In their refusal to aestheticize Crimean warfare, as most of their fellow poets and newspapermen had done, Sydney Dobell and Alexander Smith, in the co-authored Sonnets on the War (1855) present a harrowing picture of the conflict from myriad viewpoints, all of which deny the patriotism and hawkishness implicit in glamorizing armed conflict.

W. E. Aytoun's satirical verse drama, Firmilian (1854), an anti-radical, scattershot missive meant to re-align British poetic tastes by reversing the aesthetic gains made by Romanticism in the decades prior to its publication, has been called “one of the most successful pieces of literary criticism ever written,”but did Firmilian accomplish its purposes? In what ways can we consider it successful if not?

Percy Shelley's political legacy passed through an often-neglected school of writers to world leaders and revolutionaries globally in the decades following his death. When assessing his legacy, we should not overlook those early, ardent appreciators known as "the Spasmodic School." Alexander Smith, Sydney Dobell, J. Stanyan Bigg, and even James Thomson B.V. took Shelley's call to a revolution conducted through imaginative sympathy seriously, and together, helped to fan his "fading coal" to flam

In several poems, William Wordsworth considers the active representation of absence-- a stone circle, a zero, an “O the difference to me!”-- as a response to violence. Absent histories create our own involuntary misreadings, well-rehearsed in New Historicist debates surrounding Tintern Abbey, and Three Years She Grew, but present absences can heighten the descriptive violence as in a Hitchcock film where one only hears the scream as a camera cuts away, or as in Wordsworth’s lesser-known Alice Fell, wherein the violence reeked upon a girl is displaced onto surrounding objects making it at once more palatable and more subversive. This paper’s method is to consider Ovid, Wordsworth’s favorite poet as a young man, as a likely template for this trope. I show that certain of Wordsworth’s poems emerged as exercises in Ovidian imitation, and that he used the erasure of this poetic father to add darkness and suggestion to poems that are often misread as innocent.

Keats’ “Ode of a Grecian Urn” may be one of the language’s greatest poems, but it also contains some of poetry’s worst lines. Those lines, especially “More happy love, more happy, happy love,” are not mis-steps; they are failures, and, I’m arguing, active failures in Zizek’s sense, a kind of theatrical dive, meant to claim for the poet a documentable experience of the sublime.