Melvyn Bragg's highly-acclaimed bestselling historical novel, the story behind one of the 19th century's greatest scandals. Set in the Lake District in the early 19th century, the riveting story of an imposter, bigamist and fortune hunter who came to grief by falling helplessly in love with the famed 'Maid of Buttermere'.

Her engaging "journal" is now republished in this beautiful volume that provides remarkable black-and-white photographs of the Scottish scenes described. Carol Kyros Walker has captured the essence of these places in a photographic essay that follows each week of Wordsworth's recollections.

Exploring a range of early nineteenth-century cultural materials from canonical poetry and critical prose to women's magazines and gift-book engravings, Sexual Politics and the Romantic Author offers new perspectives on the role of gender in Romanticism's defining paradigms of authorship. The Romantic author's claim to individual agency is complicated by its articulation in a market system perceived to be impelled in large part by fantasies of female desire - by what women read and write, what they buy and sell, how they look, and where they look for pleasure. These studies in the contested public spaces of literary labour elaborate the fundamental, if invisible, function of the woman as embodiment of authorial ambivalence in writing by Austen, Byron, Coleridge, William Hazlitt, Sarah Hazlitt, Leigh Hunt, Keats, Mary Shelley, William Wordsworth, and others.

This study is the first to identify and examine the circulations and mutually constitutive relations among literature, tourism, and the wider culture in the 18th century. Gendering emerges as a key mechanism both for those who brought travel home and for those who were influenced by it in other ways.

"1851: The adventures of Mr. and Mrs. Sandboys and family at the Great Exhibition" by Henry Mayhew is a fiction story from the English journalist. Known for his satire and his way with words, Mayhew's novel quickly became popular upon release. Though it's been over a century since then, it's still capturing the hearts and minds of readers to this day.

Combining new musicology trends, formal musical analysis, and literary feminist recovery work, Leslie Ritchie examines rare poetic, didactic, fictional, and musical texts written by women in late eighteenth-century Britain. She finds instances of and resistance to contemporary perceptions of music as a form of social control in works by Maria Barth mon, Harriett Abrams, Mary Worgan, Susanna Rowson, Hannah Cowley, and Amelia Opie, among others. Relating women's musical compositions and writings about music to theories of music's function in the formation of female subjectivities during the latter half of the eighteenth century, Ritchie draws on the work of cultural theorists and cultural historians, as well as feminist scholars who have explored the connection between femininity and performance. Whether crafting works consonant with societal ideals of charitable, natural, and national order, or re-imagining their participation in these musical aids to social harmony, women contributed significantly to the formation of British cultural identity. Ritchie's interdisciplinary book will interest scholars working in a range of fields, including gender studies, musicology, eighteenth-century British literature, and cultural studies.