Romantic Vision and Gothic Balladry: Anne Bannerman's Tales of Superstition and Chivalry

Abstract

AbstractLike her women Romantic contemporaries Joanna Baillie and Anna Barbauld, the Scottish poet Anne Bannerman (1765–1829) took an interest in the imaginative possibilities conferred by the tradition of British visionary poetics, a longstanding mode of imaginative production engaged by authors such as Chaucer, Sidney, Spenser, Shakespeare, Milton and many of the canonical Romantics, including William Blake, William Wordsworth and Percy Bysshe Shelley. Evoking the style, conventions and disruptive objectives of Judeo‐Christian scriptural prophecy, visionary poetics created an opportunity for authors to express unpopular and even radical ideas within culturally sanctioned literary frameworks such as dream narratives, portrayals of seers and imaginative accounts of mystical or otherworldly experiences. In her second published volume of poetry, 1802's Tales of Superstition and Chivalry, Bannerman makes use of several themes, images and tropes associated with visionary poetry in what appears at first glance to be a volume of Gothic ballads. That pieces such as ‘The Prophetess of the Oracle of Seäm’ and ‘The Prophecy of Merlin’ place her Tales within the context of vatic literature becomes more compelling when we consider how Bannerman redraws certain conventions of the visionary subgenre and so transforms the Gothic idiom.