Romantic Tragedies The Dark Employments of Wordsorth, Coleridge, and Shelley [Paperback]

Tragedies by Wordsworth, Coleridge and Shelley probe England's responses to the French Revolution and the poets' relationships with each other.Wordsworth, Coleridge and Shelley all wrote tragedies in response to the turbulent political and intellectual climate in Britain, during and after the French Revolution. Unveiling the remarkable artistry of these mostly unperformed plays, this book examines the playwrights' hostility to royalist Britain as well as their relations with each other.Wordsworth, Coleridge and Shelley all wrote tragedies in response to the turbulent political and intellectual climate in Britain, during and after the French Revolution. Unveiling the remarkable artistry of these mostly unperformed plays, this book examines the playwrights' hostility to royalist Britain as well as their relations with each other.Troubled politically and personally, Wordsworth and Coleridge turned in 1797 to the London stage. Their tragedies, The Borderers and Osorio, were set in medieval Britain and early modern Spain to avoid the Lord Chamberlain's censorship. Drury Lane rejected both, but fifteen years later, Coleridge's revision, Remorse, had spectacular success there, inspiring Shelley's 1819 Roman tragedy, The Cenci, aimed for Covent Garden. Reeve Parker makes a striking case for the power of these intertwined works, written against British hostility to French republican liberties and Regency repression of home-grown agitation. Covertly, Remorse and The Cenci also turn against Wordsworth. Stressing the significance of subtly repeated imagery and resonances with Virgil, Shakespeare, Racine, Jean-Fran?ois Ducis and Schiller, Parker's close readings, which are boldly imaginative and decidedly untoward, argue that at the heart of these tragedies lie powerful dramatic uncertainties driven by unstable passions  what he calls, adapting Coleridge's phrase for sorcery, 'dark employments'.Part I. Wordsworth: 1. Reading Wordsworth's power: narrative and usurpation in The Bl��