| Contents |
Introduction: romanticism as the origin and end of the fantastic -- The fairy way of writing -- Interlocked definitions: the fantastic, the sublime, the uncanny -- The sublime and the fantastic: Joseph Addison, Longinus, Edmund Burke -- Romantic wildness and fantastic modernity in anti-apparition writings, the ballad -- Controversy, and romance criticism -- The fantastic and the fabulous past: Richard Hurd and James Beattie -- Gothick pasts and gothick futures: Horace Walpole and Mary Shelley -- "This wild strain of imagination": Samuel Johnson and John Hawkesworth on wonder -- Fairy unexplained in Ann Radcliffe's the mysteries of Udolpho -- Supernatural modernity in Walter Scott's Redgauntlet and James Hogg's The private memoirs and confessions of a justified sinner -- The floating corpse of fairyland: William Wordsworth and Fable's dark abyss -- On "two faults" in a "work of such pure imagination": Samuel Taylor Coleridge and Anna Letitia Barbauld on the rime of the ancient mariner -- "Faery lands forlorn": John Keats' perilous realm of faery -- Afterword: a typology of the fantastic: possession, fragmentation, dispossession and domestication -- Appendix: a chronology of early critical sources on the fantastic. |
