasphemy, censorship and literary property throughout the ‘Long Eighteenth Century’, attesting to the effect of this connection on Shelley’s poetry more specifically. Paul Whickman notes how Shelley’s perceived blasphemy determined the nature and readership of his published works through censorship and literary piracy. Simultaneously, Whickman crucially shows that aesthetics, content and the printed form of the physical text are interconnected and that Shelley’s political and philosophical views manifest themselves in his writing both formally and thematically.
This set offers a representitive collection of the verse satire of the Romantic period, published between the mid-1780s and the mid-1830s. As well as two single-author volumes, from William Gifford and Thomas Moore, there is also a wealth of rare, unedited material.