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• W215400462 abstract "However much readers and critics psychoanalyze William Hazlitt's persona in Liber Amoris (1823), it is abundantly clear that H simply wants what he cannot have--sex with S. In first part of Liber Amoris, William Hazlitt constructs--supposedly re-constructs--conversations he had with Sarah Walker, daughter of landlord of boarding house where he lived from 1820 until 1822, when he moved to Scotland to facilitate his divorce from his first wife. He persists in his attempts to seduce her but is met with chaste resistance, despite his assertions that she sits in his lap, kisses him, and lets him take with her (302). ambiguity of other he takes with young woman makes us wonder if he is closer to his goal--literally and figuratively--than literary propriety permits him to reveal; but, more importantly, linguistic ambiguity raises questions about veracity of Hazlitt's portrayal of her in his short of love, literal translation of Liber Amoris. Considering liberties he claims she has allowed him to take, no elaborate linguistic c my emphasis): The gates of Paradise were once open to me too, and I blushed to enter but with golden keys of love! I would die; but her lover--my love of her--ought not to die. When I am dead, who will love her as I have done? (325). These similar sounds further point to wordplay in rifle. text calls into question, therefore, whether we can accept this as actual experience or as Hazlitt's highly literary and textual creation. point of these maneuvers is to suggest that, despite its tortured histrionics and passionate despair, Liber Amoris is locus of great textual and intertextual playfulness that emphasizes its literariness and warns against reading work simply as autobiography, as many readers and critics have done. For embedded in very phrase Hazlitt uses, other liberties, is concept of book and other books which in and of itself calls for marking of intertextual relationships. Hazlitt takes all kinds of liberties with Sarah Walker and with his obsession with her in order to forge work that finally, despite its biographical resonances, casts him in role of the New Pygmalion--an undeniably literary performance that coincides to remarkable degree with Mary Shelley's Frankenstein, or Modern Prometheus of 1818. After discussing some of ways in which biographical and psychological determinism have prohibited freer readings of text, I will suggest that intertextual echoes of Frankenstein in Liber Amoris help free literary text from biographical determinism as well as mythological determinism, showing it in new relationship with texts of period that may help us see work as a key text for Romantic passion, as one critic has suggested we should (McFarland 53). But I should point out that what follows is not discussion of sources for Liber Amoris, nor is it an assertion of Bloomian notions of influence: I mean simply to show that Hazlitt's text can be opened up to permit readers' taking other with it, perhaps reviving it from quietus of interpretative determinacy and critical neglect. Hazlitt's Liber Amoris: or New Pygmalion has long held an anomalous place among fiction of Romantic period and, as many critics and readers have expressed it, an aberrant one among Hazlitt's otherwise respectable literary works (Daniels 200). However, along with Mary Shelley's tales, Liber Amoris is an important instance of Romantic short fiction. …" @default.
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• W215400462 date "1997-03-22" @default.
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• W215400462 title "Taking Other Liberties with Hazlitt's Liber Amoris" @default.
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