The Romantic Tavern

The tavern is widely acknowledged as central to the cultural and political life of Britain, yet widely misunderstood. Ian Newman provides the first sustained account of one of the primary institutions of the late eighteenth-century public sphere. The tavern was a venue not only for serious political and literary debate, but also for physical pleasure - the ludic, libidinal and gastronomic enjoyments with which late Georgian public life was inextricably entwined. This study focuses on the architecture of taverns and the people who frequented them, as well as the artistic forms - drinking songs, ballads, Anacreontic poetry, and toasting - with which the tavern was associated. By examining the culture of conviviality that emerged alongside other new forms of sociability in the second half of the eighteenth century, The Romantic Tavern argues for the importance of conviviality as a complex new form of sociability shaped by masculine political gathering and mixed company entertainments.

An examination of taverns in the Romantic period, with a particular focus on architecture and the culture of conviviality.

What was caricature to novelists in the Romantic period? Why does Jane Austen call Mr Dashwood's wife 'a strong caricature of himself'? Why does Mary Shelley describe the body of Frankenstein's creature as 'in proportion', but then 'distorted in its proportions' – and does caricature have anything to do with it? This book answers those questions, shifting our understanding of 'caricature' as a literary-critical term in the decades when 'the English novel' was first defined and canonised as a distinct literary entity. Novels incorporated caricature talk and anti-caricature rhetoric to tell readers what different realisms purported to show them. Recovering the period's concept of caricature, Caricature and Realism in the Romantic Novel sheds light on formal realism's self-reflexivity about the 'caricature' of artifice, exaggeration and imagination. This title is part of the Flip it Open Programme and may also be available Open Access. Check our website Cambridge Core for details.

A provocative examination of how Romantic imaginings of the end of the world shaped thinking about politics and political change.

Jane Austen's ironic reference to 'the trash with which the press now groans' is only one of innumerable Romantic complaints about fiction's newly overwhelming presence. This book draws on evidence from over one hundred Romantic novels to explore the changes in publishing, reviewing, reading, and writing that accompanied the unprecedented growth in novel publication during the Romantic period. With particular focus on the infamous Minerva Press, the most prolific fiction-producer of the age, Hannah Hudson puts its popular authors in dialogue with writers such as Walter Scott, Ann Radcliffe, Maria Edgeworth, and William Godwin. Using paratextual materials including reviews, advertisements, and authorial prefaces, this book establishes the ubiquity of Romantic anxieties about literary 'excess', showing how beliefs about fictional overproduction created new literary hierarchies. Ultimately, Hudson argues that this so-called excess was a driving force in fictional experimentation and the advertising and publication practices that shaped the genre's reception. This title is part of the Flip it Open Programme and may also be available Open Access. Check our website Cambridge Core for details.

Matthew Leporati examines the explosive Romantic revival of epic alongside the contemporary revival of missionary activity. His study contributes to charged political debates around British imperialism. This title is part of the Flip it Open Programme and may also be available Open Access. Check our website Cambridge Core for details.

Comprehensive reading of 'late' Wordsworth, considering his work in dialogue with the poetic, cultural and political battles of his day.