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In tracing those deliberate and accidental Romantic echoes that reverberate through the Victorian age into the beginning of the twentieth century, this collection acknowledges that the Victorians decided for themselves how to define what is 'Romantic'. The essays explore the extent to which Victorianism can be distinguished from its Romantic precursors, or whether it is possible to conceive of Romanticism without the influence of these Victorian definitions. Romantic Echoes in the Victorian Era reassesses Romantic literature's immediate cultural and literary legacy in the late nineteenth century, showing how the Victorian writings of Matthew Arnold, Wilkie Collins, the Brontës, the Brownings, Elizabeth Gaskell, Charles Dickens, Gerard Manley Hopkins, Thomas Hardy, and the Rossettis were instrumental in shaping Romanticism as a cultural phenomenon. Many of these Victorian writers found in the biographical, literary, and historical models of Chatterton, Coleridge, Byron, Shelley, Keats, and Wordsworth touchstones for reappraising their own creative potential and artistic identity. Whether the Victorians affirmed or revolted against the Romanticism of their early years, their attitudes towards Romantic values enriched and intensified the personal, creative, and social dilemmas described in their art. Taken together, the essays in this collection reflect on current critical dialogues about literary periodisation and contribute to our understanding of how these contemporary debates stem from Romanticism's inception in the Victorian age.
Taking an original approach to Robert Browning's poetics, Britta Martens focuses on a corpus of relatively neglected poems in Browning's own voice in which he reflects on his poetry, his self-conceptualization and his place in the poetic tradition. She analyzes his work in relation to Romanticism, Victorian reactions to the Romantic legacy, and wider nineteenth-century changes in poetic taste, to argue that in these poems, as in his more frequently studied dramatic monologues, Browning deploys varied dramatic methods of self-representation, often critically and ironically exposing the biases and limitations of the seemingly authoritative speaker 'Browning'. The poems thus become devices for Browning's detached evaluation of his own and of others' poetics, an evaluation never fully explicit but presented with elusive economy for the astute reader to interpret. The confrontation between the personal authorial voice and the dramatic voice in these poems provides revealing insights into the poet's highly self-conscious, conflicted and sustained engagement with the Romantic tradition and the diversely challenging reader expectations that he faces in a post-Romantic age. As the Victorian most rigorous in his rejection of Romantic self-expression, Browning is a key transitional figure between the sharply antagonistic periods of Romanticism and Modernism. He is also, as Martens persuasively demonstrates, a poet of complex contradictions and an illuminating case study for addressing the perennial issues of voice, authorial authority and self-reference.
The Romantic period coincided with revolutionary transformations of traditional political and human rights discourses, as well as witnessing rapid advances in technology and a primitivist return to nature. As a broad global movement, Romanticism strongly impacted on the literature and arts of the late eighteenth and early nineteenth centuries in ways that are still being debated and negotiated today. Examining the poetry, fiction, non-fiction, drama, and the arts of the period, this book considers: Important propositions and landmark ideas in the Romantic period; Key debates and critical approaches to Romantic studies; New and revisionary approaches to Romantic literature and art; The ways in which Romantic writing interacts with broader trends in history, politics, and aesthetics; European and Global Romanticism; The legacies of Romanticism in the twentieth and twenty-first centuries. Containing useful, reader-friendly features such as explanatory case studies, chapter summaries, and suggestions for further reading, this clear and engaging book is an invaluable resource for anyone who intends to study and research the complexity and diversity of the Romantic period, as well as the historical conditions which produced it.
This book visits the Romantic legacy that was central to the development of literature and culture from the 1830s onward. Although critical accounts have examined aspects of this long history of indebtedness, this is the first study to survey both Nineteenth and Twentieth century culture. The authors consider the changing notion of Romanticism, looking at the diversity of its writers, the applicability of the term, and the ways in which Romanticism has been reconstituted. The chapters cover relevant historical periods and literary trends, including the Romantic Gothic, the Victorian era, and Modernism as part of a dialectical response to the Romantic legacy. Contributors also examine how Romanticism has been reconstituted within postmodern and postcolonial literature as both a reassessment of the Modernist critique and of the imperial contexts that have throughout this time-frame underpinned the Romantic legacy, bringing into focus the contemporaneity of Romanticism and its political legacy. This collection reveals the diversity and continuing relevance of the genre in new and exciting ways, offering insights into writers such as Browning, Ruskin, Pater, Wilde, Lewis, MacNeice, and Auster.
Explores the musical background to Darwinism and the development of the relationship between science and the arts in Victorian Britain.
The eighteenth century witnessed the rapid expansion of literary networks in Britain, yet we still lack a complex understanding of how these networks functioned, particularly for women. This volume addresses this gap, arguing that networks not only provided women with access to the literary marketplace, but altered their relations to each other, their literary production, and the broader social sphere.
This book is about the intertextual relationships between the works of the Shelleys and the Brownings. While a lot of research has been done on the relationship between Percy Bysshe Shelley and Robert Browning, virtually nothing has been said about the links between Mary Shelley and Robert Browning, and very little on the connections between the Shelleys and Elizabeth Barrett Browning. Rieko Suzuki seeks to address this blind spot by focusing on three areas in particular: firstly, the way that Browning’s later poems reflect back on and re-engage with Shelley’s work; secondly, Mary Shelley’s influence on Browning’s early poems; and thirdly, Shelley’s presence in and influence on Elizabeth Barrett Browning’s writing. In mapping out the various ways in which texts relate to other texts, the book also identifies a number of important thematic threads that run throughout the work of all four writers. These include theories of history and historical consciousness, providing a further dimension to the question of ‘influence’. They also include ideas about exile, gender, liberal politics and cultural heritage, central to almost all the texts discussed here, as the Shelleys and the Brownings, in different ways and in varying contexts, tried to negotiate the possibility of a more tolerant and resilient social, political and cultural environment.
As the last leader of the Chartist movement, Ernest Charles Jones (1819-69) is a significant historical figure, but he is just as well-known for his political verse. His prison-composed epic The New World lays claim to being the first poetic exploration of Marxist historical materialism, and his caustic short lyric ‘The Song of the Low’ appears in most modern anthologies of Victorian poetry. Despite the prominence of Jones’s verse in Labour history circles, and several major inclusions in critical discussions of working-class Victorian literature, this volume represents the first full-length study of his poetry. Through close analysis and careful contextualization, this work traces Jones’s poetic development from his early German and British Romantic influences through his radicalization, imprisonment, and years of leadership. The poetry of this complex and controversial figure is here fully mapped for the first time.
This book is about the rise of a new ethos in British mountaineering during the late nineteenth century. It traces how British attitudes to mountains were transformed by developments both within the new sport of mountaineering and in the wider fin-de-siècle culture. The emergence of the new genre of mountaineering literature, which helped to create a self-conscious community of climbers with broadly shared values, coincided with a range of cultural and scientific trends that also influenced the direction of mountaineering. The author discusses the growing preoccupation with the physical basis of aesthetic sensations, and with physicality and materiality in general; the new interest in the physiology of effort and fatigue; and the characteristically Victorian drive to enumerate, codify, and classify. Examining a wide range of texts, from memoirs and climbing club journals to hotel visitors’ books, he argues that the figure known as the ‘New Mountaineer’ was seen to embody a distinctly modern approach to mountain climbing and mountain aesthetics.
This book explores the relationship between Dickens and canonical Romantic authors: Blake, Wordsworth, Coleridge, Byron, Percy and Mary Shelley, and Keats. Addressing a significant gap in Dickens studies, four topics are identified: Childhood, Time, Progress, and Outsiders, which together constitute the main aspects of Dickens’s debt to the Romantics. Through close readings of key Romantic texts, and eight of Dickens’s novels, Peter Cook investigates how Dickens utilizes Romantic tropes to express his responses to the exponential growth of post-revolutionary industrial, technological culture and its effects on personal life and relationships. In this close study of Dickensian Romanticism, Cook demonstrates the enduring relevance of Dickens and the Romantics to contemporary culture.