This remarkable study of the constructive and ultimately canon-forming relationship between satiric and Romantic modes of writing from 1760 to 1832 provides us with a new understanding of the historical development of Romanticism as a literary...
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This remarkable study of the constructive and ultimately canon-forming relationship between satiric and Romantic modes of writing from 1760 to 1832 provides us with a new understanding of the historical development of Romanticism as a literary movement. Romantic poetry is conventionally seen as inward-turning, sentimental, sublime, and transcendent, whereas satire, with its public, profane, and topical rhetoric, is commonly cast in the role of generic other as the un-Romantic mode. This book argues instead that the two modes mutually defined each other and were subtly interwoven during the Romantic period. By rearranging reputations, changing aesthetic assumptions, and re-distributing cultural capital, the interaction of satiric and Romantic modes helped make possible the Victorian and modern construction of 'English Romanticism'. Cover -- Satire and Romanticism -- Contents -- Acknowledgments -- Introduction -- Chapter 1 Representing Rustics: Satire, Countersatire, and Emergent Romanticism -- Chapter 2 "Supernatural, or at Least Romantic": The Ancient Mariner and Parody -- Chapter 3 Satiric Performance in The Black Dwarf -- Chapter 4 Della Crusca Redivivus: The Revenge of the Satiric Victims -- Chapter 5 Byron's Satiric "Blues": Salon Culture and the Literary Marketplace -- Chapter 6 Turning What Was Once Burlesque into Romantic: Byron's Pantomimic Satire -- Chapter 7 The Wheat from the Chaff: Ebenezer Elliott and the Canon -- Notes -- Bibliography -- Index.
