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This volume contains ten lectures in the humanities and social sciences delivered at the British Academy in 2008. The lectures cover topics ranging from an exploration of the relationship between reason and identity, to an examination of social integration as the world becomes a more diverse place, to a consideration of the works of four great literary figures: King Alfred, Shakespeare, Wordsworth, and W. H. Auden.

The poems that Samuel Taylor Coleridge wrote after his golden period are seldom studied or anthologised. Yet among the poems written after his most famous works are of quality and interest, addressing such universal themes as the nature of the self and the experience of unfulfilled love. This book examines the later verse in the context of Coleridge's oeuvre, discusses what characterises it, and looks at why the poet felt he had to develop distinctively different modes of writing for these works. ‘To William Wordsworth’ is presented as a transitional poem, exhibiting the vatic quality of earlier poems even while declaring that this quality must be abandoned. The book then explores the poetry of the abyss (which the book terms The Limbo Constellation), and this is followed by poems on the theme of the self and of love. The last chapter examines the role of epitaphs in the later works, culminating in a study of the epitaph Coleridge wrote for himself.

This book investigates Shakespeare's King Lear and its originative power in modern literature with specific attention to the early work of English Romantic poet William Wordsworth and to the American writer James Agee and photographer Walker Evans. It examines how these later readers return to the play to interrogate emphatically the question of the relations between literature and politics in modernity and to initiate in this way their own creative trajectories. King Lear opens up a literary genealogy or history of successors, at the heart and origin of which, the author claims, is a crisis of sovereignty. The tragedy famously begins with the title character's decision to give up his throne and divide the kingdom prior to his demise. In bringing to light the assumptions behind this logic, and in dramatizing its disastrous consequences, the play performs an implicit analysis and critique of sovereignty as the guiding principle of political life and gestures, beyond sovereignty, towards the possibility of a new aesthetic and political future. The question of the relations between literature and politics does not only open up immanently or internally within King Lear, this book argues, but is also that which occasions a literary history of readers who return to the play as to an originary locus for dealing with a problem.

How can Romantic poetry, motivated by the poet’s intense yearning to impart his thoughts and feelings, be so often difficult and the cause of readerly misunderstanding? How did it come to be that a poet can compose a verbal artwork, carefully and lovingly put together, and send it out into the world at the same time that he is adopting a stance against communication? This book addresses these questions by showing that the period’s writers were responding to the beginnings of our networked world of rampant mediated communication. The Connected Condition reveals that major Romantic poets shared a great attraction and skepticism toward the dream of perfectible, efficient connectivity that has driven the modern culture of communication. Samuel Taylor Coleridge, William Wordsworth, Percy Shelley, and John Keats all experimented with their artistic medium of poetry to pursue such ideals of speedy, transparent communication at the same time that they tried out contrarian literary strategies: writing excessively ornate verse, prolonging literary reading with tedious writing, being obscure, and questioning the allure of quickly delivered information. This book shows that the Romantic poets have much to teach us about living in—and living with—the connected condition, as well as the fortunes of literature in it.

“The next day Wordsworth arrived from Bristol at Coleridge’s cottage.... He answered in some degree to his friend’s description of him, but was more quaint and Don Quixote-like.... There was a convulsive inclination to laughter about the mouth, a good deal at variance with the solemn, stately expression of the rest of his face.” William Hazlitt's words present a Wordsworth who differs from the one we know. This book argues that the poet's quixotic creativity owes much to this mixture of the solemn and the laughable, one that is vitally related to his hopes for his writing and to his sense of the risks and embarrassments that such hopes entail. Wordsworth’s Fun explores the poet’s debts to the ludic and the ludicrous in classical tradition; his reading and reworking of Ariosto, Erasmus, and Cervantes; his engagement with forms of English poetic humor; and his love of comic prose. The book travels many untrodden ways, examining the relationship between Wordsworth’s metrical practice and his interest in laughing gas, his fascination with pantomime, his investment in the figure of the fool, and his response to discussions about the value of play. The book sheds fresh light on debates about the causes, aims, and effects of humor, and also on the contribution of Wordsworth’s peculiar humor to the shaping of the modern poetic experiment.

Situated at the intersection of affect studies, ecocriticism, aesthetics, and Romantic studies, this book presents a genealogy of love in Romantic-era poetry, science, and philosophy. While feeling and emotion have been traditional mainstays of Romantic literature, the concept of love is under-studied and under-appreciated, often neglected or dismissed as idealized, illusory, or overly sentimental. However, Seth Reno shows that a particular conception of intellectual love is interwoven with the major literary, scientific, and philosophical discourses of the period. Romantic-era writers conceived of love as integral to broader debates about the nature of life, the biology of the human body, the sociology of human relationships, the philosophy of nature, and the disclosure of being. Amorous Aesthetics traces the development of intellectual love from its first major expression in Baruch Spinoza’s Ethics,through its adoption and adaptation in eighteenth-century moral and natural philosophy, to its emergence as a Romantic tradition in the work of six major poets. From William Wordsworth and John Clare’s love of nature, to Percy Shelley’s radical politics of love, to the more sceptical stances of Felicia Hemans, Alfred Tennyson, and Matthew Arnold, this book shows intellectual love to be a pillar of Romanticism.

William Gilbert, poet, theosophist and astrologer, published The Hurricane: A Theosophical and Western Eclogue in Bristol in 1796, while he was on intimate terms with key members of Bristol literary culture: Coleridge published an extract from The Hurricane in his radical periodical The Watchman; Robert Southey wrote of the poem’s ‘passages of exquisite Beauty’; and William Wordsworth praised and quoted a long passage from Gilbert’s poem in The Excursion. The Hurricane is a copiously annotated 450 line blank verse visionary poem set on the island of Antigua where, in 1763, Gilbert was born into a slave-owning Methodist family. The poem can be grouped with other apocalyptic poems of the 1790s—Blake’s 'Continental Prophecies', Coleridge's 'Religious Musings', Southey's Joan of Arc—all of which gave a spiritual interpretation to the dramatic political upheavals of their time. William Gilbert and Esoteric Romanticism presents the untold story of Gilbert’s progress from the radical occultist circles of 1790s London to his engagement with the first generation Romantics in Bristol. At the heart of the book is the first modern edition of The Hurricane, fully annotated to reveal the esoteric metaphysics at its core, followed by close interpretative analysis of this strange elusive poem.