Satire And Romanticism
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Satire and Romanticism
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'.
Satire and Romanticism
This study of the constructive and ultimately canon-forming relationship between satiric and Romantic modes of writing from 1760 to 1832 hopes to provide 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 redistributing cultural capital, the interaction of satiric and Romantic modes helped make possible the Victorian and modern construction of 'English Romanticism'.
Neoclassical Satire and the Romantic School 1780-1830
Romanticism was not only heterogeneous and disunited. It also had to face the hostile counter-movement of the Enlightenment and Augustan Neoclassicism, still going strong at the time of and in the decades following the French Revolution due to support from the ruling Establishment (the ancien regime of the Crown and Church of England). Neoclassicists regarded Romanticism as a heteretical amalgam of dissenting new schools, which threatened the monopoly of the Classical Tradition. The acrimonious debates in aesthetics and politics were conducted with the traditional strategies of the classical ars disputandi on both sides. Under the duress of the heaviest satirical attacks, Romanticism began gradually to see itself as one movement, giving rise to the problematic opposition of Classical and Romantic. The construction of this rough divide, however, was indispensable for the clarification of different positions in the hubbub of conflicting voices, and has also proved critical in literary and cultural studies which cannot do without such subsumptions. The Classical Tradition, encompassing Christianity, emerges as an ongoing event from Greek and Latin antiquity running through to our time.