While the critical establishment baulked at the rapid expansion of the literary marketplace in the early nineteenth century, Lady Morgan’s Florence Macarthy boldly declared its allegiance to the precariously feminised domain of popular romance. Embracing its own synthetic and syncretic modernity, Morgan’s seventh novel revels in the spectacle, sensation and simulation so vociferously denounced by reviewers of her earlier works. Moreover, in its self-reflexive scrutiny of the material processes of Romantic literary production, Morgan’s fiction interrogates its own position within an increasingly commercialised and mechanised publishing industry. In asserting the centrality of such commercial and mechanical modernity to Morgan’s aesthetic, this article departs from previous scholarly discussions of her oeuvre. It argues that Florence Macarthy’s engagement with Irish politics is not anchored in antiquarian retrospection but instead emerges out of an effervescent literary marketplace in direct competition with new arenas of spectacular entertainment. Thus, rather than promote a supposedly atavistic and anachronistic cultural nationalism, the surface narrative’s flirtation with the romance of Irish antiquity is continually disrupted by an underlying acknowledgement of the competing literary, political and historical narratives at play within the national tale. Synchronising and synthesising these competing discourses for the popular reader, Florence Macarthy registers the hybridity of its own romance as a distinctly modern yet sophisticated form of mechanical reproduction that cannot be dismissed as the mere automatism of an antiquarian reflex. Continue reading →
Scott’s Waverley novels often turn on an opposition between romance—the realm of the unexpected, marvellous and heroic—and real life—the often disappointing realm of the mundane and factual. However, Rob Roy, offers readers no alternative to romance. Instead it is made up of different kinds of romance—namely the gothic and the adventure story or imperial romance. Scott maps the genre of the gothic onto Northumberland, where the remnants of feudalism still prevail, and wealth consists in landed property transmitted across generations. The adventure story, by contrast, links the Scottish Highlands with southern metropolitan Britain through a system of speculation and credit. Rob Roy reflects on Scott’s imbrication in these two systems at the time of the novel’s writing—a period of economic depression and rural depopulation—as he sold metropolitan readers another romanticised image of the Highlands in order to shore up his own landed property. Continue reading →
The domestic is fundamental to any analysis of Bray’s work, as by domesticating public history and antiquarianism she was able to negotiate a path between maintaining her position as a proper lady and asserting her credentials as a published author/ historian. Historically, Bray’s writing career began at a time when there had been a shift in the basic epistemological structures of history from state politics to social and affective life, family matters. Moreover, Bray’s own family, father, brother and both her husbands were antiquarians, thus her research was presented as an extension of theirs. Finally, in 1822, Bray relocated from London to Devon, a geographical space on the margins of England, and one rich in history, legend and the traditions of ‘Old England’. Yet for Bray, home was a conflicted term representing both family home and homeland, England, which she saw as under threat of losing its identity to the newly created nation of Great Britain and Ireland. In this paper I examine how, through the microcosm of family and region, Bray set about producing an antiquarian record of the English landscape, customs and traditions: an English National Tale. Continue reading →
Lucy Johnson is in her third year of an English PhD at the University of Chester. Her thesis examines representations of the ‘metaleptic echo’ in the writing of Mary Shelley and Percy Bysshe Shelley. She is … Continue reading →
