Titlebook: Romantics and Renegades; The Poetics of Polit Charles Mahoney Book 2003 Palgrave Macmillan, a division of Macmillan Publishers Limited 2003

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Book 2003y) as they renounced the revolutionary Jacobinism of their youth in the 1790s in order to claim the high ground of Regency Toryism in the 1810s. Central to this scandal is the figure of William Hazlitt, the literary critic who policed their betrayals in his vigilant exposure of their political and p

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,“The Laureate Hearse Where Lyric Lies”: The Making of Romantic Apostasy,atever may be his merits or demerits’ (‘Office’ 513), the Laureateship stigmatizes its occupant as the king’s officially sanctioned verse-maker (. at the same time as it compromises the dignity of the ruler who would bestow a sinecure upon a rhyming flatterer.

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Book 2003al to this scandal is the figure of William Hazlitt, the literary critic who policed their betrayals in his vigilant exposure of their political and poetical inconsistencies. Mahoney‘s analysis provides new insight into this abiding critical riddle through close historical and figural readings of the rhetoric of romantic apostasy.

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ical and poetical inconsistencies. Mahoney‘s analysis provides new insight into this abiding critical riddle through close historical and figural readings of the rhetoric of romantic apostasy.978-0-230-59762-4

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Introduction: On the Discrimination of Apostasies,tic community on the banks of the Susquehanna; Coleridge’s Bristol lectures against the slave trade and the war with France; Wordsworth’s inflammatory defense of regicide. But the later lives of these same poets, while every bit as representative of the so-called ‘spirit of the age,’ have been subje

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,“The Laureate Hearse Where Lyric Lies”: The Making of Romantic Apostasy, it prominently as that week’s ‘Political Examiner.’ Rather than speculate, as might have been anticipated, as to who might be picked to succeed Pye, Hunt saw the vacancy as an opportunity to abolish an arcane office which he considered politically as well as poetically indecent – indeed, ‘noxious.’

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,“Lawless Sway,” Pendulous Politics,at he did not find the masque equal to either the youthful classicism of ‘Lycidas’ or the mature morality of ‘Samson Agonistes.’ Then, without any transition whatsoever, what appeared to have been a concluding survey of the trajectory of Milton’s career gives way to an indignant declamation.