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• W927772664 abstract "This essay examines Liber Amoris in relation to a gendered sense of Hazlitt's insecurity as a writer. His of provides an extended and agonized examination of his self-confessedly precarious position in the realm of letters. It displays his anxiety about simultaneously inhabiting the polite realm of literature and the vulgar world of popular entertainments. It also reveals how an egalitarian Rousseavian idealism becomes enmeshed in the messy business of rank and the proprieties of gender. Liber Amoris, for all its difficulty and offensive strangeness to many contemporary critics, is entirely characteristic of Hazlitt's ambivalent response to the business of literature and perhaps best illustrates the anxiety and paradoxical difficulty with which his by turns refined and pugnacious masculinity negotiates and transgresses the boundaries of polite culture, gender, and rank. More than most writers currently studied within the Romantic canon, Hazlitt is ill at ease with his professional identity as a writer, and he thus provides us with an opportunity to reassess the way in which Romantic literary culture itself is anxiously defined against the 'vulgar' and the popular. I Liber Amoris currently occupies a fraught position not only within Hazlitt criticism, but also within general arguments about the canon of Romantic writing. In recent years, Hazlitt's book of love has generated an interesting set of debates that straddle the sexual/political and the generic. (1) At the same time as it has been thought of as resistant to a Romantic tradition of reading, it has been seen as representative of the gendered power relations that have made such a tradition possible. It has been cited in support of the idea of a displacement of women's voices and writing in the development of a Romantic literary historiography and as symptomatic of a creative reserve at the heart of Romanticism. Simultaneously, the text's resistance to traditional accounts of genre has made it the focus and source of particular but related forms of critical uncertainty and anxiety. For readers of Hazlitt's new Pygmalion questions of irony and morality converge disturbingly with those of aesthetics and history. Ever since Marilyn Butler's influential essay addressing the question of the book's capacity for critical self-fashioning, commentators have argued over the relative claims of its artifice and its truthfulness, its capacity to engender embarrassment or to offer transcendence. In such a context the will to ironize can be peculiarly strong. Placing the text within a general tradition of Romantic confessional writing has been one way of attempting to stabilize its generic uncertainty. Greg Dart locates Liber Amoris at the end of the line in a Rousseauvian tradition of autobiography premised on egalitarian openness and transparency. For him, Hazlitt's fails to live up to the idealism of its antecedents. Although he ascribes a self-consciousness and semantic richness to the text's failure of transparency (what he calls its auto-critique), he sees its movement from confession to self-justification as part of a general reneging on hope that reveals an inability to find any politicized public realm for the manifestation of its Jacobin energy of will over circumstance. (2) In contrast, Tim Fulford argues that it endorses a Rousseauvian egotism more honest than the confessional sublime of Wordsworth. (3) Paul Hamilton, in his brief account of Hazlitt's stylistic dead-end in the context of the deployment of a reserve in the discourses of gender, labor, and knowledge within reformulations of the Romantic canon, suggests Liber Amoris fails precisely because of its self-censorship. For Hamilton, Hazlitt's most disturbing text is characterized by a peculiar lack of artistic transcendence and an impoverished pairing of the discourses of art and nature. (4) Sonia Hofkosh signalled the symptomatic nature of Hazlitt's sexual politics for measuring the exclusions of women from the Romantic canon. …" @default.
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• W927772664 date "2009-03-22" @default.
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• W927772664 title "Liber Amoris: Unmanning the Man of Letters" @default.
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