The most accessible edition of Wordsworth’s poetry and prose, prepared to meet the needs of both students and scholars. This Norton Critical Edition presents a generous selection of William Wordworth’s poetry (including the thirteen-book Prelude of 1805) and prose works along with supporting materials for in-depth study. Together, the Norton Critical Editions of Wordsworth’s Poetry and Prose and The Prelude: 1799, 1805, 1850 are the essential texts for studying this author. Wordsworth’s Poetry and Prose includes a large selection of texts chronologically arranged, thereby allowing readers to trace the author’s evolving interests and ideas. An insightful general introduction and textual introduction precede the texts, each of which is fully annotated. Illustrative materials include maps, manuscript pages, and title pages. “Criticism” collects thirty responses to Wordsworth’s poetry and prose spanning three centuries by British and American authors. Contributors include Samuel Taylor Coleridge, Percy Bysshe Shelley, Felicia Hemans, Ralph Waldo Emerson, Lucy Newlyn, Stephen Gill, Neil Fraistat, Mary Jacobus, Nicholas Roe, M. H. Abrams, Karen Swann, Michael O’Neill, and Geoffrey Hartman, among others. The volume also includes a Chronology, a Biographical Register, a Selected Bibliography, and an Index of Titles and First Lines of Poems.

The Norton Critical Edition of Pride and Prejudice has been revised to reflect the most current scholarly approaches to Austen’s most widely read novel. The text is that of the 1813 first edition, accompanied by revised and expanded explanatory annotations. This Norton Critical Edition also includes: · Biographical portraits of Austen by members of her family and, new to the Fourth Edition, those by Jon Spence (Becoming Jane Austen) and Paula Byrne (The Real Jane Austen: A Life in Small Things). · Fourteen critical essays, eleven of them new to the Fourth Edition, reflecting the finest current scholarship. Contributors include Janet Todd, Andrew Elfenbein, Felicia Bonaparte, and Tiffany Potter, among others. · “Writers on Austen”—a new section of brief comments by Mark Twain, Virginia Woolf, Henry James, and others. · A Chronology and revised and expanded Selected Bibliography.

The most accessible edition of Wordsworth's poetry and prose, prepared to meet the needs of both students and scholars. This Norton Critical Edition presents a generous selection of William Wordworth's poetry (including the thirteen-book Prelude of 1805) and prose works along with supporting materials for in-depth study. Together, the Norton Critical Editions of Wordsworth's Poetry and Prose and The Prelude: 1799, 1805, 1850 are the essential texts for studying this author. Wordsworth's Poetry and Prose includes a large selection of texts chronologically arranged, thereby allowing readers to trace the author's evolving interests and ideas. An insightful general introduction and textual introduction precede the texts, each of which is fully annotated. Illustrative materials include maps, manuscript pages, and title pages. "Criticism" collects thirty responses to Wordsworth?s poetry and prose spanning three centuries by British and American authors. Contributors include Samuel Taylor Coleridge, Percy Bysshe Shelley, Felicia Hemans, Ralph Waldo Emerson, Lucy Newlyn, Stephen Gill, Neil Fraistat, Mary Jacobus, Nicholas Roe, M. H. Abrams, Anne K. Mellor, Michael O?Neill, and Geoffrey Hartman, among others. The volume also includes a Chronology, a Biographical Register, a Selected Bibliography, and an Index of Titles and First Lines of Poems.

The best-selling student edition on the market, now available in a Second Edition. Almost two centuries after its publication, Frankenstein remains an indisputably classic text and Mary Shelley’s finest work. This extensively revised Norton Critical Edition includes new texts and illustrative materials that convey the enduring global conversation about Frankenstein and its author. The text is that of the 1818 first edition, published in three volumes by Lackington, Hughes, Harding, Mavor, and Jones. It is accompanied by an expansive new preface, explanatory annotations, a map of Geneva and its environs, and seven illustrations, five of them new to the Second Edition. Context is provided in three supporting sections: “Circumstance, Influence, Composition, Revision,” “Reception, Impact, Adaptation,” and “Sources, Influences, Analogues.” Among the Second Edition’s new inclusions are historical-cultural studies by Susan Tyler Hitchcock, William St. Clair, and Elizabeth Young; Chris Baldrick on the novel’s reception; and David Pirie on the novel’s many film adaptations. Related excerpts from the Bible and from John Milton’s Paradise Lost are now included, as is Charles Lamb’s poem “The Old Familiar Faces.” “Criticism” collects sixteen major interpretations of Frankenstein, nine of them new to the Second Edition. The new contributors are Peter Brooks, Bette London, Garrett Stewart, James. A. W. Heffernan, Patrick Brantlinger, Jonathan Bate, Anne Mellor, Jane Goodall, and Christa Knellwolf. A Chronology and Selected Bibliography are also included.

This Norton Critical Edition seeks to return Keats—one of the most beloved poets of the English language—to his cultural moment by tracking his emergence as a public poet.

When Pierre was published one year after Moby-Dick, expectations were high. Readers expected—and Melville delivered—adventure, humor, and brilliance. Magnificent and strange, Pierre is a richly allusive novel mirroring both antebellum America and Melville’s own life. This Norton Critical Edition includes: · The Harper & Brothers 1852 first edition of the novel, accompanied by Robert S. Levine and Cindy Weinstein’s editorial matter. · Six illustrations. · Contextual and source materials, including letters, responses to Pierre by Melville’s contemporaries, and works by Daniel Webster, Thomas Cole, James Fenimore Cooper, Lydia Maria Child, and Nathaniel Hawthorne, among others, that give readers a sense of Pierre’s time and place. · Seven critical essays on Pierre’s major themes by Sacvan Bercovitch, James Creech, Samuel Otter, Wyn Kelley, Cindy Weinstein, Jeffory A. Clymer, and Dominic Mastroianni. · A Chronology and a Selected Bibliography.

“I wanted an edition of Othello that had the necessary footnotes, background material, and a good selection of recent critical articles that would be accessible to students and would spark class discussions. This was it.” —Deborah Montuori, Shippensburg University This Norton Critical Edition includes: ·The First Folio text (1623). · An introduction, explanatory footnotes, note on the text, and textual notes by Edward Pechter. · Fifteen illustrations. · Giraldi Cinthio’s sixteenth-century story in its entirety, which Shakespeare used for both the plot and many details of Othello. · A generous selection of interpretive responses to Othello from its origins to the present day, including—new to the Second Edition—those by Stanley Cavell and Lois Potter. Edward Pechter’s popular theatrical and critical overview of Othello has been significantly expanded. · An updated Selected Bibliography.

"The Brontës' gifted biographer provides us with another superlative Norton Critical Edition of Charlotte Brontë's classic novel. For the classroom and for the general reader, there's no better way to experience the context in which Jane Eyre was written, illuminating modern commentary, and the novel itself in an authoritative text."—Fred Kaplan, Queens College and The Graduate Center, City University of New York This Norton Critical Edition includes: -The third-edition text (1848), the last corrected by Charlotte Brontë, accompanied by revised and expanded explanatory footnotes. -"Contexts," highlighting Jane Eyre as a bildungsroman through diary entries and letters by the author about her experiences as a student, teacher, and governess as well as her feelings about friendship, love, and writing. -Five major critical interpretations by Virginia Woolf, Sandra M. Gilbert and Susan Gubar, Susan Meyer, Carla Kaplan, and Kelly A. Marsh. -A Chronology and a Selected Bibliography

Situated at the intersection of ecocriticism, affect studies, and Romantic studies, this collection breaks new ground on the role of emotions in Western environmentalism. Recent scholarship highlights how traffic between Romantic-era literature and science helped to catalyze Green Romanticism. Closer to our own moment, the affective turn reflects similar cross-disciplinary collaboration, as many scholars now see the physiological phenomenon of affect as a force central to how we develop conscious attitudes and commitments. Together, these trends offer suggestive insights for the study of Green Romanticism. While critics have traditionally positioned Romantic Nature as idealized and illusory, Romantic representations of nature are, in fact, ambivalent, scientifically informed, and ethically engaged. They often reflect writers' efforts to capture the fleeting experience of affect, raising urgent questions about how nature evokes feelings, and what demands these sensations place upon the feeling subject. By focusing on the affective dimensions of Green Romanticism, Wordsworth and the Green Romantics advances a vision of Romantic ecology that complicates scholarly perceptions of Romantic Nature, as well as popular caricatures of the Romantics as na•ve nature lovers. This collection will interest scholars and students of Romanticism, eighteenth- and nineteenth-century British literature, ecocriticism, affect studies, and those who work at the intersection of literature and science.