Marilyn Butler – författare

Part of Penguin's beautiful hardback Clothbound Classics series, designed by the award-winning Coralie Bickford-Smith, these delectable and collectible editions are bound in high-quality colourful, tactile cloth with foil stamped into the design. During an eventful season at Bath, young, naïve Catherine Morland experiences the joys of fashionable society for the first time. She is delighted with her new acquaintances: flirtatious Isabella, who shares Catherine's love of Gothic romance and horror, and sophisticated Henry and Eleanor Tilney, who invite her to their father's mysterious house, Northanger Abbey. There, her imagination influenced by novels of sensation and intrigue, Catherine imagines terrible crimes committed by General Tilney. With its broad comedy and irrepressible heroine, this is the most youthful and and optimistic of Jane Austen's works.

'Jane Austen is a genius, and Northanger Abbey is hugely underrated' Martin AmisWith its irrepressible heroine and playful literary games, Northanger Abbey is the most youthful and optimistic of Jane Austen's novels. It tells the story of young, impressionable Catherine Morland, whose first experience of fashionable society introduces her to the thrills of Gothic romances, and to the sophisticated Tilneys, who invite her to their family home, Northanger Abbey. But there, influenced by novels of horror and intrigue, Catherine begins to think that terrible crimes are being committed, and her imagination threatens to run away with her.Edited with an Introduction by MARILYN BUTLER

Thady Quirk, devoted steward to the decaying estate of the Rackrent family, narrates a riotous story of four generations of a dying dynasty in Castle Rackrent (1800). Thady will defend his masters to the end, but eventually his naivety and blind loyalty cause him to ignore the warning signs as the family's excesses lead them to ruin. This volume also includes Ennui, the entertaining 'confessions' of the Earl of Glenthorn, a bored, spoiled aristocrat. Desperate to be free from 'the demon of ennui', Glenthorn's quest for happiness takes him through violence and revolution, and leads to intriguing twists of fate. Both novels offer a darkly comic and satirical exposé of the Irish class system, and a portrait of a nation in turmoil.

The Age of Revolutions and its aftermath is unparalleled in English literature. Its poets include Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats; its novelists, Jane Austen and Scott. But how is it that some of these writers were apparently swept up in Romanticism, and others not? Studies of Romanticism have tended to adopt the Romantic viewpoint. They value creativity, imagination and originality - ideas which nineteenth-century writers themselves used to promote a new image of their calling. Romantics, Rebels and Reactionaries puts the movement in to its historical setting and provides a new insight in Romanticism itself, showing that one of the most dynamic and stressful periods of modern times fostered a literature that was itself various and contradictory.

Interest in Jane Austen has never been greater, but it is revitalized by the advent of feminist literary history. In a substantial new introduction Marilyn Butler places this book, which was first published in 1975, within the larger tradition of post-war criticism, from the generation of Edmund Wilson, Lionel Trilling, and F.R. Leavis to that of the now-dominant feminist critics. Professor Butler argues that Austen herself lived in contentious times. Like Wordsworth and Coleridge, she served her literary apprenticeship in the 1790s, the decade of the Terror and the Napoleonic Wars, an era in England of polemic and hysteria. Political partisanship shaped the novel of her youth, in content, form, and style. In this book, she now examines the very different schools of writing about Austen, and finds in them some unexpected continuities, such as a willingness to recruit her to modern aims, but a reluctance to engage with her own history.When the book first came out it attracted attention for its fresh, controversial approach to ideas on Austen. The new edition shows how the arrival of feminism has made the task of the literary historian more vital and challenging than ever.'Marilyn Butler has written a deeply provoking, exciting book.' New Statesman'There can be no doubt of the immense value for the critical reader of this impressive exposition of conflicting views concerning the individual and society at the end of the eighteenth century.' Review of English Studies'interesting, knowledgeable, and controversial.' Times Higher Education Supplement

Definitive, concise, and very interesting... From William Shakespeare to Winston Churchill, the Very Interesting People series provides authoritative bite-sized biographies of Britain's most fascinating historical figures - people whose influence and importance have stood the test of time. Each book in the series is based upon the biographical entry from the world-famous Oxford Dictionary of National Biography. The Very Interesting People series includes the following titles:1.William Shakespeare by Peter Holland 2. George Eliot by Rosemary Ashton 3. Charles Dickens by Michael Slater 4. Charles Darwin by Adrian Desmond, James Moore, and Janet Browne5. Isaac Newton by Richard S.Westfall6. Elizabeth I by Patrick Collinson 7. George III by John Cannon 8. Benjamin Disraeli by Jonathan Parry 9. Christopher Wren by Kerry Downes 10. John Ruskin by Robert Hewison 11. James Joyce by Bruce Stewart 12. John Milton by Gordon Campbell13. Jane Austen by Marilyn Butler14. Henry VIII by Eric Ives 15. Queen Victoria by K. D. Reynolds and H. C. G. Matthew 16. Winston Churchill by Paul Addison 17. Oliver Cromwell by John Morrill 18. Thomas Paine by Mark Philp 19. J. M. W. Turner by Luke Herrmann 20. William and Mary by Tony Claydon and W. A. Speck

In the two centuries since Mary Wollstonecraft published A Vindication of the Rights of Woman (1792), she has become an icon of modern feminism: a stature that has paradoxically obscured her real historic significance. In this in-depth 2003 study of Wollstonecraft's thought, Barbara Taylor develops an alternative reading of her as a writer steeped in the utopianism of Britain's radical Enlightenment. Wollstonecraft's feminist aspirations, Taylor shows, were part of a revolutionary programme for universal equality and moral perfection that reached its zenith during the political upheavals of the 1790s but had its roots in the radical-Protestant Enlightenment. Drawing on all of Wollstonecraft's works, and locating them in a vividly detailed account of her intellectual world and troubled personal history, Taylor provides a compelling portrait of this fascinating and profoundly influential thinker.

This book re-opens the question of Rousseau's influence on the French Revolution and on English Romanticism, by examining the relationship between his confessional writings and his political theory. Gregory Dart argues that by looking at the way in which Rousseau's writings were mediated by the speeches and actions of the French Jacobin statesman Maximilien Robespierre, we can gain a clearer and more concrete sense of the legacy he left to English writers. He shows how the writings of William Godwin, Mary Wollstonecraft, William Wordsworth and William Hazlitt rehearse and reflect upon the Jacobin tradition in the aftermath of the French revolutionary Terror.

In this provocative and original study, Alan Richardson examines an entire range of intellectual, cultural, and ideological points of contact between British Romantic literary writing and the pioneering brain science of the time. Richardson breaks new ground in two fields, revealing a significant and undervalued facet of British Romanticism while demonstrating the 'Romantic' character of early neuroscience. Crucial notions like the active mind, organicism, the unconscious, the fragmented subject, instinct and intuition, arising simultaneously within the literature and psychology of the era, take on unsuspected valences that transform conventional accounts of Romantic cultural history. Neglected issues like the corporeality of mind, the role of non-linguistic communication, and the peculiarly Romantic understanding of cultural universals are reopened in discussions that bring new light to bear on long-standing critical puzzles, from Coleridge's suppression of 'Kubla Khan', to Wordsworth's perplexing theory of poetic language, to Austen's interest in head injury.

Peter Murphy's book examines the tension between the material, economic pressures motivating poetry as an occupation, and traditional notions of the forces of literary history defining poetry as an art. It focuses on five writers in the Romantic period: James MacPherson, Robert Burns, James Hogg, Walter Scott, and William Wordsworth. The first four are Scottish; the economic and linguistic status of Scotland during the period makes its writers especially interesting as examples of poetic ambition. Murphy's study then crosses the border into England, offering a new perspective on Wordsworth's poetic ambition and career. Murphy's engagement throughout with the ballad revival yields fresh insights into some major concerns of the Romantic period: the interest in the primitive and the simple, experiments with poetic form, the problematics of loss, and the emergence of a new literary culture.

Examination of the links between science and literary history is providing new insight for scholars across a range of disciplines. In Wordsworth and the Geologists, first published in 1995, John Wyatt explores the relationship between a major Romantic poet and a group of scientists in the formative years of a new discipline, geology. Wordsworth's later poems and prose display unexpected knowledge of contemporary geology and a preoccupation with many of the philosophical issues concerned with the developing science of geology. Letters and diaries of a group of leading geologists reveal that they knew Wordsworth, and discussed their subject with him. Wyatt shows how the implications of such discussions challenge the simplistic version of 'two cultures', the Romantic-literary against the scientific-materialistic; and he reminds us of the variety of interrelating discourses current between 1807 (the year of the foundation of the Geological Society of London) and 1850 (the year of Wordsworth's death).

The revival of romance as a literary form and the imaginative impact of the French Revolution are acknowledged influences on English Romanticism, but their relationship has rarely been addressed. In this innovative study of the transformations of a genre, David Duff examines the paradox whereby the unstable visionary world of romance came to provide an apt language for the representation of revolution, and how the literary form was itself politicised in the period. Drawing on an extensive range of textual and visual sources, he traces the ambivalent ideological overtones of the chivalric revival, the polemical appropriation of the language of romance in the 'pamphlet war' of the 1790s, and the emergence of a radical cult of chivalry among the Hunt-Shelley circle in 1815-17. Central to the book is a detailed analysis of Shelley's neglected revolutionary romances Queen Mab and Laon and Cythna, flawed but fascinating poems in which the politics of romance is most fully displayed.

Print Politics was the first literary study of the culture of the popular radical movement for parliamentary reform in the early decades of the nineteenth century. The period was characterized by popular agitation and repressive political measures including trials for seditious and blasphemous libel. Kevin Gilmartin explores the styles and strategies of radical opposition in the periodical press, and in the public culture of the time. He argues that writers and editors including William Cobbett, T. J. Wooler, Richard Carlile, John Wade, and Leigh Hunt committed themselves to a complex, flexible, and often contradictory project of independent political opposition. They sought to maintain a political resistance uncompromised by the influence of a corrupt 'system', even while addressing and imitating its practices to further their oppositional ends.

The French Revolution sparked an ideological debate which also brought Britain to the brink of revolution in the 1790s. Just as radicals wrote 'Jacobin' fiction, so the fear of rebellion prompted conservatives to respond with novels of their own; indeed, these soon outnumbered the Jacobin novels. This was the first survey of the full range of conservative novels produced in Britain during the 1790s and early 1800s. M. O. Grenby examines the strategies used by conservatives in their fiction, thus shedding new light on how the anti-Jacobin campaign was understood and organised in Britain. Chapters cover the representation of revolution and rebellion, the attack on the 'new philosophy' of radicals such as Godwin and Wollstonecraft, and the way in which hierarchy is defended in these novels. Grenby's book offers an insight into the society which produced and consumed anti-Jacobin novels, and presents a case for reexamining these neglected texts.

In Religion, Toleration, and British Writing, 1790-1830, Mark Canuel examines the way that Romantic poets, novelists and political writers criticized the traditional grounding of British political unity in religious conformity. Canuel shows how a wide range of writers including Jeremy Bentham, Ann Radcliffe, Maria Edgeworth and Lord Byron not only undermined the validity of religion in the British state, but also imagined a new, tolerant and more organized mode of social inclusion. To argue against the authority of religion, Canuel claims, was to argue for a thoroughly revised form of tolerant yet highly organized government, in other words, a mode of political authority that provided unprecedented levels of inclusion and protection. Canuel argues that these writers saw their works as political and literary commentaries on the extent and limits of religious toleration. His study throws light on political history as well as the literature of the Romantic period.

This book is the first in-depth investigation of Coleridge's responses to his dreams and to contemporary debates on the nature of dreaming, a subject of perennial interest to poets, philosophers and scientists throughout the Romantic period. Coleridge wrote and read extensively on the subject, but his richly diverse and original ideas have hitherto received little attention, scattered as they are throughout his notebooks, letters and marginalia. Jennifer Ford's emphasis is on analysing the ways in which dreaming processes were construed, by Coleridge in his dream readings, and by his contemporaries in a range of poetic and medical works. This historical exploration of dreams and dreaming allows Ford to explore previously neglected contemporary debates on 'the medical imagination'. By avoiding purely biographical or psychoanalytic approaches, she reveals instead a rich historical context for the ways in which the most mysterious workings of the Romantic imagination were explored and understood.

Angela Keane addresses the work of five women writers of the 1790s and its problematic relationship with the canon of Romantic literature. Refining arguments that women's writing has been overlooked, Keane examines the more complex underpinnings and exclusionary effects of the English national literary tradition. The book explores the negotiations of literate, middle-class women such as Hannah More, Mary Wollstonecraft, Charlotte Smith, Helen Maria Williams and Ann Radcliffe with emergent ideas of national literary representation. As women were cast into the feminine, maternal role in Romantic national discourse, women like these who defined themselves in other terms found themselves exiled - sometimes literally - from the nation. These wandering women did not rest easily in the family-romance of Romantic nationalism nor could they be reconciled with the models of literary authorship that emerged in the 1790s.

This ambitious study, first published in 1999, argues that our conception of the aesthetic sphere emerged during the era of British and German Romanticism from conflicts between competing models of the liberal state and the cultural nation. The aesthetic sphere is thus centrally connected to 'aesthetic statism', which is the theoretical project of reconciling conflicts in the political sphere by appealing to the unity of the symbol. David Kaiser traces the trajectory of aesthetic statism from Schiller and Coleridge, through Arnold, Mill and Ruskin, to Adorno and Habermas. He analyses how the concept of aesthetic autonomy shifts from being a supplement to the political sphere to an end in itself; this shift lies behind the problems that contemporary literary theory has faced in its attempts to connect the aesthetic and political spheres. Finally, he suggests that we rethink the aesthetic sphere in order to regain that connection.

This ambitious study, first published in 2000, offers a radical reassessment of one of the most important concepts of the Romantic period - the imagination. In contrast to traditional accounts, John Whale locates the Romantic imagination within the period's lively and often antagonistic polemics on aesthetics and politics. In particular he focuses on the different versions of imagination produced within British writing in response to the cultural crises of the French Revolution and the ideology of utilitarianism. Through detailed analysis of key texts by Burke, Paine, Wollstonecraft, Bentham, Hazlitt, Cobbett and Coleridge, Imagination under Pressure seeks to restore the role of imagination as a more positive force within cultural critique. The book concludes with a chapter on the afterlife of the Coleridgean imagination in the work of John Stuart Mill and I. A. Richards. As a whole it represents a timely and inventive contribution to the ongoing redefinition of Romantic literary and political culture.

Lyric and Labour in the Romantic Tradition, first published in 1998, examines the legacy of Romantic poetics in the poetry produced in political movements during the nineteenth century. It argues that a communitarian tradition of poetry extending from the 1790s to the 1890s learned from and incorporated elements of Romantic lyricism, and produced an ongoing and self-conscious tradition of radical poetics. Showing how romantic lyricism arose as an engagement between the forces of reason and custom, Anne Janowitz examines the ways in which this Romantic dialectic infected the writings of political poets from Thomas Spence to William Morris. The book includes new readings of familiar Romantic poets including Wordsworth and Shelley, and investigates the range of poetic genres in the 1790s. In the case studies which follow, it examines relatively unknown Chartist and Republican poets such as Ernest Jones and W. J. Linton, showing their affiliation to the Romantic tradition, and making the case for the persistence of Romantic problematics in radical political culture.

In the 1780s and 90s, theatre critics described the stage as a state in political tumult, while politicians invoked theatre as a model for politics both good and bad. In this 2001 study, Betsy Bolton examines the ways Romantic women performers and playwrights used theatrical conventions to intervene in politics. Reading the public performances of Emma Hamilton and Mary Robinson through the conventions of dramatic romance, Bolton suggests that the romance of national identity developed by writers such as Southey and Wordsworth took shape in complex opposition to these unruly women. Setting the conventions of farce against those of sentiment, playwrights such as Hannah Cowley and Elizabeth Inchbald questioned imperial relations while criticizing contemporary gender relations. This well-illustrated study draws on canonical poetry and personal memoirs, popular drama and parliamentary debates, political caricatures and theatrical reviews to extend current understandings of Romantic theatre, the public sphere, and Romantic gender relations.

In British Fiction and the Production of Social Order Miranda Burgess examines what Romantic-period writers called 'romance': a hybrid genre defined by a shared role in the negotiation of conflicts between political economy and moral philosophy. Reading a broad range of fictional and non-fictional works published between 1740 and 1830, Burgess places authors such as Richardson, Scott, Austen and Wollstonecraft in a new economic, social and cultural context. She explores the interaction between writing and the formation of community, particularly in relation to issues of legitimacy and gender. Burgess argues that the romance held a key role in remaking the national order of a Britain dependent on ideologies of human nature for justification of its social, economic and political systems.

Recent studies of the concepts and ideologies of Romanticism have neglected to examine the ways in which Romanticism defined itself by reconfiguring its literary past. In Wordsworth's Pope Robert J. Griffin shows that many of the basic tenets of Romanticism derive from mid-eighteenth-century writers' attempts to free themselves from the literary dominance of Alexander Pope. As a result, a narrative of literary history in which Pope figured as an alien poet of reason and imitation became the basis for nineteenth-century literary history, and still affects our thinking on Pope and Romanticism. Griffin traces the genesis and transmission of 'romantic literary history', from the Wartons to M. H. Abrams; in so doing, he calls into question some of our most basic assumptions about the chronological and conceptual boundaries of Romanticism.

It has been argued that the eighteenth century witnessed a decline in paternal authority, and the emergence of more intimate, affectionate relationships between parent and child. In Reading Daughters' Fictions, Caroline Gonda draws on a wide range of novels and non-literary materials from the eighteenth and early nineteenth centuries in order to examine changing representations of the father-daughter bond. She shows that heroine-centred novels, aimed at a predominantly female readership, had an important part to play in female socialization and constructions of heterosexuality, in which the father-daughter relationship had a central role. Contemporary diatribes against novels claimed that reading fiction produced rebellious daughters, fallen women, and nervous female wrecks. Gonda's study of novels of family life and courtship suggests that far from corrupting the female reader, such fictions helped to maintain rather than undermine familial and social order.

Napoleon Bonaparte occupied a central place in the consciousness of many British writers of the Romantic period. He was a profound shaping influence on their thinking and writing, and a powerful symbolic and mythic figure whom they used to legitimize and discredit a wide range of political and aesthetic positions. In this first ever full-length study of Romantic writers' obsession with Napoleon, Simon Bainbridge focuses on the writings of the Lake poets Wordsworth, Coleridge and Southey, and of Byron and Hazlitt. Combining detailed analyses of specific texts with broader historical and theoretical approaches, and illustrating his argument with the visual evidence of contemporary cartoons, Bainbridge shows how Romantic writers constructed, appropriated, and contested different Napoleons as a crucial part of their sustained and partisan engagement in the political and cultural debates of the day.

Andrew Bennett's original study of Keats focuses on questions of narrative and audience as a means to offer new readings of the major poems. It discusses ways in which reading is 'figured' in Keats's poetry, and suggests that such 'figures of reading' have themselves determined certain modes of response to Keats's texts. Together with important new readings of Keats's poetry, the study presents a significant rethinking of the relationship between Romantic poetry and its audience. Developing recent discussions in literary theory concerning narrative, readers and reading, the nature of the audience for poetry, and the Romantic 'invention' of posterity, Bennett elaborates a sophisticated and historically specific reconceptualization of Romantic writing.

This book brings together the themes of diet, consumption, the body, and human relationships with the natural world, in a highly original study of Shelley. A campaigning vegetarian and proto-ecological thinker, Shelley may seem to us curiously modern, but Morton offers an illuminatingly broad context for Shelley's views in eighteenth-century social and political thought concerning the relationships between humanity and nature. The book is at once grounded in the revolutionary history of the period 1790-1820, and informed by current theoretical issues and anthropological and sociological approaches to literature. Morton provides challenging new readings of much-debated poems, plays, and novels by both Percy and Mary Shelley, as well as the first sustained interpretation of Shelley's prose on diet. With its stimulating literary-historical reassessment of questions about nature and culture, this study will provoke fresh discussion about Shelley, Romanticism, and modernity.

James Watt's historically grounded account of Gothic fiction, first published in 1999, takes issue with received accounts of the genre as a stable and continuous tradition. Charting its vicissitudes from Walpole to Scott, Watt shows the Gothic to have been a heterogeneous body of fiction, characterized at times by antagonistic relations between various writers or works. Central to his argument about these works' writing and reception is a nuanced understanding of their political import: Walpole's attempt to forge an aristocratic identity, the loyalist affiliations of many neglected works of the 1790s, a reconsideration of the subversive reputation of The Monk, and the ways in which Radcliffean romance proved congenial to conservative critics. Watt concludes by looking ahead to the fluctuating critical status of Scott and the Gothic, and examines the process by which the Gothic came to be defined as a monolithic tradition, in a way that continues to exert a powerful hold.

This 2000 book considers the literary and cultural significance of spice, and the spice trade, in Romantic literature, shedding new light on the impact of consumerism and capitalist ideology on writers of the period. Timothy Morton demonstrates how the emerging consumer culture was characterized by an ornate, figuratively rich mode of representation which he describes as 'the poetics of spice'. This is the focal point for a probing analysis that addresses a host of related themes - exoticism, orientalism, colonialism, the slave trade, race and gender issues, and, above all, capitalism. Employing a mixture of Marxist, deconstructive and psychoanalytic theory, Morton explores how capitalist ideology was inscribed in the very materials of consumption. The book takes a wide historical perspective, surveying a range of literary, political, medical, travel, trade and philosophical texts, and includes readings of Milton, Coleridge, Keats, Shelley, Leigh Hunt, Charlotte Smith and Southey among many others.