Literary periodicals like the Quarterly Review and Blackwood’s Magazine were the crucible in which Romantic reputations were made and unmade, debated, compared, and sometimes cruelly slandered. Today, it is often the cruellest of these reviews that survive, cited smilingly by modern critics to demonstrate the originality of the authors in question and their reviewers’ ineptitude or resistance to change. The study of William Hazlitt (who receives what is admittedly some of the harshest treatment of the Romantic periodical press) is often approached in this manner. But without sufficient context, the mere recounting of these attacks may elide the subtleties of Romantic-era reviewing and its particular rules of engagement. The present study attempts a more even-handed approach. By focusing on a specific criticism of Hazlitt’s work—namely, his alleged over-use of slang—and by tracing this criticism through its different iterations across magazines, it provides a more nuanced account of Hazlitt’s reception and, by extension, of the professional culture of reviewing. To the same end, the study also considers the writing of Hazlitt’s contemporary and fellow essayist Thomas De Quincey, whose own use of slang is more frequent and more conspicuous than Hazlitt’s but who, for reasons both professional and political, is spared the same critical vitriol.
The 1821 ‘Confessions’ is an oft-cited example of the Romantic association between creativity and drug use. However, upon closer inspection, De Quincey's memoir appears less concerned with questions of creativity than with questions of receptivity and interpretation. This sets him apart from otherwise similar authors of addiction with whom he is frequently conflated: from Coleridge, naturally, but also from Baudelaire, whose 1860 Les Paradis artificiels, ostensibly a translation of De Quincey's work, diverges considerably from its source material. Baudelaire, a poet, uses De Quincey as a starting point to investigate the effects of drug use on the poetic imagination. But De Quincey himself is less interested in the effects of opium on creativity than its effects on memory and the intellect. Differently from Les Paradis artificiels, his memoir is concerned from beginning to end with the capacity of the opium-eater to feel, to analyse, and to interpret – and not necessarily to create.
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