The next meeting of the London-Paris Romanticism Seminar will be held on Friday 15 November 2019 and feature an international panel on British Responses to the 1830 Revolution in France. We are delighted to welcome as our guest speakers three outstanding scholars: Professor Ian Haywood (University of Roehampton), whose paper is entitled How to Do Revolution: Three Glorious Days in a Caricature Magazine; Dr James Grande (King’s College London), who will talk on Cobbett, Captain Swing, and the July Revolution; and Dr Laurent Folliot (Sorbonne University, Paris), who will present a response to their papers. Biographies and abstracts appear below.
The seminar will be held in the Bloomsbury Room (G35, ground floor) at Senate House, University of London, starting at 5.30. The papers and response will be followed by a discussion and wine reception. Everyone is invited, including postgraduates and members of the public. Admission is free and no registration is needed.
Ian Haywood is Professor of English at the University of Roehampton, London, where he is Director of the Centre for Research in Romanticism. His publications include The Revolution in Popular Literature (Cambridge, 2004), Bloody Romanticism (Palgrave, 2006) and Romanticism and Caricature (Cambridge, 2013) – and two co-edited collections of essays, The Gordon Riots (Cambridge, 2012) and Spain in British Romanticism (Palgrave, 2018). His next book is The Rise of Victorian Caricature, to be published by Palgrave in 2020.
James Grande is Lecturer in Eighteenth-Century Literature and Culture at King’s College London. His publications include William Cobbett, the Press and Rural England (Palgrave, 2014) and, together with John Stevenson, The Opinions of William Cobbett (Ashgate, 2013) and William Cobbett, Romanticism and the Enlightenment (Pickering & Chatto, 2015). He was a postdoctoral research fellow on the ERC-funded project ‘Music in London, 1800-51’ and is currently writing a book on music, religious dissent and literary culture and editing a new World’s Classics selection of Hazlitt’s essays with Jon Mee. He edits the Keats-Shelley Review.
Laurent Folliot is Associate Professor in British Literature at the University of Paris-Sorbonne. He is an alumnus of the Ecole Normale Supérieure (Paris) and Cambridge University. He has published a number of articles on British Romanticism (Wordsworth, Coleridge, Hazlitt, De Quincey, William Gilbert), as well as on Thomas Gray, Jane Austen and Charles Dickens, and his book on Wordsworth’s and Coleridge’s nature poetry is forthcoming at Lyon/Grenoble University Press. He is also a translator (Hazlitt, Melville, Sterne, William Temple, Dickens, Shaftesbury), and his new verse translation of Thomson’s Seasons was published last year by Classiques Garnier.
How to Do Revolution: Three Glorious Days in a Caricature Magazine
Delacroix’s justly famous Liberty Leading the People dominates our visual memory of the French revolution of 1830, but in this talk I want to discuss a remarkable set of images which appeared in a popular British caricature magazine within weeks of the July Days. Thomas McLean’s periodical Looking Glass (1830-36) was a new type of caricature magazine composed entirely of lithographed caricatures of political events. In September 1830 its principal artist Robert Seymour designed a special issue devoted to the French revolution, and I will show that Seymour compressed the whole upheaval into an impressive, economical narrative of successful insurrection. Simultaneously reportage and liberal propaganda, I will argue that Seymour’s unique ‘memorandum’ sent a clear message to British political classes about the dangers of ignoring the will of the people. (Ian Haywood)
Cobbett, Captain Swing, and the July Revolution
The veteran radical William Cobbett celebrated news of the July Revolution (or, as he put it, ‘French Revolution, No. II’), claiming that it made ‘reform in England … inevitable’. This paper examines his response to the 1830 revolution, which included the decision to send two of his sons to Paris as foreign correspondents for the Political Register, a concerted attempt to reach a French audience, and strategies to turn events in France to political advantage in Britain. In doing so, Cobbett argues for the interconnectedness of French and British reform, in a way that challenges the dominant view of Cobbett as an insular ‘little Englander’. This analysis continues through the outbreak of machine-breaking in the winter of 1830-1 that become known as the ‘Captain Swing’ riots. In contrast to dominant historical accounts of these protests as having tightly defined political ends, I identify what Cobbett described as a ‘Rural War’ within the international revolutionary moment of 1830. (James Grande)