Charles Lamb spent two periods working at the library of the British Museum, in 1804–1807 and 1826–1827, as preparation for a volume of extracts from old plays in the Garrick collection entitled Specimens of English Dramatick Poets (published 1808) and latterly a series of contributions based on the same collection that appeared in William Hone’s Table Book (1827). In the roughly twenty years separating these two periods both the library itself and Lamb’s working life changed significantly, Lamb having left the employment in the East India Office to become a ‘superannuated man’ in 1825. This chapter examines these changes in the context of the emergence of scientific and literary Institutions in the early decades of the nineteenth century. In tandem with the British Museum, the libraries of these Institutions facilitated the emergence of institutionalized reading or professional literary ‘research’, with long-term implications for the emerging literary field in the Romantic period. Lamb’s two sojourns working on the Garrick plays offer a perspective from which to gauge diversification in reading practices in the early nineteenth century, who could read in institutional contexts, and what, ultimately, such reading might be for.

Chapter 5 examines in the 1745 Jacobite Rising in the context of the expansion of the periodical press and the print marketplace in the mid-eighteenth century. Information about the events of the 1745 Rising was made available to readers in a more continuous and a more pervasive way than during the 1715 Rising. The chapter explores how this expanding circulation of information prompted greater concern not just about the trustworthiness of the genres of the newspaper and the political pamphlet but also about how citizens were consuming information. It next focuses on three genres of printed works produced after the Battle of Culloden (1746) that reworked newspaper reports into their narratives: accounts of the trials and executions of the rebels, “Chevalier” or “Pretender” narratives about the escape of Charles Edward Stuart, and popular histories. With their conscious and unconscious intertextual borrowings, these printed works, like those of the 1715 Rising, inscribe the cultural memory of the 1745 as a series of complicated knots of memory.

The Conclusion traces the afterlife of the knots of memory examined in earlier chapters in two printed genres: the multi-volume histories of the nation that became popular in the late eighteenth century and the historical novel in the hands of Walter Scott. Works such as David Hume’s and Tobias Smollett’s histories replicate some of the counter-memories that were produced in the earlier printed discourse on the nation. Scott, however, transforms the complicated knots of memories and counter-memories by drawing attention to and framing them. Waverley, for example, both acknowledges the power of counter-memories and prevents their re-activation by including them within a narrative that connects a progressive sense of a consolidated British cultural memory with a model of media succession.