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• W3150872813 abstract "Patriotism is one of those treacherous words. Few causes, either in the eighteenth century or today, are advanced by describing themselves as unpatriotic, yet those which insist too strongly upon their patriotism always end up sounding narrowly partisan. The party-political nature of patriotism was taken for granted in eighteenth-century Britain. It was, in essence, a form of commercially-minded Whiggism which became the idiom of Britishness after the defeat of the 1745 Jacobite Rebellion, and was successfully nationalized, just as the Bush administration has successfully nationalized Republicanism as the current idiom of US patriotism. Dustin Griffin's study of Patriotism and Poetry in Eighteenth-Century Britain explores this process of nationalization, and argues (in the lap of current critical consensus) that eighteenth-century poetry was, right up to the 'pre-romantic' period, insistently political and public in its aspirations. Even Gray's deeply inward 'Elegy' is shown to have positioned itself, thematically and through its diction, as a national poem. This is a valuable book, but much more on account of its serial treatments of individual poets than on account of its general thesis about patriotism. Linda Colley's Britons is always, and uncritically, in the background, and, at the general level, Griffin's book amounts to little more than a literary enlargement of Colley's historical conclusions. He does not take on board the extensive historical amplification and critique which followed her work, or, indeed, new work on the imperial dimensions of Britishness by Colley herself. Patriotism, though undoubtedly a central poetic theme of this period, is not as effective in generating the re-periodization of the literary history of the eighteenth century as Griffin hopes. He treats patriotism as a rather vague set of allegiances, little inflected by differences of region, gender or party politics. He underestimates the active role played by expatriate Scots, such as James Thomson, in the creation of a composite British identity, and he glosses over the Welshness of Dyer, the Irishness of Goldsmith and northern-ness of Akenside. At the high political level, also, there is a conceptual looseness which allows him to argue, at the end of the book, that 'Windsor Forest and The Task share a political stance' with regard to their patriotism. It also allows him to treat patriotism as an off-the-peg literary garment, rather than a set of strategic bids for power by different social and political groups. The book ends with a chapter on Ann Yearsley which acknowledges, but does not really take on board, new arguments, advanced recently by Harriet Guest and others, about the feminization of patriotism, and the ways in which the later eighteenth-century discourse of patriotism enabled women to make wider civic claims. Griffin sees Yearsley as a poet deploying the traditional language of male patriotism, an argument certainly borne out in part by his informative discussion of her fragment Brutus, a poem which Pope planned but never wrote. This case aside," @default.
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• W3150872813 date "2016-01-01" @default.
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• W3150872813 title "Versifying the Nation" @default.
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