By Duncan Wu
Brimming with the attention-grabbing eccentricities of a fancy andconfusing circulation whose affects proceed to resonate deeply,30 nice Myths in regards to the Romantics provides nice readability towhat we all know or imagine we all know approximately one ofthe most vital sessions in literary heritage. * Explores some of the misconceptions in most cases linked withRomanticism, delivering provocative insights that right and clarifyseveral of the commonly-held myths in regards to the key figures of thisera * Corrects many of the biases and ideology concerning the Romanticsthat have crept into the 21st-century zeitgeist for examplethat they have been a host of drug-addled atheists who believed in freelove; that Blake was once a madman; and that Wordsworth slept with hissister * Celebrates a number of of the mythic gadgets, characters, and ideasthat have handed down from the Romantics into modern tradition from Blake s Jerusalem and Keats sOde on a Grecian Urn to the literary style of thevampire * Engagingly written to supply readers with a enjoyable but scholarlyintroduction to Romanticism and key writers of the interval, applyingthe newest scholarship to the sequence of myths thatcontinue to form our appreciation in their paintings
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Additional info for 30 Great Myths about the Romantics
388. , London: Dent, 1933), i. 56; Richard Holmes, Shelley: The Pursuit (London: Quartet Books, 1974), p. 44. Holmes, Shelley: The Pursuit, p. 149. See also Nora Crook and Derek Guiton, Shelley’s Venomed Melody (Cambridge: Cambridge University Press, 1986), ch. 2. See, for instance, R. S. White, John Keats: A Literary Life (Houndmills, Basingstoke: Palgrave Macmillan, 2010), ch. 2, and Alan Richardson, ‘Keats and Romantic Science’, in The Cambridge Companion to Keats, ed. Susan J. Wolfson (Cambridge: Cambridge University Press, 2001), pp.
If Blake as Romantic composed Urizen in 1794, the same need not be argued of Henry James Pye as he wrote The Siege of Meaux the same year. We are enjoined neither to argue for consistency across the work of separate authors nor to demand it from a single writer across decades: Wordsworth in 1842 was not the same writer as in 1798 (Myth 12). Furthermore, the quality of whatever that thing was, as expressed through those on whom it alights, should be allowed to change. If we find it in ‘Tintern Abbey’, it need not be identical to what we find in Childe Harold’s Pilgrimage Canto III or in ‘Mont Blanc’.
Nicholas Roe explains the context of Keats’s lines in John Keats and the Culture of Dissent (Oxford: Clarendon Press, 1997), pp. 182–7; see also Richardson, ‘Keats and Romantic Science’. For a slightly different approach to Keats’s view of Newton, see Julia L. Epstein and Mark L.