{"product_id":"romanticism-isbn-9781394210855","title":"Romanticism","description":"\u003cp\u003e\u003cb\u003eThe essential work on Romanticism, revised and condensed for student convenience\u003c\/b\u003e \u003c\/p\u003e\u003cp\u003eStanding as the essential work on Romanticism, Duncan Wu’s \u003ci\u003eRomanticism: An Anthology\u003c\/i\u003e has been appreciated by thousands of literature students and their teachers across the globe since its first appearance in 1994. This Fifth Edition has been revised to reduce the size of the book and the burden of carrying it around a university campus. It includes the six canonical authors: Blake, Wordsworth, Coleridge, Keats, Byron, and Shelley. The Fourth Edition of the anthology, with complete and uncut texts of a wealth of Romantic authors, is available to all readers of the Fifth Edition via online access. \u003c\/p\u003e\u003cp\u003eAuthors are introduced successively by their dates of birth; works are placed in order of composition where known and, when not known, by date of publication. Except for works in dialect or in which archaic effects were deliberately sought, punctuation and orthography are normalized, pervasive initial capitals and italics removed, and contractions expanded except where they are of metrical significance. Texts are edited for this volume from both manuscript and early printed sources. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eRomanticism: An Anthology\u003c\/i\u003e contains everything a teacher needs for full coverage of the canonical poets, with illustrations and a chronological timeline to provide readers with important historical context. \u003c\/p\u003e\u003cp\u003eIntroduction xvi\u003c\/p\u003e \u003cp\u003eEditor’s Note on the Fifth Edition xxiii\u003c\/p\u003e \u003cp\u003eEditorial Principles xxiv\u003c\/p\u003e \u003cp\u003eAcknowledgements xxv\u003c\/p\u003e \u003cp\u003eA Romantic Timeline 1770–1851 xxviii\u003c\/p\u003e \u003cp\u003eAbout the Companion Website Iiii\u003c\/p\u003e \u003cp\u003e\u003cb\u003eWilliam Blake (1757–1827) 1\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAll Religions Are One (composed c.1788) 5\u003c\/p\u003e \u003cp\u003eThere Is No Natural Religion (composed c.1788) 6\u003c\/p\u003e \u003cp\u003eThe Book of Thel (1789) 7\u003c\/p\u003e \u003cp\u003eSongs of Innocence (1789) 11\u003c\/p\u003e \u003cp\u003eSongs of Experience (1794) 22\u003c\/p\u003e \u003cp\u003eThe Marriage of Heaven and Hell (1790) 36\u003c\/p\u003e \u003cp\u003eVisions of the Daughters of Albion (1793) 47\u003c\/p\u003e \u003cp\u003eThe First Book of Urizen (1794) 53\u003c\/p\u003e \u003cp\u003eLetter from William Blake to the Revd Dr Trusler, 23 August 1799 (extract) 68\u003c\/p\u003e \u003cp\u003eFrom ‘The Pickering Manuscript’ (composed 1800–4) 69\u003c\/p\u003e \u003cp\u003eFrom ‘Milton’ (composed 1803–8) 72\u003c\/p\u003e \u003cp\u003e\u003cb\u003eWilliam Wordsworth and Samuel Taylor Coleridge, Lyrical Ballads (1798) 73\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAdvertisement (by Wordsworth, working from Coleridge’s notes, composed June 1798) 75\u003c\/p\u003e \u003cp\u003eThe Rime of the Ancyent Marinere, in Seven Parts (by Coleridge, composed November 1797–March 1798) 76\u003c\/p\u003e \u003cp\u003eThe Foster-Mother’s Tale: A Dramatic Fragment (by Coleridge, extracted from Osorio, composed April–September 1797) 94\u003c\/p\u003e \u003cp\u003eLines Left upon a Seat in a Yew-Tree which Stands near the Lake of Esthwaite, on a Desolate Part of the Shore, yet Commanding a Beautiful Prospect (by Wordsworth, composed April–May 1797) 96\u003c\/p\u003e \u003cp\u003eThe Nightingale; A Conversational Poem, Written in April 1798 (by Coleridge, composed April–May 1798) 97\u003c\/p\u003e \u003cp\u003eThe Female Vagrant (by Wordsworth, derived from ‘Salisbury Plain’, initially composed late summer 1793 and revised for inclusion in Lyrical Ballads, 1798) 100\u003c\/p\u003e \u003cp\u003eGoody Blake and Harry Gill: A True Story (by Wordsworth, composed 7–13 March 1798) 107\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 (by Wordsworth, composed 1–9 March 1798) 110\u003c\/p\u003e \u003cp\u003eSimon Lee, the Old Huntsman, with an Incident in which He Was Concerned (by Wordsworth, composed between March and 16 May 1798) 111\u003c\/p\u003e \u003cp\u003eAnecdote for Fathers, Showing How the Art of Lying May Be Taught (by Wordsworth, composed between April and 16 May 1798) 114\u003c\/p\u003e \u003cp\u003eWe Are Seven (by Wordsworth, composed between April and 16 May 1798) 116\u003c\/p\u003e \u003cp\u003eLines Written in Early Spring (by Wordsworth, composed c.12 April 1798) 118\u003c\/p\u003e \u003cp\u003eThe Thorn (by Wordsworth, composed between 19 March and 20 April 1798) 119\u003c\/p\u003e \u003cp\u003eThe Last of the Flock (by Wordsworth, composed between March and 16 May 1798) 125\u003c\/p\u003e \u003cp\u003eThe Dungeon (by Coleridge, extracted from Osorio, composed April–September 1797) 128\u003c\/p\u003e \u003cp\u003eThe Mad Mother (by Wordsworth, composed between March and 16 May 1798) 129\u003c\/p\u003e \u003cp\u003eThe Idiot Boy (by Wordsworth, composed between March and 16 May 1798) 131\u003c\/p\u003e \u003cp\u003eLines Written near Richmond, upon the Thames, at Evening (by Wordsworth, derived from a sonnet written 1789, complete in this form by 29 March 1797) 142\u003c\/p\u003e \u003cp\u003eExpostulation and Reply (by Wordsworth, composed probably 23 May 1798) 143\u003c\/p\u003e \u003cp\u003eThe Tables Turned: An Evening Scene, on the Same Subject (by Wordsworth, composed probably 23 May 1798) 144\u003c\/p\u003e \u003cp\u003eOld Man Travelling; Animal Tranquillity and Decay, A Sketch (by Wordsworth, composed by June 1797) 145\u003c\/p\u003e \u003cp\u003eThe Complaint of a Forsaken Indian Woman (by Wordsworth, composed between early March and 16 May 1798) 146\u003c\/p\u003e \u003cp\u003eThe Convict (by Wordsworth, composed between 21 March and October 1796) 148\u003c\/p\u003e \u003cp\u003eLines Written a Few Miles above Tintern Abbey, on Revisiting the Banks of the Wye during a Tour, 13 July 1798 (by Wordsworth, composed 10–13 July 1798) 149\u003c\/p\u003e \u003cp\u003e\u003cb\u003eWilliam Wordsworth (1770–1850) 153\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eA Night-Piece 157\u003c\/p\u003e \u003cp\u003eThe Discharged Soldier 158\u003c\/p\u003e \u003cp\u003eThe Ruined Cottage 162\u003c\/p\u003e \u003cp\u003eThe Pedlar 174\u003c\/p\u003e \u003cp\u003eThe Two-Part Prelude 183\u003c\/p\u003e \u003cp\u003eThere Was a Boy 206\u003c\/p\u003e \u003cp\u003eNutting 207\u003c\/p\u003e \u003cp\u003eStrange Fits of Passion I Have Known 208\u003c\/p\u003e \u003cp\u003eSong 209\u003c\/p\u003e \u003cp\u003eA Slumber Did My Spirit Seal 210\u003c\/p\u003e \u003cp\u003eThree Years She Grew in Sun and Shower 210\u003c\/p\u003e \u003cp\u003eThe Brothers: A Pastoral Poem 211\u003c\/p\u003e \u003cp\u003ePreface to Lyrical Ballads 223\u003c\/p\u003e \u003cp\u003eNote to ‘The Thorn’ 232\u003c\/p\u003e \u003cp\u003eNote to Coleridge’s ‘The Rime of the Ancient Mariner’ 234\u003c\/p\u003e \u003cp\u003eMichael: A Pastoral Poem 234\u003c\/p\u003e \u003cp\u003eI Travelled among Unknown Men 246\u003c\/p\u003e \u003cp\u003ePreface to Lyrical Ballads 246\u003c\/p\u003e \u003cp\u003eTo H.C., Six Years Old 248\u003c\/p\u003e \u003cp\u003eThe Rainbow 249\u003c\/p\u003e \u003cp\u003eThese Chairs They Have No Words to Utter 249\u003c\/p\u003e \u003cp\u003eResolution and Independence 250\u003c\/p\u003e \u003cp\u003eI Grieved for Buonaparte 254\u003c\/p\u003e \u003cp\u003eThe World Is too Much with Us 254\u003c\/p\u003e \u003cp\u003eComposed upon Westminster Bridge, 3 September 1802 255\u003c\/p\u003e \u003cp\u003eTo Toussaint L’Ouverture 255\u003c\/p\u003e \u003cp\u003eIt Is a Beauteous Evening, Calm and Free 256\u003c\/p\u003e \u003cp\u003e1 September 1802 256\u003c\/p\u003e \u003cp\u003eLondon 1802 257\u003c\/p\u003e \u003cp\u003eGreat Men Have Been among Us 257\u003c\/p\u003e \u003cp\u003eOde 258\u003c\/p\u003e \u003cp\u003eDaffodils 262\u003c\/p\u003e \u003cp\u003eStepping Westward 263\u003c\/p\u003e \u003cp\u003eThe Solitary Reaper 264\u003c\/p\u003e \u003cp\u003eElegiac Stanzas, Suggested by a Picture of Peele Castle in a Storm, Painted by Sir George Beaumont 265\u003c\/p\u003e \u003cp\u003eStar Gazers 267\u003c\/p\u003e \u003cp\u003eSt Paul’s 268\u003c\/p\u003e \u003cp\u003eSurprised by Joy – Impatient as the Wind 268\u003c\/p\u003e \u003cp\u003eConclusion to The River Duddon 269\u003c\/p\u003e \u003cp\u003eAirey-Force Valley 269\u003c\/p\u003e \u003cp\u003eExtempore Effusion upon the Death of James Hogg 270\u003c\/p\u003e \u003cp\u003eFrom The Fenwick Notes (dictated 1843) 271\u003c\/p\u003e \u003cp\u003e\u003cb\u003eSamuel Taylor Coleridge (1772–1834) 273\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eTo the River Otter 277\u003c\/p\u003e \u003cp\u003eLetter from S.T. Coleridge to George Dyer, 10 March 1795 (extract) 278\u003c\/p\u003e \u003cp\u003eThe Eolian Harp. Composed at Clevedon, Somersetshire (1834) 279\u003c\/p\u003e \u003cp\u003eReflections on Having Left a Place of Retirement 281\u003c\/p\u003e \u003cp\u003eReligious Musings (extract) 283\u003c\/p\u003e \u003cp\u003eLetter from S.T. Coleridge to John Thelwall, 19 November 1796 (extract) 285\u003c\/p\u003e \u003cp\u003eThis Lime-Tree Bower My Prison (1834) 285\u003c\/p\u003e \u003cp\u003eLetter from S.T. Coleridge to John Thelwall, 14 October 1797 (extract) 288\u003c\/p\u003e \u003cp\u003eLetter from S.T. Coleridge to Thomas Poole, 16 October 1797 (extract) 288\u003c\/p\u003e \u003cp\u003eOf the Fragment of ‘Kubla Khan’ (1816) 289\u003c\/p\u003e \u003cp\u003eKubla Khan (1816) 290\u003c\/p\u003e \u003cp\u003eFrost at Midnight (1834) 291\u003c\/p\u003e \u003cp\u003eChristabel 293\u003c\/p\u003e \u003cp\u003eLetter from S.T. Coleridge to Thomas Poole, 6 April 1799 (extract) 310\u003c\/p\u003e \u003cp\u003eThe Day-Dream 310\u003c\/p\u003e \u003cp\u003eThe Picture; or, The Lover’s Resolution 311\u003c\/p\u003e \u003cp\u003eA Letter to Sara Hutchinson, 4 April 1802. Sunday Evening 315\u003c\/p\u003e \u003cp\u003eA Day-Dream 324\u003c\/p\u003e \u003cp\u003eDejection: An Ode 325\u003c\/p\u003e \u003cp\u003eThe Pains of Sleep (1816) 328\u003c\/p\u003e \u003cp\u003eLetter from S.T. Coleridge to Thomas Poole, 14 October 1803 (extract) 330\u003c\/p\u003e \u003cp\u003eLetter from S.T. Coleridge to Richard Sharp, 15 January 1804 (extract) 330\u003c\/p\u003e \u003cp\u003eTo William Wordsworth. Lines Composed, for the Greater Part, on the Night on which He Finished the Recitation of His Poem in Thirteen Books, concerning the Growth and History of His Own Mind, January 1807, Coleorton, near Ashby-de-la-Zouch 331\u003c\/p\u003e \u003cp\u003eLetter from S.T. Coleridge to William Wordsworth, 30 May 1815 (extract) 334\u003c\/p\u003e \u003cp\u003eFrom Biographia Literaria (1817) 336\u003c\/p\u003e \u003cp\u003eThe Rime of the Ancient Mariner. In Seven Parts (1817) 337\u003c\/p\u003e \u003cp\u003eFrom Table Talk 354\u003c\/p\u003e \u003cp\u003eThe Ancient Mariner 354\u003c\/p\u003e \u003cp\u003eThe True Way for a Poet 354\u003c\/p\u003e \u003cp\u003eThe Recluse 355\u003c\/p\u003e \u003cp\u003eKeats 355\u003c\/p\u003e \u003cp\u003e\u003cb\u003eGeorge Gordon Byron, 6th Baron Byron (1788–1824) 356\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eShe Walks in Beauty 363\u003c\/p\u003e \u003cp\u003eChilde Harold’s Pilgrimage: Canto III 363\u003c\/p\u003e \u003cp\u003ePrometheus 397\u003c\/p\u003e \u003cp\u003eStanzas to Augusta 398\u003c\/p\u003e \u003cp\u003eEpistle to Augusta 400\u003c\/p\u003e \u003cp\u003eDarkness 404\u003c\/p\u003e \u003cp\u003eLetter from Lord Byron to Thomas Moore, 28 February 1817 (extract; including ‘So We’ll Go No More a-Roving’) 406\u003c\/p\u003e \u003cp\u003eDon Juan 407\u003c\/p\u003e \u003cp\u003eLetter from Lord Byron to Douglas Kinnaird, 26 October 1819 (extract) 509\u003c\/p\u003e \u003cp\u003eMessalonghi, 22 January 1824. On This Day I Complete My Thirty- Sixth Year 509\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePercy Bysshe Shelley (1792–1822) 511\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eTo Wordsworth 517\u003c\/p\u003e \u003cp\u003eAlastor; or, The Spirit of Solitude 517\u003c\/p\u003e \u003cp\u003eJournal- Letter from Percy Bysshe Shelley to Thomas Love Peacock, 22 July to 2 August 1816 (extract) 535\u003c\/p\u003e \u003cp\u003eHymn to Intellectual Beauty 537\u003c\/p\u003e \u003cp\u003eMont Blanc. Lines Written in the Vale of Chamouni 539\u003c\/p\u003e \u003cp\u003eOzymandias 543\u003c\/p\u003e \u003cp\u003eOn Love 543\u003c\/p\u003e \u003cp\u003eLines Written among the Euganean Hills, October 1818 545\u003c\/p\u003e \u003cp\u003eStanzas Written in Dejection, near Naples 554\u003c\/p\u003e \u003cp\u003eThe Mask of Anarchy. Written on the Occasion of the Massacre at Manchester 555\u003c\/p\u003e \u003cp\u003eOde to the West Wind 565\u003c\/p\u003e \u003cp\u003eEngland in 1819 568\u003c\/p\u003e \u003cp\u003eLift Not the Painted Veil 568\u003c\/p\u003e \u003cp\u003eOn Life 569\u003c\/p\u003e \u003cp\u003eTo a Skylark 571\u003c\/p\u003e \u003cp\u003eA Defence of Poetry; or, Remarks Suggested by an Essay Entitled ‘The Four Ages of Poetry’ (extracts) 574\u003c\/p\u003e \u003cp\u003eAdonais: An Elegy on the Death of John Keats, Author of Endymion, Hyperion, etc. 587\u003c\/p\u003e \u003cp\u003eMusic, When Soft Voices Die 604\u003c\/p\u003e \u003cp\u003eWhen Passion’s Trance Is Overpast 604\u003c\/p\u003e \u003cp\u003eTo Edward Williams 605\u003c\/p\u003e \u003cp\u003eWith a Guitar, to Jane 606\u003c\/p\u003e \u003cp\u003e\u003cb\u003eJohn Keats (1795–1821) 609\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eOn First Looking into Chapman’s Homer 616\u003c\/p\u003e \u003cp\u003eAddressed to Haydon 617\u003c\/p\u003e \u003cp\u003eOn the Grasshopper and the Cricket 617\u003c\/p\u003e \u003cp\u003eFrom ‘Endymion: A Poetic Romance’, Book I 618\u003c\/p\u003e \u003cp\u003eLetter from John Keats to Benjamin Bailey, 22 November 1817 (extract) 622\u003c\/p\u003e \u003cp\u003eLetter from John Keats to George and Tom Keats, 21 December 1817 (extract) 623\u003c\/p\u003e \u003cp\u003eOn Sitting Down to Read King Lear Once Again 624\u003c\/p\u003e \u003cp\u003eWhen I Have Fears that I May Cease to Be 625\u003c\/p\u003e \u003cp\u003eLetter from John Keats to John Hamilton Reynolds, 3 February 1818 (extract) 625\u003c\/p\u003e \u003cp\u003eIsabella; or, The Pot of Basil: A Story from Boccaccio 626\u003c\/p\u003e \u003cp\u003eLetter from John Keats to John Hamilton Reynolds, 3 May 1818 (extract) 642\u003c\/p\u003e \u003cp\u003eLetter from John Keats to Richard Woodhouse, 27 October 1818 643\u003c\/p\u003e \u003cp\u003eHyperion: A Fragment 644\u003c\/p\u003e \u003cp\u003eThe Eve of St Agnes 665\u003c\/p\u003e \u003cp\u003eJournal-Letter from John Keats to George and Georgiana Keats, 14 February–3 May 1819 (extracts) 676\u003c\/p\u003e \u003cp\u003eLa Belle Dame Sans Merci: A Ballad 677\u003c\/p\u003e \u003cp\u003eOde to Psyche 679\u003c\/p\u003e \u003cp\u003eOde to a Nightingale 681\u003c\/p\u003e \u003cp\u003eOde on a Grecian Urn 683\u003c\/p\u003e \u003cp\u003eOde on Melancholy 685\u003c\/p\u003e \u003cp\u003eOde on Indolence 686\u003c\/p\u003e \u003cp\u003eLamia 688\u003c\/p\u003e \u003cp\u003eTo Autumn 704\u003c\/p\u003e \u003cp\u003eThe Fall of Hyperion: A Dream 705\u003c\/p\u003e \u003cp\u003eBright Star, Would I Were Steadfast as Thou Art 718\u003c\/p\u003e \u003cp\u003eThis Living Hand, Now Warm and Capable 718\u003c\/p\u003e \u003cp\u003eIndex of First Lines 719\u003c\/p\u003e \u003cp\u003eIndex to Headnotes and Notes 722\u003c\/p\u003e  \u003cp\u003e\u003cb\u003eDuncan Wu\u003c\/b\u003e is Raymond A. Wagner Professor of English Literature at Georgetown University, Washington DC. He was also Professor of English Literature at Glasgow University and Professor of English Language and Literature at St Catherine’s College, Oxford. He is the author of numerous books on the Romantics and poetry.   \u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe essential work on Romanticism, revised and condensed for student convenience\u003c\/b\u003e \u003c\/p\u003e\u003cp\u003eStanding as the essential work on Romanticism, Duncan Wu’s \u003ci\u003eRomanticism: An Anthology\u003c\/i\u003e has been appreciated by thousands of literature students and their teachers across the globe since its first appearance in 1994. This Fifth Edition has been revised to reduce the size of the book and the burden of carrying it around a university campus. It includes the six canonical authors: Blake, Wordsworth, Coleridge, Keats, Byron, and Shelley. The Fourth Edition of the anthology, with complete and uncut texts of a wealth of Romantic authors, is available to all readers of the Fifth Edition via online access. \u003c\/p\u003e\u003cp\u003eAuthors are introduced successively by their dates of birth; works are placed in order of composition where known and, when not known, by date of publication. Except for works in dialect or in which archaic effects were deliberately sought, punctuation and orthography are normalized, pervasive initial capitals and italics removed, and contractions expanded except where they are of metrical significance. Texts are edited for this volume from both manuscript and early printed sources. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eRomanticism: An Anthology\u003c\/i\u003e contains everything a teacher needs for full coverage of the canonical poets, with illustrations and a chronological timeline to provide readers with important historical context.\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989972795621,"sku":"NP9781394210855","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781394210855.jpg?v=1761786084","url":"https:\/\/k12savings.com\/es\/products\/romanticism-isbn-9781394210855","provider":"K12savings","version":"1.0","type":"link"}