Critics wishing to argue for Austen’s inclusion within Romanticism tend to find Austen’s religion a problem; I argue to the contrary that it is in her religious attitudes that we discover the Romantic Austen.
While A Defence of Poetry proposes that art’s ‘slowness’ can resist modernity’s tyrannical acceleration, Shelley’s verse is notoriously swift. I argue that The Triumph of Life mimics mechanic speed to pain the reader into taking up arms to stop Power.
This paper considers the intersection of Romantic-period literary imagination with that of the second scientific revolution, looking at how the emergence of a distinct subject, the Explorer, relies on Author effects essential to proprietary authorship while being subject to systems of authorization alien to literary writers.