298 BOOK REVIEWS of Austen’s novels and letters, Jane Austen’s Erotic Advice succeeds most in demonstrating how “eroticism resides in the very forms of [Austen’s] fiction” (n). Raff’s argument that the phenomenon of “Janeism” is in fact the consequence of Austen’s intentional design, and stems from the novel ist’s rhetorical seduction of her readers, will surely challenge—and perhaps change—the way we analyze and discuss the often cult-like devotion the author and her works continue to inspire. Less successful, at least for this reader, is Raff’s characterization of Austen as a stalwart “prophet of love” (41), as well as her reduction of each ofthe later novels to a kind of roman a clef (10) about Fanny Knight. In terms of the former, I am not the only reader to note that, in her letters to Knight, Austen does not always come off as the confident, Pygmalion-like creator Raff describes; indeed, she not only expresses hesitation at offering love advice, but flatly instructs her niece not to rely upon the opinion of others in such matters: “Your affec tion gives me the highest pleasure, but indeed you must not let anything depend on my opinion. Your own feelings & none but your own, should determine such an important point” (Letter to Fanny Knight, Wednesday, 30 November 1814). And for the latter, the larger payoff of Raff’s insis tence that Fanny Knight is a “key” to our interpretation of the later novels is not entirely clear (or, in my opinion, convincing). Perhaps Austen’s own advice applies as well to critical interpretation as to matters of the heart in this respect: “Your own feelings & none but your own, should determine such an important point.” John C. Leffel SUNY, Cortland Ann Wierda Rowland. Romanticism and Childhood: The Infantilization of British Literary Culture. Cambridge: Cambridge University Press, 2012. Pp. vii+ 305. $90. Wordsworth’s inventive adage on childhood—“The Child is Father of the Man”—has by now become a familiar topos. For Wordsworth, this figuration of the child as generative source represented the poet’s idealized vision of a primitive, innocent, yet profound state of being. It is from this famous phrase that Ann Wierda Rowland initiates her recent study, Romanticism and Childhood: The Infantilization of British Literary Cul ture. Because Wordsworth’s child embodies those qualities we associate with Romantic poetry—imagination, innocence, sentiment, spirituality, naturalism—Rowland sets out to uncover the rhetorical precedents that made Wordsworth’s seemingly paradoxical articulation an epistemological SiR, 55 (Summer 2016) BOOK REVIEWS 299 possibility at the end of the eighteenth century. She aims to track the his tory ofan idea: the Enlightenment search for origin stories that brought to gether a discourse of childhood and infancy with the history of history itself. Wordsworth’s ideological child was not produced in a vacuum. By trac ing writings across the Scottish Enlightenment to Romantic-era antiquarianism , Rowland demonstrates how Wordsworth’s notion was not only possible, but also inevitable. She begins with Wordsworth as well as with Percy Bysshe Shelley, whose parenthetical aside in Defence ofPoetry es tablished yet another important paradigm: “the savage is to ages what the child is to years.” For Wordsworth and Shelley, as well as for eighteenthcentury thinkers such as Jean-Jacques Rousseau, Adam Smith, Etienne Bonnot de Condillac, and others, the imagery ofchildhood (the infant, the savage) epitomized the foundations and beginnings of human culture. Through its analogical links to the savage, the infant formed the iconic roots out of which European nations sprouted. Even though Wordsworth and Coleridge had enthusiastically ex perimented with child-like rustic and primitive diction in their Lyrical Bal lads, by the time Romanticism’s second generation rolled around, this seemingly rampant “infantilization” ofliterary culture was met with dispar agement. Byron haughtily dismissed Wordsworth’s “namby-pamby” vers ification, and newspapers complained frequently about the simplistic nursery-rhyme stylistics then becoming popular. The new vogue for natu ralism and primitivism, Rowland surmises, threatened poetry’s ethos as a masculinized form of high art. Taking these complaints of “infantilization” seriously, however, Rowland confronts such early nineteenth-century cri tiques in order to suggest that the fashion for the language...
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