Notes Introduction 1. Qtd. in Edmond McAdoo Gagey, Ballad Opera (New York: Columbia University Press, 1937), 4· 2. A healthy sample of this abuse can be found in the appendix to Natascha Wiirzbach, The Rise ofthe English Street Ballad, 1550-1650, trans. Gayna Walls (Cambridge : Cambridge University Press, 1990), 253-84. 3· G. Gabrielle Starr provides a nuanced account ofthe interplay between the community and the inwardness generated by the crossing of the lyric and the novel in Lyric Generations: Poetry and the Novel in the Long Eighteenth Century (Baltimore: Johns Hopkins University Press, 2004). 4· Unsigned review of Lyrical Ballads, The British Critic 17 (February 1801): 13m. 5· ''All you that either hear or read" can be found in a song from Thomas D'Urfey, The Two Queens ofBrentford, in New Operas (London, 1721), 58. My understanding of the ballad is indebted to Wiirzbach; Mark W. Booth, The Experience of Songs (New Haven, Conn.: Yale University Press, 1981); and especially to Dianne Dugaw, Warrior Women and Popular Balladry, 1650-1850 (1989; repr., Chicago: University of Chicago Press, 1996). 6. Albert B. Friedman makes this observation in what remains a useful literaryhistorical study, The Ballad Revival: Studies in the Influence ofPopular on Sophisticated Poetry (Chicago: University of Chicago Press, 1963), 8-10. I discuss many of the same authors (Burns, Macpherson, Scott, and Wordsworth) as does Peter T. Murphy in his elegant Poetry as an Art and Occupation in Great Britain, 176o-1830 (Cambridge: Cambridge University Press, 1993), and, like him, I am interested in the role of poetic form. For better or worse, the scope of my inquiry is wider and more invested in delineating the relationship between literature and other institutions. 7· For a survey of recent criticism on lyric, see Mark Jeffreys, "Lyric Poetry and the Resistance to History;' in New Definitions ofLyric: Theory, Technology, and Culture, ed. Mark Jeffreys (New York: Garland, 1998), ix-xxiv. See also Jeffreys's "Ideologies of Lyric: A Problem of Genre in Contemporary Anglophone Poetics;' PMLA no, no. 2 (March 1995): 196-205, although his account is symptomatic of recent criticism in ignoring lyric between the Renaissance and Romanticism. 8. Relying on Romantic and Modernist lyric, Paul de Man exposes the fictions of lyric "voice" in "The Rhetoric of Temporality;' first printed in Interpretation: Theory and Practice, ed. Charles S. Singleton (Baltimore: Johns Hopkins University Press, 1969), 173-209. For a recent elaboration of this approach, see Pr6spero Saiz, "Decon- 230 Notes to Pages s-6 struction and the Lyric;' in From Ode to Anthem: Problems ofLyric Poetry, ed. Reinhold Grimm and Jost Hermand (Madison: University of Wisconsin Press, 1989), 193-249· 9. See Thomas M. Greene, "Ben Jonson and the Centered Self;' Studies in English Literature, 150D-1900 10, no. 2 (Spring 1970): 325-48 and, in a different key, Joel Fineman , "Shakespeare's 'Perjur'd Eye;" Representations 7 (Summer 1984): 69-71, 77-78. For a brilliant redescription of the Early Modern lyric self as the product of a dialectical relationship between lyric's "fictional" and "ritual" modes, see Roland Greene, Post-Petrarchism: Origins and Innovations of the Western Lyric Sequence (Princeton, N.J.: Princeton University Press, 1991). 10. Jerome J. McGann, The Romantic Ideology: A Critical Investigation (Chicago: University of Chicago Press, 1983); seeM. H. Abrams, "Structure and Style in the Greater Romantic Lyric;' in Romanticism and Consciousness, ed. Harold Bloom (New York: W. W. Norton, 1970), 201-29. n. "What Is Poetry?" in John Stuart Mill: Literary Essays, ed. Edward Alexander (Indianapolis , Ind.: Bobbs-Merrill, 1967), 56. For another influential contraction of poetry , see Mikhail Bakhtin's tendentious opposition of it to the heteroglossia of the novel in The Dialogic Imagination, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (Austin: University of Texas Press, 1981), 286-88. 12. Theodor W. Adorno, "Lyric Poetry and Society;' trans. Bruce Mayo, in Critical Theory and Society: A Reader, ed. Stephen Eric Bronner and Douglas Mackay Kellner (New York: Routledge, 1989), 163. 13. Clifford Siskin, The Work of Writing: Literature and Social Change in Britain, 1700-1830 (Baltimore: Johns Hopkins University Press, 1998), 136. For a classicist's critique of the shrinkage of choral lyric to Erlebnislyrik, see W. R. Johnson, The Idea of Lyric: Lyric Modes in Ancient and Modern Poetry (Berkeley and Los Angeles: University of California Press, 1982), 176--95. 14. Siskin, 132. 15. Anne Janowitz, Lyric and Labour in the Romantic Tradition (Can1bridge: Cambridge University Press, 1998), 12. For a similarly illuminating account, see Sarah M...