Journal for the Study of Romanticisms (2019), Volume 08, DOI 10.14220/jsor.2019.8.issue-1 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 © 2019, Vandenhoeck & Ruprecht GmbH & Co. KG, Göttingen Journal for the Study of Romanticisms (2019), Volume 08, DOI 10.14220/jsor.2019.8.issue-1 Romantik Journal for the Study of Romanticisms Editors Cian Duffy(Lund University), Karina Lykke Grand (Aarhus University), Thor J. Mednick (University of Toledo), Lis Møller (Aarhus University), ElisabethOx- feldt (UniversityofOslo), Ilona Pikkanen (Tampere University and the Finnish Literature Society), Robert W. Rix (University of Copenhagen), and AnnaLena Sandberg (University of Copenhagen) Advisory Board Charles Armstrong (UniversityofBergen), Jacob Bøggild (University of Southern Denmark, Odense), David Fairer (University of Leeds), Karin Hoff (Georg-August-Universität Göttingen),Stephan Michael Schröder (University of Cologne), David Jackson (University of Leeds),Christoph Bode (LMU München), CarmenCasaliggi (Cardiff Metropolitan University), Gunilla Hermansson (University of Gothernburg), Knut Ljøgodt (Nordic Institute of Art, Oslo), and Paula Henrikson (Uppsala University) Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 © 2019, Vandenhoeck & Ruprecht GmbH & Co. KG, Göttingen Journal for the Study of Romanticisms (2019), Volume 08, DOI 10.14220/jsor.2019.8.issue-1 Romantik Journal for the Study of Romanticisms Volume 08|2019 V&Runipress Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 © 2019, Vandenhoeck & Ruprecht GmbH & Co. KG, Göttingen Journal for the Study of Romanticisms (2019), Volume 08, DOI 10.14220/jsor.2019.8.issue-1 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 © 2019, Vandenhoeck & Ruprecht GmbH & Co. KG, Göttingen Journal for the Study of Romanticisms (2019), Volume 08, DOI 10.14220/jsor.2019.8.issue-1 Contents Foreword .................................... 7 Articles Andreas Hjort Møller (Aarhus University) Bards, Ballads, and Barbarians in Jena. Germanic Medievalism in the Early Works of Friedrich Schlegel ...................... 13 Kang-Po Chen (University of Edinburgh) ‘Sick within the rose’sjust domain’:the ‘Material Sublime’ and Pathological Poetics in Keats’s Isabella;or, the Pot of Basil ........ 35 D. Gareth Walters (Swansea University) Espronceda’s The Student of Salamanca and Chopin:Poetry and Musical Structures ............................... 59 Marie-Louise Svane (University of Copenhagen) Tragedy or Melodrama?The Greek War of Independence in European Theatre ..................................... 77 Natalya Khokholova (North Eastern Federal University, RF) Gossiping and Ageing Princesses in Odoevsky’sSocietal Tales .....111 Troy Wellington Smith (University of California, Berkeley) Romantic Latecomers:P.L.Møller on Pushkin, Kierkegaard, and Flaubert ....................................131 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 © 2019, Vandenhoeck & Ruprecht GmbH & Co. KG, Göttingen Journal for the Study of Romanticisms (2019), Volume 08, DOI 10.14220/jsor.2019.8.issue-1 6 Contents Reviews Gunilla Hermansson C. J. L. Almqvist, Murnis:Idyllion. Ed. by Petra Söderlund .........155 John Öwre The Reception of William Blake in Europe. Ed. by Morton Paley and Sibylle Erle ...................................159 Mattias Pirholt Fantasiens morgonrodnad. By Ljubica Miocevic ..............163 About the Authors ...............................167 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 © 2019, Vandenhoeck & Ruprecht GmbH & Co. KG, Göttingen Journal for the Study of Romanticisms (2019), Volume 08, DOI 10.14220/jsor.2019.8.issue-1 Foreword Romantik: Journal for the Study of Romanticisms started out as aprint pub- lication but has for anumber of years been aperiodical with open access. All articles published during the lifetime of the journal are now available in various digital formats. The development of the journal reflects how the reading, viewing, and conceptualization of romanticism is changing. As students and researchers, we find ourselves in the fortunate situation that anumber of digital projects related to the texts and art of the romantic period havereceived funding, and more such projects will undoubtedly emerge in the years to come. There is acertain comfort and convenience in handling print material, but the new digital platforms bring several advantages: they are searchable in terms of content, and it is often possible to zoom in to study artworks or facsimiles of book pages close up. The photomechanical reproductions that are confined to the printed book remain inflexible in this regard. One of the romantic-period artists who has benefitted greatly from the new technology is William Blake (1757–1827). His composite art, combining both illustration and text (what he himself referred to as ‘illuminated printing’ in his 1793 prospectus), can now be accessed as high-resolution images on The William Blake Archive (http://www.blakearchive.org/). Launched in 1996, this archivewas one of the earliest free websites focusing on romantic texts with a visual component. The scope, content, and features of the platform haveex- panded exponentially over the years. As all areas of individual plates or pictures havebeen tagged with detailed descriptions, it is now possible to explore alarge body of Blake’spictorial art by using the image-searching tool. Users are able to scrutinise the minute particulars of an image in high resolution without the need to touch the often fragile original, and the Archive affords users the possibility of comparing different versions of plates from several copies. For example, one may study the widely diverse colourings of Blake’sillustration to his famous poem ‘The Tyger’ and ponder how each version may convey adifferent idea of the animal, which come across as either ferocious or (most often) alittle tame. Such acomparativestudy would havebeen well-nigh impossible for researchers Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 © 2019, Vandenhoeck & Ruprecht GmbH & Co. KG, Göttingen Journal for the Study of Romanticisms (2019), Volume 08, DOI 10.14220/jsor.2019.8.issue-1 8 Foreword in pre-Archive days, as copies of Blake’sworks are scattered at research li- braries, rare books reading rooms, as well as private collections across the UK and North America. Alarge number of those who havebought Blake’sworks havegiven the Archive permission to include thousands of images and texts on the website. The reason why we havesingled out The Blake Archive as an example of technological innovation is not only because it remains at the forefront of de- velopment, but because 2019 is also aparticular interesting year for scholars and admirers of Blake’swork. This year will see aspecial exhibition of Blake’sworks at Tate Britain, London (William Blake: The Artist,from 11 September 2019 to 2 February 2020). Tate Britain has for long time had apermanent Blake room in the museum, but the new exhibition will be the largest display of Blake’spaintings since 2000, with over 300 original works on show. The sheer scale of the ex- hibition contrasts with the more modest display Blake himself organised in 1809, abovehis brother’shumble hosiery shop in Broad Street, London. At that time, only sixteen works were shown. Nonetheless, Blake thought this number suffi- cient to promote himself as apainter worthy of public attention. This washis attempt to avoid being pigeonholed as merely an engraver and sometime illus- trator. The exhibition in 1809 wasadisaster, with only afew visitors, and it became apublic humiliation for Blake. (Accounts of and reactions to the ex- hibition can be found in G. E. Bentley’s Blake Records,newed. [London and New Haven, Yale University Press, 2004], pp. 281–295). Visitors to the 2019 Tate Britain exhibition will be able to experience the small domestic room in which Blake showed his art. Perhaps are-evaluation of what wasonoffer 210 years ago is now in order?The press release also promises that one of Blake’sdreams may be fulfilled. Blake had grand ambitions as avisual artist and wanted to show his works as ‘frescoes’ on ahuge scale. However, his commercial failure as an artist made this unrealisable in his own time. This aspiration is brought to fruition through the use of digital technology, which will enable the immersiveexperience that Blake intended his art to provide. The twopaintings The Spiritual Form of Nelson Guiding Leviathan (c. 1805–1809) and The Spiritual Form of Pitt Guiding Behemoth (c. 1805) will be digitally en- larged and projected onto the gallery wall. So, in the museum world, too, ad- vances in technology are opening up avenues for the new ways of consuming and exploring romantic art. This issue of Romantik features areview of the recently published The Re- ception of William Blake in Europe (edited by Morton Paley and Sibylle Erle). This is the first comprehensiveguide to the extensiveinfluence that Blake had across Europe. Chapters on individual countries or regions examine Blake’sphenom- enal impact on literary production, art, music, and culture, but also his status as a Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 © 2019, Vandenhoeck & Ruprecht GmbH & Co. KG, Göttingen Journal for the Study of Romanticisms (2019), Volume 08, DOI 10.14220/jsor.2019.8.issue-1 Foreword 9 political and countercultural icon throughout the twentieth and twenty-first cen- turies. But the contents of the 2019 number of Romantik also range well beyond the work of William Blake.