The Oxford Handbook of William Wordsworth deploys its forty-eight original essays, by an international team of scholar-critics, to present a stimulating account of Wordsworth's life and achievement and to map new directions in criticism. Nineteen essays explore the highlights of a long career systematically, giving special prominence to the lyric Wordsworth of Lyrical Ballads and the Poems in Two Volumes and to the blank verse poet of 'The Recluse'. Most of the other essays return to the poetry while exploring other dimensions of the life and work of the major Romantic poet. The result is a dialogic exploration of many major texts and problems in Wordsworth scholarship. This uniquely comprehensive handbook is structured so as to present, in turn, Wordsworth's life, career, and networks; aspects of the major lyrical and narrative poetry; components of 'The Recluse'; his poetical inheritance and his transformation of poetics; the variety of intellectual influences upon his work, from classical republican thought to modern science; his shaping of modern culture in such fields as gender, landscape, psychology, ethics, politics, religion and ecology; and his 19th- and 20th-century reception-most importantly by poets, but also in modern criticism and scholarship.

This series introduces students to more sophisticated analysis and wider critical perspectives to enbable students to appreciate contrasting interpretations of the text and to develop critical thinking. This volume explores Gulliver's Travels and The Modest Proposal by Jonathan Swift.

'York Notes Advanced' offer an accessible approach to English Literature. This series has been completely updated to meet the needs of today's A-level and undergraduate students. Written by established literature experts, 'York Notes Advanced' introduce students to more sophisticated analysis, a range of critical perspectives and wider contexts.

Key Features: Study methods Introduction to the text Summaries with critical notes Themes and techniques Textual analysis of key passages Author biography Historical and literary background Modern and historical critical approaches Chronology Glossary of literary terms

Authors whose works are discussed in this collaborative book, covering a 'long' nineteenth century, include Sterne, Fielding, Scott, Austen, Mary Shelley, Emily BrontA", Gaskell, Dickens, George Eliot, Conrad, Woolf, and Lawrence. Most of the chapters focus on a single work, among them Tristram Shandy, Wuthering Heights, Bleak House, Middlemarch and Lord Jim, asking why, in the end, does this novel matter, and what does it invite us to 'see'. The contributors examine aspects of narrative technique which are crucial to interpretation, and which bring something new or distinctive into fiction. The introduction asks whether such experimentation may be driven by challenges to society's 'master narratives' - for instance, by a desire to circumvent the reader's ideological defences - and whether, in a radical model of canon-formation, such narrative innovation may be an aspect of canonicity.

Authors whose works are discussed in this collaborative book, covering a 'long' nineteenth century, include Sterne, Fielding, Scott, Austen, Mary Shelley, Emily BrontA", Gaskell, Dickens, George Eliot, Conrad, Woolf, and Lawrence. Most of the chapters focus on a single work, among them Tristram Shandy, Wuthering Heights, Bleak House, Middlemarch and Lord Jim, asking why, in the end, does this novel matter, and what does it invite us to 'see'. The contributors examine aspects of narrative technique which are crucial to interpretation, and which bring something new or distinctive into fiction. The introduction asks whether such experimentation may be driven by challenges to society's 'master narratives' - for instance, by a desire to circumvent the reader's ideological defences - and whether, in a radical model of canon-formation, such narrative innovation may be an aspect of canonicity.

The unifying thrust of the book is an exploration of the tension in Coleridge's theory and practice between the Imagination and the Natural, and a delineation of the particular profile of Coleridge's imagination as compared to that of Wordsworth. There are challenging reassessments of Dejection: an Ode, Christabel and Kubla Khan, among other poems; a cluster of essays on the relations between Coleridge and Wordsworth; a strikingly original examination of Coleridge's imagination at work in the privacy of his notebooks; and an intriguing study of the neglected imagination of Mrs Coleridge. The volume opens and closes with major statements by Jonathan Wordsworth on Coleridge's primary imagination and by John Beer on Kubla Khan, and includes work by such eminent scholars as Thomas MacFarland, David Erdman, Norman Fruman, Robert Barth, Anthony Harding, and Stephen Parrish.

The Oxford Handbook of William Wordsworth deploys its forty-seven original essays to present a stimulating account of Wordsworth's life and achievement and to map new directions in criticism. In addition to twenty-two essays wholly on Wordsworth's poetry, other essays return to the poetry while exploring other dimensions of the life and work of the major Romantic poet. The result is a dialogic exploration of many major texts and problems in Wordsworth scholarship. This uniquely comprehensive handbook is structured so as to present, in turn, Wordsworth's life, career, and networks; aspects of the major lyrical and narrative poetry; components of 'The Recluse'; his poetical inheritance and his transformation of poetics; the variety of intellectual influences upon his work, from classical republican thought to modern science; his shaping of modern culture in such fields as gender, landscape, psychology, ethics, politics, religion, and ecology; and his 19th- and 20th-century reception-most importantly by poets, but also in modern criticism and scholarship.

This book presents the poet as balladist, sonneteer, minstrel, elegist, prophet of nature, and national bard. The book argues that Wordsworth's uniquely various oeuvre is unified by his sense of bardic vocation. Like Walt Whitman or the bards of Cumbria, Wordsworth sees himself as 'the people's remembrancer'. Like them, he sings of nature and endurance, laments the fallen, and fosters national independence and liberty. His task is to reconcile in one society 'the living and the dead' and to nurture both 'the people' and 'the kind'. Part 1 offers a comprehensive account of Wordsworth's early interest and his later researches into antiquarian matters and the contemporary significance of such interest. It includes readings of The Vale of Esthwaite, An Evening Walk, Yew-Trees and the pagan sonnets that introduce Ecclesiastical Sketches. Part Two considers the Salisbury Plain poems, The Ruined Cottage, Lyrical Ballads and the enlightenment ideas about nature underlying The Poem upon the Wye. Part Three explores elegiac Wordsworth in the 'Lucy' poems, his creation of archetypal heroes (Michael, the Discharged Soldier, the Leech-Gatherer) to people the Cumbrian landscape, and how Wordsworth reconfigured 'manliness' in such poems as Brougham Castle, Hart-Leap Well and The White Doe of Rylstone. Part 4 examines The Excursion, the political sonnets, The Convention of Cintra, the Waterloo poems, the 1842 publication of The Borderers and Guilt and Sorrow in the era of Chartism, and (new to this edition) the Intimations Ode.

In this selection of twelve specially chosen Lectures and Papers from the Wordsworth Summer Conference, Heather Glen writes on 'We are Seven' in the context of population studies in the 1790s, Judith W. Page on Beatrix Potter and William Wordsworth, Anthony Harding on Wordswortyh, Coleridge and the Reading Public, Pamela Woof and Suzanne Stewart on Dorothy Wordsworth's writing, Peter Swaab on Sara Coleridge as a Wordsworth critic, Heidi Thomson on Wordworth and Auden, Judyta Frodyma on Bishop Lowth and 'Home at Grasmere', Stacey McDowell on Keats and Indolence, Catherine Redford on 'The Last Man' and Romantic Archaeology, Paul Whickman on Shelley's revisions of 'Laon and Cythna', and Jason Goldsmith on 'picturesque travel, or viewing landscape by painting it. The final essay includes twelve original landscapes, mostly in colour in the PDF book from Humanities-Eboks, but in B&W in the printed edition.

This Selection from the presentations at the 40th Wordsworth Summer Conference includes Stephen Gill on Wordsworth's 'revisitings', Ann Wroe on Shelley's Atheism, Mark J Bruhn and Jacob Risinger on aspects of Wordsworths's thought, Jessica Fay on Wordsworth and hermitude, Matthew Rowney on Wordsworth's Peripatetics, Gregory Leadbetter on the 'Lucy Poems', Madeleine Callaghan on Shelley's Idealism, Monika Class on Coleridge and Phrenology, Mary Favret on the cultural practice of 'The General Fast and Humiliation', Stacey McDowell on Keats's 'Otho the Great', Felicity James on Mary Hays and the life-writing of religious Dissent, Richard Gravil on John Thelwall's hitherto unknown analysis of the prosody of Wordsworth's Excursion.

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, and of Wordsworth's daring reconfiguration of 'manliness'.

The keynote lectures in this collection are those by Dame Gillian Beer on Darwin and Romanticism, Richard Cronin on Wordsworth and the Periodical Press, Paul H. Fry on Wordsworth, Coleridge and the topos of Labour, Claire Lamont on the Romantic Cottage, and Nicholas Roe on Keats and the Elgin marbles (with five illustrations). In the conference papers, Jamie Baxendine writes on Intimations, James Castell on Peter Bell, Lexi Drayton on the Gypsy figure in Tintern Abbey and associated poems and painting, Mark Sandy on 'the circulation of grief', Chris Simons on Wordsworth and his patrons, Emily Stanback on medical taxonomy, Heidi Thomson on Sara Coleridge's editing of Biographia Literaria, and Saeko Yoshikawa on Sara Hutchinson (the younger)'s Journals of 1850.

In 1808 Sir Arthur Wellesley (later the Duke of Wellington) inflicted a major defeat on Napoleon's forces at the battle of Vimiero, but promptly signed an armistice and convention (negotiated by Sir Hew Dalrymple with General Junot). The Convention permitted the evacuation of the latter's defeated army from Portugal to Bayonne - along with its equipment and its plunder. This disgraceful Convention was regarded by the people of Britain - government ministers excepted - as a betrayal of Britain's allies, Portugal and Spain. Some of the troops repatriated under this agreement fought against Sir John Moore's expeditionary force the following year, forcing his evacuation from northern Spain. Wordsworth's enormous pamphlet on the betrayal of the Iberian patriots by Britain's officer class is one of the most remarkable political documents produced by a Romantic poet. Here the text of W J B Owen's 1968 edition is republished for the bicentennial, with a critical symposium by Richard Gravil, Simon Bainbridge, David Bromwich, Timothy Michael and Patrick Vincent.

Part 1, Life, Times, Themes sets Lyrical Ballads in the context of Wordsworth life and his age, for instance Wordsworth in France. Part 2, Literary Strategies, considers Wordsworth's provocative theories of how poetry should work, and includes a treatment of the famous 'Preface' to Lyrical Ballads, one of the great poetic manifestos. Part 3 offers illuminating commentary and questions on the following poems: 'We are seven', 'Anecdote for fathers', 'Lines left upon a Seat in a Yew-tree', 'To my sister', 'Lines written in Early Spring', 'Expostulation and Reply', 'The Tables Turned';, 'The Female Vagrant', 'Goody Blake and Harry Gill', 'The Last of the Flock', 'The Mad Mother', 'The Complaint of a forsaken Indian Woman', 'The Convict', 'Old Man travelling', 'Simon Lee', 'The Idiot Boy', 'TheThorn', 'Tintern Abbey', 'Hart-leap Well', 'There was a boy', 'Nutting', 'The Lucy Poems', 'The Brothers' and 'Michael'. Part 4: Critical Reception discusses contemporary, Victorian and recent critical approaches to Wordsworth and includes an annotated guide to further reading.