Scholars once divided British Romanticism into two generations (Wordsworth, Coleridge, Blake; Byron, Shelley, Keats), seeing the 1800s as a transitional period with little significant work. However, this view has changed with the rediscovery of women poets, working-class authors, and Black and Brown writers highlight Romanticism’s connection to global warfare, imperialism, slavery, and the expansion of communication technologies and print media. This chapter examines problems of communication in the works of William Wordsworth and Charlotte Smith, using their writing to reconsider Romantic temporality. It explores how both poets engage with time’s contradictions – its rapidity and slowness – driven by commercial and geological changes. By analyzing their differing approaches to temporal irregularity, the chapter argues that Romanticism reflects not only rapid changes (revolutions, industrialization, media) but also slower, more subtle transformations. This view of time, including geological slowness, offers Romantic poets a way to explore time and history, presenting Romanticism itself as a poetic expression of the tension between speed and slowness.

Whereas male poets such as Coleridge and Keats used the figure of the witch to explore the connections between the shapeshifting powers of the female demonic and (male) creativity, the third chapter reveals how women novelists like Charlotte Smith and Maria Edgeworth remapped contemporary cultural anxieties in Britain surrounding witches and transgressive female energies onto the colonial landscape of Jamaica. These two authors position the female practitioners of Obeah as an intriguing alternative to the degradation of women in England and the enslaved populations in the colonies.

Chapter 5 argues that in Burney’s Evelina and The Wanderer hats become a kinesthetic means for women’s metamorphosis and for asserting rights laws do not ensure when characters employ them to hide their faces and thereby establish some security from aggressive male intrusion and threatening social expectations, a use which reveals consumption’s positive aspects by linking fashion and necessity. This chapter explores how, in both novels, hats positively facilitate nonrecognition by shrouding or changing the face, allowing women to assert the right to privacy: the liberty they experience allows for self-recognition. Smith’s Desmond, in contrast, offers instances in which characters fail to recognize and to belong with the human and nonhuman, while their very lapse inspires other characters’ (and readers’) recognition of how vital that communion is, especially regarding ecological preservation. One of this chapter’s largest concerns addresses the relationship between characters’ ability to pay attention to things and their potential capacity to secure justice for themselves.

This essay aims to show that medicine had a deep and dynamic relationship with poetry in the eighteenth century and the Romantic period. It uses Dr John Arbuthnot’s poetry to demonstrate how profoundly medical theories affected the idea of the human, and goes on analyse Alexander Pope’s ‘Cave of Spleen’ in The Rape of the Lock to demonstrate the complex effects medical theories and other discourses, including folklore and religion, create in a canonical, and highly gendered, poem of the early period. The essay describes the main medical theories of this ‘long’ century (humouralism, mechanism and (al)chemistry, the nerves and sensibility, vitalism and Brunonianism) and their uneven evolution, and analyses their effects on a variety of poets, including Anne Finch, Mark Akenside, Hannah More, Charlotte Smith, and Percy Shelley. It also focuses on the ‘regimen’ poetry of physician-poets Edward Baynard and John Armstrong, arguing that all kinds of discourses are bound up with both poetry and medicine, and that poetry, even of the didactic kind, is not reducible to medical discourse, and is capable of intervening in and shaping medical debates and medical knowledge.

Although we tend to separate aesthetics from medicine, Romantic culture was deeply invested in the nerves, and in the value of pleasure. Building upon the work of George Rousseau and others, this essay examines the history of medicine and of literature’s shared probing of pleasure and the nerves, using illustrative examples from Blake, Byron, Keats, Shelley, Smith, and Tighe. These connections crop up where we might least expect them, and, hence, I analyze the commonplace book of dermatologist Thomas Bateman and consider how his fascination with the nerves as the organs of pleasure sheds potential light on his copying out of several of Charlotte Smith’s sonnets. My goal is to make it impossible to separate Romantic literature from its nervous body.