Titlebook: Romanticism and Form; Alan Rawes Book 2007 Palgrave Macmillan, a division of Macmillan Publishers Limited 2007 Jane Austen.poem.poetry.pro

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,‘Ruinous Perfection’: Reading Authors and Writing Readers in Romantic Fragments,numerous works that are either textually fragmented (whether by dint of design or accident) or complete literary forms that treat ruins as a central subject. Interest in the fragment in the period trans- gresses traditional generic boundaries. This transcendence of formal categories necessitated the

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Combinatoric Form in Nineteenth-century Satiric Prints,ons. Take the Boydell Shakespeare Gallery (1789–1805), for example, which gathered for viewing and purchase a collection of paintings and prints based on the Bard’s plays. This kind of thematic experience of pictures, as illustrating and interpreting well-known texts, was actually extremely common i

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Believing in Form and Forms of Belief: The Case of Robert Southey, Geoffrey Grigson’s anthology,. and has been eloquently urged by his most recent critic Christopher Smith.. The latter briefly reviews the first version of . but ignores the Eastern epics and . . because he argues, like Grigson, that we should pay particular attention to Southey’s slighter poems — h

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,’seldom Safely Enjoyed by Those Who Enjoyed it Completely’: Byron’s Poetry, Austen’s Prose and Form special issue of . on Jane Austen. Rather than recognising that not all great Romantic-period liter- ature is necessarily ‘Romantic’, the contributors had attempted to rectify Austen’s marginalisation from the canon simply by identifying ‘Romantic’ aspects of her novels.. . drew particular notice,

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,‘What Constitutes a Reader?’ , , and the Changing Reception of Romantic Form,f Perseus’.. The question of what role, exactly, Byron’s ironically hailed ‘gentle reader’ plays in the reception of poetic form has been approached in a number of ways since the Romantic period. There have been studies of the economics and politics of reception and close analysis of various scenes

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