I96 Reviews time theparallels arewith the Welsh rather than the Scots, and Campbell's Gertrude centres on amassacre perpetrated byMohawks led by thewhite Major JohnButler. Already there is amove away from the radical representations of the I790s towards aweaker Romanticism, seen in Mrs Hemans andMrs Barbauld and perhaps inFeni more Cooper (forHazlitt 'theAmerican Walter Scott'), though the focus here is on theBritish, but tocomplete his tripartitestructure, in 'NativeAmerican Writing' Ful fordallows Norton, William Apes, JohnHunter (to give them their more manageable English names), and others a say,drawing on theirown hybridity in effect to decon struct some of the stereotypes. In an already overcrowded book it ishard to do them justice, though that isnever what they received. Fulford's cut-offpoint, I830, is that of theRemoval Act, when Manifest Destiny was beginning to rule out more benign alternatives glimpsed in theprevious century, if more often in fiction than in fact. NEWCASTLE UNIVERSITY JOHN SAUNDERS Romantic Metropolis: The Urban Scene ofBritish Culture, I780-1840. Ed. by JAMES CHANDLER and KEVIN GILMARTIN. Cambridge: Cambridge University Press. 2006. Xiii+29 I pp. ?5O. ISBN 978-0-52I-83901-3. This book is 'notabout London as such', theeditors announce. But, as theyconcede, London 'looms large' inmost of the essays collected inRomantic Metropolis (p. 2). In fact, although the volume is framed by Ian Duncan's discussion of Edinburgh as 'cultural metropolis of empire' (p. 5I) and Celeste Langan's analysis of Byron's response to the 'cultural deterioration and political reduction' ofVenice to a 'petty province of an empire' after '1,300years of uninterrupted sovereignty' (pp. 263, 26I), all the other essays and much of the introduction are primarily concerned with the social and cultural significance of theBritish capital in theRomantic period. JonKlancher discusses the 'cultural distinctiveness' ofRomantic cosmopolitanism, arguing thatdebates around the idea of the 'cosmopolis' were themselves a 'key mode' throughwhich the 'intellectual field'was restructured at this time (p. 79). JohnBarrell attempts tomap the locations ofLondon Corresponding Society meetings, exploring the rhetoric of those thatopposed the society in terms of their identification of both theLCS and London itself with monstrosity. In an illuminating essay on Blake, Sa ree Makdisi argues that thepoet's cosmopolitan radicalism needs tobe distinguished from theLockean heritage ofTom Paine, JohnHorne Tooke, and members of the LCS. Frances Ferguson's suggestive discussion of envy is themost loosely tied of the essays to the theme of the book: she examines the topos of envy in thework of Co leridge and Dickens and in theBenthamite educational tradition, speculating that its increased significance in such work was a function of the fact that social relationships (on which envy is founded) are necessarily more of a concern in the crowded streets of London than theymight be, say, on the under-populated hills near the Somerset village of Nether Stowey. Three of the essays are concerned with urban spectacle: Anne Bermingham argues that against the rejection of the cosmopolis as a subject for fine art,Ackermann's shop and his magazine, The Repository of theArts, pro vided a feminized and commercialized set of responses to theurban; lainMcCalman considers what he calls 'Rogue Romanticism' in the theatrical collaboration of the showman Alessandro di Cagliostro and the artist Philippe Jacques de Loutherbourg; and Simon During gives a succinct account of the fortunes of a popular theatre, the Lyceum incentral London, and thevicissitudes of itsproductions in theperiod. Peter Manning provides a dramatic account of theconstruction of the figureof theRoman ticpoet through theurban scene of sometimes competing lecture series byColeridge and Hazlitt. And Anne Janowitz discusses the translation of the 'natural sublime' into MLR, I03.1, 2008 197 urban spaces by poets such asMary Robinson and Blake in theRomantic period and by JamesThomson ('B.V.') towards the end of thenineteenth century. One of thepurposes of thisdiverse series of essays iscollectively to redefineRoman ticism,both in termsof a canon and in termsof a set of values, interests, topoi, tropes, genres, and indeed media. As the editors remark, commenting onWordsworth but also implicitly on the largerproject of (canonical) Romanticism, 'themode hemarks as metropolitan [. . .] structures his work as, exactly, thatwhich is to be resisted' (p. i6). But the ambition of the editors and their contributors is also to go beyond...