This page intentionally left blank BYRON AND ROMANTICISM This collection of essays represents twenty-five years of work by one of the most important critics of Romanticism and Byron studies, Jerome McGann The collection demonstrates McGann’s evolution as a scholar, editor, critic, theorist, and historian His “General analytic and historical introduction” to the collection presents a meditation on the history of his own research on Byron, in particular how scholarly editing interacted with the theoretical innovations in literary criticism over the last quarter of the twentieth century McGann’s receptiveness to dialogic forms of criticism is also illustrated in this collection, which contains an interview and concludes with a dialogue between McGann and the editor Many of these essays have previously been available only in specialized scholarly journals Now McGann’s influential work on Byron can be appreciated by new generations of students and scholars is the John Stewart Bryan University Professor, University of Virginia, and the Thomas Holloway Professor of Victorian Media and Culture, Royal Holloway, University of London He is the author of Byron, Fiery Dust () and Don Juan In Context () and the editor of Lord Byron: The Complete Poetical Works (–) JEROME Mc GANN JAMES SODERHOLM is Fulbright Scholar and Associate Professor of English and American Literature at Charles University in Prague He is the author of Fantasy, Forgery, and the Byron Legend () and Beauty and the Critic: Aesthetics in an Age of Cultural Studies () CAMBRIDGE STUDIES IN ROMANTICISM BYRON AND ROMANTICISM CAMBRIDGE STUDIES IN ROMANTICISM General editors Professor Marilyn Butler University of Oxford Professor James Chandler University of Chicago Editorial board John Barrell, University of York Paul Hamilton, University of London Mary Jacobus, University of Cambridge Kenneth Johnston, Indiana University Alan Liu, University of California, Santa Barbara Jerome McGann, University of Virginia David Simpson, University of California, Davis This series aims to foster the best new work in one of the most challenging fields within English literary studies From the early s to the early s a formidable array of talented men and women took to literary composition, not just in poetry, which some of them famously transformed, but in many modes of writing The expansion of publishing created new opportunities for writers, and the political stakes of what they wrote were raised again by what Wordsworth called those “great national events” that were “almost daily taking place”: the French Revolution, the Napoleonic and American wars, urbanisation, industrialisation, religious revival, an expanded empire abroad, and the reform movement at home This was an enormous ambition, even when it pretended otherwise The relations between science, philosophy, religion, and literature were reworked in texts such as Frankenstein and Biographia Literaria; gender relations in A Vindication of the Rights of Woman and Don Juan; journalism by Cobbett and Hazlitt; poetic form, content, and style by the Lake School and the Cockney School Outside Shakespeare studies, probably no body of writing has produced such a wealth of response or done so much to shape the responses of modern criticism This indeed is the period that saw the emergence of those notions of “literature” and of literary history, especially national literary history, on which modern scholarship in English has been founded The categories produced by Romanticism have also been challenged by recent historicist arguments The task of the series is to engage both with a challenging corpus of Romantic writings and with the changing field of criticism they have helped to shape As with other literary series published by Cambridge, this one will represent the work of both younger and more established scholars, on either side of the Atlantic and elsewhere For a complete list of titles published see end of book BYRON AND ROMANTICISM JEROME McGANN The John Stewart Bryan University Professor, University of Virginia EDITED BY JAMES SODERHOLM Associate Professor, Charles University, Prague Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge , United Kingdom Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521809580 © Jerome McGann 2002 This book is in copyright Subject to statutory exception and to the provision of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press First published in print format 2002 - isbn-13 978-0-511-07382-3 eBook (EBL) - isbn-10 0-511-07382-8 eBook (EBL) - isbn-13 978-0-521-80958-0 hardback - isbn-10 0-521-80958-4 hardback - isbn-13 978-0-521-00722-1 paperback - paperback isbn-10 0-521-00722-4 Cambridge University Press has no responsibility for the persistence or accuracy of s for external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate Contents Acknowledgments page ix General analytical and historical introduction PART I Milton and Byron Byron, mobility, and the poetics of historical ventriloquism “My brain is feminine”: Byron and the poetry of deception What difference the circumstances of publication make to the interpretation of a literary work? Byron and the anonymous lyric Private poetry, public deception Hero with a thousand faces: the rhetoric of Byronism Byron and the lyric of sensibility Byron and Wordsworth PART II A point of reference History, herstory, theirstory, ourstory Literature, meaning, and the discontinuity of fact Rethinking Romanticism vii List of contents viii An interview with Jerome McGann Poetry, – Byron and Romanticism, a dialogue ( Jerome McGann and the editor, James Soderholm) Subject index Authors index Byron and Romanticism, a dialogue And for whom, precisely, are they meant? What – hypocritical? – readers they imagine? J J M : Poems always lie in wait to trap unwary readers, don’t you think? Or unwary writers of poems They leave no one safe And so that lovely text of Byron’s Is it truth-telling “at long last”? Yes it is, it stretches itself back over those Years of Fame and lays Lord Byron out for an autopsy, like the corpse of Greece he himself anatomized in The Giaour Is Byron “screening his errors”? Yes, of course, for the confession is an apology and even a kind of justification Its hypocrisy comes clear as soon as we isolate the model and convention of what is written there: it’s that most self-deceived and hypocritical of all rhetorics, the Christian confession of one’s sin before God Byron wrote Manfred to begin his astonishing effort to unmask and exorcise that fearful anti-human rhetoric, which raises such a barrier against self-clarity And then later, in the ludic “Forgiveness-Curse” sequence in Childe Harold Canto IV, he left that rhetoric in utter shambles J S : Do you also consider the following stanza to raze that rhetoric, or to be facetious about it, which amounts to the same thing? The narrator is describing the education of Don Juan in Canto I Sermons he read, and lectures he endured, And homilies, and lives of all the saints; To Jerome and to Chrysostom inured, He did not take such studies for restraints; But how faith is acquired, and then insured, So well not one of the aforesaid paints As Saint Augustine in his fine Confessions, Which make the reader envy his transgressions Is there yet another odd self-justification nested in these lines, even as Byron “clarifies” himself to himself (and to others?) by looking into the glass of irony? At some level, did Byron want his English readers, even those whom he had wounded, to “envy his transgressions”? But is this finally Byron’s trap, or the trap of all beguiling rhetorics? J J M : What a passage you’ve chosen, one of the most cryptic in the poem The clear irrelevance of this to the character Juan is the reader’s signal that Byron is here seriously en masque – talking about himself, and, of course, as you say, about and to the reader Always the reader And I certainly agree with your suggestion that he is reflecting B E F O R E H I S R E A D E R S on the textual intercourse that has been going on since at least , when he woke and found himself famous The passage is a mare’s nest What is this “faith” being spoken of here, what is this absence of “restraints,” what is the relation of these things? The reference to St Augustine’s Confessions, and to readerly “envy,” is too close to the Byronic reading scene to miss The text is certainly another of those “mad, bad, and dangerous to know” moments I don’t know what it Byron and Romanticism all “means” but I know that it is a classic example of calling the reader to thought and judgment Surely its only “meaning” is like Ahab’s doubloon (Ahab, the direct linear descendant of the Byronic Hero) Or I think as well of Demogorgon’s way of talking and of Asia’s realization that “Each to himself must be the oracle” of their prophetic import J S : I take it that Byron is looking back to St Augustine through Rousseau yet without citing the “apostle of affliction” who really did make his sins appear enchanting The lives of the saints become “Studies In Faith” rather than in Prohibition, and as such they are insurance policies against the sort of temptation that St A., despite himself, could not avoid: the temptation to confess himself, in writing, A S A V I S I B L E, L E G I B L E T R A N S G R E S S I O N Rousseau happily fell prey to the same urge, and Byron, who could hardly resist being what Starobinski calls “the cynosure of all eyes,” turns the world into his confessor, and thus violates his own privacy This is both autotelic and autoerotic: the poet/oracle at once center and circumference The performance must have given Byron exquisite pleasure J J M : Yes he’s certainly thinking of Rousseau – Byron was fascinated by the comparisons his contemporaries drew between himself and the apostle of affliction, and of course he explicitly summoned the comparisons in Childe Harold, Canto III For critical review, however – we want to remember that Is there any doubt that he passed a terrible judgment on himself in that canto – turning as he does on his chief figurae: Napoleon, the Byronic Hero, Rousseau “The performance must have given Byron exquisite pleasure”: indeed, and that is just what horrifies him Never was his bleeding heart more effectively trailed across its double mirror, the mirror of art and the bloody landscape of Europe in which he reflects upon his heart and his art From Rousseau’s Confessions through Waterloo, Byron conjures a vision of the Pleasures of the Imagination It is his first explicit and comprehensive – and of course political – critique of Romanticism, the whole of it now viewed as a kind of Satanic School with himself as the furthest fallen angel And when he is able, a few years later, to observe the Coda of that pitiful tragedy, the Congress of Vienna and the European Settlement, the conclusion is so wretched he can only raise that self-defense of his ludic cynicism, so touching and so fragile J S : Sometimes that liberally bleeding heart is awfully hard to follow, as in the following, stanza of CHP III What deep wounds ever closed without a scar? The heart’s bleed longest, but heal to wear That which disfigures it; and they who war With their own hopes, and have been vanquish’d, bear Silence, but not submission: in his lair Fix’d Passion holds his breath, until the hour Which shall atone for years; none need despair: It came, it cometh, and will come,—the power To punish or forgive, in one we shall be slower Byron and Romanticism, a dialogue “The heart’s bleed”? “bear / Silence”? And that penultimate line is so, well, B A D (as poetry) The whole stanza seems to be an encoded message: a hall of encryptions What a tremendous relief to have “Clear, placid Leman!” stretch out before us in the next stanza, in contrast to the deeply “troubled waters” of the stanza above J J M : I guess I don’t understand your first two questions – about the heart’s wounds bleeding longest, or about the hopeless having to bear the silence their hopelessness has chosen But that the stanza is encrypted, yes Its coded immediate subject – the unnamed Lady Byron and all those he saw as supporting her public campaign – is exceedingly difficult for Byron to treat honestly That’s why, every time he does (before ), the poetry turns tormented, as it does here And the issue goes to the heart of what we’ve just been talking about here: hypocrisy, cant, self-deception How can he justify himself when he knows his own guilt, how expose the hypocrisy of his attackers? So he works by encryption, or what he will later see as “the truth in masquerade.” But on the second issue, the “ B A D poetry.” I wonder why you think it bad, I don’t at all Indeed, the stanza seems to me quintessentially Romantic and Byronic Romantic, first, because the stanza rides on a rhetoric of sincerity Byronic, second, for the reasons we’ve just been discussing The stanza illustrates “the spoiler’s art” as well as any I know in Byron – the art, that is to say, of forcing recalcitrant material to submit to his willfulness Byron comes to his language posing Humpty Dumpty’s famous question: “Who is to be master?” His treatment of the Spenserian stanza in Childe Harold’s Pilgrimage is simply breathtaking for me, and this stanza is no exception He succeeds exactly because he is completely aware of “the irregularity of [his] design” on the stanza Its spoliation is the emblem he raises for the human spirit against “history, tradition, and the facts.” Later, in Don Juan, he will reflect on this untrammeled Romanticism and call himself “a devil of a mannerist” in deploying it Spoiling one’s language inheritance to save its human spirit – Wordsworth’s very program in another dialect and register, of course – will come under Byron’s critical judgment, as all things for him One final word about this stanza you quote Look at that remarkable last couplet and ask yourself: in W H I C H one? And what precisely does Byron mean by “slower”? Or consider that image of an inexorable fatality in the penultimate line Byron flaunts his own power in all his writing but, as this stanza intimates, the act involves a bold temptation of Fate Byron summons the “power” of Fate knowing full well that he cannot exempt himself from its authority should his fearful prayer be answered J S : If so, then perhaps this summoning is Byron’s “amor fati,” an idea and ideal that seems to operate in several registers: for example, the piloting of the stanza towards technical spoliation Is that somehow a reflection of his malaise or productive of it? Or is this like trying to pull apart the dancer and the dance? Byron and Romanticism JJM: It’s not his malaise, the stanza reflects a general condition of culture “Byron” is its representative figure in this case, as “Byronism” is one of its strains Nor is the condition adequately represented as a “malaise,” any more than (say) Wordsworth’s famous language “reforms” are adequately characterized as such Those reforms doomed, for example, whole ranges of important poetical work to a long period of cultural invisibility and exile Here Crabbe is the exemplary case, an artist of immense skill and power But he speaks an alien tongue to our Romantically trained ears And so a number of important women writers who have recently swum into our ken Byron’s “malaise” is a prophetic diagnosis of his own culture and its Romanticism That’s why it still speaks to us so directly J S : I think – I hope – what also speaks to us directly is the opposite of this malaise: what I would call Byron’s “gay science” or his “joyful wisdom.” I refer again to those lovely apples Man fell with apples, and with apples rose, If this be true, for we must deem the mode In which Sir Isaac Newton could disclose Through the then unpaved stars the turnpike road, A thing to counterbalance human woes; For ever since immortal man hath glowed With all kinds of mechanics, and full soon Steam-engines will conduct him to the Moon And wherefore this exordium?—Why, just now, In taking up this paltry sheet of paper, My bosom underwent a glorious glow, And my internal Spirit cut a caper: And though so much inferior, as I know, To those who, by the dint of glass and vapour, Discover stars, and sail in the wind’s eye, I wish to as much by Poesy A more delightful, self-delighting dialectic of gravity and levity, of gravitation and levitation, is hard to imagine It’s Byron Unbound, no? J J M : Indeed, as Shelley thought: These are the spells by which to reassume An empire o’er the disentangled Doom NOTES Cf McGann, Byron and Wordsworth (Nottingham: The Byron Foundation, ) By consciously debased I mean what Madame de Staăel meant when she described Goethe’s art in the first part of Faust in the same terms Her explication of Goethe had a signal impact on Byron’s view of his own writing, and specifically on Manfred Byron and Romanticism, a dialogue Frank O’Hara, “Personism A Manifesto,” in The Collected Works of Frank O’Hara, ed Donald Allen (New York: Alfred A Knopf, ), Susan Howe, My Emily Dickinson (Berkeley: North Atlantic, ) Susan Sontag, Against Interpretation (New York: Dell Publishing Co., Inc., ) Randall McLeod, “Editing Shakespeare,” Sub-Stance, – (), –; Random Clod, “Information on Information,” TEXT (), –; Random Cloud, “Fiatflux,” in Crisis in Editing: Texts of the English Renaissance ed Randall MC Leod (New York: AMS Press, ), – Charles Bernstein, Content’s Dream (Los Angeles: Sun & Moon Press, ); My Way Speeches and Poems (Chicago: University of Chicago Press, ); Susan Howe, The Birth-Mark Unsettling the Wilderness in American Literary History (Hanover and London: Wesleyan University Press, ) Steve McCaffery, North of Intention Critical Writings – (New York: Roof Books, ); Steve McCaffery and B P Nichol, Rational Geomancy The Kids of the Book Machine The Collected Research Reports of the Toronto Research Group –, ed Steve McCaffery ( Vancouver: Talon Books, ) Jeffrey Skoblow, Paradise Dislocated (Charlottesville: University Press of Virginia, ) and Dooble Tongue Scots, Burns, and Contradiction (Newark: University of Delaware Press, ) Subject index aesthetics, and decorum, and Enlightenment, and escapism, and form, and poetry, and Romanticism, aporia, and deconstruction, artists as charmingly unreliable, – audience, and manipulation, Byronism and nihilism, and the Romantic ethos, , , and the Romantic poet, the meaning of, , Calvinism, and Cain, and Paradise Lost, cant and contemporary ideologues, – and deception, , – and hypocrisy, , close reading as critical method, contradiction forms of, and hypocrisy, as asymmetry, criticism biographical, , cultural, dialectical, , historical, –, , , – textual, cultural studies, , dandyism cultural history of, – poetry of, deconstruction and criticism, , , –, Della Cruscan School, , – digital media, double-talk and homosexuality, editing in codex form, and scholarly editions, either/or, , equivocation the art of, – Eros the sovereignty of, eroticism sentimental, – false consciousness, figura(e), , , , , , generalizations and idiocy, hermeneutics, hero Byronic, , , , , – and Gothic villains, and ideological structures, – and Manfred, and “Ode to Napoleon Bonaparte,” in The Giaour, – historicism, , hypocrisy, and confession, Subject index and disingenuousness, and sentiment, as cultivated mode, , , , of the Romantic imagination, – ideology, , – and Romanticism, , , as false consciousness, imagination and self-knowledge, and spots of time, as a dialogic form, as post-Heisenbergian, Romantic ideas of, irony Byronic, , Romantic, , , logic in contrast to aesthetics, lyric and Romanticism, , and textual pleasure, and the metaphysics of sentimentality, – masks and autobiography, – and Byronic heroes, and self-exposure, and self-understanding, the truth of, masquerade, –, –, –, –, , , mobility, –, and the feminine brain, in contrast to ideological dishonesty, – modernism, , – New Criticism, –, – New Historicism, objectivity, Shakespearean, pataphysics, – persona , , philology and historicism, poetic faith, pragmaticism, pragmatism, , Prometheus as humanitarian, publication and literary meaning, – realism and poetic imitation, referentiality problem of, repudiation of, reflection Hegelian/Marxist, revolution digital, rhetoric and displacement, as authority, as traps, n romantic irony, , Romanticism and lyric self-expression, , , , – and periodization, , , –, , , and the history of ideas, as personal force, – as poetical system, critique of, , , , , , received views of, , – Satanism and Paradise Lost, – and the criminal hero, as Byronic posing, as “tendresse,” satire and republican turncoats, in contrast to sincerity, sentimentalism, –, , – and Don Juan, and naăve poetry, and onanism, , and satire, –, the subliming of, sincerity and Romanticism, , , ideology of, poetry of, , , , rhetoric of, the mask of, stochasis, subjectivity, and manipulation, tastelessness and Don Juan, technology computer, Subject index textuality, Byronic, theory and literary studies, hypermedia, ventriloquism, –, Victorianism definition of, Authors index Aaron, Daniel, , n Abrams, M H., n , n , Akenside, Mark, Alighieri, Dante, , , – Anacreon, , Aristotle, , , , , Arnold, Matthew, , Auden, W H., Augustine, Austen, Jane, Bachinger, Katrina, n Bakhtin, Mikhail, Barnes, Julian, Barthes, Roland, n Baudelaire, Charles, , –, –, n , , , –, , Beckett, Samuel, Benjamin, Walter, , Bentley, Gerald E., n Bernstein, Charles, Blake, William, , , –, , , , –, –, , –, , , –, –, , , , Blessington, Marguerite, Bloom, Harold, n. Bonaparte, Napoleon, , , , – Brecht, Bertolt, , Brooks, Cleanth, Brougham, Henry, –, Browning, Robert, , Burns, Robert, , , – Burroughs, William, Cameron, Kenneth Neill, n Campbell, Thomas, Carlyle, Thomas, , , , Carnall, Geoffrey, n Castlereagh, Robert Stewart, Viscount, – Christensen, Jerome, n Churchill, Charles, – Coleridge, Ernest Hartley, n , – Coleridge, Samuel Taylor, –, , , , –, –, –, Conrad, Joseph, Cowley, Hannah, , , , Crabbe, George, , Crompton, Louis, – Dacre, Charlotte, –, , , –, Darnton, Robert, De Man, Paul, , , Derrida, Jacques, , , , Dickinson, Emily, – Douglass, Frederick, Earnshaw, Steven, Edelston, John, Edgecumbe, Richard, Eliot, George, Elledge, Scott, , , Ellis, John M., Ellmann, Richard, n Elwin, Malcolm, n Erdman, David, , n Fish, Stanley, n Foucault, Michel, , Freud, Sigmund, Gadamer, Hans Georg, Gibbon, Edward, Gifford, William, –, , Gleckner, Robert, Goethe, Johann Wolfgang von, Graham, Peter, n Grierson, H J C., Guiccioli, Teresa, – Guiliano, Cheryl Fallon, n Authors index Habermas, Jăurgen, Hartman, Geoffrey, Hegel, Georg Wilhelm Friederich, , , , Hejinian, Lyn, n Hemans, Felicia, n , – Herodotus, – Hobhouse, John Cam, –, Hodgson, Francis, Hofkosh, Sonia, n Homer, Howe, Susan, , Hunt, Leigh, –, , James, Henry, , – Jameson, Frederic, Jeffrey, Francis, , –, Johnson, Samuel, Johnston, Kenneth, Kant, Immanuel, , , , Keats, John, , –, , , , , , , – Kee, James M., n Kierkegaard, Soren, , –, , n Kinnaird, Douglas, Lamb, Caroline, Lady, , Landon, Laetitia Elizabeth, , , –, Lang, Cecil, Latour, Bruno, Levinson, Marjorie, n , n , , Lewis, C S., Lewis, Matthew Gregory, , , – Lockhart, John Gibson, Lovell, Jr., Ernest J., n Lushington, Stephen, Macpherson, James, Manning, Peter, Marchand, Leslie, Martin, Philip, Matilda, Anna n Rosa, Matthews, Charles Skinner, –, , Mayne, Ethel Colburn, n McLeod, Randall, , – Medwin, Thomas, , Melbourne, Elizabeth, Lady, Milbanke, Annabella, , –, –, –, Milbanke, Ralph, n Mill, John Stuart, , Miller, Hillis, –, n Milton, John, , –, Moore, Thomas, , , , n , , Murray, John, Nietzsche, Friedrich, , Ochs, Peter, , n – O’Hara, Frank, – Palgrave, Francis T., – Parry, Milman, – Pearce, Roy Harvey, Pierce, Charles S., –, n Pindar, , Piozzi (n´ee Hester Lynch Salusbury), Plato, , Poe, Edgar Allen, Pope, Alexander, , , , Pound, Ezra, , , Powys, John Cowper, Praz, Mario, n Prothero, Rowland E., n Reagan, Ronald, , Reiman, Donald, Ridenour, George, , Roberts, William, –, Robinson, Charles, Robinson, Mary, Rogers, Samuel, Rossetti, Dante Gabriel, Rousseau, Jean-Jacques, , Ruskin, John, Rutherford, Andrew, , n Sahlin, Marshall, Scarry, Elaine, n Schiller, Friedrich, – Scott, John, Sell, Roger C., n Shakespeare, William, , Shaw, Philip, Shelley, Mary, Shelley, Percy, , , –, , , , Sidney, Sir Philip, Simon, Herbert A., n Smith, Charlotte, –, Snart Charles, Authors index Soderholm, James, n , n Solomon, Kiriakoula, n , Sontag, Susan, Sotheby, William, Southey, Robert, –, , , , , , Staăel-Holstein, Madame Germaine de, , Sterne, Lawrence, Stoppard, Tom, Sutherland, Kathryn, n Tennyson, Alfred, Lord, , , – Thorslev, Peter, n Tolstoy, Leo, Trotsky, Leon, Vaughan, Susan, –, , Voltaire, Wake, Henry, Webster, Frances Wedderburn, Lady, –, – Wellek, Rene, , – West, Paul, , Wilde, Oscar, , , , Wilson, John, Wittgenstein, Ludwig, Wolfson, Susan, n , n , n Wordsworth, William, , , , , , –, , , –, –, , , , , , , , Yeats, William Butler, CAMBRIDGE STUDIES IN ROMANTICISM GENERAL EDITORS MARILYN BUTLER , JAMES CHANDLER , University of Oxford University of Chicago Romantic Correspondence: Women, Politics and the Fiction of Letters MARY A FAVRET British Romantic Writers and the East: Anxieties of Empire NIGEL LEASK Edmund Burke’s Aesthetic Ideology Language, Gender and Political Economy in Revolution TOM FURNISS Poetry as an Occupation and an Art in Britain, – PETER MURPHY In the Theatre of Romanticism: Coleridge, Nationalism, Women JULIE A CARLSON Keats, Narrative and Audience ANDREW BENNETT Romance and Revolution: Shelley and the Politics of a Genre DAVID DUFF Literature, Education, and Romanticism Reading as Social Practice, – ALAN RICHARDSON Women Writing about Money: Women’s Fiction in England, – EDWARD COPELAND Shelley and the Revolution in Taste: The Body and the Natural World TIMOTHY MORTON William Cobbett: The Politics of Style LEONORA NATTRASS The Rise of Supernatural Fiction, – E J CLERY Women Travel Writers and the Language of Aesthetics, – ELIZABETH A BOHLS Napoleon and English Romanticism SIMON BAINBRIDGE Romantic Vagrancy: Wordsworth and the Simulation of Freedom CELESTE LANGAN Wordsworth and the Geologists JOHN WYATT Wordsworth’s Pope: A Study in Literary Historiography ROBERT J GRIFFIN The Politics of Sensibility: Race, Gender and Commerce in the Sentimental Novel MARKMAN ELLIS Reading Daughters’ Fictions, – Novels and Society from Manley to Edgeworth CAROLINE GONDA Romantic Identities: Varieties of Subjectivity, – ANDREA K HENDERSON Print Politics The Press and Radical Opposition in Early Nineteenth-Century England KEVIN GILMARTIN Reinventing Allegory THERESA M KELLEY British Satire and the Politics of Style, – GARY DYER The Romantic Reformation: Religious Politics in English Literature, – ROBERT M RYAN De Quincey’s Romanticism: Canonical Minority and the Forms of Transmission MARGARET RUSSETT Coleridge on Dreaming: Romanticism, Dreams and the Medical Imagination JENNIFER FORD Romantic Imperialism: Universal Empire and the Culture of Modernity SAREE MAKDISI Ideology and Utopia in the Poetry of William Blake NICHOLAS M WILLIAMS Sexual Politics and the Romantic Author SONIA HOFKOSH Lyric and Labour in the Romantic Tradition ANNE JANOWITZ Poetry and Politics in the Cockney School: Keats, Shelley, Hunt and their Circle JEFFREY N COX Rousseau, Robespierre and English Romanticism GREGORY DART Contesting the Gothic: Fiction, Genre and Cultural Conflict, – JAMES WATT Romanticism, Aesthetics, and Nationalism DAVID ARAM KAISER Romantic Poets and the Culture of Posterity ANDREW BENNETT The Crisis of Literature in the s: Print Culture and the Public Sphere PAUL KEEN Romantic Atheism: Poetry and Freethought, – MARTIN PRIESTMAN Romanticism and Slave Narratives: Transatlantic Testimonies HELEN THOMAS Imagination Under Pressure, –: Aesthetics, Politics, and Utility JOHN WHALE Romanticism and the Gothic Genre, Reception, and Canon Formation, – MICHAEL GAMER Romanticism and the Human Sciences Poetry, Population, and the Discourse of the Species MAUREEN N M c LANE The Poetics of Spice: Romantic Consumerism and the Exotic TIMOTHY MORTON British Fiction and the Production of Social Order, – MIRANDA J BURGESS Women Writers and the English Nation in the s ANGELA KEANE Literary Magazines and British Romanticism MARK PARKER Women, Nationalism and the Romantic Stage Theatre and Politics in Britain, – BETSY BOLTON British Romanticism and the Science of the Mind ALAN RICHARDSON The Anti-Jacobin Novel: British Conservatism and the French Revolution M O GRENBY Romantic Austen: Sexual Politics and the Literary Canon CLARA TUITE Byron and Romanticism JEROME M c GANN ED JAMES SODERHOLM ... () CAMBRIDGE STUDIES IN ROMANTICISM BYRON AND ROMANTICISM CAMBRIDGE STUDIES IN ROMANTICISM General editors Professor Marilyn Butler University of Oxford Professor James Chandler University. .. Byron and the anonymous lyric Private poetry, public deception Hero with a thousand faces: the rhetoric of Byronism Byron and the lyric of sensibility Byron and Wordsworth... feminine’: Byron and the poetics of deception,” in Byron Augustan and Romantic, ed Andrew Rutherford (MacMillan, ) “Hero with a thousand faces: the rhetoric of Byronism,” in Studies in Romanticism,