First published in 1969. This study of literary reviewing in the early nineteenth century is concerned with contemporary criticism of the works of the major Romantic poets – Wordsworth, Coleridge, Byron, Shelley and Keats – and of seven other notable Romantic writers including Hazlitt, Lamb and Scott. The criticism of all works in prose and verse, excluding novels, published by these writers between 1802 and 1824 is described and analysed. This study also considers the policies and practices of the reviews, and their political, religious and moral attitudes in literary matters. This title will be of interest to students of literature.

First published in 1971. This collection of contemporary reviews of the five major English Romantic poets – Wordsworth, Coleridge, Byron, Keats and Shelley – makes available the critical documents of a great period of literature and literary reviewing. Professor Hayden has selected sixty-eight reviews in which twenty-six periodicals are represented, ranging from the powerful quarterlies and the monthly reviews to the newly established weeklies and the fashionable ladies’ magazines. The reviews give an insight into the Romantic period in England, its literature, critical values, and general interests. This title includes annotations to explain allusions to contemporary events and persons and to translate foreign words and phrases. This title will be of great interest to students of English literature.

Madness and the Romantic Poet examines the longstanding and enduringly popular idea that poetry is connected to madness and mental illness. The idea goes back to classical antiquity, but it was given new life at the turn of the nineteenth century. The book offers a new and much more complete history of its development than has previously been attempted, alongside important associated ideas about individual genius, creativity, the emotions, rationality, and the mind in extreme states or disorder - ideas that have been pervasive in modern popular culture. More specifically, the book tells the story of the initial growth and wider dissemination of the idea of the 'Romantic mad poet' in the nineteenth century, how (and why) this idea became so popular, and how it interacted with the very different fortunes in reception and reputation of Romantic poets, their poetry, and attacks on or defences of Romanticism as a cultural trend generally - again leaving a popular legacy that endured into the twentieth century. Material covered includes nineteenth-century journalism, early literary criticism, biography, medical and psychiatric literature, and poetry. A wide range of scientific (and pseudoscientific) thinkers are discussed alongside major Romantic authors, including Wordsworth, Coleridge, Blake, Hazlitt, Lamb, Percy Bysshe Shelley, Keats, Byron, and John Clare. Using this array of sources and figures, the book asks: was the Romantic mad genius just a sentimental stereotype or a romantic myth? Or does its long popularity tell us something serious about Romanticism and the role it has played, or has been given, in modern culture?

This book re-reads the tangled relations of book culture and literary culture in the early nineteenth century by restoring to view the figure of the bookman and the effaced history of his book clubs. As outliers inserting themselves into the matrix of literary production rather than remaining within that of reception, both provoked debate by producing, writing, and circulating books in ways that expanded fundamental points of literary orientation in lateral directions not coincident with those of the literary sphere. Deploying a wide range of historical, archival and literary materials, the study combines the history and geography of books, cultural theory, and literary history to make visible a bookish array of alterative networks, genres, and locations that were obscured by the literary sphere in establishing its authority as arbiter of the modern book.

Welcome to Calamity Falls, where the people are wild at heart! Four sisters who couldn't be more different--a rock star, a chocolatier, a chef, and a wedding planner--grow apart thanks to their wildly different careers and lifestyles--but they all wind up coming back home and forming the bond they'd always longed for when they were young. Book 5: It Was Always You A super-hot second chance romance about a bad boy quarterback who finally gets a shot at redemption with the only woman he's ever loved! Book 6: Can't Help Falling In Love What happens in Vegas doesn’t always stay in Vegas… A surprise baby romance about Coco Cavanaugh, Beckett O'Neill, and a little blue-eyed project they made together that he didn't know anything about. Book 7: Whole Lotta Love Sparks fly when opposites are forced to live together in this steamy, small town romance! He's an injured quarterback determined to make his way back to the gridiron, and she's a chef looking to reinvent herself. Their paths never should have crossed, but here they are co-hosting a television cooking show and living together--and realizing they might just be perfect for each other Book 8: You're Still The One He's a hot, inked, motorcycle-riding hero, and she's a sexy wedding planner with a whole lot of explaining to do. This is the absolute worst time for Stella to crash back into Griffin's life, but since she's impulsively told the world they're engaged, he's got no choice but to put up with her big personality and even bigger heart.

This Handbook provides a comprehensive overview of British Romantic literature and an authoritative guide to all aspects of the movement including its historical, cultural, and intellectual contexts, and its connections with the literature and thought of other countries. All the major Romantic writers are covered alongside lesser known writers.

Examining the memoirs and autobiographies of British soldiers during the Romantic period, Neil Ramsey explores the effect of these as cultural forms mediating warfare to the reading public during and immediately after the French Revolutionary and Napoleonic wars. Forming a distinct and commercially successful genre that in turn inspired the military and nautical novels that flourished in the 1830s, military memoirs profoundly shaped nineteenth-century British culture's understanding of war as Romantic adventure, establishing images of the nation's middle-class soldier heroes that would be of enduring significance through the nineteenth and twentieth centuries. As Ramsey shows, the military memoir achieved widespread acclaim and commercial success among the reading public of the late Romantic era. Ramsey assesses their influence in relation to Romantic culture's wider understanding of war writing, autobiography, and authorship and to the shifting relationships between the individual, the soldier, and the nation. The memoirs, Ramsey argues, participated in a sentimental response to the period's wars by transforming earlier, impersonal traditions of military memoirs into stories of the soldier's personal suffering. While the focus on suffering established in part a lasting strand of anti-war writing in memoirs by private soldiers, such stories also helped to foster a sympathetic bond between the soldier and the civilian that played an important role in developing ideas of a national war and functioned as a central component in a national commemoration of war.

Scottish and Irish Romanticism is the first single-author book to address the main non-English Romanticisms of the British Isles. Murray Pittock begins by questioning the terms of his chosen title as he searches for a definition of Romanticism and for the meaning of 'national literature'. He proposes certain determining 'triggers' for the recognition of the presence of a national literature, and also deals with two major problems which are holding back the development of a new and broader understanding of British Isles Romanticisms: the survival of outdated assumptions in ostensibly more modern paradigms, and a lack of understanding of the full range of dialogues and relationships across the literatures of these islands. The theorists whose works chiefly inform the book are Bakhtin, Fanon and Habermas, although they do not define its arguments, and an alertness to the ways in which other literary theories inform each other is present throughout the book. Pittock examines in turn the historiography, prejudices, and assumptions of Romantic criticism to date, and how our unexamined prejudices still stand in the way of our understanding of individual traditions and the dialogues between them. He then considers Allan Ramsay's role in song-collecting, hybridizing high cultural genres with broadside forms, creating in synthetic Scots a 'language really used by men', and promoting a domestic public sphere. Chapters 3 and 4 discuss the Scottish and Irish public spheres in the later eighteenth century, together with the struggle for control over national pasts, and the development of the cults of Romance, the Picturesque and Sentiment: Macpherson, Thomson, Owenson and Moore are among the writers discussed. Chapter 5 explores the work of Robert Fergusson and his contemporaries in both Scotland and Ireland, examining questions of literary hybridity across not only national but also linguistic borders, while Chapter 6 provides a brief literary history of Burns' descent into critical neglect combined with a revaluation of his poetry in the light of the general argument of the book. Chapter 7 analyzes the complexities of the linguistic and cultural politics of the national tale in Ireland through the work of Maria Edgeworth, while the following chapter considers of Scott in relation to the national tale, Enlightenment historiography, and the European nationalities question. Chapter 9 looks at the importance of the Gothic in Scottish and Irish Romanticism, particularly in the work of James Hogg and Charles Maturin, while Chapter 10, 'Fratriotism', explores a new concept in the manner in which Scottish and Irish literary, political and military figures of the period related to Empire.