Beddoes poses a peculiar problem for critics and scholars who wish to redress the marginal position that he occupies in the Romantic canon – a problem seemingly unique to him, and created in part by his misconception of his own strengths as a writer. An extremely good poet who, had things turned out differently, might have functioned as a missing link between Keats and Tennyson, he fatally divided his attention between verse and medicine, a discipline that by his own admission (made in the poem composed for Zoë King) served to wither his creative gift. This fission of energy was bad enough, but more damaging still was his misconception of metier, for whatever mental resources remained to Beddoes after gruelling days in the classroom he invested in writing an unstageable drama instead of in his primary gift for lyric verse. Whereas the Beddoes revival that has been gathering momentum in recent years has centred on Death's Jest-Book, the play onto which the poet directed – some might say ‘misdirected’ – so much of his creative energy, this study focuses wholly on his lyric and narrative verse, much of which has received short critical shrift. It follows the sequence of poems set out in the Donner edition, and focuses on their verbal richness and inventiveness as they unspool upon the page.

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Whereas Thomas Hood has long been regarded as a minor comic poet, this book--the first to devote itself exclusively to his verse--provides a detailed analysis of two "serious" poems ("Hero and Leander" and "The Plea of the Midsummer Fairies") so as to give a better sense of his range. Most commentators have pointed to the influence of Keats on such occasions, but close examination reveals an even greater debt to Elizabethan and Metaphysical poets, whose sometimes playful deployment of the conceit struck a chord in his sensibility. At the same time, the book gives Hood's comic genius its due, supplying detailed accounts of the deftness and panache of his light-hearted oeuvre. One chapter examines his excursion into the mock-heroic mode (Odes and Addresses to Great People), and another his reliance on that airiest of forms, the capriccio (Whims and Oddities). The study concludes with an extensive examination of "Miss Kilmansegg and Her Precious Leg," showing how Hood was here able to inflect a jeu d'esprit with a fine Juvenalian passion.

The British Romantic Poets and Their Arabic-Islamic Sources examines masterpieces of English Romantic poetry and shows the Arabic and Islamic sources that inspired Coleridge, Wordsworth, Blake, Shelley, Keats, and Byron when composing their poems in the eighteenth, or early nineteenth century. Critics have documented Greek and Roman sources but turned a blind eye to nonwestern materials at a time when the romantic poets were reading them. The book shows how the Arabic-Islamic sources had helped the British Romantic Poets not only in finding their own voices, but also their themes, metaphors, symbols, characters and images. The British Romantic Poets and Their Arabic-Islamic Sources is of interest to scholars in English and comparative literature, literary studies, philosophy, religion, government, history, cultural, and Middle Eastern studies and the general public.