The Longman Anthology of British Literature
Subtitle: Volume 2A, The Romantics and Their Contemporaries
Edition: 3rd edition
Publisher: Pearson Education, Inc.
Published: December 28, 2005
Language: eng
Format: Paperback
Number of pages: 1120
ISBN-13: 9780321333940
Copyright date: 2006
Subjects: Collections & anthologies of various literary forms; Literary studies: general; Literary Criticism; Literature - Classics / Criticism; English; British Isles; English, Irish, Scottish, Welsh; English literature; Great Britain; Literary collections
Description: The turbulent world and whirl of real events shaped the years of the “Romantic” period. It was marked on the one end by the revolutions in America and France, and on the other by the reform of Parliament to extend the vote and reconfigure representation, by the emergence of the modern industrial state, and by the abolition of slavery in British colonies. 

In the early 1820s, Lord Byron protested. As the nod toward monarchs indicates, the French Revolution of the 1790s cast a long shadow across British consciousness. Its events had announced a radical break in historical continuity—a sudden, cataclysmic overthrow of a monarchy surrounded by high culture, and the eruption of new social order that no one knew how to “read.” New, challenging, and often contradictory energies reverberated across Britain and Europe. Enthusiasts heralded the fall of an oppressive aristocracy and the birth of democratic and egalitarian ideals, a new era, shaped by “the rights of man” rather than the entailments of wealth and privilege, while skeptics and reactionaries rued the end of chivalry, lamented the erosion of order, and foresaw the decline of civilization. 

Yet whatever side one took, the upheaval bore a stark realization: politically, socially, economically, and philosophically, an irrevocable tide of new ideas had risen against seemingly entrenched structures. “It was now known,” as historian E. J. Hobsbawm puts it, “that revolution in a single country could be a European phenomenon, that its doctrines could spread across the frontiers...It was now known that social revolution was possible, that nations existed as something independent of states, peoples as something independent of their rulers, and even that the poor existed as something independent of the ruling classes.”

Other challenges appeared, framed in the rhetoric of the Revolution debate and animated by appeals to moral law and natural principle. There were arguments for and against the rights of women (not for the vote, but for better principles of education and improved social attitudes); debates over the abolition of Britain’s slave trade and of slavery in its colonies (a moral blight but also a source of enormous and widespread commercial profit); movements for social and political remedies for the poor (versus the traditional spiritual consolations); and a newly emergent class consciousness among discontented workers in Britain’s fields, mines, factories, and mills. Polemical essays and pamphlets helped shape the controversies, and so did various forms of literary writing: sonnets and songs, ballads and poetic epistles, tales and plays, the sensationally turned narrative and the didactic novel. Even literature not forged in the social and political turbulence was caught by a sense of revolution. 

The first generation of writers (those who made their marks in the 1790s and the first decade of the new century) included William Blake, William Wordsworth, Samuel Taylor Coleridge, and Walter Scott, as well as several remarkable women: Anna Barbauld, Charlotte Smith, Hannah More, Mary Wollstonecraft, Ann Radcliffe, Joanna Baillie, and Mary Robinson. The second generation (emerging before 1820) adds the younger voices and visions of Percy Shelley, Mary Shelley, John Keats, Lord Byron, John Clare. It also witnesses the emergence of international literary celebrity, first and foremost in the charismatic figure of Lord Byron, then extending in the 1820s to the adored Felicia Hemans and at last to venerable Wordsworth, who would become a beloved Poet Laureate in 1843. All these writers were invigorated by a sense of participating in the modern world, of defining its values, and of claiming a place for writers as its instructors, prophets, critics, and inspirers. 

This enthusiasm inspired innovations in content and literary form. Lyric, epic, and autobiography became radically subjective, spiraling inward to psychological dramas of mind and memory, or projecting outward into prophecies and visions of new worlds formed by new values. Other hybrid forms, such as political ballads and polemical narrative, emerged to address pressing issues of the day, while novelists were producing new kinds of female heroines and new narrative structures to represent family and social life. Still other writers developed forms such as the personal essay, the travelogue, or the journal, to join the personal and the political, the social and the domestic, the world of feeling to the world of thought, and both to the world of action.

ROMANCE, ROMANTICISM, AND THE POWERS OF THE IMAGINATION
In this vibrant culture of new imaginative possibilities, “Imagination” itself became a subject of reflection, and often debate. Eighteenth-century philosophy and science had argued for objective, verifiable truth and the common basis of our experience in a world of concrete, measurable physical realities. Over the century, however, there emerged a competing interest in individual variations, subjective filterings, and the mind’s independence of physical realities, or even creative transformation of them: not just a recorder or mirror, the mind was an active, synthetic, dynamic, even visionary power—of particular importance to poets. Poets tended to define “Imagination” against what it was not, even categorically the opposite of: thus, imagination vs. reality; vs. reason; vs. science; vs. the understanding (especially its “fixities” and “certainties”); vs. mere “fancy”; even vs. religious truth.

Poetry is written by the “secondary Imagination,” an “echo” of the Primary “coexisting with conscious will”. Percy Shelley, who also liked binaries, contrasted “Imagination” to “Reason”. Keats proposed the imagination as a link to the ideal world in the dawn of creation, but he was ultimately more interested in the way imagination operates on real perception. And like his contemporaries, he was drawn by the involvement of on with disease, deviance, delusion, egotism, escapism. How did women writers address the imagination? They were prone to a skeptical bias, accenting dangers, a corruption of rationality and moral judgment, an alliance with destructive (rather than creative) passion. This view was not just resistance to male schemes of gender; it was also fueled by a discourse of rational education and intellectual dissent that included both men and women.
Notes: This item is out of print and has been replaced with Longman Anthology of British Literature, Volume 2A, The: The Romantics and Their Contemporaries, 5th Edition https://www.pearson.com/us/higher-education/product/Damrosch-Longman-Anthology-of-British-Literature-Volume-2-A-The-Romantics-and-Their-Contemporaries-The-3rd-Edition/9780321333940.html

Instructor's Manual for British Literature, 3/E 
ISBN-10: 0321364775 | ISBN-13: 9780321364777
Table of contents: title: List of Illustrations; title: Additional Audio and Online Resources; title: Preface; title: Acknowledgements; title: Money, Weights, and Measures; title: Bibiolography; title: Credits; title: denotes selection is new to this edition.; title: THE ROMANTICS AND THEIR CONTEMPORARIES.; title: Perspectives: The Sublime, the Beautiful, and the Picturesque.; title: Edmund Burke. From A Philosophical Enquiry Into the Origin of Our Ideas of the Sublime and the beautiful.; title: William Gilpin.  From Three Essays on Picturesque Beauty, on Picturesque Travel, and on Sketching Landscape.; title: Mary Wollstonecraft.  From A Vindication of the Rights of Men.; title: Jane Austen.  From Pride and Prejudice.; title: From Northhanger Abbey.; title: Immanuel Kant.  From The Critique of Judgment.; title: John Ruskin. From Modern Painters.; title: Anna Laetitia Barbauld.; title: The Mouse's Petition to Dr. Priestley.; title: On a Lady's Writing.; title: Inscription for an Ice-House.; title: To a Little Invisible Being Who Is Expected Soon to Become Visible.; title: To the Poor.; title: Washing-Day.; title: Eighteen Hundred and Eleven.; title: Response.; title: John Wilson Croker: From A Review of Eighteen Hundred and Eleven.; title: The First Fire.; title: On the Death of the Princess Charlotte.; title: Charlotte Smith.; title: Elegiac Sonnets and Other Poems.; title: To the Moon.; title: “Sighing I see yon little troop at play.”; title: To melancholy. Written on the banks of the Arun October, 1785.; title: Far on the Sands.; title: To tranquillity.; title: Written in the church-yard at Middleton in Sussex.; title: On being cautioned against walking on an headland overloooking the sea.; title: The sea view.; title: The Dead Beggar.; title: From Beachy Head.; title: Perspectives: The Rights of Man and the Revolution Controversy.; title: Helen Maria Williams. From Letters Written in France, in the Summer of 1790.; title: From Letters from France.; title: Edmund Burke. From Reflections on the Revolution in France.; title: Mary Wollstonecraft. From A Vindication of the Rights of Men.; title: Letter to Joseph Johnson, from Paris, December 27, 1792.; title: Thomas Paine.  From The Rights of Man.; title: William Godwin.  From An Enquiry Concerning Political Justice and Its Influence on General Virtue and Happiness.; title: The Anti-Jacobin, or Weekly Examiner. The Friend of Humanity and the Knife-Grinder.; title: Hannah More. Village Politics.; title: Arthur Young. From Travels in France During the Years 1787-1788, and 1789.; title: From The Example of France, A Warning to Britain.; title: William Blake.; title: All Religions Are One.; title: There is No Natural Religion (a).; title: There is No Natural Religion (b).; title: Songs of Innocence and of Experience.; title: From Songs of Innocence.; title: Introduction.; title: The Shepherd.; title: The Ecchoing Green.; title: The Lamb.; title: The Little Black Boy.; title: The Blossom.; title: The Chimney Sweeper.; title: The Little Boy lost.; title: The Little Boy found.; title: The Divine Image.; title: HOLY THURSDAY.; title: Nurse's Song.; title: Infant Joy.; title: A Dream.; title: On Anothers Sorrow.; title: Companion Reading.; title: Charles Lamb: From The Praise of Chimney Sweepers.; title: From Songs of Experience.; title: Introduction.; title: EARTH'S Answer.; title: The CLOD and the PEBBLE.; title: HOLY THURSDAY.; title: The Little Girl lost.; title: The Little Girl found.; title: The Chimney Sweeper.; title: NURSES Song.; title: The SICK ROSE.; title: THE FLY.; title: The Angel.; title: The Tyger; title: My Pretty ROSE TREE.; title: AH! SUN-FLOWER.; title: The GARDEN of LOVE.; title: LONDON.; title: The Human Abstract.; title: INFANT SORROW.; title: A POISON TREE.; title: A Little BOY Lost.; title: A Little GIRL Lost.; title: The School-Boy.; title: A DIVINE IMAGE.; title: The Marriage of Heaven and Hell.; title: Visions of the Daughters of Albion.; title: Letters.; title: To Dr. John Trusler (23 August 1799).; title: To Thomas Butts (22 November 1802).; title: Perspectives: The Abolition of Slavery and the Slave Trade.; title: Olaudah Equiano. From The Interesting Narrative of the Life of Olaudah Equiano.; title: Mary Prince. From The History of Mary Prince, a West Indian Slave.; title: Thomas Bellamy. The Benevolent Planters.; title: John Newton. Amazing Grace.; title: Ann Cromartie Yearsley. From A Poem on the Inhumanity of the Slave-Trade.; title: William Cowper. Sweet Meat Has Sour Sauce.; title: The Negro's Complaint.; title: Hannah More and Eaglesfield Smith. The Sorrows of Yamba; or, The Negro Woman’s Lamentation.; title: Robert Southey. From Poems Concerning the Slave Trade.; title: Dorothy Wordworth. From The Grasmere Journals.; title: Thomas Clarkson. From The History of the Rise, Progress, & Accomplishment of the Abolition of the African Slave-Trade by the British Parliament.; title: William Wordsworth. To Toussaint L'Ouverture.; title: To Thomas Clarkson.; title: From The Prelude.; title: From Humanity.; title: Letter to Mary Ann Rawson (May 1833).; title: The Edinburgh Review. From Abstract of the Information laid on the Table of the House of Commons, on the Subject of the Slave Trade.; title: George Gordon, Lord Byron. From Detached Thoughts.; title: Mary Robinson.; title: Ode to Beauty.; title: January, 1795.; title: Sappho and Phaon in a Series of Legitimate Sonnets.; title: III. The Bowers of Pleasure; title: IV. Sappho discover her passion.; title: VII. Invokes Reason.; title: XI  Rejects the Influence of Reason.; title: XII. Previous to her Interview with Phaon; title: XVIII. To Phaon.; title: XXX. Bids farewell to Lesbos.; title: XXXVII. Foresees her Death.; title: The Camp.; title: Lyrical Tales.; title: The Haunted Beach.; title: London's Summer Morning.; title: The Old Beggar.; title: Mary Wollstonecraft.; title: A Vindication of the Rights of Woman.; title: From To M. Talleyrand-Perigord, Late Bishop of Autun.; title: Introduction; title: From Chapter 1. The Rights and Involved Duties of Mankind Considered.; title: From Chapter 2. The Prevailing Opinion of a Sexual Character Discussed.; title: From Chapter 3. The Same Subject Continued.; title: From Chapter 5. Animadversions on Some of the Writers Who Have Rendered Women Objects of Pity, Bordering on Contempt.; title: From Chapter 13. Some Instances of the Folly Which the Ignorance of Women Generates; with Concluding Reflections on the Moral Improvement That a Revolution in Female Manners Might Naturally Be Expected to Produce.; title: From Maria; or, The Wrongs of Women.; title: Responses.; title: Anna Laetitia Barbauld, The Rights of Women.; title: Ann Yearsley, The Indifferent Shepherdess to Colin.; title: Robert Southey, To Mary Wollstonecraft.; title: William Blake, From Mary.; title: Perspectives: The Wollstonecraft Controversy and the Rights of Women.; title: Catherine Macaulay. From Letters on Education.; title: Richard Polwhele. From The Unsex'd Females.; title: Priscilla Wakefield. From Reflections on the Present Condition of the Female Sex.; title: Mary Anne Radcliffe. From The Female Advocate.; title: Hannah More. From Strictures on the Modern System of Female Education.; title: Mary Lamb. Letter to The British Lady's Magazine.; title: William Thompson and Anna Wheeler. From Appeal of One Half the Human Race, Women, Against the Pretensions of the Other Half, Men, to Retain Them in Political, and Thence in Civil and Domestic Slavery.; title: Joanna Baillie.; title: Plays on the Passions.; title: From Introductory Discourse.; title: London.; title: A Mother to Her Waking Infant.; title: A Child to His Sick Grandfather.; title: Thunder.; title: Song: Woo'd and Married and A'.; title: Literary Ballads.; title: Reliques of Ancient English Poetry.; title: Sir Patrick Spence.; title: Robert Burns.; title: To a Mouse.; title: To a Louse.; title: Flow gently, sweet Afton.; title: Ae fond kiss.; title: Comin' Thro' the Rye (1).; title: Comin' Thro' the Rye (2).; title: Scots, wha hae wi' Wallace bled.; title: Is there for honest poverty.; title: A Red, Red Rose.; title: Response.; title: Charlotte Smith,To the shade of Burns.; title: Auld Lang Syne.; title: The Fornicator. A New Song.; title: Sir Walter Scott.; title: Lord Randal.; title: Thomas Moore.; title: The harp that once through Tara's halls.; title: Believe me, if all those endearing young charms.; title: The time I've lost in wooing.; title: William Wordsworth.; title: Lyrical Ballads.; title: Simon Lee.; title: Anecdote for Fathers.; title: We are seven.; title: Lines written in early spring.; title: The Thorn.; title: Note to The Thorn (1800).; title: Expostulation and Reply.; title: The Tables Turned.; title: Old Man Travelling.; title: Lines written a few miles above Tintern Abbey.; title: Lyrical Ballads (1800,1802).; title: Preface.; title: (The Principal Object of the Poems. Humble and Rustic Life).; title: (“The Spontaneous Overflow of Powerful Feelings”).; title: (The Language of Poetry).; title: (What is a Poet?); title: (The Function of Metre).; title: (“Emotion Recollected in Tranquillity”).; title: “There was a Boy.”; title: “Strange fits of passion have I known.”; title: Song: (“She dwelt among th'undtrodden ways”).; title: “A slumber did my spirit seal.”; title: Lucy Gray.; title: Poor Susan.; title: Nutting.; title: “Three years she grew in sun and shower.”; title: The Cumberland Beggar.; title: Michael.; title: Responses.; title: Francis Jeffrey: (On “the new Poetry”).; title: Charles Lamb: from Letter to William Wordsworth.; title: Charles Lamb: from Letter to Thomas Manning.; title: Sonnets, 1802-1807.; title: Prefatory Sonnet (“Nuns fret not at their Convent's narrow room”).; title: Composed upon Westminster Bridge, September 3, 1803.; title: “The world is too much with us.”; title: “It is a beauteous Evening.”; title: “I griev'd for Buonaparte.”; title: London, 1802.; title: The Prelude, or Growth of a Poet's Mind (1805).; title: Book First. Introduction, Childhood, and School time.; title: Book Second. School time continued.; title: (Two Consciousnesses).; title: (Blessed Infant Babe).; title: Book Fourth. Summer Vacation.; title: (A Smile for Autobiography).; title: (Encounter with a “Dismissed” Soldier).; title: Book Fifth. Books.; title: (Meditation on Books. The Dream of the Arab).; title: (A Drowning in Esthwaite's Lake).; title: (“The Mystery of Words”).; title: Book Sixth. Cambridge, and the Alps.; title: (The Pleasure of Geometric Science).; title: (Arrival in France).; title: (Travelling in the Alps. Simplon Pass).; title: Book Seventh. Residence in London.; title: (A Blind Beggar. Bartholomew Fair).; title: Book Ninth. Residence in France.; title: (Paris).; title: (Revolution, Royalists, and Patriots).; title: Book Tenth. Residence in France and French Revolution.; title: (The Reign of Terror. Confusion. Return to England).; title: (Further Events in France).; title: (The Death of Robespierre and Renewed Optimism).; title: (Britain Declares War on France. The Rise of Napoleon and Imperialist France).; title: Response.; title: William Wordsworth: from The Prelude (1850).; title: Book Eleventh. Imagination, How Impaired and Restored.; title: (Imagination Restored by Nature).; title: (“Spots of Time.” Two Memories from Childhood and Later Reflections).; title: Book Thirteenth. Conclusion.; title: (Climbing Mount Snowdon. Moonlit Vista. Meditation on “Mind,” “Self,” “Imagination,” “Fear,” and “Love”).; title: (Concluding Retrospect and Prophecy).; title: Response.; title: Samuel Taylor Coleridge: To a Gentleman.; title: I travell'd among unknown Men.; title: Resolution and Independence.; title: I wandered lonely as a cloud.; title: My heart leaps up.; title: Ode: Intimations of Immortality from Recollections of Early Childhood.; title: The Solitary Reaper.; title: Elegiac Stanzas (“Peele Castle”).; title: Response.; title: Mary Shelley: On Reading Wordsworth's Lines on Peele Castle.; title: Surprized by joy.; title: Scorn not the sonnet.; title: Extempore Effusion upon the Death of James Hogg.; title: Dorothy Wordsworth.; title: Grasmere—A Fragment.; title: Address to a Child.; title: Irregular Verses.; title: Floating Island.; title: Lines Intended for My Niece's Album.; title: Thoughts on My Sick-bed.; title: When Shall I Tread Your Garden Path?.; title: Lines Written (Rather say Begun) on the Morning of Sunday April 6th.; title: The Grasmere Journals.; title: (Home Alone).; title: (A Leech Gatherer).; title: (A Woman Beggar).; title: (An Old Soldier).; title: (The Grasmere Mailman).; title: (A Vision of the Moon).; title: (A Field of Daffodils).; title: (A Beggar Woman from Cockermouth).; title: (The Circumstances of “Composed upon Westminster Bridge”).; title: (The Circumstances of “It is a beauteous Evening”).; title: (The Household in Winter, with William's New Wife, Gingerbread).; title: Letters.; title: To Jane Pollard (A Scheme of Happiness).; title: To Lady Beaumont (A Gloomy Christmas).; title: To Lady Beaumont (Her Poetry, William's Poetry).; title: To Mrs. Thomas Clarkson (Household Labors).; title: To Mrs. Thomas Clarkson (A Prospect of Publishing).; title: To William Johnson (Mountain-Climbing with a Woman).; title: Responses.; title: Samuel Taylor Coleridge: from Letter to Joseph Cottle.; title: Thomas DeQuincey: from Recollections of the Lake Poets.; title: Samuel Taylor Coleridge.; title: Sonnet to the River Otter.; title: “Sonnet to the River Otter” and Its Time.; title: William Lisle Bowles: To the River Itchin, near Winton.; title: The Eolian Harp.; title: This Lime-Tree Bower My Prison.; title: Frost at Midnight.; title: The Rime of the Ancyent Marinere (1798).; title: Part 1.; title: The Rime of the Ancient Mariner (1817).; title: “The Rime of the Ancient Mariner” and Its Time.; title: William Cowper: The Castaway.; title: Samuel Taylor Coleridge: From Table Talk.; title: Christabel.; title: Kubla Khan.; title: Response.; title: Mary Robinson, To the Poet Coleridge.; title: The Pains of Sleep.; title: Dejection: An Ode.; title: From a Letter to William Godwin.; title: From a Letter to Thomas Poole.; title: On Donne's Poetry.; title: Work Without Hope.; title: Constancy to an Ideal Object.; title: Epitaph.; title: From The Statesman's Manual (Symbol and Allegory).; title: From The Friend (Reflections of Fire).; title: Biographia Literaria.; title: Chapter 4.; title: (Wordsworth's Earlier Poetry).; title: Chapter 11.; title: (The Profession of Literature).; title: Chapter 13.; title: (Imagination and Fancy).; title: Chapter 14.; title: (Occasion of the Lyrical Ballads--Preface to the Second Edition--The Ensuing Controversy).; title: (Philosophic Definitions of a Poem and Poetry).; title: Chapter 17.; title: (Examination of the Tenets Peculiar to Mr. Wordsworth. Rustic Life and Poetic Language).; title: Chapter 22.; title: (Defects of Wordsworth’s Poetry).; title: Lectures on Shakespeare.; title: (Mechanic vs. Organic Form).; title: (The Character of Hamlet).; title: (Stage Illusion and the Willing Suspension of Disbelief).; title: (Shakespeare's Images).; title: (Othello).; title: Coleridge's Lectures and Their Time: Shakespeare in the Nineteenth Century.; title: Charles Lamb and Mary Lamb. Preface to Tales from Shakespeare.; title: Charles Lamb. From On the Tragedies of Shakespeare.; title: William Hazlitt. From Lectures on the English Poets.; title: From The Characters of Shakespeare's Plays.; title: Thomas De Quincey. On the Knocking at the Gate in Macbeth.; title: George Gordon, Lord Byron.; title: She walks in beauty.; title: So, we'll go no more a-roving.; title: Manfred.; title: “Manfred” and Its Time: The Byronic Hero.; title: Byron's Earlier Heroes. From The Giaour. From The Corsair. From Lara. Prometheus. From Childe Harold's Pilgrimage, Canto the Third (Napoleon Buonoparte).; title: Samuel Taylor Coleridge. From The Statesman's Manual (“Satanic Pride and Rebellious Self-Idolatry”).; title: Caroline Lamb. From Glenarvon.; title: Mary Wollstonecraft Shelley.  From Frankenstein, or, The Modern Prometheus.; title: Felicia Hemans. From The Widow of Crescentius.; title: Percy Bysshe Shelley. From Preface to Prometheus Unbound.; title: Robert Southey. From Preface to A Vision of Judgement.; title: George Gordon, Lord Byron. From The Vision of Judgment.; title: Childe Harold's Pilgrimage.; title: Canto the Third.; title: (Waterloo Fields).; title: (Thunderstorm in the Alps).; title: (Byron's Strained Idealism. Apostrophe to His Daughter).; title: Canto the Fourth.; title: (Rome, Political Hopes).; title: (The Coliseum. The Dying Gladiator).; title: (Apostrophe to the Ocean. Conclusion).; title: Responses.; title: John Wilson: From A Review of Childe Harold's Pilgrimage.; title: John Scott: [Lord Byron's Creations].; title: Don Juan.; title: Dedication.; title: Canto 1.; title: From Canto 2 (Shipwreck. Juan and Haidée).; title: From Canto 3 (Juan and Haidée. The Poet for Hire).; title: From Canto 7 (Critique of Military “Glory”).; title: From Canto 11 (Juan in England).; title: Stanzas (“When a man hath no freedom to fight for at home”).; title: On This Day I Complete My Thirty-Sixth Year.; title: Letters.; title: To Thomas Moore (On Childe Harold) (28 January 1817).; title: To John Murray (On Don Juan) (6 April 1819).; title: To John Murray (On Don Juan) (12 August 1819).; title: To Douglas Kinnaird (On Don Juan) (26 October 1819).; title: To John Murray (On Don Juan) (16 February 1821).; title: Percy Bysshe Shelley.; title: To Wordsworth.; title: Mont Blanc.; title: Hymn to Intellectual Beauty.; title: Ozymandias.; title: Sonnet: Lift not the painted veil.; title: Sonnet: England in 1819.; title: The Mask of Anarchy.; title: Ode to the West Wind.; title: To a Sky-Lark.; title: Response.; title: Thomas Hardy, Shelley’s Sky-Lark.; title: To—(“Music, when soft voices die”).; title: Adonais.; title: “Adonais” and Its Time.; title: George Gordon, Lord Byron: From Don Juan.; title: George Gordon, Lord Byron: Letter to Percy Bysshe Shelley (26 April 1821).; title: George Gordon, Lord Byron: Letter to John Murray (30 July 1821).; title: The Cloud.; title: Hellas.; title: Chorus (“Worlds on worlds are rolling ever”).; title: Chorus (“The world's great age begins anew”).; title: With a Guitar, to Jane.; title: To Jane (“The Keen Stars”).; title: From A Defence of Poetry.; title: Felicia Hemans.; title: Tales and Historic Scenes, in Verse.; title: The Wife of Asdrubal.; title: The Last Banquet of Antony and Cleopatra.; title: Evening Prayer, at a Girls' School.; title: Casabianca.; title: Records of Woman.; title: The Bride of the Greek Isles.; title: Properzia Rossi.; title: Indian Woman's Death Song.; title: Joan of Arc, in Rheims.; title: The Homes of England.; title: The Graves of a Household.; title: Corinne at the Capitol.; title: Woman and Fame.; title: Responses.; title: Francis Jeffrey: From A Review of Felicia Hemans's Poetry.; title: William Wordsworth: From Prefatory Note to Extempore Effusion on the Death of James Hogg.; title: John Clare.; title: Written in November (1).; title: Written in November (2).; title: Songs Eternity.; title: (The Lament of Swordy Well).; title: (The Mouse's Nest).; title: Clock a Clay.; title: “I Am”.; title: The Mores.; title: John Keats.; title: Leigh Hunt, Young Poets; title: On First Looking into Chapman's Homer.; title: Chapman's and Pope's Translations of Homer.; title: Alexander Pope: From Homer's Iliad.; title: George Chapman: From Homer's Iliad.; title: Alexander Pope: From Homer's Odyssey.; title: George Chapman: From Homer's Odyssey.; title: To one who has been long in city pent.; title: On the Grasshopper and Cricket.; title: From Sleep and Poetry.; title: “Sleep and Poetry” and Its Time.; title: John Gibson Lockhart: From On the Cockney School of Poetry (No. 1, October 1817).; title: John Gibson Lockhart: From The Cockney School of Poetry (No. 2, August 1818).; title: On Seeing the Elgin Marbles.; title: On sitting down to read King Lear once again.; title: Sonnet: When I have fears.; title: The Eve of St. Agnes.; title: La Belle Dame sans Mercy.; title: Letter text: La Belle Dame Sans Merci.; title: Indicator preface; title: Incipit Altera Sonneta (“If by dull rhymes”).; title: The Odes of 1819.; title: Ode to Psyche.; title: Ode to a Nightingale.; title: Ode on a Grecian Urn.; title: Ode on Indolence.; title: Ode on Melancholy.; title: To Autumn.; title: LAMIA.; title: The Fall of Hyperion: A Dream.; title: This living hand.; title: Bright Star.; title: Letters.; title: To Benjamin Bailey (“The Truth of Imagination”).; title: To George and Thomas Keats (“intensity” and “Negative Capability”).; title: To John Hamilton Reynolds (Wordsworth and “The whims of an Egotist”).; title: To John Taylor (“a few axioms”).; title: To Benjamin Bailey (“ardent pursuit”).; title: To John Hamilton Reynolds (Wordsworth, Milton, and “dark Passages”).; title: To Benjamin Bailey (“I have not a right feeling towards Women”).; title: To Richard Woodhouse (The “camelion poet” vs. the “egotistical sublime”).; title: To George and Georgiana Keats (“indolence,” “poetry” vs. “philosophy,” the “vale of Soul-making”).; title: To Fanny Brawne (“You Take Possession of Me”).; title: To Percy Bysshe Shelley (“An Artist Must Serve Mammon”).; title: To Charles Brown (Keats's Last Letter).; title: Perspectives: Popular Prose and the Problems of Authorship.; title: Sir Walter Scott. Introduction to Tales of My Landlord.; title: Charles Lamb.  Oxford in the Vacation.; title: Dream Children.; title: Old China.; title: William Hazlitt. On Gusto.; title: My First Acquaintance with Poets.; title: Thomas De Quincey. From Confessions of an English Opium-Eater.; title: (What Do We Mean by Literature?).; title: Jane Austen. From Northanger Abbey: Chapter 1.; title: M.J. Jewsbury. The Young Author.; title: William Cobbett. From Rural Rides.; title: Mary Wollstonecraft Shelley.  The Swiss Peasant.