Longman Anthology of British Literature, The

<p><strong>Longman Anthology of British Literature, Volume 2A, The: The Romantics and Their Contemporaries, 5/e</strong></p> <p>The Romantics and Their Contemporaries</p> <p>Illustration: Thomas Girtin, Tintern Abbey </p> <p>THE ROMANTIC PERIOD AT A GLANCE</p> <p>INTRODUCTION</p> <p>LITERATURE AND THE AGE: “NOUGHT WAS LASTING”</p> <p>ROMANCE, ROMANTICISM, AND THE POWERS OF THE IMAGINATION</p> <p>THE FRENCH REVOLUTION AND ITS REVERBERATIONS</p> <p>Illustration: Thomas Rowlandson, after a drawing by Lord George Murray,</p> <p>The Contrast </p> <p>THE MONARCHY</p> <p>Illustration: Thomas Lawrence, Coronation Portrait of the Prince Regent</p> <p>(later, George IV) </p> <p>INDUSTRIAL ENGLAND AND “NEVER-RESTING LABOUR”</p> <p>CONSUMERS AND COMMODITIES</p> <p>Color Plate 1: John Martin, The Bard</p> <p>Color Plate 2: Thomas Gainsborough, Mrs. Mary Robinson</p> <p>Color Plate 3: Thomas Phillips, Lord Byron</p> <p>Color Plate 4: Anonymous, Portrait of Olaudah Equiano</p> <p>Color Plate 5: J. M. W. Turner, Slavers Throwing the Dead and Dying</p> <p>Overboard, Typhoon Coming On</p> <p>Color Plate 6: William Blake, The Little Black Boy (second plate only)</p> <p>Color Plate 7: William Blake, The Little Black Boy (another version of #6)</p> <p>Color Plate 8: William Blake, The Tyger</p> <p>Color Plate 9: William Blake, The Sick Rose</p> <p>Color Plate 10: Joseph Wright, An Iron Forge Viewed from Without</p> <p>AUTHORSHIP, AUTHORITY, AND “ROMANTICISM”</p> <p>POPULAR PROSE</p> <p>Illustration: George Cruikshank, The Press </p> <p>PERSPECTIVES</p> <p>The Sublime, the Beautiful, and the Picturesque</p> <p>Illustration: Thomas Rowlandson, Dr. Syntax Sketching by the Lake </p> <p>Illustration: Joseph Mallord William Turner, The Passage of the St. Gothard,</p> <p>1804 </p> <p>EDMUND BURKE</p> <p>from A Philosophical Enquiry into the Origin of Our Ideas of the Sublime</p> <p>and Beautiful</p> <p>Illustration: Benjamin Robert Haydon, Study after the Elgin</p> <p>Marbles </p> <p>IMMANUEL KANT</p> <p>from The Critique of Judgement</p> <p>WILLIAM GILPIN</p> <p>Illustration: Edward Dayes, Tintern Abbey from across the</p> <p>Wye, 1794</p> <p>from Three Essays on Picturesque Beauty, on Picturesque Travel,</p> <p>and on Sketching Landscape</p> <p>Illustration: From William Gilpin's Three Essays, 1792</p> <p>MARY WOLLSTONECRAFT</p> <p>from A Vindication of the Rights of Men</p> <p>JANE AUSTEN</p> <p>from Pride and Prejudice</p> <p>from Northanger Abbey</p> <p>MARIA JANE JEWSBURY</p> <p>A Rural Excursion</p> <p>JOHN RUSKIN</p> <p>from Modern Painters</p> <p>ANNA LETITIA BARBAULD</p> <p>The Mouse's Petition to Dr. Priestley</p> <p>On a Lady's Writing</p> <p>Inscription for an Ice-House</p> <p>To a Little Invisible Being Who Is Expected Soon to Become</p> <p>Visible</p> <p>To the Poor</p> <p>Washing-Day</p> <p>Eighteen Hundred and Eleven</p> <p>RESPONSE</p> <p>John Wilson Croker: from A Review of Eighteen Hundred</p> <p>and Eleven </p> <p>The First Fire</p> <p>On the Death of the Princess Charlotte</p> <p>CHARLOTTE SMITH</p> <p>from ELEGIAC SONNETS AND OTHER POEMS</p> <p>To the Moon</p> <p>“Sighing I see yon little troop at play”</p> <p>Illustration: Charlotte Smith, engraving for Sonnet IV, “To the Moon”</p> <p>To melancholy. Written on the banks of the Arun October, 1785</p> <p>Far on the sands</p> <p>To tranquillity</p> <p>Written in the church-yard at Middleton in Sussex</p> <p>On being cautioned against walking on an headland overlooking the sea</p> <p>The sea view</p> <p>The Dead Beggar</p> <p>The Emigrants, Book 1</p> <p>from Beachy Head</p> <p>PERSPECTIVES</p> <p>The Rights of Man and the Revolution Controversy</p> <p>HELEN MARIA WILLIAMS</p> <p>from Letters Written in France, in the Summer of 1790</p> <p>EDMUND BURKE</p> <p>from Reflections on the Revolution in France</p> <p>Illustration: James Gillray, Smelling out a Rat; —— or The Atheistical</p> <p>Revolutionist disturbed in his Midnight Calculations </p> <p>MARY WOLLSTONECRAFT</p> <p>from A Vindication of the Rights of Men</p> <p>Letter to Joseph Johnson, from Paris, December 27, 1792</p> <p>THOMAS PAINE</p> <p>from The Rights of Man</p> <p>HELEN MARIA WILLIAMS</p> <p>from Letters from France, 1796</p> <p>WILLIAM GODWIN</p> <p>from An Enquiry Concerning Political Justice and Its Influence on General</p> <p>Virtue and Happiness</p> <p>THE ANTI-JACOBIN, OR WEEKLY EXAMINER</p> <p>The Friend of Humanity and the Knife-Grinder</p> <p>The Widow</p> <p>Illustration: James Gillray, illustration to The Friend of Humanity and the</p> <p>Knife-Grinder </p> <p>HANNAH MORE</p> <p>Village Politics</p> <p>ARTHUR YOUNG</p> <p>from Travels in France During the Years 1787–1788, and 1789</p> <p>from The Example of France, a Warning to Britain</p> <p>from Jacobinism</p> <p>from Once a Jacobin Always a Jacobin</p> <p>WILLIAM BLAKE</p> <p>All Religions Are One</p> <p>There Is No Natural Religion [a]</p> <p>There Is No Natural Religion [b]</p> <p>SONGS OF INNOCENCE AND OF EXPERIENCE</p> <p>Illustration: William Blake, frontispiece for Songs of Innocence </p> <p>from Songs of Innocence</p> <p>Introduction</p> <p>The Shepherd</p> <p>The Ecchoing Green</p> <p>The Lamb</p> <p>Illustration: William Blake, The Lamb </p> <p>The Little Black Boy</p> <p>The Blossom</p> <p>The Chimney Sweeper</p> <p>Illustration: William Blake, The Little Boy lost </p> <p>The Little Boy lost</p> <p>Illustration: William Blake, The Little Boy found </p> <p>The Little Boy found</p> <p>The Divine Image</p> <p>HOLY THURSDAY</p> <p>Nurses Song</p> <p>Infant Joy</p> <p>A Dream</p> <p>On Anothers Sorrow</p> <p>COMPANION READING</p> <p>Charles Lamb: from The Praise of Chimney-Sweepers</p> <p>from Songs of Experience</p> <p>Introduction</p> <p>EARTH'S Answer</p> <p>The CLOD &amp; the PEBBLE</p> <p>HOLY THURSDAY</p> <p>The Little Girl Lost</p> <p>The Little Girl Found</p> <p>THE Chimney Sweeper</p> <p>NURSES Song</p> <p>The SICK ROSE</p> <p>Illustration: William Blake, THE Chimney Sweeper </p> <p>Illustration: William Blake, THE FLY </p> <p>THE FLY</p> <p>The Angel</p> <p>The Tyger</p> <p>My Pretty ROSE TREE</p> <p>AH! SUN-FLOWER</p> <p>The GARDEN of LOVE</p> <p>LONDON</p> <p>The Human Abstract</p> <p>INFANT SORROW</p> <p>A Little BOY Lost</p> <p>Illustration: William Blake, A POISON TREE </p> <p>A Little GIRL Lost</p> <p>The School-Boy</p> <p>A DIVINE IMAGE</p> <p>The Marriage of Heaven and Hell</p> <p>Visions of the Daughters of Albion</p> <p>Illustration: William Blake, Plate i from Visions of the Daughters of Albion </p> <p>Illustration: William Blake, Plate 8, from Visions of the Daughters of Albion </p> <p>LETTERS</p> <p>To Dr. John Trusler (23 August 1799)</p> <p>To Thomas Butts (22 November 1802)</p> <p>PERSPECTIVES</p> <p>The Abolition of Slavery and the Slave Trade</p> <p>OLAUDAH EQUIANO</p> <p>from The Interesting Narrative of the Life of Olaudah</p> <p>Equiano</p> <p>MARY PRINCE</p> <p>from The History of Mary Prince, a West Indian Slave</p> <p>THOMAS BELLAMY</p> <p>The Benevolent Planters</p> <p>JOHN NEWTON</p> <p>Amazing Grace!</p> <p>ANN CROMARTIE YEARSLEY</p> <p>from A Poem on the Inhumanity of the Slave-Trade</p> <p>WILLIAM COWPER</p> <p>Sweet Meat Has Sour Sauce</p> <p>The Negro's Complaint</p> <p>ANNA LETITIA BARBAULD</p> <p>Epistle to William Wilberforce, Esq., On the Rejection of the Bill for Abolishing</p> <p>the Slave Trade</p> <p>HANNAH MORE AND EAGLESFIELD SMITH</p> <p>The Sorrows of Yamba</p> <p>ROBERT SOUTHEY</p> <p>from Poems Concerning the Slave-Trade</p> <p>DOROTHY WORDSWORTH</p> <p>from The Grasmere Journals</p> <p>THOMAS CLARKSON</p> <p>from The History of the Rise, Progress, &amp; Accomplishment of the Abolition of</p> <p>the African Slave-Trade by the British Parliament</p> <p>Illustration: Packing methods on a slave ship</p> <p>WILLIAM WORDSWORTH</p> <p>To Toussaint L'Ouverture</p> <p>To Thomas Clarkson</p> <p>from The Prelude</p> <p>from Humanity</p> <p>Letter to Mary Ann Rawson (May 1833)</p> <p>THE EDINBURGH REVIEW</p> <p>from Abstract of the Information laid on the Table of the House of Commons, on the Subject of the Slave Trade</p> <p>GEORGE GORDON, LORD BYRON</p> <p>from Detached Thoughts</p> <p>MARY ROBINSON</p> <p>Ode to Beauty</p> <p>January, 1795</p> <p>from Sappho and Phaon, in a Series of Legitimate Sonnets</p> <p>III. The Bower of Pleasure</p> <p>IV. Sappho discovers her Passion</p> <p>VII. Invokes Reason</p> <p>XI. Rejects the Influence of Reason</p> <p>XII. Previous to her Interview with Phaon</p> <p>XVIII. To Phaon</p> <p>XXX. Bids farewell to Lesbos</p> <p>XXXVII. Foresees her Death</p> <p>The Camp</p> <p>The Haunted Beach</p> <p>London's Summer Morning</p> <p>The Old Beggar</p> <p>MARY WOLLSTONECRAFT</p> <p>Illustration: Portrait of Mary Wollstonecraft</p> <p>A Vindication of the Rights of Woman</p> <p>from To M. Talleyrand-Périgord, Late Bishop of Autun</p> <p>Introduction</p> <p>from Chapter 1. The Rights and Involved Duties of Mankind</p> <p>Considered</p> <p>from Chapter 2. The Prevailing Opinion of a Sexual Character</p> <p>Discussed</p> <p>from Chapter 3. The Same Subject Continued</p> <p>from Chapter 5. Animadversions on Some of the Writers Who Have Rendered</p> <p>Women Objects of Pity, Bordering on Contempt</p> <p>from Chapter 13. Some Instances of the Folly Which the Ignorance</p> <p>of Women Generates; with Concluding Reflections on the Moral</p> <p>Improvement That a Revolution in Female Manners Might Naturally</p> <p>Be Expected to Produce</p> <p>RESPONSES</p> <p>Anna Letitia Barbauld, The Rights of Woman</p> <p>Ann Yearsley, The Indifferent Shepherdess to Colin</p> <p>Robert Southey, To Mary Wollstonecraft</p> <p>William Blake, from Mary</p> <p>from The Wrongs of Woman, or Maria “Jemima's Narrative”</p> <p>PERSPECTIVES</p> <p>The Wollstonecraft Controversy and the Rights of Women</p> <p>CATHARINE MACAULAY</p> <p>from Letters on Education</p> <p>RICHARD POLWHELE</p> <p>from The Unsex'd Females</p> <p>PRISCILLA BELL WAKEFIELD</p> <p>from Reflections on the Present Condition of the Female Sex</p> <p>MARY ANN RADCLIFFE</p> <p>from The Female Advocate</p> <p>HANNAH MORE</p> <p>from Strictures on the Modern System of Female Education</p> <p>MARY LAMB</p> <p>Letter to The British Lady's Magazine, “On Needlework”</p> <p>WILLIAM THOMPSON AND ANNA WHEELER</p> <p>from Appeal of One Half the Human Race, Women, Against the Pretensions of</p> <p>the Other Half, Men, to Retain Them in Political, and Thence in Civil and</p> <p>Domestic Slavery</p> <p>JOANNA BAILLIE</p> <p>Plays on the Passions</p> <p>from Introductory Discourse</p> <p>London</p> <p>A Mother to Her Waking Infant</p> <p>A Child to His Sick Grandfather</p> <p>Thunder</p> <p>Song: Woo'd and Married and A'</p> <p>LITERARY BALLADS</p> <p>RELIQUES OF ANCIENT ENGLISH POETRY</p> <p>Sir Patrick Spence</p> <p>JAMES MACPHERSON</p> <p>Carric-Thura: A Poem</p> <p>ROBERT BURNS</p> <p>To a Mouse</p> <p>To a Louse</p> <p>Flow gently, sweet Afton</p> <p>Ae fond kiss</p> <p>Comin' Thro' the Rye (1)</p> <p>Comin' Thro' the Rye (2)</p> <p>Scots, wha hae wi' Wallace bled</p> <p>Is there for honest poverty</p> <p>RESPONSE</p> <p>Charlotte Smith, To the shade of Burns</p> <p>A Red, Red Rose</p> <p>Auld Lang Syne</p> <p>The Fornicator. A New Song</p> <p>THOMAS MOORE</p> <p>The harp that once through Tara's halls</p> <p>Believe me, if all those endearing young charms</p> <p>The time I've lost in wooing</p> <p>WILLIAM WORDSWORTH</p> <p>LYRICAL BALLADS (1798)</p> <p>Simon Lee</p> <p>Anecdote for Fathers</p> <p>We are seven</p> <p>Lines written in early spring</p> <p>The Thorn</p> <p>Note to The Thorn (1800)</p> <p>Expostulation and Reply</p> <p>The Tables Turned</p> <p>Old Man Travelling</p> <p>Lines written a few miles above Tintern Abbey</p> <p>LYRICAL BALLADS (1800, 1802)</p> <p>from Preface</p> <p>[The Principal Object of the Poems. Humble and Rustic Life]</p> <p>[“The Spontaneous Overflow of Powerful Feelings”]</p> <p>[The Language of Poetry]</p> <p>[What is a Poet?]</p> <p>[The Function of Metre]</p> <p>[“Emotion Recollected in Tranquillity”]</p> <p>“There was a Boy”</p> <p>“Strange fits of passion have I known”</p> <p>Song (“She dwelt among th' untrodden ways”)</p> <p>“A slumber did my spirit seal”</p> <p>Lucy Gray</p> <p>Poor Susan</p> <p>Nutting</p> <p>“Three years she grew in sun and shower”</p> <p>The Old Cumberland Beggar</p> <p>Michael</p> <p>RESPONSES</p> <p>Francis Jeffrey: [“the new poetry”]</p> <p>Charles Lamb: from a letter to William Wordsworth</p> <p>Charles Lamb: from a letter to Thomas Manning</p> <p>SONNETS, 1802–1807</p> <p>Prefatory Sonnet (“Nuns fret not at their Convent's narrow room”)</p> <p>Composed upon Westminster Bridge, Sept. 3, 1802</p> <p>“The world is too much with us”</p> <p>“It is a beauteous Evening”</p> <p>“I griev'd for Buonaparte”</p> <p>London, 1802</p> <p>THE PRELUDE, OR GROWTH OF A POET'S MIND</p> <p>Book First. Introduction, Childhood, and School time</p> <p>from Book Second. School time continued</p> <p>[Two Consciousnesses]</p> <p>[Blessed Infant Babe]</p> <p>from Book Fourth. Summer Vacation</p> <p>[A Simile for Autobiography]</p> <p>[Encounter with a “Dismissed” Soldier]</p> <p>from Book Fifth. Books</p> <p>[Meditation on Books. The Dream of the Arab]</p> <p>[A Drowning in Esthwaite's Lake]</p> <p>[“The Mystery of Words”]</p> <p>from Book Sixth. Cambridge, and the Alps</p> <p>[The Pleasure of Geometric Science]</p> <p>[Arrival in France]</p> <p>[Travelling in the Alps. Simplon Pass]</p> <p>from Book Seventh. Residence in London</p> <p>[A Blind Beggar. Bartholomew Fair]</p> <p>from Book Ninth. Residence in France</p> <p>[Paris]</p> <p>[Revolution, Royalists, and Patriots]</p> <p>from Book Tenth. Residence in France and French Revolution</p> <p>[The Reign of Terror. Confusion. Return to England]</p> <p>[Further Events in France]</p> <p>[The Death of Robespierre and Renewed Optimism]</p> <p>[Britain Declares War on France. The Rise of Napoleon and</p> <p>Imperialist France]</p> <p>from The Prelude 1850 490</p> <p>[Apostrophe to Edmund Burke]</p> <p>from Book Eleventh. Imagination, How Impaired and Restored</p> <p>[Imagination Restored by Nature]</p> <p>[“Spots of Time.” Two Memories from Childhood and Later</p> <p>Reflections]</p> <p>from Book Thirteenth. Conclusion</p> <p>[Climbing Mount Snowdon. Moonlit Vista. Meditation on “Mind,” “Self,”</p> <p>“Imagination,” “Fear,” and “Love”]</p> <p>[Concluding Retrospect and Prophecy]</p> <p>RESPONSE</p> <p>Samuel Taylor Coleridge: To a Gentleman</p> <p>“I travell'd among unknown Men”</p> <p>Resolution and Independence</p> <p>RESPONSE</p> <p>Lewis Carroll: Upon the Lonely Moor</p> <p>“I wandered lonely as a Cloud”</p> <p>“My heart leaps up”</p> <p>Ode: Intimations of Immortality from Recollections of Early</p> <p>Childhood</p> <p>The Solitary Reaper</p> <p>Elegiac Stanzas (“Peele Castle”)</p> <p>RESPONSE</p> <p>Mary Shelley: On Reading Wordsworth's Lines on Peele Castle</p> <p>Excursion</p> <p>Preface</p> <p>Book I “The Wanderer”</p> <p>From Book IV</p> <p>RESPONSES</p> <p>William Hazlitt: from the Character of Mr. Wordsworth's New Poem, The Excursion</p> <p>Francis Jeffrey: from A Review of William Wordsworth's Excursion</p> <p>John Wilson, “But is it Christianity? ... Was Margaret a Christian?” from “On Sacred Poetry” Blackwood's Edinburg Magazine, 1828</p> <p>from The Wanderer, 1845 Version</p> <p>“Surprised by Joy”</p> <p>“Mutability”</p> <p>“Scorn not the Sonnet”</p> <p>Extempore Effusion upon the Death of James Hogg</p> <p>DOROTHY WORDSWORTH</p> <p>Grasmere—A Fragment</p> <p>Address to a Child</p> <p>Irregular Verses</p> <p>Floating Island</p> <p>Lines Intended for My Niece's Album</p> <p>Thoughts on My Sick-bed</p> <p>When Shall I Tread Your Garden Path?</p> <p>Lines Written (Rather Say Begun) on the Morning of Sunday</p> <p>April 6th</p> <p>from The Grasmere Journals</p> <p>[Home Alone]</p> <p>[A Leech Gatherer]</p> <p>[A Woman Beggar]</p> <p>[An Old Sailor]</p> <p>[The Grasmere Mailman]</p> <p>[A Vision of the Moon]</p> <p>[A Field of Daffodils]</p> <p>[A Beggar Woman from Cockermouth]</p> <p>[The Circumstances of “Composed upon Westminster Bridge”]</p> <p>[The Circumstances of “It is a beauteous Evening”]</p> <p>[The Household in Winter, with William's New Wife. Gingerbread]</p> <p>LETTERS</p> <p>To Jane Pollard [A Scheme of Happiness]</p> <p>To Lady Beaumont [A Gloomy Christmas]</p> <p>To Lady Beaumont [Her Poetry, William's Poetry]</p> <p>To Mrs Thomas Clarkson [Household Labors]</p> <p>To Mrs Thomas Clarkson [A Prospect of Publishing]</p> <p>To William Johnson [Mountain-Climbing with a Woman]</p> <p>RESPONSES</p> <p>Samuel Taylor Coleridge: from A letter to Joseph Cottle</p> <p>Thomas De Quincey: from Recollections of the Lake</p> <p>Poets</p> <p>SAMUEL TAYLOR COLERIDGE</p> <p>Sonnet to the River Otter</p> <p>COMPANION READING</p> <p>William Lisle Bowles: To the River Itchin, Near Winton</p> <p>The Eolian Harp</p> <p>This Lime-Tree Bower My Prison</p> <p>Frost at Midnight</p> <p>from The Rime of the Ancyent Marinere (1798)</p> <p>Part 1</p> <p>The Rime of the Ancient Mariner (1817)</p> <p>COMPANION READINGS</p> <p>William Cowper: The Castaway</p> <p>Samuel Taylor Coleridge: from Table Talk</p> <p>Christabel</p> <p>COMPANION READING</p> <p>Mary Elizabeth Coleridge: The Witch</p> <p>Kubla Khan</p> <p>RESPONSE</p> <p>Mary Robinson: To the Poet Coleridge</p> <p>The Pains of Sleep</p> <p>Dejection: An Ode</p> <p>LETTERS</p> <p>To William Godwin</p> <p>To Thomas Poole</p> <p>On Donne's Poetry</p> <p>Work Without Hope</p> <p>Constancy to an Ideal Object</p> <p>Epitaph</p> <p>from The Statesman's Manual</p> <p>[Symbol and Allegory]</p> <p>from The Friend</p> <p>[My Ghost-Theory]</p> <p>Biographia Literaria</p> <p>Chapter 4</p> <p>[Wordsworth's Earlier Poetry]</p> <p>Chapter 11</p> <p>[The Profession of Literature]</p> <p>Chapter 13</p> <p>[Imagination and Fancy]</p> <p>Chapter 14</p> <p>[Occasion of the Lyrical Ballads—Preface to the Second Edition—The Ensuing</p> <p>Controversy]</p> <p>[Philosophic Definitions of a Poem and Poetry]</p> <p>Chapter 17</p> <p>[Examination of the Tenets Peculiar to Mr. Wordsworth. Rustic Life and Poetic Language]</p> <p>Chapter 22</p> <p>[Defects of Wordsworth's Poetry]</p> <p>from Lectures on Shakespeare</p> <p>[Mechanic vs. Organic Form]</p> <p>[The Character of Hamlet]</p> <p>[Stage Illusion and the Willing Suspension of Disbelief]</p> <p>[Shakespeare's Images]</p> <p>[Othello]</p> <p>COLERIDGE' S “LECTURES” AND THEIR TIME</p> <p>Shakespeare in the Nineteenth Century</p> <p>Charles Lamb [and Mary Lamb] Preface to Tales from Shakespear </p> <p>Charles Lamb from On the Tragedies of Shakspeare </p> <p>William Hazlitt from Lectures on the English Poets • The Characters</p> <p>of Shakespeare's Plays *</p> <p>GEORGE GORDON, LORD BYRON</p> <p>She walks in beauty</p> <p>So, we'll go no more a-roving</p>