What, for a poet, could 'passive making' mean? What does Wordsworth
imagine he is doing, in commanding the moon to shine, the wind to
blow in 'Tintern Abbey'? Heralded as the age of social contract and
the Rights of Man, romanticism-this book argues-instead engages in
non-contractual poetics. In the period's burgeoning economics of
'fiat' money, as much as in the natural and supernatural
imagination of its poets, the legacy of romanticism involves a
series of absolutist gestures of verbal fiat: a rhetoric subject to
historical and philosophical pressures, which so far has largely
escaped critical attention. Focused on William Wordsworth, but in
constant range of his poet-successors and modern critics, Romantic
Fiat argues for the dialectical perils of the urge to reach freedom
from illusion. The study presents a rich and emphatic new argument
for a double romantic signature of 'let there be' and 'let be.'
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