Abstract
This essay examines Theodore Watts-Dunton's fascinating, best-selling, but now neglected, novel "Aylwin (1898)," focusing on the work's links with the poetry of Coleridge, its specific treatment of looking and the gaze as affected by trauma, and its complex structure of repetition and transmission. The article proposes that by such means and through its prefigurement of what Frank Kermode identifies in the work of modernists as the 'Romantic Image' "Aylwin" reveals the lines of a Romantic genealogy that extends from Coleridge through Rossetti to writers such as Yeats, demonstrating the hidden continuity between Romantic and late Victorian literature and mapping the crucial transition from late Victorian literature to literary modernism.
Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
