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The Poetry of Erasmus Darwin: Enlightened Spaces, Romantic Times

contemporary military technologies, particularly with his insistence that war is cinema and cinema is war. Nonetheless, he has been used more widely in discussions of war, for example in work by Mary Favret and Gillian Russell, who have traced a history of pre-cinematic media technologies back into the Romantic era. Mieszkowski draws heavily from Virilio’s underlying concerns thatwar is asmuch about perceptions as physical force. A further and strikingly original idea proposed by Cox is that we might see print culture in relation to a militarized culture of speed thatVirilio linkswith the emergence ofmodernity –whatVirilio terms dromocracy. Cox thus points to the possibility of reading Romantic print alongside the newly established military telegraph systems (first introduced into Britain in the 1790s), seeing each as embodying elements of this emergent, militarized, dromocratic modernity. One contrasting point raised in Beaton’s study of Byron, however, is the question of how Romantic-era individuals found themselves more directly involved as participants in war. While work on watching war is of obvious importance and centrality to the Romantic era, some attention could also be given to the extensive ways in which Britons were mobilized for war in this period, whether directly through military service, or less directly through civic participation or charity raising. Several historical studies have appeared in recent years that detail just how extensively militarism and war preparation penetrated into the British nation during these years. Britain was distant from war, but invasion threats continually loomed, at least until the first decade of the nineteenth century. Mobilization or the logistical preparation for war is also a crucial dimension in Virilio’s philosophy alongside his interest in perception and war. It was also crucial to Britain in the Romantic era as it was plunged into the experience of total war. But taken together, these studies suggest ongoing concern with the intersection of Romanticism and war. They point to a diversity of approaches, but share a concern with the totalizing and global nature of war in this period, all reminders that this was an era convulsed by war.