Synopses & Reviews
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.”
Description
Includes bibliographical references (p. [247]-255) and index.
About the Author
Steven E. Jones is Professor of English at Loyola University in Chicago.
Table of Contents
Introduction: Satire and the Making of the Romantic * Representing Rustics: Satire, Counter-Satire, and Emergent Romanticism * “Supernatural, or at Least Romantic”: the Ancient Mariner and Parody * Satiric Performance in The Black Dwarf * Della Crusca Redivivus the Revenge of the Satiric Victims * Byron’s Satiric “Blues”: Salon Culture and the Literary Marketplace * Turning What was Once Burlesque into Romantic: Byron’s Pantomimic Satire * The Wheat from the Chaff: Ebenezer Elliott and the Canon
Introduction: Satire and the Making of the Romantic * Representing Rustics: Satire, Counter-Satire, and Emergent Romanticism * “Supernatural, or at Least Romantic”: the Ancient Mariner and Parody * Satiric Performance in The Black Dwarf * Della Crusca Redivivus the Revenge of the Satiric Victims * Byron’s Satiric “Blues”: Salon Culture and the Literary Marketplace * Turning What was Once Burlesque into Romantic: Byron’s Pantomimic Satire * The Wheat from the Chaff: Ebenezer Elliott and the Canon