There is a long-held view that Wordsworth's inspiration dried up before the age of forty. This book opposes that view by examining the substantial body of poetry written after his fiftieth year. The argument is that, in order to appreciate this work, much of which was inspired by itineraries in Britain and in Europe, we have to read the poems as they were first published. By adopting the perspective of the contemporary reader, Wordsworth's grand design can be appreciated.

The later poetry of William Wordsworth, popular in his lifetime and influential on the Victorians, has, with a few exceptions, received little attention from contemporary literary critics. In Wordsworth's Poetry, 1815-1845, Tim Fulford argues that the later work reveals a mature poet far more varied and surprising than is often acknowledged. Examining the most characteristic poems in their historical contexts, he shows Wordsworth probing the experiences and perspectives of later life and innovating formally and stylistically. He demonstrates how Wordsworth modified his writing in light of conversations with younger poets and learned to acknowledge his debt to women in ways he could not as a young man. The older Wordsworth emerges in Fulford's depiction as a love poet of companionate tenderness rather than passionate lament. He also appears as a political poet—bitter at capitalist exploitation and at a society in which vanity is rewarded while poverty is blamed. Most notably, he stands out as a history poet more probing and more clear-sighted than any of his time in his understanding of the responsibilities and temptations of all who try to memorialize the past.

William Wordsworth's later poetry complicates possibilities of life and art in war's aftermath. This illuminating study provides new perspectives and reveals how his work following the end of the revolutionary and Napoleonic wars reflects a passionate, lifelong engagement with the poetics and politics of peace. Focusing on works from between 1814 and 1822, Philip Shaw constructs a unique and compelling account of how Wordsworth, in both his ongoing poetic output and in his revisions to earlier works, sought to modify, refute, and sometimes sustain his early engagement with these issues as both an artist and a political thinker. In an engaging style, Shaw reorients our understanding of the later writings of a major British poet and the post-war literary culture in which his reputation was forged. This title is part of the Flip it Open Programme and may also be available Open Access. Check our website Cambridge Core for details.

Nothing was more important to Wordsworth than tracing the evidence that affinities had been preserved between all the stages of the life of man. In this beautifully written and thoughtful book Wordsworth's biographer and editor Stephen Gill explores the ways in which the poet attempted as an artist to maintain such continuities and shows how revisitings of various kinds are at the heart of his creativity. Habitually reviewing all of his work, both published and that still in manuscript, Wordsworth painstakingly revised at the level of verbal detail or recast it more largely. New poems frequently emerged from re-engagement with old, often serving as a sequel to or commentary from the maturer poet on his own earlier creation, and acts of self-borrowing and self-reference are plentiful. These linkings provide insights into the powerful vision the poet maintained that his imaginative creation was one evolving unity and reveal much about the obsessions and drives of the great poet. Combining textual analysis, critical commentary, and biographical narrative, Gill explores what binds Wordsworth's later, less well-known poems to his earlier work. At the centre of the book is an account of the evolution of The Prelude from 1804 to 1839, in which it is argued that Wordsworth's masterpiece must be followed through all its versions, seen as a poem growing old alongside its creator.

From the artistic practice of improvisation to the politics of nationalism, the essays in this volume break new ground and significantly extend our understanding of the relations between British and Italian culture in its analysis of the reception of Dante and Italian literature in British Romanticism.

Austen'sUnbecomingConjunctions is a contemporary study of all Jane Austen's writings focusing on her representation of women, sexuality, the material objects, and linguistic patterns by which this sexuality was expressed. Heydt-Stevenson demonstrates the subtle, vulgar, and humorous ways Austen uses human bodies, objects, and activities (fashion, jewelry, crafts, popular literature, travel and tourism, money, and courtship rituals) to convey sexuality and sexual appetites. Through the sexual subtext, Heydt-Stevenson proposes, Austen satirized contemporary sexual hypocrisy; overcame the stereotypes of women authors as sexually inhibited, sheltered, or repressed; and addressed as sophisticated and worldly an audience as Byron's. Thus through her careful reading of all the Austen texts in light of the language of eroticism, both traditional and contemporary, Heydt-Stevenson re-evaluates Austen's audience, the novels, and her role as a writer.

This book explores the conjunction of authorship and family life as a distinctive cultural formation of Romantic-era Britain. It traces an alternative history of Romantic authorship, one that lies on the cusp between a vanishing manuscript culture and the dominance of print, grappling with an evolving tension between the private and public spheres.