Advertisement

Afterword

Chapter
  • 52 Downloads

Abstract

A fellow Bristolian, Robert Southey was in many ways Chatterton’s greatest champion: with Joseph Cottle he edited the three-volume edition of his works at considerable expense, and continually sang his praises in letters and verse. However, even he felt uneasy about Chatterton’s ‘act of madness’; the ‘antique songs’ go hand in hand with his ‘unhappy story’, he writes. And the childish indiscretions required an apologetic footnote: ‘There was a madness in his family’.2 Chatterton’s perceived flaws comprised of youthful hubris, suicidal excess and also selfishness. A recurrent interest in Romantic poetics concerns the impersonality of the artist — think of the Keatsian poetical character or Coleridgean aloofness — but Chatterton was all too present in his works, even when writing pseudonymously.3 ‘A character is now unnecessary’, he posited; ‘an author carries his character in his pen’. The marvellous boy, seating himself in the grimy environs of eighteenth-century Grub Street culture, proved to be utterly inappropriate as a model of the Romantic genius in society.

Keywords

Anorexia Nervosa Considerable Expense Romantic Death Romantic Poetics Memorable Line 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Notes

  1. 2.
    Robert Southey A Vision of Judgement (London: Longman, Hurst, Rees et al., 1821), pp. 42Google Scholar
  2. 3.
    Coleridge writes, ‘Genius may co-exist with wildness, idleness, folly, even with crime, but not long, believe me, with selfishness’: see Andrew Bennett, The Author (London and New York: Routledge, 2005), pp. 64–6.Google Scholar
  3. 4.
    See David Fairer, Organising Poetry: The Coleridge Circle, 1790–1798 (Oxford: Oxford University Press, 2009), pp. 138–60.CrossRefGoogle Scholar
  4. 5.
    Samuel Taylor Coleridge, Collected Letters of Samuel Taylor Coleridge, ed. Earl Leslie Griggs, 6 vols (Oxford: Clarendon Press, 1956–71), vol. 1, p. 333.Google Scholar
  5. 6.
    Charles Lamb, ‘To Mary and Her Samuel’, in Charles Lamb and Mary Lamb, The Letters of Charles and Mary Anne Lamb, ed. Edwin W. Marrs, Jr, 3 vols (Ithaca and London: Cornell University Press, 1975–8), vol. 3, pp. 38–9.Google Scholar
  6. 9.
    TO. Mabbott, ‘Byron and Chatterton: A Parallel’, N&Q 162 (1932), p. 207Google Scholar
  7. 10.
    William Wordsworth, The Poetical Works of William Wordsworth, ed. Ernest De Selincourt and Helen Darbishire, 5 vols (Oxford: Clarendon Press, 1940–9), vol. 1, pp. 267–9.Google Scholar
  8. 11.
    Nai-Tung Ting, ‘The Influence of Chatterton on Keats’, KSJ 5 (1956), pp. 103–8.Google Scholar
  9. Nai-Tung Ting, ‘Chatterton and Keats: A Reexamination’, KSJ 30 (1981), pp. 100–17Google Scholar
  10. Lucy Monison, ‘Chatterton and Keats: The Need for Close Examination’, KSR 10 (1996), pp. 35–50Google Scholar
  11. Elizabeth Fay, Romantic Medievalism: History and the Romantic Literary Ideal (Basingstoke: Palgrave Macmillan, 2002), pp. 117–22.Google Scholar
  12. Beth Lau, ‘Protest, “Nativism”, and Impersonation in the Works of Chatterton and Keats’, Studies in Romanticism 42 (2003), pp. 519–39.CrossRefGoogle Scholar
  13. 12.
    See Robert Gittings, ‘Keats and Chatterton’, KSJ 4 (1955), pp. 47–54Google Scholar
  14. 14.
    Nathan Bailey, The Universal Etymological Dictionary in Two Parts (London: T. Cox, 1727)Google Scholar
  15. 15.
    Keats to J. H. Reynolds, 21 September 1819, John Keats: Selected Letters, ed. Robert Gittings, rev. Jon Mee (Oxford: Oxford University Press, 2002), p. 271. See Richard Marggraf Turley, Keats’s Boyish Imagination (London: Routledge, 2004), pp. 38–9.CrossRefGoogle Scholar
  16. 16.
    Andrew Bennett, The Romantic Poets and the Culture of Posterity (Cambridge: Cambridge University Press, 1999), p. 147.CrossRefGoogle Scholar
  17. 17.
    William Hazlitt, ‘Lord Byron’, The Spirit of the Age (London: Colbum, 1825), pp. 159–81Google Scholar
  18. 19.
    William Holman Hunt, Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, 2 vols (London: Macmillan, 1905), vol. 2, p. 417.Google Scholar
  19. 20.
    Wilkie Collins, The Woman in White, 3 vols (London: Sampson Low, Son & Co, 1860), vol. 2, p. 68.Google Scholar
  20. Julie Crane, ‘“Wandering between Two Worlds”: The Victorian Afterlife of Thomas Chatterton’, in Andrew Radford and Mark Sandy (eds), Romantic Echoes in the Victorian Era (Aldershot: Ashgate, 2008), pp. 27–37.Google Scholar
  21. 22.
    T Hall Caine, Recollections of Dante Gabriel Rossetti (London: Elliot Stock, 1882), pp. 184–5.Google Scholar
  22. 23.
    Quoted in Roger C. Lewis, ‘A Misattribution: Oscar Wilde’s “Unpublished Sonnet on Chatterton”’, Victorian Poetry 28.2 (1990), pp. 164–9Google Scholar
  23. Paul Saint-Armour, The Copywrights: Intellectual Property and the Literary Imagination (Ithaca, NY: Cornell University Press, 2003), pp. 97–106.Google Scholar
  24. 24.
    T H. Ward (gen. ed.), The English Poets, 4 vols (London: Macmillan, 1880), vol. 3, p. 401.Google Scholar
  25. 25.
    David Biespiel and Rose Solari, ‘Stanley Plumly: An Interview’, American Poetry Review 24.3 (1995), pp. 43–50.Google Scholar

Copyright information

© Daniel Cook 2013

Authors and Affiliations

  1. 1.University of DundeeUK

Personalised recommendations