El otro Romanticismo inglésParodia y crítica en The Anti-Jacobin, Warreniana y Rejected Articles

Resumo

The enormous critical production on Romanticism in general and British Romanticism in particular - traditionally focused on studies ofthe great poetic figures of the so-called "Big Six" by Moore and Strachan (2010, 1)- has gradually opened up new fields, rejecting and resisting from being considered a restrictive canon. Without doubt, with the now accepted chronological expression "the long Eighteenth Century" and the inclusion of literary and cultural works from different discourses, the concept of Romanticism has now expanded to limits unsuspected in previous decades and allows us to investigate postulates that not only revise the classic concepts of creativity, freedom or romantic imagination, but also bring to light parallel discourses that revise and question them. Among them, this work has selected parody as a critica! discourse of fashions, behaviours, authors, styles and romantic obsessions that, converted into a rhetorical resource of ingenuity, humour and intelligence within cultural and literary productions, starts from what were the canonical romantic lines of the late 18th century and the first decades of the 19th century to generate other Iines that are also romantic, but with a very different style. In this context, the extraordinary contribution of Strachan, his compilation of parodie romantic texts, has been essential in the history of British Romanticism and in the 1990s, establishing the basis from which we started to defend "another Romanticism" that needs to be brought to light. Hence this work proposes the evaluation and analysis of a triple corpus of parodies from the British Romantic period that has been little analyzed until now: The Anti-Jacobin (1797-98) by different authors guided by George Canning, Frere and Ellis and edited by Gifford, Warreniana (1824) by William Frederick Deacon, and Rejected Articles (1826) by P. G. Patmore, an original prose imitation of the verse work Rejected Addresses (1812) by Horace and James Smith. On the one hand, it has a special interest in dealing with works by authors traditionally outside the academic canon, and on the other hand, in converging with the Romantic canon per se, complementing it and offering another angle from literary parameters and in journalistic, artistic and cultural texts with very different formats, and exploiting the resources above all of poetry that was traditionally and mistakenly conceived and explained for many years as the only romantic genre. This work therefore reveals first of all a type of parodie works in the context of the gaps existing throughout its critical history to its study. Secondly, it contextualizes parody in the Romantic movement by revealing not only the historical difficulty of defining its limits but also its current critical consideration. It highlights the difficulties of the term parody and points to contributions throughout history that explain its success in the Romantic context. All this is proven in three specific works of literary journalism where literary parody openly exposes the use and abuse of romantic authors and their styles. It is shown that parody becomes a useful weapon in the service of political positions, advertising campaigns, or to reflect the game of the literary market. In short, the work proposes a starting point for the recovery, revision and visibility of parodie texts from the Romantic period in the context of the press where newspapers, magazines, advertisements and pamphlets show an original and critical revision of contemporary issues in different formats, always starting from an imitative and burlesque style of well-known romantic works and with a sharp treatment. The study ofthis "other Romanticism" thus allows us to contribute to the keys oftraditional Romanticism from a new angle and with a renovating perspective.