‘Rise Britons, rise now from your slumber’: the revolutionary call to arms
in Ballads and songs of Peterloo
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

This section begins by briefly examining the historical provenance of the poetic trope of awakening and its significance within radical culture prior to Peterloo, as well as those poems and songs written in the immediate aftermath of the massacre, thereby highlighting the intertextual dialogue between the poems which is illustrated not only by an ideological unity but also by the commonality of motifs, forms, styles and even tunes. Shelley’s Masque of Anarchy provides a well-known example of this trope and is used in the introduction to this section as an illustration of how radical poems and songs in the Romantic period utilised revolutionary discourse dating back to the sixteenth century. The section comprises ten poems which are exhortatory ballads or apostrophes. At times of national crisis, poets have called on their readers to ‘arise’ and awaken’, often drawing on those past events to prove that, if England could get rid of two kings, it could certainly get rid of a third.


All Time Past Year Past 30 Days
Abstract Views 99 32 1
Full Text Views 35 6 0
PDF Downloads 21 5 1