By T. Fulford
This ebook examines the male Romantics' models of poetic authority in idea and perform within the context in their involvement within the political debates of Regency Britain and argues that their reaction to Burke's gendered discourse approximately strength effected radical alterations within the definitions of masculinity and femininity. It portrays their impression on one another as a sequence of volatile struggles and alliances during which the formula of an authoritative masculinity was once a political in addition to a classy factor. the writer investigates the writers' portrayals of ladies and their collaborations with girls writers and throws new gentle on their nature poetry by means of pertaining to it to their reactions to the sexual and political scandals of the Regency.
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Extra resources for Romanticism and Masculinity: Gender, Politics and Poetics in the Writings of Burke, Coleridge, Cobbett, Wordsworth, De Quincey and Hazlitt
It was an attempt made, I shall show, by rewriting the conservative politics and rhetoric of Burke through the revolutionary discourse of Milton (and vice versa). Wordsworth's response to Burke, taking a different path from Coleridge's, is nevertheless comparable to his friend's in that it effectively destabilised the accounts of power proposed by Burke for the political and aesthetic field. Like Coleridge too, Wordsworth came to modify his own practice as he encountered changing social and political circumstances.
Adding comedy to Coleridge's dramas of anxiety, Hazlitt's reflection of his former hero was, at the same time, the most critically astute reflection upon him and upon a masculinity constructed on the unstable ground of his writings. 28 Romanticism and Masculinity But it is not with Hazlitt but Burke, and Burke's version of the sublime, that I begin. In resisting Burke the Romantics were, to greater and lesser degrees, redefining the sublime. Their redefinitions pose questions for all theorists of the writer I reader relationship, as Paul de Man and Geoffrey Hartman's work has shown.
Those who were to be executed should, he added, meet their deaths separately, in different places, to maximise the awe-inspiring effect of the single hanging. Following Burke's advice the government would display just enough of its power both to keep its origin obscure (the hangman is hooded) and to make its penalties clear. More importantly, by ritualising execution as theatre, it would allow the people an arena in which sympathy for the rebel could be expressed but political submission reinforced.