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By David D. Duff

This wide-ranging and unique ebook reappraises the function of style, and style idea, in British Romanticism. studying a variety of examples from 1760 to 1830, David Duff examines the universal options and experiments which propel the Romantic 'revolution in literature', but in addition the fascination with archaic varieties similar to the ballad, sonnet, epic and romance, whose revival and transformation make Romanticism a 'retro' move in addition to a innovative one. the stress among the drives to 'make it outdated' and to 'make it new' generates probably the most dynamic stages within the heritage of literature, whose problems are performed out within the serious writing of the interval in addition to its inventive literature. Incorporating broad examine on class platforms and reception background in addition to on literary types themselves, Romanticism and the makes use of of style demonstrates how new principles in regards to the position and standing of style stimulated not just authors but in addition publishers, editors, reviewers, and readers. the point of interest is on poetry, yet a much wider spectrum of genres is taken into account, a relevant subject being the connection - hierarchical, aggressive, combinatory - among genres. one of the themes addressed are normal primitivism and forgery; Enlightenment thought and the 'cognitive turn'; the influence of German transcendental aesthetics; natural and anti-organic shape; the position of style within the French Revolution debate; the poetics of the fragment and cartoon; and the speculation and perform of genre-mixing. exceptional in its scope and element, this crucial publication establishes a brand new means of studying Romantic literature which brings into concentration for the 1st time its tangled dating with style.

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224. 102 Joseph Warton, Odes on Various Subjects (London, 1746), advertisement. 22 Introduction enjoyed an unexpected and paradoxical revival. Analysing these trends, I show that didactic tendencies were also manifest in other genres, and that, when Romantic authors denounced didactic writing, they were not simply engaging in a quarrel with neoclassicism, but responding to tendencies within their own literary culture and, more often than not, within themselves. Again, there are signiWcant parallels with Germany, where notions of disinterestedness and aesthetic autonomy are enriched and complicated by new ideas about ‘aesthetic education’.

97 Ralph Cohen, ‘History and Genre’, Neohelicon, 13/2 (1986), 87–105: 92. 98 ‘Discourse in the Novel’ (1934–5), in The Dialogic Imagination: Four Essays by M. M. Bakhtin, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (Austin: University of Texas Press, 1981). 99 ‘Genre and Countergenre: The Discovery of the Picaresque’, in Claudio Guille´n, Literature as System: Essays Toward the Theory of Literary History (Princeton: Princeton University Press, 1971). For other counter-genres, see Alastair Fowler, Kinds of Literature: An Introduction to the Theory of Genres and Modes (Oxford: Clarendon Press, 1982), 174–9.

Notwithstanding the critical onslaught against the ‘French school’ of Dryden and Pope, the Romantic period witnessed its own fashion for what Joseph Warton called ‘moralizing in verse’,102 and didactic genres such as the georgic and ‘philosophical poem’ 101 To J. H. Reynolds, 3 Feb. 1818, in The Letters of John Keats, ed. Hyder E. : Harvard University Press, 1958), i. 224. 102 Joseph Warton, Odes on Various Subjects (London, 1746), advertisement. 22 Introduction enjoyed an unexpected and paradoxical revival.

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