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By Heather Glen

Paintings on British Romanticism is usually characterized as a lot through its unsleeping distinction from previous positions because it is by way of its method of or number of fabric. hence, writing ignored or marginalised in a single account should be restored to prominence in one other, as we reconstruct the prior as a historical past of the current. This number of essays takes as its place to begin the wide-ranging paintings of Marilyn Butler on Romantic literature, and comprises contributions via essentially the most favorite students of Romanticism operating this day. The essays provide fascinating views on Maria Edgeworth, Coleridge, Austen, Scott and others, exhibiting that the openness of recent serious perceptions suits and displays the range of the literature and tradition of the Romantic interval itself.

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Others in Dissenting circles also criticized Montagu’s regulated version of conversation. 44 For her part, Barbauld herself was not contrasting Montagu as a ‘woman of the world’ with an ideal of female retirement. Rather she was as alert as Balfour to the ways in which a feminized and aristocratic ideal of politeness could limit the horizons of women’s activities. Perhaps it is significant that the early comparison of Barbauld and Montagu in the Westminster Magazine saw a ‘masculine force’ beneath the sentiment of Barbauld’s poetry, whereas Montagu is primarily associated with polish and elegance.

The field is large and labourers of every complexion, and who handle their tools very differently, are all Barbauld, conversation, and dispute 33 called upon to co-operate in the great work. 49 More’s first biographer offered a note of laconic disapproval in his footnote to this letter: ‘The differences, however, were by no means small, between Mrs More’s and Mrs Barbauld’s religious opinions’. One may hear in Barbauld’s conciliatory words an awareness that Anglican culture had hardened in its intolerance of Dissent in the context of the 1790s and the reaction against what was perceived as the covert republicanism of her nonconformity, but The Female Speaker anthology that Barbauld brought out in 1811 contained an extract from Isaac Watts that illustrates her continuing commitment to an idea of the Dissenting public sphere rather different from the idea of conversation outlined in Hannah More’s Bas Bleu: Our souls may be serene in solitude, but not sparkling, though perhaps we are employed in reading the works of the brightest writers.

12. Montagu uses this phrase writing to Carter, 17 [August 1765], ‘Montagu correspondence and papers’, Henry E. Huntington Library, MO 3151. I am grateful to the Library for permission to quote from these letters and for the fellowship that allowed me to read them in the summer of 2003. Emma Major and Emma Mason gave me invaluable help in locating the letters. 13. The later advertisement can be found in the copy of the poem printed in Hannah More, Sacred Dramas and Other Poems (London, 1827), p.

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