ROM anticT e XtualitieS literature and print culture, 1780–1840 • Issue 19 (Winter 2009) centre for editorial and intertextual research cardiff university Romantic Textualities is available on the web @ www.cf.ac.uk/encap/romtext ISSN 1748-0116 Romantic Textualities: Literature and Print Culture, 1780–1840, 19 (Winter 2009). Online: Internet (date accessed): <www.cf.ac.uk/encap/romtext/issues/rt19.pdf>. © 2009 Centre for Editorial and Intertextual Research Published by the Centre for Editorial and Intertextual Research, Cardiff University. Typeset in Adobe Garamond Pro 11 / 12.5, using Adobe InDesign cs4; images and illustrations prepared using Adobe Illustrator CS4 and Adobe PhotoShop CS4; final output rendered with Adobe Acrobat 9 Professional. Editor: Anthony Mandal, Cardiff University, UK Associate Editor: Tim Killick, Independent Scholar Reviews Editor: Nicola Lloyd, Cardiff University, UK Advisory Board Peter Garside (Chair), University of Edinburgh, UK Jane Aaron, University of Glamorgan, UK Stephen Behrendt, University of Nebraska, USA Emma Clery, University of Southampton, UK Benjamin Colbert, University of Wolverhampton, UK Edward Copeland, Pomona College, USA Gavin Edwards, University of Glamorgan, UK Gillian Dow, University of Southampton / Chawton House Library, UK Caroline Franklin, University of Swansea, UK Isobel Grundy, University of Alberta, Canada David Hewitt, University of Aberdeen, UK Gillian Hughes, Independent Scholar Claire Lamont, University of Newcastle, UK Robert Miles, University of Victoria, Canada Rainer Schöwerling, University of Paderborn, Germany Christopher Skelton-Foord, University of Durham, UK Kathryn Sutherland, University of Oxford, UK Aims and Scope: Formerly Cardiff Corvey: Reading the Romantic Text (1997–2005), R omantic Textualities: Literature and Print Culture, 1780–1840 is an online journal that is committed to fore- grounding innovative Romantic-studies research into bibliography, book history, intertextuality, and textual studies. To this end, we publish material in a number of formats: among them, peer- reviewed articles, reports on individual/group research projects, bibliographical checklists, and biographical profiles of overlooked Romantic writers. As of Issue 15 (Winter 2005), Romantic Textualities also carries reviews of books that reflect the growing academic interest in the fields of book history, print culture, intertextuality, and cultural materialism, as they relate to Romantic studies. c OntentS iSeS u 19 Winter 2009 • Editorial 5 Articles Scott, Hogg, and the Gift-Book Editors: Authorship in the Face of Industrial Production 8 Richard J. Hill From Eco-Politics to Apocalypse: The Contentious Rhetoric of Eighteenth-Century Landscape Gardening 21 Markus Poetzsch Collecting the National Drama in Revolutionary England 35 John Pruitt Reports (non peer-reviewed) Sir Anthony Carlisle and Mrs Carver 54 Don Shelton The nglishE Novel, 1800–1829 & 1830–1836 : Update 6 (August 2005–August 2009) 70 Peter Garside, with Sharon Ragaz, Anthony Mandal, and Jacqueline Belanger Book Reviews Andrew Radford and Mark Sandy (eds), Romantic Echoes in the Victorian Era (2008) 78 Ceri Hunter Walter Scott, Peveril of the Peak, edited by Alison Lumsden (2007) 81 Porscha Fermanis Walter Scott, The Siege of Malta and Bizarro, edited by J. H. Alexander, Judy King, and Graham Tulloch (2008) 83 Porscha Fermanis Peter Simonsen, Wordsworth and the Word-Preserving Arts: Typographic Inscription, Ekphrasis and Posterity in the Later Work(2007) 86 Gavin Edwards Nicola J. Watson, The Literary Tourist: Readers and Places in Romantic & Victorian Britain(2006) 88 Benjamin Colbert Edoardo Zuccato, Petrarch in Romantic England (2008) 91 Maria Paola Svampa Notes on Contributors 95 Books Received 97 Instructions for Authors 100 e ditorial Anthony Mandal • Following a slight delay, the current issue of Romantic Textualities continues to expand its remit by providing a wide range of materials, which engages with various intertextual and print-cultural aspects of the Romantic period. The three featured articles deal with less obvious aspects of Romanticism, which nevertheless played a significant role in forming the popular discourses of the era, drawing together authorship and new readerships, eco-politics and the aes- thetics, and the role of minor drama within British politics and culture. These essays are followed by two reports providing biographical and bibliographical information on Romantic era fiction and its authors. In his essay, Richard Hill looks into the gift-books and annual culture of the 1820s and ’30s, noting a ‘power-struggle in the publishing arena’ that emerged as a result of ‘production practices and technological developments that chal- lenged traditional modes of book production’. By focusing on the interactions between two major Edinburgh authors, James Hogg and Walter Scott, Hill argues that in the late 1820s a fundamental shift was precipitated in the role of the author in the production of popular literature. The bourgeois aesthetic popularised by the gift-book was itself at odds with the enterprise of canonical Romantic poetry, which makes Scott’s participation all the more intriguing, although this was a participation driven in many ways by pecuniary motives. His response to balancing the financial promise offered by gift-books with de- mands for material made by their publishers was to recycle older and rejected pieces through this medium. By contrast, Hogg threw his lot in with the gift- books much more fulsomely, taking delight in the opportunities—both fiscal and aesthetic—offered by this new literary form. This new form offered Hogg the vehicle he required for generic experimentation, allowing him to generate a regular income initially in a relationship of mutual appreciation with his publishers. Sadly, however, this relationship was to sour, owing to the increas- ing subordination of the author’s role as a consequence of the advances in the production of illustrations that initially generated the gift-book phenomenon. Looking to the turn of the eighteenth century, Markus Poetzsch’s essay considers the intersection between the rhetoric of landscape and the polemics of the revolutionary era, arguing that ‘the dispute over gardening and other forms of rural ornamentation, which pitted so-called landscape improvers like Repton and the adherents of Lancelot Brown against theorists of the picturesque, 5 6 Romantic Textualities 19 reached a boiling point in the 1790s through its incorporation of the rhetoric of Anti-Jacobinism’. In the debates between Repton and his followers on one side and Knight and Price on the other, the analogy between gardening and politics enabled the exploration of the social and national symbolism of ‘Nature’. The rivalry between the landscape improvers and celebrants of the picturesque drew a definitive line between practioners and theorists of gardening, contextualised within what Poetzsch calls the ‘envenomed nature of the so-called “Picturesque Debate” ’. Increasingly, the political anxieties of the period charged the aesthetics of landscape improvement with polemical potential, in works such as Knight’s The Landscape (1794) and Price’s Essays on the Picturesque (1794), in which an antipathy towards Reptonian levelling of the landscape belies an antagonism towards the potential class ‘levelling’ that may follow. In light of such attempts to appropriate the natural world within human political discourses, it might indeed be Nature’s ‘inappropriable reality’ as an alien space that will, after all, offer the most useful reading of our relationship to it. In his study of the collecting of minor drama, John Pruitt also explores the revolutionary context of the literary landscape: appearing within a Britain pockmarked by anxieties of fragmentary nationhood, the collection and bind- ing of minor dramatic plays legitimised them within English theatre history, despite their Continental origins and levelling tendencies, with Pruitt seeking to ‘provide a basis for greater contextualisation of these collections in terms of the tenuous position of the theatre in England’s revolutionary culture’. John Bell’s British Theatre(1776–78) and six-volume supplement of 1784–88 set a model for Walter Scott’s own three-volume compilation, The British Drama (1804), which aligned the generic distribution of dramatic forms (tragedy, comedy, farce, opera) against an axis of national identity. Pruitt examines the contemporary view of the decline in traditional dramatic forms, particularly in the wake of Burkean concepts of ‘legitimacy’ and ‘illegitimacy’, with conservative critics lauding ‘legitimate’ (i.e. loyalist) and deploring ‘illegitimate’ (i.e. innovative but deviant) forms. While critics (such as Wordsworth and Coleridge) criticised the infectious nature of socially and aesthetically levelling plays that threatened the stability of the national drama as a symbol of British cultural heritage, such attempts were themselves countered by the producers and publishers of minor theatricals, such as John Cross, whose Circusiana emphasised the moral qualities of this ‘lesser’ branch of the genre. With reviewers critiquing French pedantry and German melodrama, a search to define an appropriate middle ground in a British national drama became a vehicle for exploring and constructing nationhood through entertainment and spectacle. The essays are followed by Don Shelton’s report on the prominent metro- politan surgeon, Sir Anthony Carlisle, which provides an accounts of putative links