Accompanied by a sound disc (digital; 4 3/4 in.) by the same name which is available in Multimedia : CD 6.

The Age of Wonder is a colorful and utterly absorbing history of the men and women whose discoveries and inventions at the end of the eighteenth century gave birth to the Romantic Age of Science. When young Joseph Banks stepped onto a Tahitian beach in 1769, he hoped to discover Paradise. Inspired by the scientific ferment sweeping through Britain, the botanist had sailed with Captain Cook in search of new worlds. Other voyages of discovery—astronomical, chemical, poetical, philosophical—swiftly follow in Richard Holmes's thrilling evocation of the second scientific revolution. Through the lives of William Herschel and his sister Caroline, who forever changed the public conception of the solar system; of Humphry Davy, whose near-suicidal gas experiments revolutionized chemistry; and of the great Romantic writers, from Mary Shelley to Coleridge and Keats, who were inspired by the scientific breakthroughs of their day, Holmes brings to life the era in which we first realized both the awe-inspiring and the frightening possibilities of science—an era whose consequences are with us still. BONUS MATERIAL: This ebook edition includes an excerpt from Richard Holmes's Falling Upwards.

In a series of articles published in Tait's Magazine in 1834, Thomas DeQuincey catalogued four potential instances of plagiarism in the work of his friend and literary competitor Samuel Taylor Coleridge. DeQuincey's charges and the controversy they ignited have shaped readers' responses to the work of such writers as Coleridge, Lord Byron, William Wordsworth, and John Clare ever since. But what did plagiarism mean some two hundred years ago in Britain? What was at stake when early nineteenth-century authors levied such charges against each other? How would matters change if we were to evaluate these writers by the standards of their own national moment? And what does our moral investment in plagiarism tell us about ourselves and about our relationship to the Romantic myth of authorship? In Plagiarism and Literary Property in the Romantic Period, Tilar Mazzeo historicizes the discussion of late eighteenth- and early nineteenth-century plagiarism and demonstrates that it had little in common with our current understanding of the term. The book offers a major reassessment of the role of borrowing, textual appropriation, and narrative mastery in British Romantic literature and provides a new picture of the period and its central aesthetic contests. Above all, Mazzeo challenges the almost exclusive modern association of Romanticism with originality and takes a fresh look at some of the most familiar writings of the period and the controversies surrounding them.

While poetry has been the genre most closely associated with the Romantic period, the novel of the late eighteenth and early nineteenth centuries has attracted many more readers and students in recent years. Its canon has been widened to include less well known authors alongside Jane Austen, Walter Scott, Maria Edgeworth and Thomas Love Peacock. Over the last generation, especially, a remarkable range of popular works from the period have been re-discovered and reread intensively. This Companion offers an overview of British fiction written between roughly the mid-1760s and the early 1830s and is an ideal guide to the major authors, historical and cultural contexts, and later critical reception. The contributors to this volume represent the most up-to-date directions in scholarship, charting the ways in which the period's social, political and intellectual redefinitions created new fictional subjects, forms and audiences.

William Wordsworth, Second-Generation Romantic provides a truly comprehensive reading of 'late' Wordsworth and the full arc of his career from (1814–1840) revealing that his major poems after Waterloo contest poetic and political issues with his younger contemporaries: Keats, Shelley and Byron. Refuting conventional models of influence, where Wordsworth 'fathers' the younger poets, Cox demonstrates how Wordsworth's later writing evolved in response to 'second generation' romanticism. After exploring the ways in which his younger contemporaries rewrote his 'Excursion', this volume examines how Wordsworth's 'Thanksgiving Ode' enters into a complex conversation with Leigh Hunt and Byron; how the delayed publication of 'Peter Bell' could be read as a reaction to the Byronic hero; how the older poet's River Duddon sonnets respond to Shelley's 'Mont Blanc'; and how his later volumes, particularly 'Memorials of a Tour in Italy, 1837', engage in a complicated erasure of poets who both followed and predeceased him.

Presents a detailed analysis of the musical styles and forms developed by Mozart, Haydn, and Beethoven.

How does a work of music stir the senses, creating feelings of joy, sadness, elation, or nostalgia? Though sentiment and emotion play a vital role in the composition, performance, and appreciation of music, rarely have these elements been fully observed. In this succinct and penetrating book, Charles Rosen draws upon more than a half century as a performer and critic to reveal how composers from Bach to Berg have used sound to represent and communicate emotion in mystifyingly beautiful ways.Through a range of musical examples, Rosen details the array of stylistic devices and techniques used to represent or convey sentiment. This is not, however, a listener’s guide to any “correct” response to a particular piece. Instead, Rosen provides the tools and terms with which to appreciate this central aspect of musical aesthetics, and indeed explores the phenomenon of contradictory sentiments embodied in a single motif or melody. Taking examples from Chopin, Schumann, Wagner, and Liszt, he traces the use of radically changing intensities in the Romantic works of the nineteenth century and devotes an entire chapter to the key of C minor. He identifies a “unity of sentiment” in Baroque music and goes on to contrast it with the “obsessive sentiments” of later composers including Puccini, Strauss, and Stravinsky. A profound and moving work, Music and Sentiment is an invitation to a greater appreciation of the crafts of composition and performance.

Robert Schumann (1810-56) is one of the most important and representative composers of the Romantic era. Here acclaimed biographer martin Geck tells the story of this multifaceted genius, set in the context of the political and social revolutions of his time.

Romantic Vacancy argues that, at the cult of sensibility's height, Romantic writers found alternative tropes of affect to express movement beyond sensation and the body. Grappling with sensibility's claims that sensation could be translated into ideas and emotions, poets of vacancy rewrote core empiricist philosophies that trapped women and men in sensitive bodies and, more detrimentally, in ideological narratives about emotional response that gendered subjects' bodies and minds. Kate Singer contends that affect's genesis occurs instead through a series of figurative responses and movements that loop together human and nonhuman movements of mind, body, and nature into a posthuman affect. This book discovers a new form of Romantic affect that is dynamically linguistic and material. It seeks to end the long tradition of holding women and men writers of the Romantic period as separate and largely unequal. It places women writers at the forefront of speculative thinking, repositions questions of gender at the vanguard of Romantic-era thought, revises how we have long thought of gender in the period, and rewrites our notions of Romantic affect. Finally, it answers pivotal questions facing both affect studies and Romanticism about interrelations among language, affect, and materiality. Readers will learn more about the deep history of how poetic language can help us move beyond binary gender and its limiting intellectual and affective ideologies.