This is the only collection of its kind to focus on one of the most important aspects of the cultural history of the Romantic period, its sources, and its afterlives. Multidisciplinary in approach, the volume examines the variety of areas of enquiry and genres of cultural productivity in which the sublime played a substantial role during the late eighteenth and early nineteenth centuries. With impressive international scope, this Companion considers the Romantic sublime in both European and American contexts and features essays by leading scholars from a range of national backgrounds and subject specialisms, including state-of-the-art perspectives in digital and environmental humanities. An accessible, wide-ranging, and thorough introduction, aimed at researchers, students, and general readers alike, and including extensive suggestions for further reading, The Cambridge Companion to the Romantic Sublime is the go-to book on the subject.

This new edition of The Cambridge Companion to British Romanticism has been fully revised and updated and includes two wholly new essays, one on recent developments in the field, and one on the rapidly expanding publishing industry of this period. It also features a comprehensive chronology and a fully up-to-date guide to further reading. For the past decade and more the Companion has been a much-admired and widely-used account of the phenomenon of British Romanticism that has inspired students to look at Romantic literature from a variety of critical angles and approaches. In this new incarnation, the volume will continue to be a standard guide for students of Romantic literature and its contexts.

More than any other period of British literature, Romanticism is strongly identified with a single genre. Romantic poetry has been one of the most enduring, best loved, most widely read and most frequently studied genres for two centuries and remains no less so today. This Companion offers a comprehensive overview and interpretation of the poetry of the period in its literary and historical contexts. The essays consider its metrical, formal, and linguistic features; its relation to history; its influence on other genres; its reflections of empire and nationalism, both within and outside the British Isles; and the various implications of oral transmission and the rapid expansion of print culture and mass readership. Attention is given to the work of less well-known or recently rediscovered authors, alongside the achievements of some of the greatest poets in the English language: Wordsworth, Coleridge, Blake, Scott, Burns, Keats, Shelley, Byron and Clare.

Edmund Burke prided himself on being a practical statesman, not an armchair philosopher. Yet his responses to specific problems - rebellion in America, the abuse of power in India and Ireland, or revolution in France - incorporated theoretical debates within jurisprudence, economics, religion, moral philosophy and political science. Moreover, the extraordinary rhetorical force of Burke's speeches and writings quickly secured his reputation as a gifted orator and literary stylist. This Companion provides a comprehensive assessment of Burke's thought, exploring all his major writings from his early treatise on aesthetics to his famous polemic, Reflections on the Revolution in France. It also examines the vexed question of Burke's Irishness and seeks to determine how his cultural origins may have influenced his political views. Finally, it aims both to explain and to challenge interpretations of Burke as a romantic, a utilitarian, a natural law thinker and founding father of modern conservatism.

Reading The Romantic Ridiculous aims to take Romantic Studies from the sublime to the ridiculous. Building on recent work that decentres the myth of the solitary genius, this duograph theorises the ridiculous as an alternative affect to the sublime, privileging collective laughter above solitude and selfishness and reflecting on these ideals through the practice of joint authorship. Tracing the history of the ridiculous through Romantic and post-Romantic debates about sublimity, from the rediscovery of Longinus and the aesthetic theories of Burke and Kant to contemporary queer and postcolonial theory interested in silliness, lowness, and vulnerability, Reading the Romantic Ridiculous explores Romanticism's surprising commitments to ridiculousness in canonical material by writers such as Samuel Taylor Coleridge, Jane Austen, and Charles Lamb as well as lesser-known material from joke books to children's literature. In theory and practice, this duograph also considers the legacies of Romanticism – and ridiculousness – today, analysing their influence on independent film, sitcoms, and young adult fiction, as well as their place in higher education now.

The Cambridge Companion to Wordsworth provides a wide-ranging account of one of the most famous Romantic poets. Specially commissioned essays cover all the important aspects of this multi-faceted writer; the volume examines his poetic achievement with a chapter on poetic craft, while other chapters focus on the origin of his poetry and on the challenges it presented and continues to present. Further contributions include discussions of The Prelude and The Recluse, Wordsworth as philosophic poet, his writing in relation to European Romanticism, and Wordsworth as Nature poet. The collection, by an international team of established specialists concludes with a lucid account of the history of Wordsworth's texts, and offers students invaluable reference material including a chronology and guides to further reading.The volume aims to ensure that its readers will be grounded in the history of Wordsworth's career and his critical reception.

This volume offers readers a unique and comprehensive overview of different theoretical and interdisciplinary perspectives on 'the sublime'.