This page intentionally left blank This is the first full-length study to examine the links between high Romantic literature and what has often been thought of as a merely popular genre – the Gothic Michael Gamer offers a sharply focused analysis of how and why Romantic writers drew on Gothic conventions whilst, at the same time, denying their influence in order to claim critical respectability He shows how the reception of Gothic writing, including its institutional and commercial recognition as a form of literature, played a fundamental role in the development of Romanticism as an ideology In doing so he examines the early history of the Romantic movement and its assumptions about literary value, and the politics of reading, writing, and reception at the end of the eighteenth century As a whole the book makes an original contribution to our understanding of genre, tracing the impact of reception, marketing, and audience on its formation        is Assistant Professor of English at the University of Pennsylvania He has published a number of articles and is currently editing an edition of The Castle of Otranto and, with Jeffrey N Cox, Romantic Drama: An Anthology MMM                               ROMANTICISM AND THE GOTHIC     General editors Professor Marilyn Butler University of Oxford Professor James Chandler University of Chicago Editorial board John Barrell, University of York Paul Hamilton, University of London Mary Jacobus, Cornell University Kenneth Johnston, Indiana University Alan Liu, University of California, Santa Barbara Jerome McGann, University of Virginia David Simpson, University of California, Davis This series aims to foster the best new work in one of the most challenging fields within English literary studies From the early s to the early s a formidable array of talented men and women took to literary composition, not just in poetry, which some of them famously transformed, but in many modes of writing The expansion of publishing created new opportunities for writers, and the political stakes of what they wrote were raised again by what Wordsworth called those ‘great national events’ that were ‘almost daily taking place’: the French Revolution, the Napoleonic and American wars, urbanization, industrialization, religious revival, an expanded empire abroad, and the reform movement at home This was an enormous ambition, even when it pretended otherwise The relations between science, philosophy, religion, and literature were reworked in texts such as Frankenstein and Biographia Literaria; gender relations in A Vindication of the Rights of Woman and Don Juan; journalism by Cobbett and Hazlitt; poetic form, content, and style by the Lake School and the Cockney School Outside Shakespeare studies, probably no body of writing has produced such a wealth of response or done so much to shape the responses of modern criticism This indeed is the period that saw the emergence of those notions of ‘literature’ and of literary history, especially national literary history, on which modern scholarship in English has been founded The categories produced by Romanticism have also been challenged by recent historicist arguments The task of the series is to engage both with a challenging corpus of Romantic writings and with the changing field of criticism they have helped to shape As with other literary series published by Cambridge, this one will represent the work of both younger and more established scholars, on either side of the Atlantic and elsewhere For a complete list of titles published see end of book ROMANTICISM AND THE GOTHIC Genre, Reception, and Canon Formation MICHAEL GAMER           The Pitt Building, Trumpington Street, Cambridge, United Kingdom    The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org © Michael Gamer 2004 First published in printed format 2000 ISBN 0-511-03463-6 eBook (Adobe Reader) ISBN 0-521-77328-8 hardback This book is for Elise, Langdon, Marlon, and Nancy Women we have often eagerly placed near the throne of literature: if they seize it, forgetful of our fondness, we can hurl them from it Critical Review, nd series,  (),  Cultural categories of high and low, social and aesthetic are never entirely separable Peter Stallybrass and Allon White, The Politics and Poetics of Transgression (),   Notes to pages –  This argument is made by several writers at the turn of the nineteenth century The best-known of these critiques of history are William Godwin’s ‘‘History and Romance’’ (), ed Michael Gamer, at http://www.english.upenn.edu/mgamer/godwin.history.html, and the Preface to Maria Edgeworth’s Castle Rackrent ()  Hurd, Letters on Chivalry and Romance, –  Richard Hurd, Dissertation on the Idea of Universal Poetry (London: A Millar, ) Quoted in Ioan Williams, Novel and Romance, –  Janowitz, England’s Ruins,   Janowitz, England’s Ruins,   SPW,  All further references to Scott’s prefaces and notes will be cited by page number; the poems will be cited by canto and line number  Watt, Contesting the Gothic,   British Review  (May ), cited from John O Hayden, ed., Scott: The Critical Heritage (London: Routledge and Kegan Paul, Ltd., ), – All subsequent quotations from this review will be from this collection, and cited by page number  Hayden, Scott: The Critical Heritage,   British Critic  (),   Edinburgh Review  (),   Satirist, or Monthly Meteor  (), ; Le Beau Monde  (),  Both quotations are cited in Robertson, Legitimate Histories,  One of the many letters quoted by Alexander in The Reception of Scott’s Poetry mistakenly refers to Constance as ‘‘that lovely page, Matilda’’ () The original source for the letter is Abbotsford MS  f r  Hayden, Scott: The Critical Heritage, ,   Edinburgh Review  (),   Edinburgh Review  (), , ,   See SL, :, ,   Edinburgh Review  (),   Edinburgh Review  (), –  Jeffrey’s own relationship to the Edinburgh’s popularity is nearly as complex as Scott’s, and is best encapsulated in Jeffrey’s review of Thomas Campbell’s Specimens of the British Poets,  vols (London: J Murray, ): ‘‘The character of our poetry depends not a little on the taste of our poetical readers; – and though some bards have always been before their age, and some behind it, the greater part must be pretty nearly on its level Present popularity, whatever disappointed writers may say, is, after all, the only safe passage of future glory; – and it is really as unlikely that good poetry should be produced in any quantity where it is not relished, as that cloth should be manufactured and thrust into the market, of a pattern and fashion for which there was no demand.’’ See Edinburgh Review  (), –  Ross, ‘‘Scott’s Chivalric Pose,’’   See Milton, Paradise Lost, :–, in The Complete Poetical Works of John Milton, ed Harris Francis Fletcher (Boston: Houghton Mifflin Co., ) Notes to pages –   See Ross, ‘‘Scott’s Chivalric Pose,’’ –; Ross, ‘‘Romancing the NationState: The Poetics of Romantic Nationalism,’’ in The Macropolitics of Nineteenth-Century Literature, ed Jonathan Arac and Harriet Ritvu (Philadelphia: University of Pennsylvania Press, ), –; and Goslee, Scott the Rhymer (Lexington: University Press of Kentucky, ),   SL, :  Sutherland, The Life of Sir Walter Scott,   For two excellent accounts of the histories and ideologies of the word ‘‘literature,’’ see Raymond Williams, Keywords, revised edn (Oxford University Press, ), –; and Terry Eagleton, Literary Theory: An Introduction (Minneapolis: University of Minnesota Press, ), ch   The quotation from Burke is famously from Reflections on the Revolution in France (), ed A J Grieve (London: Dent, ),  The quotation from Pope is the First Epistle of the Second Book of Horace (), in The Poems of Alexander Pope, ed John Butt,  vols (London: Methuen and Co Ltd., ), :, lines –: There still remains to mortify a Wit, The many-headed Monster of the Pit: A sense-less, worth-less, and unhonour’d crowd; Who to disturb their betters mighty proud, Clatt’ring their sticks, before ten lines are spoke, Call for the Farce, the Bear, or the Black-joke What dear delight to Britons Farce affords! Ever the taste of Mobs, but now of Lords Taste, that eternal wanderer, which flies From heads to ears, and now from ears to eyes  Walter Scott, The Doom of Devorgoil, a Melo-drama; and Auchindrane; or the Ayrshire Tragedy (Edinburgh and London: Cadell and Co., and Simpkin and Marshall, ),   Scott, Doom of Devorgoil,  Index Alexander, J H., , n. Altick, Richard,  Analytical Review, , , , , , –, , –n. Andrews, Malcolm, –n. Annual Review and History of Literature, ,  Anti-Jacobin; Or, Weekly Examiner, –, , , , n. Antijacobin Review, , , –n. antiquarianism, –, n. Arch, J and A.,  Aristotle,  Ashton, Rosemary, , –, n. Austen, Jane,  Mansfield Park, , –n. Northanger Abbey, , –, , , , ,  Athenian Mercury,  Averill, James A., –, –, , , n., n. Backscheider, Paula,  Baillie, Joanna and Coleridge, Samuel, ,  and footnoting, , ,  and France, –,  and German literature –, –, –n., n. and instruction, – and legitimate drama, ,  and nationalism, , –, – and patriotism, , –, ,  and the popular stage, , –, –, – and Protestantism, , – and psychology, , – and romance,  and Schiller, Frederich, , n. and Scotland, , –,  and sensibility, –, n. and Shakespeare, , , , , , , –,  and stagecraft, –, n. and the supernatural, , , –, –,  and Wordsworth, William, ,  De Monfort, , –, , –,  Dramas, , n. Ethwald, , –,  The Family Legend, ,  ‘‘Introductory Discourse,’’ ,  Miscellaneous Plays, – Orra, , ,  The Phantom, – Rayner, , –, – A Series of Plays on the Passions, , , , , , –n., n. Bakhtin, M M., , , , , –, –n., n. Ballantyne, James, , n. Ballantyne’s Novelist’s Library, –n., n. Barbauld, Anna Letitia and supernatural, n. The British Novelists, , n. ‘‘On the Origin and Progress of Novel Writing,’’ , n., n. ‘‘Sir Bertrand,’’ ,  Barthes, Roland, –n. Bartholomeusz, Dennis, n. Bate, Jonathan, n. Beattie, James, , , , , ,  Le Beau Monde,  Beaumont, Sir George, –, –n.  Index Beaumont, Lady, , – Bell, John, ,  Bewell, Alan J., –, ,  Bialostosky, Don H., , n., –n., n. Biographia Dramatica, ,  Birch, Cyril,  Birkhead, Edith, n. Boaden, James and Germany, –, – and Lewis, Matthew,  and Radcliffe, Ann, , –, ,  Aurelio and Miranda, ,  Cambro-Britons, ,  Fontainville Forest, , –, , , ,  The Italian Monk,  The Life of Mrs Jordan, n. Memoirs of the Life of John Philip Kemble, n., n. The Secret Tribunal,  Bonaparte, Napoleon, ,  Bonhote, Elizabeth,  Bourdieu, Pierre,  Bowles, William Lisle, –, n. British Critic, , , , , , , –, , , –n., n., n. British Review, – Brodhead, Richard H., n. Brown, David Blayney, –n. Brown, Marshall, Bruhm, Steven, , Buărger, Gottfried Augustus, , , , , , , , , n. Burke, Edmund, , n. Burroughs, Catherine, , n. Butler, James,  Butler, Marilyn, –, , –n. Byron, George Gordon, Lord, –, , , , – Canning, George,  Carlson, Julie, n. Carter, Mrs.,  Castle of St Vallery, An Ancient Story,  Chandler, James, , –, n. Clark, Anna, – Clark, Kenneth, n. Clay, Samuel,  Cleland, John, ,   Clery, E J., –, , , , , , n., n. Coleridge, Samuel T and Baillie, Joanna, , n. and Bowles, William Lisle, n. financial difficulties of, –, , n., n., n. and generic experimentation,  and German literature, , , n. and Lewis, Matthew, , –, , , – and libraries, circulating, n. and Lyrical Ballads, –, , n., n. and Maturin, Charles Robert,  and popular audience, –, – and the Preface to Lyrical Ballads, – and Radcliffe, Ann, – and reputation of Lyrical Ballads, n. and reviewing, , , , n., –n., n., n. and Scott, Walter, ,  and Shakespeare, – and supernatural, , –, n., n. and ‘‘The Thorn,’’  and unity, , –n. and Walpole, Horace, n. and Wordsworth, William, – Advertisement to Lyrical Ballads, ,  ‘‘The Ballad of the Dark Ladie’’ (‘‘Love’’), , ,  Biographia Literaria, , –, –, n., –n. ‘‘Christabel,’’ , , , , –, n. Christabel, Kubla Khan, and the Pains of Sleep,  ‘‘Consciones ad Populum,’’ n. Fears in Solitude, –,  ‘‘The Foster-Mother’s Tale,’’  ‘‘Fragment of an Essay on Beauty,’’ –n. ‘‘Kubla Khan,’’  Letters, –, –, –, –, –, , n., n., n. ‘‘Lewti; or the Circassian Love Chant,’’ , , –n. ‘‘The Mad Monk,’’ –, , n., –n. ‘‘A Moral and Political Lecture,’’ n.  Index Coleridge, Samuel T (cont.) Notebooks, n. Osorio, , , n. Remorse, , –, , n. review of Hubert de Sevrac, – review of The Italian,  review of The Monk, , , –, , , –n. ‘‘The Rime of the Ancient Mariner,’’ , , , , –, – Skeltoniad, –n. The Watchman, ,  Wallenstein, – Coleridge, Sarah,  Colley, Linda, n. Colman, George, the Younger, , , –n. Conger, Syndy McMillen, –n. Connolly, L W., n. Constable, William,  Cottle, Joseph, –, –, , n. Cox, Jeffrey, , , , n., n. Cox, Philip,  Cozens, Alexander,  Critical Review, , –, , , , –, –, , , n., n., –n. Cumberland, Richard,  Curll, Edmund, , , – Curran, Stuart, , , –n. Curry, Kenneth, , n. Dacre, Charlotte, , , , , – Daniel, George, –,  Dante, , , n. Davis, Lennard, n. Day, William Patrick,  Defoe, Daniel, ,  Derrida, Jacques, , , ,  De Selincourt, Ernest, –n. Donoghue, Frank, n., n. Douglas,  Dowd, Maureen, –n., n. Drake, Nathan, n. Dramatic Censor, –, – Duncan, Ian, , , n., n. Eagleton, Terry, n. Edgeworth, Maria, ,  Edinburgh Register,  Edinburgh Review, , , , –, n. English Review,  European Magazine, , ,  Ellis, George, , –n. Erdman, David, –n. Erickson, Lee, n. Ewen, Frederic,  The Female Quixote,  Fenwick, Eliza,  Fenwick, Isabella,  Fergus, Jan, , , n., –n. Ferns, Chris,  Ferris, Ina, , , –, , n., n. Field, Barron, n. Fielding, Henry,  Follet, John,  Foucault, Michel,  Fox, Charles James,  Foxon, David, n. France and French Revolution, –, , , –, , , n. Frere, John Hookham,  Friedman-Romell, Beth H.,  Fulford, Tim, –n. Fuseli, Henry,  Galperin, William, –n., –n. Genest, John,  genre and audience, , – and authority, , , –,  as belonging, , ,  as contract, –, , , ,  and gender, –, –, – and heterogeneity, –, – and legitimacy, , –, –, –, –,  and literary markets, –,  and mediation, , , , , , ,  and nationalism, , , –, –,  and purity, –, –, –, , , , , –, , , –, –, ,  and reception, ,  Gentleman’s Journal,  Gentleman’s Magazine, , , , n. German literature and the Anti-Jacobin,  Index and gothic writing, , , –, –n. as generically impure, , – as invader, , –, , –n., n. and Lewis, Matthew, –,  as libertine, , – and Radcliffe, Ann, – reception in Britain, , –, –, n., n., n. Schauerroman, , , , n. and Shakespeare, , , Stuărm und Drang, , , – and tragedy, –, – Gifford, William, ,  Gill, Stephen, –n., n. Gillies, R P.,  Gilmartin, Kevin, n. Gilpin, William,  Godwin, William, , , n. Goethe, Johann Wolfgang, ,  Goslee, Nancy Moore,  gothic and adolescence, , , , , –n. definitions of, eighteenth-century, –, , n., n.–, n. definitions of, modern, –, –, n., n., n., n., n. and desire, readerly, , , – as enervating, , – as ethnicity, ,  and France, n. and gender, –, –, –, , –, ,  and Germany, , , –n. histories of, , – and Lewis, Matthew, –, – and libraries, circulating, – and manufacture, , ,  and media, , , ,  modernist dismissals of, n. and nationalism, , n. and picturesque, – popularity of, , , – and propriety, ,  and Radcliffe, Ann, – readers of, , , –, – reception in Britain, , , –, –, , n., n., n. and romance, , –, , , n. and taste, , –  and weather, n. Gray, Thomas, , –n. Green, Karen,  Greever, Garland, n. Grosse, Carl,  Hadley, Michael, , n. Haggerty, George,  Halberstam, Judith, , n. Hamlyn, Hilda, n. Harley, Mrs M.,  Hartman, Geoffrey, –, –n. Hazlitt, William, ,  Heber, Richard,  Hill, Christopher, n. Hirsch, E D.,  Hobbes, Thomas, –n. Hogle, Jerrold, –, , n. Holcroft, Thomas, ,  Holland, Henry,  Home, John, , , ,  Howard, Jacqueline,  Hume, Robert, , n., n. Hunt, Lynn, n. Hurd, Richard, –, , –, n. Inchbald, Elizabeth, , –n. Ireland, William Henry,  Jacobs, Edward, , n., n., n. Jacobus, Mary, , , , n. Jameson, Fredric, –, –, n. Jamieson, Robert,  Janowitz, Anne, , n., n. Jauss, Hans Robert, , –, , –, , n. Jeffrey, Francis critical assumptions of, , , , n. and German literature,  politics of, – and popularity of Edinburgh Review, n. and Scott, Walter, – review of Hermann und Dorothea,  review of Marmion, , – review of Specimens of the British Poets, n. review of Thalaba the Destroyer, , n. Johnson, Joseph,  Johnson, Samuel, , –, ,   Index Jordan, John Emory, n. Kahlert, K F.,  Kaplan, Amy, n. Kappeler, Susanne, n. Kaufman, Paul, , , n., n. Kelley, Isabella,  Kelley, Theresa, –n. Kelly, Gary, –n. Kelly, William,  Kemble John Philip, –, , , n., n. Kilgour, Maggie, –, n. Klancher, Jon, , , n., –n. Kliger, Samuel, n. Knight, Richard Payne, –, –n. Kotzebue, Auguste von, , , , , –, , –n. Kroeber, Karl, – Lady’s Monthly Museum, n. Lamb, Charles, , , n. Lane, William, ,  Langbauer, Laurie, , , –n. Lee, Sophia, ,  Lejeune, Philippe,  Leland, Thomas,  Lennox, Charlotte, ,  Levinson, Marjorie, , –, , n. Lewis, Matthew Gregory, ,  and anonymity, –, – and ballad, ,  as ‘‘Author of The Monk,’’ , , –, ,  bowdlerization of The Monk, , , –n. and Coleridge, Samuel T., –, , , – and footnoting,  and German literature, –,  hesitancy to publish fiction after The Monk, , n. and imitators, –,  and libel, , – and masculinity, n. as Member of Parliament, –n. in Minstrelsy of the Scottish Border,  popularity of The Monk, – profitability of Castle Spectre, , –n., n. reception and reputation of, –, –n., n., n., n. and Scott, Walter, – sexuality of, – and supernatural, , –n. Adelmorn, the Outlaw, ,  Ambrosio, or The Monk With considerable additions and alterations,  The Bravo of Venice, n. Castle Spectre, , , –, –, –, –, , –, n., n., –n. Kabale und Liebe,  The Monk, –, , , , ,  Tales of Wonder, , – Leyden, John,  libel, obscene and blasphemous, , –, n. libraries, circulating borrowers, class and gender of, , n. criticisms of, – and fiction, ,  marketing practices of, , –, n., n. and periodical, n. popularity and growth of, , n. as publishers, , n. and suspense, – and women readers, n. Licensing Act, n. Literary Magazine; or the History of the Works of the Learned, n. Litvak, Joseph, –n. Liu, Alan,  Lloyd, Robert,  London Review,  Longinus,  Longueil, Alfred, , n. Lucinda Osburn, – MacIntosh, James, –n. Mackenzie, Henry, , ,  MacKinnon, Catherine, n. Magnuson, Paul,  Mangin, Edward,  Manning, Peter J.,  Marsden, Jean, n. Mathias, Thomas James, , , , –, –n., n. Maturin, Charles Robert, , , , n. Index Mayo, Robert D.,  McCalman, Iain,  McGann, Jerome J., , –,  McKeon, Michael, n. Meeke, Mary, ,  Mellor, Ann,  Mennie, Duncan M., n., n. Meyer, George Wilbur, –n. Miall, David, n. Miles, Robert, –, , , –, –, , n., n., n., n., n. Miller, William, n. Millgate, Jane, –, n., n. Milton, John,  Minerva Press, , , , , n. Monleo´n, Jose´ B., ,  Monthly Magazine, , ,  Monthly Mirror, , , –, –, n. Monthly Review, , , , –, , , , , , , , –, –, –, –, , n. Monthly Visitor, n. Moody, Elizabeth,  Moore, George,  More, Hannah, –, n. Morning Herald, n. Morritt, John, ,  Mudge, Bradford K.,  Murphy, Peter T.,  New Annual Register,  Newman, Beth,  New Monthly Magazine,  O’Hara, J D.,  Opie, Amelia,  Ossian, ,  Owen, Felicity, –n. Owen, W J B., –, –n. Oxford English Dictionary,  Paine, Thomas, ,  Parker, Reeve, n. Parreaux, Andre´, –, n., –n. Parrish, Stephen, , –, –n. Parsons, Eliza,  Paulson, Ronald, , ,  Peck, Louis, , n. Percy, Thomas, , ,   periodicals, ,  picturesque, –n. Pinch, Adela, –,  Pitt, William, the Younger,  Platzner, Robert, n. Poole, Thomas, ,  Poovey, Mary, –n., –n. Pope, Alexander, n. pornography, –, , n., n. Price, Uvedale, , –n., n. Proclamation Society, – Punter, David, –, n. Pye, Henry James, , n. Quarterly Review, , , – Radcliffe, Ann, – and anonymity, – and German literature, – and imitators, –,  reception of, –, n. and Reeve, Clara,  reputation of, –, –, –n., n. responsiveness to criticism, –, n. similarity of Scott’s characters to, –, – and supernatural, , , , , –, n. The Castles of Athlin and Dunbayne, , , , , , n. The Italian, , , , , ,  The Mysteries of Udolpho, –, ,  The Romance of the Forest, –, , , , ,  The Sicilian Romance, – Railo, Eino, , n. Rajan, Tilottama, –n. Raven, James, , n., n. Read, James,  reading anxieties over, –, –,  and desire, ,  and gender, –, , – and libraries, circulating, – and literacy, , –, – and pleasure, –, , ,  and seduction, –,  utility of, –, , ,   Index Reeve, Clara and authority, – and epic,  and gender,  and history, ,  and libraries, circulating, – and marketing, , n. and realism, – and romance, –,  and the supernatural, , – and Walpole, Horace, , , – ‘‘Good Effects of Bad Novels,’’ n. The Old English Baron, –, , –, , , –, n., n. The Progress of Romance, , –, , , , – Reiman, Donald, n. Reno, Robert P., n. reviews and authority, , ,  as conflicted commodities, –, –, n., n. and gender, –, –,  and objectivity, , – and popular literature, –, , – relation to other kinds of periodicals, ,  reversals of opinion, , –n. self-representation of, –, – and taste, –, – Richardson, Alan, –n. Richetti, John,  Richter, David, , , , –, , n., n., n. The Rights of Man,  Ritson, Joseph, ,  Robertson, Fiona, n., n., n., n. Robertson, Geoffrey, , n. Robinson, Mary, , , , –n. Robinson, Mary E., –, n., –n. Roche, Regina Maria,  Roe, Nicholas, n. romance and adolescence, –, –, – as conduct books, , , ,  and desire, readerly, , , –, – and enervation, , , , – and gender, , , –, –, , –, –, n., n.–, –n. and the gothic, , ,  and history, –, , – and jacobin novel, n. and libraries, circulating, – and literary value, –, ,  and manufacture, –, , n. metrical, , ,  and the novel, , n. and pleasure, –, , , ,  and reading, –, –,  and ‘‘real life,’’  reception of, eighteenth-century, –, –, –n., –n., n. romanticism definitions of, –n., n., –n. genre in, –, –n., –n. as ideology, –, ,  and the supernatural,  and taste, , – Roper, Derek,  Ross, Marlon B., –, , –, , , –n., n., –n. ruins, –, –, –, n. Runge, Laura L., – Ruoff, Gene W., n. R v Curll, , , – R v Read, – Satirist, or Monthly Meteor, , n. Schauerroman, , , , n. Schiller, Frederich, , , , , , –, , –, n. Schoenbaum, S., n. Scots Magazine,  Scott, John, –,  Scott, Walter and antiquarianism, , –, –, n. and aristocracy, –,  and Austen, – as ‘‘Author of Waverley,’’ , – and authorship, , –, , –, , n. and Baillie, Joanna, – and ballad, , , and Buărger, Gottfried Augustus, , and Catholicism, ,  and Dante, n. and footnoting, , ,  and German literature, , , –, , –n., –n., n. Index and history,  and Jeffrey, Francis, – and legitimacy, , –, , –, – and Lewis, Matthew, , , , , –, –, ,  and the marketplace, , , – names horse ‘‘Lenore,’’  and nationalism, –, , –,  and original genius, , – and Poet Laureate, , n. politics of, , – popularity of, , –,  and Radcliffe, Ann, –, –, –, , –, – reception of, – and Reeve, Clara, –, – and romance, , – and Strawberry Hill,  and the supernatural, , –, , , – and theater, , – and Walpole, Horace, –, , n., n. Ballantyne’s Novelist’s Library, – The Chase, and William and Helen, , n. The Doom of Devorgoil, – ‘‘Essay on the Drama,’’  ‘‘Essay on Imitations of the Ancient Ballad,’’ ,  ‘‘The Eve of St John,’’ – ‘‘The Fire King,’’  ‘‘Frederick and Alice,’’  ‘‘Glenfinlas,’’ Goătz von Berlichgen, , Guy Mannering, The House of Aspen, , , –, n., n. Journal,  The Lady of the Lake, , –,  The Lay of the Last Minstrel, , , –, ,  Letters, –, –, , –, –n., –n., –n., n. Letters on Demonology and Witchcraft,  Marmion, , –, –,  Minstrelsy of the Scottish Border, , , –,  The Perilous Castle of Douglas,  Review of The Fatal Revenge, –, , , n.  Review of Memoirs of the Life of John Philip Kemble, n. Review of Persuasion and Northanger Abbey, – Rokeby, , – Sir Tristrem,  ‘‘Thomas the Rymer,’’  Waverley, –, , – Sedgwick, Eve, ,  Sedley, Charles,  Shackford, Martha Hale, , n. Shakespeare, William,  in eighteenth century, n., n. and supernatural, –, – Hamlet, –,  Macbeth, , , –, , –, , n., n. Richard III, , ,  Sharpe, Charles Kirkpatrick,  Sheats, Paul D., –n. Shelley, Mary,  Sheridan, Richard Brinsley,  Simpson, David, n., –n. Siskin, Clifford, –, –n. Smith, Charlotte, ,  Smith, Horace, n. Smollett, Tobias,  Smyser, J W., – Society for the Prevention of Vice, – Sotheby, William, n. Southey, Robert and ballad, , –,  and German literature, , –,  and Lewis, Matthew, , n. and Reviews,  Madoc,  Poems, – Review of Lyrical Ballads, , , –,  Thalaba the Destroyer,  Spectator,  Spencer, W R., , n. Spender, Dale,  Spirit of the Public Journals, n. Stael, Germaine de, –n. Stanley, J T., , n. Stockoe, F W., n. Stuărm und Drang, , , Summers, Montague, n. Surtees, Robert,   Index Sutherland, John, , , , , n., n. Swann, Karen, , , , n. Taylor, John Tinnon, , n. Taylor, William, n., n. ‘‘Terrorist Novel Writing,’’ –,  Terry, Daniel, – Tetreault, Ronald, –n. Theatrical Inquisitor,  Thomas, Donald, n. Thompson, Benjamin, – Thomson, James,  Tobin, James,  Todd, William B., n. Todorov, Tzvetan, ,  Tompkins, J M S., , n. Trumpener, Katie, , n. Tuite, Clara, – Turner, J M W.,  Tytler, Alexander,  Varma, Devendra, n., n. Voller, Jack G., –n. Walpole, Horace,  as antiquarian, , – and the supernatural, , –, –n. The Castle of Otranto, , , , , , –, n. Historical Doubts on the Reign of King Richard the Third,  The Mysterious Mother,  Warton, Thomas, ,  Watkins, Daniel, n. Watt, Ian, , n. Watt, James, , , , , , n. Welsford, Enid, –n. West, Jane, n. White, James, – Wilberforce, William, – Williams, Anne, , , , , n. Williams, Ioan,  Williams, Raymond, , n. Wilson, Lisa, –, n., n. Wilson, Margaret Baron, –, , , n., n. Wollstonecraft, Mary, , , –n., n. women association with romance, , n., n.–, –n. as readers, –, , –, –, –, – as writers, , –, ,  Wordsworth, Dorothy, ,  Wordsworth, Jonathan,  Wordsworth, Richard,  Wordsworth, William absence from studies of gothic writing, n. and Baillie, Joanna,  and ballad, and Buărger, Gottfried Augustus, and Coleridges reviews of gothic fiction,  and gender, – and Germany, –, – and Lewis, Matthew, , –n. and pastoral, –,  and picturesque, , –n., n. and poetic maturation, –n. procures copyright to Lyrical Ballads, , n. and propriety, literary, – and Radcliffe, Ann,  and readerly pleasure, – reception of Lyrical Ballads, –, n., n., n. rejection of ‘‘Christabel’’ for Lyrical Ballads,  and ‘‘The Rime of the Ancient Mariner,’’ –, – and Scott, Walter, , ,  and sensibility, –,  and sublimity,  ‘‘system’’ of, n., n. and theater, –, –n. Advertisement to Lyrical Ballads, , ,  The Borderers, , –, –, –n. ‘‘The Brothers,’’  ‘‘The Convict,’’ – Descriptive Sketches,  ‘‘The Discharged Soldier,’’ – ‘‘Elegiac Stanzas, Suggested by a Picture of Peele Castle,’’ – ‘‘Ellen Irwin,’’  An Evening Walk,  Index ‘‘The Female Vagrant,’’  ‘‘Fragment of a Gothic Tale,’’ , – ‘‘Goody Blake and Harry Gill,’’ , , –, , , ,  ‘‘Hart-Leap Well,’’ –, ,  ‘‘The Idiot Boy,’’ , , , –,  ‘‘The Idle Shepherd Boys,’’  ‘‘Incipient Madness,’’  ‘‘The Last of the Flock,’’  Letters, , , –, –, –, n., n. ‘‘Lines Written with a Slate Pencil upon a Stone,’’ – ‘‘Lucy Gray,’’ , ,  Lyrical Ballads, –, ,  ‘‘Michael,’’ ,  Note, Fenwick, to Lyrical Ballads,  Note to ‘‘The Ancient Mariner,’’ –,  Note to ‘‘The Thorn,’’ –, n. ‘‘The Oak and the Broom,’’  Peter Bell, ,  ‘‘The Pet Lamb,’’  Poems, in Two Volumes Poems on the Naming of Places,   Preface to Lyrical Ballads, –, –, –, , , –, , n. The Prelude, –,  The Recluse,  The Ruined Cottage, , –,  ‘‘Rural Architecture,’’  ‘‘Ruth,’’  Salisbury Plain, ,  ‘‘The Somersetshire Tragedy,’’  ‘‘The Thorn,’’ , , , , , ,  ‘‘The Three Graves,’’ , – ‘‘Tintern Abbey,’’ ,  The Two-Book Prelude,  ‘‘The Two Thieves,’’  The Vale of Esthwaite,  ‘‘The Waterfall and the Eglantine,’’  Works of the Learned, – Wright, Julia M., –n. Wu, Duncan, n. Young, Julia Maria,  Zelicovici, Dvora, –n. Zizek, Slavoj,  Zofloya,  CAMBRIDGE STUDIES IN ROMANTICISM General editors   University of Oxford            University of Chicago  Romantic Correspondence: Women, Politics and the Fiction of Letters           British Romantic Writers and the East: Anxieties of Empire           Edmund Burke’s Aesthetic Ideology Language, Gender and Political Economy in Revolution           Poetry as an Occupation and an Art in Britain, –           In the Theatre of Romanticism: Coleridge, Nationalism, Women              Keats, Narrative and Audience    Romance and Revolution: Shelley and the Politics of a Genre          Literature, Education, and Romanticism Reading as Social Practice, –            Women Writing about Money: Women’s Fiction in England, –             Shelley and the Revolution in Taste: The Body and the Natural World           William Cobbett: The Politics of Style              The Rise of Supernatural Fiction, –        Women Travel Writers and the Language of Aesthetics, –               Napoleon and English Romanticism              Romantic Vagrancy: Wordsworth and the Simulation of Freedom      Wordsworth and the Geologists          Wordsworth’s Pope: A Study in Literary Historiography            The Politics of Sensibility Race, Gender and Commerce in the Sentimental Novel             Reading Daughters’ Fictions – Novels and Society from Manley to Edgeworth             Romantic Identities: Varieties of Subjectivity, –              Print Politics The Press and Radical Opposition in Early Nineteenth-Century England               Reinventing Allegory              British Satire and the Politics of Style, –       The Romantic Reformation Religious Politics in English Literature, –          De Quincey’s Romanticism Canonical Minority and the Forms of Transmission             Coleridge on Dreaming Romanticism, Dreams and the Medical Imagination            Romantic Imperialism Universal Empire and the Culture of Modernity            Ideology and Utopia in the Poetry of William Blake                Sexual Politics and the Romantic Author          Lyric and Labour in the Romantic Tradition            Poetry and Politics in the Cockney School Keats, Shelley, Hunt and their Circle            Rousseau, Robespierre and English Romanticism           Contesting the Gothic Fiction, Genre and Cultural Conflict, –          Romanticism, Aesthetics, and Nationalism              Romantic Poets and the Culture of Posterity    The Crisis of Literature in the s Print Culture and the Public Sphere        Romantic Atheism: Poetry and Freethought, –           Romanticism and Slave Narratives Transatlantic Testimonies         Imagination Under Pressure, – Aesthetics, Politics and Utility         Romanticism and the Gothic Genre, Reception, and Canon Formation           Romanticism and the Human Sciences Poetry, Population, and the Discourse of the Species              The Poetics of Spice Romantic Consumerism and the Exotic           British Fiction and the Production of Social Order, – Romance, Reading, and the Production of Social Order            ... established scholars, on either side of the Atlantic and elsewhere For a complete list of titles published see end of book ROMANTICISM AND THE GOTHIC Genre, Reception, and Canon Formation MICHAEL GAMER... of gothic into other high-cultural forms, then, has remained that the greater the cultural divide existing between gothic and the genre or form that it enters, the greater the chance that the. .. another in Britain at the end of the eighteenth and beginning of the nineteenth centuries – years in which neither ‘ gothic ’ nor ‘‘romantic’’ had yet taken their modern meanings, and in which the