n o t e s Introduction 1. In the sixth edition of the ubiquitous Norton Anthology of English Literature (1993), women’s writing occupied only about 5 percent of the pages allotted to Romanticism. And despite announcing that it “includes other figures, especially women, who have been less emphasized in the past” (5), the 1995 edition of David Perkins’s familiar English Romantic Writers managed to boost their presence to barely 9 percent, and that principally by including prose selections. Even Jessica and Jonathan Wordsworth’s New Penguin Book of Romantic Poetry (2002) assigns only roughly 14 percent of its space to women poets. By contrast, the third edition of Duncan Wu’s Romanticism: An Anthology (2006) gives women writers slightly more than 20 percent of the space. 2. Curran, “Romantic Poetry.” See also Curran, Poetic Form and British Romanticism. 3. The opening date has sometimes been set at the date of the storming of the Bastille and the beginning of the French Revolution (1789) and at other times at that of the anonymous initial publication of Wordsworth’s and Coleridge’s Lyrical Ballads (1798). Most often the closing date has been made to coincide with the passage of the first Reform Bill (1832). In another of the paradoxes of traditional literary history, two of these three dates mark events in the political—rather than the literary—world, even though the traditional literary-historical view of British Romanticism has eschewed serious consideration of the decidedly political nature of much of the writing—in all genres—of this period. 4. See especially Davidoff and Hall, Family Fortunes. 5. See, for instance, Felski, Beyond Feminist Aesthetics; Backscheider and Dykstal, introduction. 6. For Habermas, see especially The Structural Transformation of the Public Sphere. 7. For Smith’s systematic appropriation of Shakespeare, see especially Currie, “Borrowed Authority, Satirized Genre.” 8. See Johnson, preface, Provincial Poetry, [v–vii]. 9. See Charles Robinson, Shelley and Byron, and Behrendt, Shelley and His Audiences. 10. St. Clair, The Reading Nation, 159; Pascoe, introduction, 19; Dibert-Himes, “The Comprehensive Index and Bibliography to the Collected Works of Letitia Elizabeth Landon.” St. Clair notes that the separate publication of Southey’s poems in the periodical press had earned him nearly £1,500, which was far more than the book produced for him (159). Pascoe notes that in assuming the post of poetry editor at the Morning Post in late 1799 (succeeding 304 Notes to Pages 13–33 Southey in that role, in fact), Robinson ensured the even wider appearance of her work in that paper’s pages (34). 11. See Jackson, Annals of English Verse. According to Jackson’s conservative figures, which, not surprisingly, fail to record every publication, there were some 10,300 volumes, including among them approximately 7,500 “first editions” or first-time appearances. The greatest number of these date from the decade of the Regency (2,213, 1,469 of which were first editions), but the output is fairly consistent over the period, beginning with 1,361 volumes (of which 1,105 were “first” editions) in 1770–79 and then declining to 1,941 (1,300 of which were first editions) in 1820–29. 12. The full title of Hodgson’s poem is Childe Harold’s Monitor; or, Lines Occasioned by the Last Canto of Childe Harold, Including Hints to Other Contemporaries. Curran notes that the poem is erroneously attributed to T. J. Mathias (of Baeviad fame) in the British Library catalogue and in a contemporary review that appeared in the Gentleman’s Magazine (224). 13. Letter to Rose Lawrence, 13 February 1835; quoted in Wolfson, introduction, xxiv. 14. Ashfield, introduction. 15. British Review 15 (January 1820): 299. 16. Quarterly Review 24 (October 1820): 131; emphases mine. 17. “Sonnet on the Death of Mrs. Charlotte Smith” (53). The sonnet is one of the poems that was added to the second edition; the first edition appeared in Yarmouth in 1805, followed by a London impression in 1806. The poems are dedicated to George Canning, founder of and contributor to the Anti-Jacobin Review, whom Gent declares to be “not less distinguished for his attainments as a scholar, than for his talents as a statesman” (dedication). The poem appeared again in Gent’s 1820 Poems, and in a subsequent “new edition” (London, 1828). 18. Monthly Magazine, n.s., 1 (April 1826): 417. 19. In A Book of Women’s Verse, the editor, J. C. Squire, castigates Rowton—with good reason—as “a thief, a hypocrite, a most oily...