Lexi is content with the teenage life she is living. At school she is popular and she has numerous friends. There is only one thing that could seem wrong, and that is her fear and dislike of horses. But she doesn't have any real contact with horses, and that could hardly be considered a problem. It is always far from her mind. But when summer comes, and Lexi's parents decide to go on a long cruise in the Pacific, she ends up at her uncle's horse ranch. There is no way to escape the big animals now. Everything is wrong then. It is hard to get used to her life on the ranch. Her friends and popularity are back in her old city. Her only source of real entertainment is the horses. And she can hardly guess what that might mean for her--and them.

This book examines the connection between William Wordsworth and the work of Helen Maria Williams and the effect this connection may have had on his reception by such hostile critics as Francis Jeffrey. Why did Wordsworth write his first published poem to Helen Maria Williams? What role did she play in forming his views of poetry, and of the French Revolution? Why was Wordsworth able to recite in 1820 a poem by Miss Williams that he first read in 1790? Was his own poetical sensibility comparable with that of the older woman? Did the reception of Wordsworth’s Poems, in Two Volumes by Francis Jeffrey and others —as ‘puerile’, ‘namby-pamby’, ‘lisping’ and ‘affected’ — reflect a belief that manly sense and feminine sensibility, are not compatible? If so, why did Wordsworth run that risk? This little book attempts to suggest answers to some of those questions, and to provoke more systematic considerations of them all.

Reprint of the original, first published in 1882.

This volume brings together a wide range of scholars to offer new perspectives on the relationship between Romanticism and philosophy. The entanglement of Romantic literature with philosophy is increasingly recognized, just as Romanticism is increasingly viewed as European and Transatlantic, yet few studies combine these coordinates and consider the philosophical significance of distinctly literary questions in British and American Romantic writings. The essays in this book are concerned with literary writing as a form of thinking, investigating the many ways in which Romantic literature across the Atlantic engages with European thought, from 18th- and 19th-century philosophy to contemporary theory. The contributors read Romantic texts both as critical responses to the major debates that have shaped the history of philosophy, and as thought experiments in their own right. This volume thus examines anew the poetic philosophy of Wordsworth, Coleridge, Blake, Shelley, and Clare, also extending beyond poetry to consider other literary genres as philosophically significant, such as Jane Austen’s novels, De Quincey’s autofiction, Edgar Allan Poe’s tales, or Emerson’s essays. Grounded in complementary theoretical backgrounds and reading practices, the various contributions draw on an impressive array of writers and thinkers and challenge our understanding not only of Romanticism, but also of what we have come to think of as "literature" and "philosophy."

The subject of Romanticism, Memory, and Mourning could not be timelier with Zizek’s recent proclamation that we are ’living in the end times’ and in an era which is preoccupied with the process and consequences of ageing. We mourn both for our pasts and futures as we now recognise that history is a continuation and record of loss. Mark Sandy explores the treatment of grief, loss, and death across a variety of Romantic poetic forms, including the ballad, sonnet, epic, elegy, fragment, romance, and ode in the works of poets as diverse as Smith, Hemans, Blake, Wordsworth, Coleridge, Byron, Shelley, Keats, and Clare. Romantic meditations on grief, however varied in form and content, are self-consciously aware of the complexity and strength of feelings surrounding the consolation or disconsolation that their structures of poetic memory afford those who survive the imaginary and actual dead. Romantic mourning, Sandy shows, finds expression in disparate poetic forms, and how it manifests itself both as the spirit of its age, rooted in precise historical conditions, and as a proleptic power, of lasting transhistorical significance. Romantic meditations on grief and loss speak to our contemporary anxieties about the inevitable, but unthinkable, event of death itself.