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| Introduction | |
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| Acknowledgements | |
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| List of Contributors | |
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| Abbreviations | |
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| Contexts and Perspectives 1790-1830 | |
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| Romanticism: The Brief History of a Concept | |
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| Preromanticism | |
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| From Revolution to Romanticism: The Historical Context from 1800 | |
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| Beyond the Enlightenment: the Philosophical, Scientific, and Religious Inheritance | |
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| Britain at War: The Historical Context | |
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| Literature and Religion | |
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| The Picturesque, the Beautiful, and the Sublime | |
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| The Romantic Reader | |
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| Readings | |
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| William Blake, Songs of Innocence and of Experience | |
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| Edmund Burke, Reflections Upon the Revolution in France | |
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| Charlotte Smith, The Old Manor House | |
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| Samuel Taylor Coleridge, The Ancient Mariner, Kubla Khan, and Christabel | |
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| Wordsworth and Coleridge, Lyrical Ballads | |
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| Dorothy Wordsworth, Journals | |
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| Joanna Baillie, A Series of Plays | |
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| William Wordsworth, The Prelude | |
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| Poetry of the Anti-Jacobin | |
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| Mary Tighe, Psyche | |
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| Charlotte Smith, Beachy Head | |
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| Walter Scott, Waverley | |
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| Jane Austen, Pride and Prejudice | |
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| Mary Shelley, Frankenstein | |
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| John Keats, Odes | |
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| George Gordon, Lord Byron, Don Juan | |
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| Percy Bysshe Shelley, Prometheus Unbound: Michael O'Neill | |
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| Thomas De Quincey, Confessions of an English Opium-Eater | |
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| Charles Lamb, Elia | |
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| William Hazlitt, Spirit of the Age | |
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| Letitia Landon (L. E. L.), The Improvisatrice | |
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| John Clare, The Shepherd's Calendar | |
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| Felicia Hemans, Records of Woman | |
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| Genres and Modes | |
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| The Romantic Drama | |
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| The Novel | |
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| Gothic Fiction | |
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| Parody and Imitation | |
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| Travel Writing | |
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| Romantic Literary Criticism | |
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| Issues and Debates | |
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| Romanticism and Gender | |
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| Romanticism and Feminism | |
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| New Historicism | |
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| Romantic Ecology | |
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| Psychological Approaches | |
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| Dialogic Approaches | |
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| The Romantic Fragme | |