Romanticism and Fantasy: The Emergence of the Romantic
Last week, I described the neo-classical attitudes of the Age of Reason, which dominated English literature through most of the 18th century. This week I want to take a look at how and when things changed.
In 1798 William Wordsworth and Samuel Taylor Coleridge published the first edition of Lyrical Ballads, a collection of poetry that some critics have pointed to as the start of Romanticism in English literature. In fact, you can fairly easily find precursors to one aspect or another of the phenomenon called Romanticism; Blake, for example, was publishing his illuminated prophecies in 1789. But there were a number of works preceding him, as well, and I’m going to look here at some of those texts that seem to pave the way for Romanticism, particularly in the thirty years from 1760 to 1790.
Since I’m interested in Romanticism as a form of fantasy, the texts I’ll look at have to do broadly with the impulse toward fantasy and away from realism. I think the fantastic is a key characteristic of the romantic, while the classical or neo-classical emphasis of the earlier eighteenth century effectively went hand-in-hand with realism. It has to be said that there are other ways to look at Romanticism; it’s certainly true that Wordsworth in particular emphasised the importance of doing away with Enlightenment conventions, and with an outdated poetic diction, in order to focus on life as it was really lived across all social classes. Romanticism is an amorphous term. Writers of the era did not call themselves Romantic, and did not group themselves together the way we group them now. As a result, strict definitions are useless. If you look too long at the vast territory often ascribed to ‘romanticism,’ sooner or later you find significant overlap with ‘the enlightenment.’
The Last Guardian of Everness
Aylmer Vance, agent of the enigmatic Ghost Circle, made his first appearance on the nightmare stage in 1914. The creation of husband-and-wife writing team Alice and Claude Askew, Vance appeared in eight consecutive issues of The Weekly Tale-Teller between July and August. The stories-“The Invader”, “The Stranger”, “Lady Green-Sleeves”, “The Fire Unquenchable”, “The Vampire”, “The Boy of Blackstock”, “The Indissoluble Bond” and “The Fear”-ranged from grotesque to gentle, and are, by and large, of a slower pace than those featuring Vance’s contemporaries, such as 