By Tim Killick
Even with the significance of the assumption of the 'tale' inside Romantic-era literature, brief fiction of the interval has bought little awareness from critics. Contextualizing British brief fiction in the broader framework of early nineteenth-century print tradition, Tim Killick argues that authors and publishers sought to offer brief fiction in book-length volumes as a manner of competing with the unconventional as a valid and prestigious style. starting with an outline of the improvement of brief fiction in the course of the overdue eighteenth century and research of the publishing stipulations for the style, together with its visual appeal in magazines and annuals, Killick indicates how Washington Irving's highly well known collections set the level for British writers. next chapters reflect on the tales and sketches of writers as assorted as Mary Russell Mitford and James Hogg, in addition to didactic brief fiction by means of authors reminiscent of Hannah extra, Maria Edgeworth, and Amelia Opie. His e-book makes a resounding case for the evolution of brief fiction right into a self-conscious, deliberately smooth shape, with its personal recommendations and imperatives, cut loose these of the radical.
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Extra resources for British Short Fiction in the Early Nineteenth Century
H. C. Hare, and even Washington Irving himself for the essay on the Peter Klaus legend: see Frank P. Riga and Claude A. Prance, Index to the London Magazine (New York and London: Garland, 1978), p. 52. 51 John Gross, The Rise and Fall of the Man of Letters: Aspects of English Literary Life Since 1800 (London: Weidenfeld and Nicolson, 1969), p. 12. 28 British Short Fiction in the Early Nineteenth Century The New Monthly Magazine First published in 1814, the New Monthly Magazine was remodelled in 1821 by its impresario owner, Henry Colburn, and given a new emphasis on original material.
W. Procter, and the humorist Theodore Hook (who went on to edit the magazine in the 1830s). Arguably, however, the genius loci of the magazine was Horace Smith, whose comic material was the backbone of the magazine’s prose pieces throughout the 1820s. Smith’s sketches and anecdotes do not quite match up to any modern idea of a short story, but he was a popular and inﬂuential author during his own lifetime. His numerous contributions to the New Monthly Magazine were collected in Gaieties and Gravities (1825), and the effects of his arch and jaunty style are discernible in many other sketch-writers of the period, notably in the lighter pieces of Irving and Mitford.
Editor of the Gentleman’s Magazine. Writers risked getting lost in these myriad representations. James Hogg frequently complained about his boorish misrepresentation by Wilson in the ‘Noctes Ambrosianae’, but was himself adept at manipulating the editorial and narrative voices of periodical publications. 48 Hogg became an expert at using letter-writing to create complex narrative webs. 49 The letter gives an account of the alleged suicide of the sinner and the digging up of his grave: a meta-narrative which has provided academics with a wealth of fertile material, much of which is still being sifted.
British Short Fiction in the Early Nineteenth Century by Tim Killick