ABSTRACT
A current orthodoxy in Romantic Studies holds that the discipline is more diverse, more inclusive, and more historically representative than before. Twenty-five years ago, an introductory study of Romanticism would certainly have included chapters on “Imagination,” “Fancy,” “The Sublime,” and “Nature.” Today, those bastions of the New Critical–Coleridgean High Romanticism have been assimilated by a historicized cultural field: the forty-six chapters of Romanticism: An Oxford Guide (2005) range through “Classical Inheritances,” “Science,” “Ecology,” “Post-colonialism,” “Forgeries,” and “Film.” 1 Anthologies of Romantic writing likewise accommodate an expanded canon that includes Anna Laetitia Barbauld, Thomas Beddoes, Robert Burns, Thomas Chatterton, Maria Edgeworth, Felicia Hemans, Letitia Landon, Hannah More, Mary Robinson, Walter Scott, Anna Seward, Charlotte Smith, Mary Tighe, Mary Shelley, Helen Maria Williams, and Ann Yearsley.
