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Waterloo and the Romantic Imagination This Page Intentionally Left Blank Waterloo and the Romantic Imagination Waterloo and the Romantic Imagination This page intentionally left blank Waterloo and the Romantic Imagination Philip Shaw Q Philip Shaw 2002 Softcover reprint of the hardcover 1st edition 2002 978-0-333-99435-1 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2002 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N. Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin's Press, LLC and of Palgrave Macmillan Ltd. MacmillanT is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 978-1-349-43236-3 ISBN 978-0-230-51346-4 (eBook) DOI 10.1057/9780230513464 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication DataShaw, Philip. Waterloo and the Romantic imagination / Philip Shaw. p. cm. Includes bibliographical references. ISBN 978-1-349-43236-3 1. English literatureÐ19th centuryÐHistory and criticism. 2. Waterloo (Belgium), Battle of, 1815, in literature. 3. Napoleonic Wars, 1800±1815Ð Literature and the wars. 4. Napoleonic wars, 1800±1815ÐArt and the wars. 5. Waterloo (Belgium), Battle of, 1815, in art. 6. RomanticismÐGreat Britain. 7. Battles in literature. 8. War in literature. I. Title. PR468.W38 S53 2002 820.90358Ðdc21 2001059842 10 9 8 7 6 5 4 32 1 11 10 09 08 07 06 05 04 03 02 Contents List of Illustrations vii Preface and Acknowledgements ix Abbreviations xiii Introduction: the Return of Waterloo 1 States of War 6 Victory sublime! 9 The Wound 19 1 Walter Scott: the Discipline of History 35 The Vansittart of verse 35 The wounded horseman 39 The spirit of contested lands 48 The dance of death 53 Coda: forging The Antiquary 61 2 Exhibiting War: Battle Tours and Panoramas 67 The regimented gaze 71 Unlimiting the bounds of painting 78 `The perfect disciplinary apparatus' 83 3 Southey's Vision of Command 92 La Belle Alliance 92 A poet's fame 97 `Upon the field of blood' 101 `Now, said my heavenly teacher, all is clear!' 105 4 Coleridge: the Imagination at War 114 Beating the retreat 114 Strange explosions 120 A state of peace 130 5 Wordsworth's Abyss of Weakness 140 The pleasures of war 140 The pure intent 144 Poetizing the political 147 Contesting visions 155 Binding the work 162 v vi Contents 6 `For Want of a Better Cause': Lord Byron's War with Posterity 165 Napoleon's farewell 167 The trumpet of a prophecy 172 Glory's dream unriddled 175 The spoiler's art 178 Conclusion 192 Contested pleasures 194 Women in war 196 Beyond Waterloo 203 War! What is it good for? 209 Notes 212 Bibliography 242 Index 253 List of Illustrations 1 J. M. W. Turner, The Field of Waterloo, oil on canvas, 1818. Copyright # Tate, London 2001. 23 2 J. L. H. BellangeÂ, La Garde meurt et ne se rend pas!, oil on canvas. Cliche BibliotheÁque nationale de France, Paris. 27 3 Sir Charles Bell, soldier with missing arm, lying on his side, grasping a rope, inscribed `XIII, Waterloo . ', watercolour, `11 Aug.' 1815. Copyright # Wellcome Library, London, by kind permission of the Trustees of the Army Medical Services Museum. 40 4 Sir Charles Bell, soldier suffering from a head wound, part of his scalp shaved, watercolour, 1815. Copyright # Wellcome Library, London, by kind permission of the Trustees of the Army Medical Services Museum. 41 5 Sir Charles Bell, arm wound, 1815, inscribed `XII Waterloo', watercolour, 1815. Copyright # Wellcome Library, London, by kind permission of the Trustees of the Army Medical Services Museum. 42 6 Unattributed, Bonaparte's Observatory, To View the Battle of Waterloo, June 18, 1815, engraving, London 1819. Christopher Kelly, History of the French Revolution, 2 vols. London: Thomas Kelly, 1819. University of Leicester Library. 69 7 J. C. Stadler, after E. Walsh, La Belle Alliance, taken on the Spot, th June 25 , hand-coloured aquatint, London 1815. The Repository of Arts, 14. London, 1815. Plate 20: `La Belle Alliance'. Yale Center for British Art, Paul Mellon Collection. 70 8 Robert Mitchell, A Section of the Rotunda, Leicester Square, coloured aquatint with etching and engraving, London 1801. Robert Mitchell, Plans and Views in Perspective of Buildings Erected in England and Scotland. London 1801. Plate 14: `A Section of the Rotunda in Leicester Square'. Yale Center for British Art, Paul Mellon Collection. 84 9 Jeremy Bentham, Section of an Inspection House, watercolour, 1787, Bentham Mss. 119. University College London Library. 86 vii viii List of Illustrations 10 John Burnet, after Henry Aston Barker, Explanation of the Battle of Waterloo, painted by Mr. Henry Aston Barker, woodcut, London 1817. Yale Center for British Art, Paul Mellon Collection. 87 11 Bell [?], Entrance to Hougoumont, engraving, London 1816. Robert Southey, The Poet's Pilgrimage to Waterloo. London: Longman, 1816. 104 12 George Cruikshank, Making Decent!!, engraving, London 1822. Copyright # The British Museum, London. 198 Preface and Acknowledgements th July 17 , Monday, Brussels. A very hot morning . Departed at a quarter past eleven for Namur by the way of Waterloo . the wide fields were covered with luxuriant crops, ± just as they had been before the battles, except that now the corn was nearly ripe, and then it was green. We stood upon grass, and corn fields where heaps of our countrymen lay buried beneath our feet. There was little to be seen; but much to be felt, ± sorrow and sadness, and even some- thing like horror breathed out of the ground as we stood upon it! . The ruins of Hougamont had been riddled away since the battle, and the injuries done to the farm-house repaired. Even these cir- cumstances, natural and trivial as they were, suggested melancholy thoughts, by furnishing grounds for a charge of ingratitude against the course of things, that was thus hastily removing from the spot all vestiges of so momentous an event. Feeble barriers against this tendency are the few frail memorials erected in different parts of the field of battle! and we could not but anticipate the time, when through the flux and reflux of war, to which this part of the Con- tinent has always been subject, or through some turn of popular passion, these should fall; and `Nature's universal robe of green, humanity's appointed shroud', enwrap them: ± and the very names of those whose valour they record be cast into shade, if not obliterated even in their own country, by the exploits of recent 1 favourites in future ages. As historical commentators are fond of reminding us, the battle of Water- loo, fought on 18 June 1815, brought to a dramatic close one of the lengthi- est periods of conflict in the history of Western Europe. When a few days later news of the Allied victory over Napoleon reached London, the effect was electric: heads of state wept, official business was suspended and crowds thronged the streets; some, like the artist Benjamin Robert Haydon, read and reread Lord Wellington's Despatch, hoping to find, in the words on the page, a focus for their wildest imaginings. The battle had brought to an end some 22 years of conflict, a period which forged the idea of the nation, as Linda Colley observes. Yet, like many an ending, the long anticipated relief ± from the labour of antagonism, the effort of defining oneself against the hostile Other ± was accompanied by unexpected feelings of grief, disappointment and melancholy. In the wake of Waterloo, one might say, the nation was forced to confront the possibility that wartime alone supplied the condi- ix x Preface and Acknowledgements tions for the assertion of unanimity; the peace, as Haydon and countless other commentators were to discover, did not mark the restoration of civil society, because the idea of civil society, as the revolution debate confirmed, could not be substantiated. Understood in this way, the war against France was precipitated and sustained by a legitimation crisis. So what of the aftermath of war? The melancholy that Waterloo arouses in its Romantic commentators is evident in Dorothy Wordsworth's account, quoted above. Visiting the field with her brother in 1820, Dorothy is struck by how time and nature conspire to erase the specificity of Waterloo; five years have passed and an event premised on the cessation of conflict and the establishment of pacific or `normal change' shows every sign of giving way 2 to the flux and reflux of war. As Dorothy attests, war, like Nature (the quotation here is taken from The Excursion), abhors a vacuum; the end of history is thus from a Romantic point of view unthinkable and perhaps undesirable. Faced with this problem at the close of the campaign, British observers registered equal amounts of pleasure and pain; the battle was Sublime ± this was to become a frequent figure in Waterloo discourse ± precisely because it exceeded, even as it generated, the ascription of narra- tive closure.
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