{"product_id":"romantic-poetry-9780631213161","title":"Romantic Poetry","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eEasily adaptable as both an anthology and an insightful guide to reading and understanding Romantic Poetry, this text discusses the important elements in the works from poets such as Smith, Blake, Wordsworth, Coleridge, Southey, Barbauld, Byron, Shelley, Hemans, Keats and Landon.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\" ... this anthology's real strength lies in its wide-ranging, brilliant, and erudite annotations, which sometimes occupy as much space as the poetry itself.  One could nearly read this volume in lieu of formal instruction.  Packed with wonderful readings, excellent references (and recommendations for additional reading), extremely helpful footnotes, and engaging attention to the workings of form, \u003ci\u003eRomantic Poetry:  An Annotated Anthology\u003c\/i\u003e could make a significant contribution to many instructors, students, and general readers.\" (\u003ci\u003eKeats-Shelley Journal)\u003c\/i\u003e\u003cbr\u003e \u003cbr\u003e  \"The head notes and commentary will prove invaluable, as they expertly identify literary sources and allusions.... The extensive biographies are superb, especially Charles Mahoney's on Keats, and the suggestions for further reading helpful ... Romantic Poetry does what it sets out to do and is a useful new addition to Blackwell's ongoing series of annotated anthologies.\" (\u003ci\u003eKeats-Shelley Reviews\u003c\/i\u003e, December 2008)  \u003cp\u003e\"The editors have a particular commitment to the role that an appreciation of poetic form can play in critical understanding, and it is on account of this formal detail that the anthology is so valuable. Introductory headnotes elucidate the subtleties of each poem's craft, while footnotes comment on line endings, rhyme patterns, and other features of the text. Some comments are so brilliantly incisive as to deserve separate publication, such as the account of the metre of \u003ci\u003eChristabel\u003c\/i\u003e: 'each line seems like a stealthy event' (p. 207). Without question, this is by far the best way that any reader could be introduced to these poets, and the anthology is careful not to suggest that an attention to poetic detail precludes other types of investigation. Understanding how a poem creates meaning, however, is the vital first step, and for this reason \u003ci\u003eRomantic Poetry: An Annotated Anthology\u003c\/i\u003e will doubtless be the standard teaching anthology for many years.\" \u003ci\u003eYear's Work of English Studies (2010)\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eSelected Contents by Theme. \u003cp\u003eList of Plates.\u003c\/p\u003e \u003cp\u003eNote on Texts and Editorial Method.\u003c\/p\u003e \u003cp\u003eIndex of Themes.\u003c\/p\u003e \u003cp\u003eChronology of Events and Poetic Landmarks.\u003c\/p\u003e \u003cp\u003eIntroduction: Romantic Doubleness.\u003c\/p\u003e \u003cp\u003eAcknowledgements.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eAnna Laetitia Barbauld, neé Aikin (1743--1825)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eThe Rights of Woman.\u003c\/p\u003e \u003cp\u003eInscription for an Ice-House.\u003c\/p\u003e \u003cp\u003eTo Mr. S. T. Coleridge.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eCharlotte Smith, neé Turner (1749--1806).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSonnet 1 ['The partial Muse, has from my earliest hours'].\u003c\/p\u003e \u003cp\u003eSonnet VII. On the Departure of the Nightingale.\u003c\/p\u003e \u003cp\u003eSonnet XII. Written on the Sea Shore. – October, 1784.\u003c\/p\u003e \u003cp\u003eSonnet XXX. To the River Arun.\u003c\/p\u003e \u003cp\u003eSonnet XXXII. To Melancholy.\u003c\/p\u003e \u003cp\u003eSonnet XXXIX. To Night.\u003c\/p\u003e \u003cp\u003eSonnet XLIV. Written in the Church-yard at Middleton in Sussex.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eWilliam Blake (1757--1827)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003efrom Songs of Innocence and of Experience.\u003c\/p\u003e \u003cp\u003e(from Innocence).\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003eThe Ecchoing Green.\u003c\/p\u003e \u003cp\u003eThe Lamb.\u003c\/p\u003e \u003cp\u003eThe Little Black Boy.\u003c\/p\u003e \u003cp\u003eThe Chimney Sweeper.\u003c\/p\u003e \u003cp\u003eHoly Thursday.\u003c\/p\u003e \u003cp\u003eNurse’s Song.\u003c\/p\u003e \u003cp\u003e(from Experience).\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003eThe Clod and the Pebble.\u003c\/p\u003e \u003cp\u003eHoly Thursday.\u003c\/p\u003e \u003cp\u003eThe Sick Rose.\u003c\/p\u003e \u003cp\u003eThe Fly.\u003c\/p\u003e \u003cp\u003eThe Tyger.\u003c\/p\u003e \u003cp\u003eAh! Sun-flower.\u003c\/p\u003e \u003cp\u003eLondon.\u003c\/p\u003e \u003cp\u003eA Poison Tree.\u003c\/p\u003e \u003cp\u003eVisions of the Daughters of Albion.\u003c\/p\u003e \u003cp\u003eThe First Book of Urizen.\u003c\/p\u003e \u003cp\u003eThe Mental Traveller.\u003c\/p\u003e \u003cp\u003eThe Crystal Cabinet.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eWilliam Wordsworth (1770--1850)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eLines written at a small distance from my House, and sent by my little Boy to the Person to whom they are addressed.\u003c\/p\u003e \u003cp\u003eSimon Lee, the old Huntsman, With an incident in which he was concerned.\u003c\/p\u003e \u003cp\u003eAnecdote for Fathers, Shewing how the practice of Lying may be taught.\u003c\/p\u003e \u003cp\u003eLines written in early Spring.\u003c\/p\u003e \u003cp\u003eThe Thorn.\u003c\/p\u003e \u003cp\u003eThe Last of the Flock.\u003c\/p\u003e \u003cp\u003eThe Idiot Boy.\u003c\/p\u003e \u003cp\u003eExpostulation and Reply.\u003c\/p\u003e \u003cp\u003eThe Tables Turned; An Evening Scene, on the same subject.\u003c\/p\u003e \u003cp\u003eLines written a few miles above Tintern Abbey, on revisiting the banks of the Wye during a Tour, July 13, 1798.\u003c\/p\u003e \u003cp\u003eThe Ruined Cottage.\u003c\/p\u003e \u003cp\u003eStrange Fits of Passion I have Known.\u003c\/p\u003e \u003cp\u003eSong: 'She Dwelt among th'untrodden Ways'.\u003c\/p\u003e \u003cp\u003eA Slumber did my Spirit Seal.\u003c\/p\u003e \u003cp\u003eThe Two April Mornings.\u003c\/p\u003e \u003cp\u003eThe Fountain, A Conversation.\u003c\/p\u003e \u003cp\u003eNutting.\u003c\/p\u003e \u003cp\u003eMichael, A Pastoral Poem.\u003c\/p\u003e \u003cp\u003eFrom The Prelude (1805), Book 1.\u003c\/p\u003e \u003cp\u003eResolution and Independence.\u003c\/p\u003e \u003cp\u003eThe World is Too Much With Us.\u003c\/p\u003e \u003cp\u003eComposed upon Westminster Bridge, Sept. 3, 1803.\u003c\/p\u003e \u003cp\u003eOde (from 1815 entitled ‘Ode. Intimations of Immortality from Recollections of Early Childhood’).\u003c\/p\u003e \u003cp\u003eThe Solitary Reaper.\u003c\/p\u003e \u003cp\u003eElegiac Stanzas, Suggested by a Picture of Peele Castle in a Storm, Painted by Sir George Beaumont.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eSamuel Taylor Coleridge (1772--1834)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eThe Eolian Harp. Composed at Clevedon, Somersetshire.\u003c\/p\u003e \u003cp\u003eReflections on Having Left a Place of Retirement.\u003c\/p\u003e \u003cp\u003eThis Lime-Tree Bower My Prison.\u003c\/p\u003e \u003cp\u003eKubla Khan.\u003c\/p\u003e \u003cp\u003eThe Rime of the Ancient Mariner.\u003c\/p\u003e \u003cp\u003eChristabel.\u003c\/p\u003e \u003cp\u003eFrost at Midnight.\u003c\/p\u003e \u003cp\u003eFrance: An Ode.\u003c\/p\u003e \u003cp\u003eThe Nightingale: A Conversation Poem, April, 1798.\u003c\/p\u003e \u003cp\u003eThe Pains of Sleep.\u003c\/p\u003e \u003cp\u003eDejection: An Ode.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eGeorge Gordon, Lord Byron (1788--1824)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eStanzas to [Augusta].\u003c\/p\u003e \u003cp\u003e[Epistle to Augusta].\u003c\/p\u003e \u003cp\u003eStanzas to the Po.\u003c\/p\u003e \u003cp\u003eDon Juan.\u003c\/p\u003e \u003cp\u003eThe Dedication.\u003c\/p\u003e \u003cp\u003eCanto 1.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePercy Bysshe Shelley (1792--1822)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eAlastor; or, The Spirit of Solitude.\u003c\/p\u003e \u003cp\u003eHymn to Intellectual Beauty.\u003c\/p\u003e \u003cp\u003eMont Blanc. Lines written in the Vale of Chamouni.\u003c\/p\u003e \u003cp\u003ePrometheus Unbound, Act I.\u003c\/p\u003e \u003cp\u003eOde to the West Wind.\u003c\/p\u003e \u003cp\u003eAdonais: An Elegy on the Death of John Keats, Author of ‘Endymion’, ‘Hyperion’, etc.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eFelicia Hemans, née Browne (1793--1835)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eProperzia Rossi.\u003c\/p\u003e \u003cp\u003eThe Homes of England.\u003c\/p\u003e \u003cp\u003eThe Spirit’s Mysteries.\u003c\/p\u003e \u003cp\u003eThe Graves of a Household.\u003c\/p\u003e \u003cp\u003eThe Image in Lava.\u003c\/p\u003e \u003cp\u003eCasabianca.\u003c\/p\u003e \u003cp\u003eThe Lost Pleiad.\u003c\/p\u003e \u003cp\u003eThe Mirror in the Deserted Hall.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eJohn Keats (1795--1821)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eOn First Looking into Chapman's Homer.\u003c\/p\u003e \u003cp\u003eThe Eve of St Agnes.\u003c\/p\u003e \u003cp\u003eLa Belle Dame Sans Merci.\u003c\/p\u003e \u003cp\u003eOde to Psyche.\u003c\/p\u003e \u003cp\u003eIf by dull rhymes our english must be chain’d.\u003c\/p\u003e \u003cp\u003eOde to a Nightingale.\u003c\/p\u003e \u003cp\u003eOde on a Grecian Urn.\u003c\/p\u003e \u003cp\u003eOde on Melancholy.\u003c\/p\u003e \u003cp\u003eOde on Indolence.\u003c\/p\u003e \u003cp\u003eTo Autumn.\u003c\/p\u003e \u003cp\u003eBright star, Would I Were Stedfast as thou art.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLetitia Elizabeth Landon (L. E. L.) (1802--38).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eLines Written under a Picture of a Girl Burning a Love-Letter.\u003c\/p\u003e \u003cp\u003eA Child Screening a Dove from a Hawk. By Stewardson.\u003c\/p\u003e \u003cp\u003eLines of Life.\u003c\/p\u003e \u003cp\u003eFelicia Hemans.\u003c\/p\u003e \u003cp\u003eIndex of Titles and First Lines\u003c\/p\u003e","brand":"John Wiley and Sons Ltd","offers":[{"title":"Default Title","offer_id":49403424899415,"sku":"9780631213161","price":110.15,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780631213161.jpg?v=1730483431","url":"https:\/\/bookcurl.com\/products\/romantic-poetry-9780631213161","provider":"Book Curl","version":"1.0","type":"link"}