Titlebook: Romanticism and Popular Magic; Poetry and Cultures Stephanie Elizabeth Churms Book 2019 The Editor(s) (if applicable) and The Author(s) 20

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Introduction,anticism and economies of popular magic (as distinct from wider occult cultures; occult philosophy, alchemy, hermetic societies, mesmerism or stage illusion). The chapter explains the importance of carefully attuning this study to the work of social historians in order to identify those figures and

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A Profile of Romantic-Period Popular Magic: Taxonomies of Evidence,mbiguous legal status in the wake of the 1735 Witchcraft Act. Material manifestations of the cunning man’s trade are delineated using three ‘case studies’ which investigate in detail some of the textual evidence for magical practices that exist from the Romantic period. These case studies include tw

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Adjacent Cultures and Political Jugglery,d continuity. On a national level, Edmund Burke, alarmed by the political theology of Richard Price’s radical sermon of 1789, ., characterised the dissenting preacher as a conjuror who entranced his congregation with revolutionary rhetoric. Thomas Paine’s rejoinder was to accuse Burke’s . itself of

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,John Thelwall’s Autobiographical Occult,the subject of a relentless state-sponsored campaign, Thelwall spent three years in Llyswen, Brecknockshire, on the river Wye. The political anxiety felt during this ‘retirement’ manifested itself dramatically in the adoption of an identity as conjuror. Alienated by a village that distrusted him and

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and Occult Identities,belief in, popular magic as a vehicle for the empowerment of the socially disenfranchised. I focus in particular on readings of ‘Goody Blake and Harry Gill’ and ‘The Thorn’ in order to explore the role of the cunning woman as a figure of potential social emancipation. The chapter also reveals the tr

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Dedication

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Coleridge and Curse,ating systems of superstition on which it relied, with his earlier radical beliefs?– a refocusing that culminated in ‘Fears in Solitude’ and ‘France: an Ode’; recantations of his prophetic pronouncements in ‘Ode on the Departing Year’.

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