In a significant reinterpretation of early Romanticism, Judith Pascoe shows how English literary culture in the 1790s came to be shaped by the theater and by the public's fascination with theater. Pascoe focuses on a number of intriguing historical occurrences of the late eighteenth and early nineteenth centuries, emphasizing how writers in all areas of public life relied upon theatrical modes of self-representation. Pascoe adduces as evidence the theatrical posturing of the Della Cruscan poets, the staginess of the Marie Antoinette depicted in women's poetry, and the histrionic maneuverings of participants in the 1794 treason trials. Such public events as the treason trials also linked the newly powerful role of female theatrical spectator to that of political spectator. New forms of self representation and dramatization arose from that synthesis. In their uniting of theatrical and literary realms, Pascoe maintains, women writers were inspired by the most famous actress of the era, Sarah Siddons. Siddons's shrewd deployment of her private life in the construction of her public persona serves as a model for such disparate poets as Charlotte Smith and Mary Robinson.
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This review is from: Romantic Theatricality: Gender, Poetry, and Spectatorship (Hardcover)
Anyone who reads this book and is serious about academic studies will find it fresh, illuminating, and well-written. Full of insights about the Romantic period, it usefully introduces readers to a variety of approaches to the idea of theatricality during the late eighteenth century. A page-turner!
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Inside This Book
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Key Phrases - Capitalized Phrases (CAPs):
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Marie Antoinette, Mary Robinson, Della Cruscan, New York, Sarah Siddons, Morning Post, Lyrical Ballads, Anna Matilda, Lake District, Dorothy Wordsworth, French Revolution, Prince of Wales, William Wordsworth, Charlotte Smith, Clarendon Press, Horne Tooke, Monthly Review, William Godwin, Monthly Magazine, Robert Merry, The Prelude, Cambridge University Press, Dove Cottage, Lady Macbeth, Laura Maria New!
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Marie Antoinette, Mary Robinson, Della Cruscan, New York, Sarah Siddons, Morning Post, Lyrical Ballads, Anna Matilda, Lake District, Dorothy Wordsworth, French Revolution, Prince of Wales, William Wordsworth, Charlotte Smith, Clarendon Press, Horne Tooke, Monthly Review, William Godwin, Monthly Magazine, Robert Merry, The Prelude, Cambridge University Press, Dove Cottage, Lady Macbeth, Laura Maria New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
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This book cites 100
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17
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- Lyrical Tales by Mary Robinson on 5 pages
- Lyrical Ballads (First Editions) by William Wordsworth on 5 pages
- Sappho and Phaon by Mary Robinson in Front Matter, page 25, and page 74
- The Spirit Of The Age by William Hazlitt in Front Matter, page 92, and page 93
- A Mental Theater: Poetic Drama and Consciousness in the Romantic Age by Alan Richardson on page 2, page 14, and page 203
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- Mary Shelley in Her Times by Betty T. Bennett in Back Matter (1), and Back Matter (2)
- Women in British Romantic Theatre: Drama, Performance, and Society, 1790-1840 by Catherine Burroughs in Front Matter, and page 248
- The Romantic Poetess: European Culture, Politics, and Gender, 1820-1840 (Becoming Modern: New Nineteenth-Century Studies) by Patrick Vincent in Back Matter (1), and Back Matter (2)
- Poetics Of Self And Form In Keats And Shelley: Nietzschean Subjectivity And Genre (Nineteenth Century) by Mark Sandy in Front Matter, and Back Matter
- Perdita: The Literary, Theatrical, Scandalous Life of Mary Robinson by Paula Byrne in Back Matter (1), and Back Matter (2)
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