It is a narration with autobiographical touches. There is a thoughtful and charming account of the experiences and observations of the author. The love-story encompasses all his pains, sorrows and desires. A heart-felt book, it offers a deep analysis of human feelings....

The identification of reading with translation has a distinguished literary pedigree. This volume, comprising many individual but conceptually interrelated studies, sets out to multiply perspectives on the concept of translation.

What did Wordsworth wear, and where did he walk? Who was Byron’s new mistress, and how did his marriage fare? Answers—sometimes accurate, sometimes not—were tantalizingly at the ready in the Romantic era, when confessional poetry, romans à clef, personal essays, and gossip columns offered readers exceptional access to well-known authors. But at what point did familiarity become overfamiliarity? Widely recognized as a social virtue, familiarity—a feeling of emotional closeness or comforting predictability—could also be dangerous, vulgar, or boring. In The Limits of Familiarity, Eckert persuasively argues that such concerns shaped literary production in the Romantic period. Bringing together reception studies, celebrity studies, and literary history to reveal how anxieties about familiarity shaped both Romanticism and conceptions of authorship, this book encourages us to reflect in our own fraught historical moment on the distinction between telling all and telling all too much.

"When William Hazlitt published Liber Amoris, his 'book of love', in 1823, scandal rocked the literary world. He had chosen as the object for his grand Romantic passion a mere serving maid - thinking her the epitome of innocence and beauty - and she had disappointed him by proving just as tawdry as all the rest. But what of Sarah Walker, the subject of Hazlitt's unfortunate obsession? In a magnificent work of imaginative sympathy, Anne Haverty rescues her from silence and obscurity to let her tell her side of the story. 'He has put me in a book,' she says. 'He has used but a steel nib for his weapon but he has destroyed me as sure as if he used a blade and impaled me upon it.' She describes her gradual seduction by the wild man of letters, day by day, hour by hour, as she tries to ward off inappropriate advances without offending him and can't help but be fascinated by his stories of revolutionary France and the pleasures of Italy. With an extraordinary lightness of touch, Haverty summons up London life in an early nineteenth century boarding house and the mutual incomprehension between the literary world above-stairs and the more practical, le

This book visits the Romantic legacy that was central to the development of literature and culture from the 1830s onward. Although critical accounts have examined aspects of this long history of indebtedness, this is the first study to survey both Nineteenth and Twentieth century culture. The authors consider the changing notion of Romanticism, looking at the diversity of its writers, the applicability of the term, and the ways in which Romanticism has been reconstituted. The chapters cover relevant historical periods and literary trends, including the Romantic Gothic, the Victorian era, and Modernism as part of a dialectical response to the Romantic legacy. Contributors also examine how Romanticism has been reconstituted within postmodern and postcolonial literature as both a reassessment of the Modernist critique and of the imperial contexts that have throughout this time-frame underpinned the Romantic legacy, bringing into focus the contemporaneity of Romanticism and its political legacy. This collection reveals the diversity and continuing relevance of the genre in new and exciting ways, offering insights into writers such as Browning, Ruskin, Pater, Wilde, Lewis, MacNeice, and Auster.