By Casie LeGette
This publication exhibits that the publishers and editors of the novel press deployed Romantic-era texts for his or her personal political ends—and for his or her principally working-class readership—long after these works’ unique booklet. It examines how the literature of the British Romantic interval was once excerpted and reprinted in radical political papers in Britain within the 19th century. The brokers of this tale have been sure by way of neither the chronological march of literary background, nor via the unique type of the literary texts they reprinted. Godwin’s Caleb Williams and poems via Wordsworth, Southey, Coleridge, and Shelley seem all through this e-book as they seemed within the 19th century, in bits and items. Radical publishers and editors rigorously and purposefully excerpted the works in their fresh earlier, excavating important political claims from the midst of much less amenable texts, and remaking texts and authors alike within the method.
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Extra info for Remaking Romanticism: The Radical Politics of the Excerpt
Example text
66 Although in my fourth chapter I consider poetry written by Chartist prisoners, my larger focus throughout this project is on the ways in which nineteenth-century radical movements reprinted and recirculated the literature of their recent past – the literature of the Romantic period. I investigate the way Chartism’s status as a truly mass movement shaped the ways in which Chartist editors and poets alike put the texts of Romanticism to use, adapting them to the needs of a mass movement. The Scottish Chartist Circular, edited by William Thomson, is saturated with passages from Political Justice; it is difficult to find a number of the Circular that does not quote Godwin.
107 We should not assume, however, that simply because the novel entered the domain of mass readership, it lost its political implications. Importantly, the Novel Newspaper edition also included Godwin’s original, politicized prefaces. 4 CHARTIST CALEB I turn now to a case study of how Caleb Williams was put to use by a particular Chartist: William Thomson, editor of the Chartist Circular. 109 Thus far, in keeping with traditions of literary criticism, I have treated Caleb Williams as a whole – as a novel.
Are the dear bought result of experience”; Godwin here works to relocate the “general remarks” in Caleb’s own experience. ” Although this passage begins with the premise 48 REMAKING ROMANTICISM that the narrative has been stopped for the digression, it ends with the suggestion that it is the digression itself, rather than the narrative, that cannot be stopped. Here, it is Caleb’s experience of imprisonment that grants him rhetorical power, allowing for the “flow” of his pen.
