Abstract
The poet travelling across Westminster Bridge in the early dawn on that quiet September morning in 1802 was a man with a murky past. William Wordsworth had fled France during the Terror leaving a pregnant girlfriend and revolutionary idealism behind him. Wordsworth was one of a new breed of artists whose ‘Romanticism’ matched the democratic fervour of the European Continent. His sonnet ‘Upon Westminster Bridge’ recorded the city one early autumn dawn as a ‘mighty heart’ on the brink of fulfilling another day’s potential. For Wordsworth, as for the revolutionary artists he inspired, men such as North Londoner John Keats, the city was a living entity suffused with the life of the multitude.
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Notes
Rodney Mace, Trafalgar Square: Emblem of Empire (London: Lawrence and Wishart, 1976), p. 149.
Robert W. Gould and Michael J. Waldren, London’s Armed Police (London: Arms and Armour Press, 1988), p. 14.
Robert Reiner, The Politics of the Police (Hassocks, Sussex: Harvester, 1992), pp. 1–2.
Carol Lansbury, The Old Brown Dog: Women, Workers and Vivisection in Edwardian England (Madison: University of Wisconsin Press, 1985), p. 10.
Philip Thurmond Smith, Policing Victorian London (Westport, Connecticut: Greenwood Press, 1985), p. 145.
In Stephen Humphries, Hooligans or Rebels? An Oral History of Working-Class Childhood and Youth 1889–1939 (Oxford: Basil Blackwell, 1981), p. 104.
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© 2010 Clive Bloom
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Bloom, C. (2010). Monster Rallies. In: Violent London. Palgrave Macmillan, London. https://doi.org/10.1057/9780230289475_10
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DOI: https://doi.org/10.1057/9780230289475_10
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