By Nikki Hessell

ISBN-10: 1107013577

ISBN-13: 9781107013575

Samuel Johnson, Samuel Taylor Coleridge, William Hazlitt and Charles Dickens all labored as parliamentary newshounds, yet their stories within the press gallery haven't bought a lot scrutiny. Nikki Hessell's research is the 1st paintings to think about all 4 of those canonical writers as gallery journalists, supplying an in depth photo of this interesting episode of their careers. Hessell demanding situations preconceived notions in regards to the function that emergent literary genius performed of their luck as journalists, arguing in its place that they have been consummate gallery pros who tailored themselves to the journalistic criteria in their day. that pro historical past fed in to their artistic paintings in unforeseen methods. via drawing on a wealth of proof in letters, diaries and the clicking, this research presents clean insights into the ways that 4 nice writers learnt the craft of journalism and taken these classes to endure on their occupation as literary authors.

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Extra resources for Literary Authors, Parliamentary Reporters: Johnson, Coleridge, Hazlitt, Dickens

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31 Gentleman’s Magazine (Supplement 1738): 700–702. A new and more detailed key was published a few years later; see the Gentleman’s Magazine (Supplement 1742): 699. , respectively. 33 For the first instance of this new practice, see the London Magazine (July 1743): 313. 34 Gentleman’s Magazine (June 1738): 283, italics in the original. 28 Samuel Johnson: beyond Lilliput claiming to be the more accurate record. ”37 While never claiming the status of anything approaching verbatim reports, the magazines nevertheless implied that they were engaged in the most accurate reporting that readers could expect.

24 Baker, William Hazlitt, 192 and 193; and Birrell, William Hazlitt, 96, respectively. , New Writings, i: 27. 26 Mulvihill, “Hazlitt on Parliamentary Eloquence,” 132. 27 Hazlitt, The Spirit of the Age, xi: 150–58. There are similar insights about other politicians in “On the Difference Between Writing and Speaking,” xii: 262–79, especially 265–75. For a discussion of these insights, see Mulvihill, 132–46, and Anderson and King, “William Hazlitt as a Critic of Parliamentary Speaking,” 47–56. ”28 Duncan Wu’s recent work on Hazlitt in the edition New Writings of William Hazlitt and the biography William Hazlitt: The First Modern Man avoids many of these oversimplifications.

Once we envisage these authors in this collaborative state, it is also necessary to ask some questions about authorial style. What does it mean to call Johnson’s reporting “Johnsonian” if it is in part the product of the forces of convention? What does it mean to attribute a report to Hazlitt on the basis of style when it is in fact the work of several hands? 16 Reporting and the individual talent Parliamentary reporting, I would like to propose, provides a radical challenge to our understanding of the style of each of these authors, because it is essentially about the submersion of individual style.

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Literary Authors, Parliamentary Reporters: Johnson, Coleridge, Hazlitt, Dickens by Nikki Hessell

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