Rookwood

Rookwood is a novel by William Harrison Ainsworth published in 1834. It is a historical and gothic romance that describes a dispute over the legitimate claim for the inheritance of Rookwood Place and the Rookwood family name.

The initial response from the literary public was positive, and Ainsworth immediately became famous with the novel's publication. In a letter to Crossley dated 6 May 1834, Ainsworth claimed, "The book is doing famously well here - making, in fact, quite a sensation. It has been praised in quarters of which you can have no idea - for instance, by Sir James Scarlett and Lord Durham. I have also received a most flattering letter from Bulwer-Lytton, and it has been the means of introducing me to Lady Blessington and her soirees. In fact, as Byron says, I went to bed unknown, arose, and found myself famous. Bentley has already begun to speak of a second edition - he wants to advertise in all the papers"."

An immediate review in The Quarterly Review said, "His story is one that never flags" and "we expect much from this writer". A review in The Spectator claimed that the work was "Written with great vigour and wonderful variety". The Atlas ran a review which stated, "It is long since such a work as this has been produced - the author exhibits ability of no ordinary kind."

In terms of classification and judgment, Leo Mason, in 1939, claimed that "Rookwood, Jack Sheppard, and Crichton [...] are historical romances and must take their chances as such." Keith Hollingsworth, in his 1963 analysis of the Newgate novels, declared, "Rookwood is a story by Mrs. Radcliffe transplanted [...] ' Substituting' is the accurate word for Ainsworth's process. There is probably no single item of originality in all the profession of Gothic elements." In 1972, George Worth argued for the importance of the gothic elements in Rookwood: "There is no better representative of the Gothic strain in Ainsworth's work than Rookwood [...] which begins with shudders that do not often abate as the novel continues. David Punter, in 1996, as focused on the novel as part of the gothic genre when he argued that Rookwood and Jack Sheppard "are important only as another link in the uneven chain which leads from Godwin, via Lytton, onto Reynolds and Dickens, and which thus produces a form of Gothic connected with the proletarian and the contemporary."

In 2003, Stephen Carver argued, "Rookwood was one of the most successful novels of the nineteenth century. The fact that it has now been largely forgotten is in part an indication of the dynamic nature of literary production during this period, the star of 1834-5, Ainsworth, being rapidly eclipsed by Dickens in 1836." He continued by pointing out, "Stylistically, Rookwood is a wonderful enthusiastic amalgam: blending gothic with Newgate, historical romance with underworld anti-heroes, 'flash' dialogue and song, all luridly illustrated by George Cruikshank. This was what made Rookwood such a novelty in 1838 although, in many ways, the parts could be said to be greater than the whole." (wikipedia.org)

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Rookwood

Rookwood is a novel by William Harrison Ainsworth published in 1834. It is a historical and gothic romance that describes a dispute over the legitimate claim for the inheritance of Rookwood Place and the Rookwood family name.

The initial response from the literary public was positive, and Ainsworth immediately became famous with the novel's publication. In a letter to Crossley dated 6 May 1834, Ainsworth claimed, "The book is doing famously well here - making, in fact, quite a sensation. It has been praised in quarters of which you can have no idea - for instance, by Sir James Scarlett and Lord Durham. I have also received a most flattering letter from Bulwer-Lytton, and it has been the means of introducing me to Lady Blessington and her soirees. In fact, as Byron says, I went to bed unknown, arose, and found myself famous. Bentley has already begun to speak of a second edition - he wants to advertise in all the papers"."

An immediate review in The Quarterly Review said, "His story is one that never flags" and "we expect much from this writer". A review in The Spectator claimed that the work was "Written with great vigour and wonderful variety". The Atlas ran a review which stated, "It is long since such a work as this has been produced - the author exhibits ability of no ordinary kind."

In terms of classification and judgment, Leo Mason, in 1939, claimed that "Rookwood, Jack Sheppard, and Crichton [...] are historical romances and must take their chances as such." Keith Hollingsworth, in his 1963 analysis of the Newgate novels, declared, "Rookwood is a story by Mrs. Radcliffe transplanted [...] ' Substituting' is the accurate word for Ainsworth's process. There is probably no single item of originality in all the profession of Gothic elements." In 1972, George Worth argued for the importance of the gothic elements in Rookwood: "There is no better representative of the Gothic strain in Ainsworth's work than Rookwood [...] which begins with shudders that do not often abate as the novel continues. David Punter, in 1996, as focused on the novel as part of the gothic genre when he argued that Rookwood and Jack Sheppard "are important only as another link in the uneven chain which leads from Godwin, via Lytton, onto Reynolds and Dickens, and which thus produces a form of Gothic connected with the proletarian and the contemporary."

In 2003, Stephen Carver argued, "Rookwood was one of the most successful novels of the nineteenth century. The fact that it has now been largely forgotten is in part an indication of the dynamic nature of literary production during this period, the star of 1834-5, Ainsworth, being rapidly eclipsed by Dickens in 1836." He continued by pointing out, "Stylistically, Rookwood is a wonderful enthusiastic amalgam: blending gothic with Newgate, historical romance with underworld anti-heroes, 'flash' dialogue and song, all luridly illustrated by George Cruikshank. This was what made Rookwood such a novelty in 1838 although, in many ways, the parts could be said to be greater than the whole." (wikipedia.org)

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Rookwood

Rookwood

by William Harrison Ainsworth
Rookwood

Rookwood

by William Harrison Ainsworth

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Overview

Rookwood is a novel by William Harrison Ainsworth published in 1834. It is a historical and gothic romance that describes a dispute over the legitimate claim for the inheritance of Rookwood Place and the Rookwood family name.

The initial response from the literary public was positive, and Ainsworth immediately became famous with the novel's publication. In a letter to Crossley dated 6 May 1834, Ainsworth claimed, "The book is doing famously well here - making, in fact, quite a sensation. It has been praised in quarters of which you can have no idea - for instance, by Sir James Scarlett and Lord Durham. I have also received a most flattering letter from Bulwer-Lytton, and it has been the means of introducing me to Lady Blessington and her soirees. In fact, as Byron says, I went to bed unknown, arose, and found myself famous. Bentley has already begun to speak of a second edition - he wants to advertise in all the papers"."

An immediate review in The Quarterly Review said, "His story is one that never flags" and "we expect much from this writer". A review in The Spectator claimed that the work was "Written with great vigour and wonderful variety". The Atlas ran a review which stated, "It is long since such a work as this has been produced - the author exhibits ability of no ordinary kind."

In terms of classification and judgment, Leo Mason, in 1939, claimed that "Rookwood, Jack Sheppard, and Crichton [...] are historical romances and must take their chances as such." Keith Hollingsworth, in his 1963 analysis of the Newgate novels, declared, "Rookwood is a story by Mrs. Radcliffe transplanted [...] ' Substituting' is the accurate word for Ainsworth's process. There is probably no single item of originality in all the profession of Gothic elements." In 1972, George Worth argued for the importance of the gothic elements in Rookwood: "There is no better representative of the Gothic strain in Ainsworth's work than Rookwood [...] which begins with shudders that do not often abate as the novel continues. David Punter, in 1996, as focused on the novel as part of the gothic genre when he argued that Rookwood and Jack Sheppard "are important only as another link in the uneven chain which leads from Godwin, via Lytton, onto Reynolds and Dickens, and which thus produces a form of Gothic connected with the proletarian and the contemporary."

In 2003, Stephen Carver argued, "Rookwood was one of the most successful novels of the nineteenth century. The fact that it has now been largely forgotten is in part an indication of the dynamic nature of literary production during this period, the star of 1834-5, Ainsworth, being rapidly eclipsed by Dickens in 1836." He continued by pointing out, "Stylistically, Rookwood is a wonderful enthusiastic amalgam: blending gothic with Newgate, historical romance with underworld anti-heroes, 'flash' dialogue and song, all luridly illustrated by George Cruikshank. This was what made Rookwood such a novelty in 1838 although, in many ways, the parts could be said to be greater than the whole." (wikipedia.org)


Product Details

ISBN-13: 9798888309643
Publisher: Bibliotech Press
Publication date: 02/10/2025
Pages: 308
Product dimensions: 6.00(w) x 9.00(h) x 0.94(d)

About the Author

William Harrison Ainsworth was born on February 4, 1805, in King Street, Manchester, to Thomas Ainsworth and Ann Harrison. Although he trained in law, he found little interest in the legal field and was drawn instead to literature and the arts. During his time studying in London, he developed connections with notable figures in publishing, including John Ebers, who managed the King's Theatre and later became his father-in-law. Ainsworth married Fanny Ebers in 1826, and they had three daughters: Anne, Emily, and Fanny. His literary career began early, but his rise to popularity came with his historical novels, which combined romanticism, gothic elements, and vivid portrayals of England s past. He was known for works that brought to life famous events and figures such as highwaymen, royal plots, and haunted lineages, appealing to readers fascinated by folklore and history. Ainsworth s stories were often serialized and widely read in Victorian England. He maintained a strong literary presence through the mid-nineteenth century and continued publishing prolifically throughout his life. He passed away on January 3, 1882, in Reigate at the age of 76, leaving behind a legacy tied closely to the evolution of the historical novel in English literature.

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was thy life," he exclaimed; " a brief, bright sparkle, followed by dark, utter extinction ! " Saying which, he flung the expiring ashes of the floweret from his hand. The Skeleton Hand. Duch. You are very cold. 1 fear you are not well after your travel. Ha ! lights.Oh horrible ! Fer. Let her have lights enough. Duch. What witchcraft doth he practise, that he hath left A dead hand here ? Duchess of Mal/y. The sexton's waning candle now warned him of the progress of time, and having completed his arrangements, he addressed himself to Luke, intimating his intention of departing. But receiving no answer, and remarking no signs of life about his grandson, he began to be apprehensive that he had fallen into a swoon. Drawing near to Luke, he took him gently by the arm. Thus disturbed, Luke groaned aloud. "I am glad to find you can breathe, if it be only after that melancholy fashion," said the sexton ; " but come, I have wasted time enough already. You must indulge your grief elsewhere." " Leave me," sighed Luke. " What, here 1 It were as much as my office is worth. You can return some other night. But go you must, nowat least, if you take on thus. I never calculated upon a scene like this, or it had been long ere I brought you hither. So come away; yet, stay; but first lend me a hand to replace the body in the coffin." "Touch it not," exclaimed Luke; "she shall not rest another hour within these accursed walls. I willbear her hence myself." And, sobbing hysterically, he relapsed into his former insensibility. " Poh ! this is worse than midsummer madness," said Peter; " the lad is crazy with grief, and all about a mother who has been four-and-twenty years in her grave. I will e'en puther out of the way myself." Saying which, he proceeded, as n...

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