By Bill Burton
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British critics have tended to be more interested in the Englishness of English art, even where the purpose is counter-cultural or political. Each approach has its virtues, but they are different. One may reasonably suspect that the difference is one that might have resided in the creative consciousness of the Romantics themselves. For the British critic, we may suggest an undervaluation of the internationalist dimension of Romanticism and an attendant lack of curiosity about theory. The American critic, reciprocally, has been thought deficient in the attention to local-historical detail, though not at all lacking in awareness of a strictly literary history.
Blank verse lyric really begins not with Wordsworth and Coleridge, but with Akenside and his circle. " Countercurrents of Enlightenment culture, on this view, become main currents of Romantic thought: Swedenborg and Young lead to Blake, Cambridge Companions Online © Cambridge University Press, 2006 Romanticism and Enlightenment 29 who illustrated Young's Night Thoughts and appears to have modeled the nine parts of The Four Zoas (as Shelley would the structure of Queen Mab) on Young's nine nights; Berkeley funnels into Coleridge, Klopstock's Biblical dramas into Byron's, and Rousseau and Diderot (virtually exact contemporaries of Johnson, Gray, and Hume) into everybody.
These manifestations add up to a great deal of important writing in the Romantic period that prolongs Enlightenment paradigms, even while the mainstream of Romantic lyric, Romantic mythological closet drama (Manfred, Prometheus Unbound, Faust), and also the familiar essay of Lamb and Hazlitt differs profoundly from Enlightenment norms. The first objection to the simple view of Romanticism as a rejection of Enlightenment is that it delivers a woefully impoverished picture of what was actually written by major figures in the decades after 1800.