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Wordsworth, Hemans, and Politics, 1800–1830: Romantic Crises is a study of the political lives of William Wordsworth and Felicia Hemans between 1800 and 1830. Benjamin Kim argues that the dominant paradigm for their political thought was that of “crisis.” Obsessed with the mysterious connections between the individual, the home, and the state, Wordsworth and Hemans portrayed all three in a common crisis that would be resolved in the future. Both writers articulated historical moments when the tenuousness of the present society gives glimpses into a future one. Wordsworth, Hemans, and Politics presents revisionary readings of major works and contributes to long-standing discussions on a number of different topics such as dissenting politics, poor relief, gender roles in peace and wartime, and the nature of historical memory. By focusing on the dramatic nature of the narratives of crisis, Kim adds complexity to the master narratives of the Romantic period that so often limit and simplify political expression.

Miegon presents biographical sketches of principal Bluestocking women, including Anna Laetitia Barbauld, Frances Boscawen, and Elizabeth Carter. Among others, Boscawen was a first-generation Bluestocking and was a prominent hostess. Her correspondence reveals important aspects of her domestic and social life and contributed to her contemporary reputation as the ideal wife and mother to the \"man of the Empire.\"

Children and childhood captured the imagination of nineteenth-century writers and theatre audiences. Concern for children exploded during the period, manifesting itself in legal, educational, and familial reforms and powerfully intruding into literature in poetry, fiction, and drama. In nineteenth-century European and North American society, children were placed at first in a position of neglect and enforced maturity but were ultimately exalted in literature; for even when suffering, their sensitive natures set them above the corruption of adult society. Transformed by romantic poets and writers at the turn of the eighteenth century, the child-image came to represent particular attributes, such as helplessness, innocence, and purity. While the image of children has been carefully studied in the poetry and fiction of the century, the child-image in drama has not yet been the subject of critical analysis. This study attempts to fill that critical void and reveals that dramatists of varying periods and temperaments found this new symbolic character particularly suited to their needs. Melodramatists found the child perfectly suited to the role of victim, while other child characters were portrayed as innocent vessels capable of spiritual cleansing. In the later, more poetic works of Ibsen, Wedekind, and Maeterlinck, certain characteristics such as naive purity and helplessness are retained, yet the treatment is more oblique and, unlike melodrama, undermines traditional middle class values. The treatment of children changed as the drama developed throughout the century. Initially, the child's sensational and pathetic qualities were exploited by melodramatists who established the basic iconographic motifs which were later transformed by thematically and structurally experimental playwrights. And yet all children throughout the century were united in their capacity for suffering and goodness. Their helplessness and innocence were the inspiration for the title of this study--suffering angels--because each of these young innocents was superior to the polluted adult society they were forced to inhabit.