This chapter shows that to divorce the poetry written between 1780 and 1830 from its music is to mutilate its meaning. The proximity of poetry and music increased as both the space and the market for domestic performances grew, facilitated by an explosion in printed publications and new instrumental technologies. The demand for chamber music and for song above all was seemingly insatiable, from both players and audiences. On stage and in the home, poetry was pressed into service to cope with the boom in music publishing and the growth in popularity of the piano. As the intimacies of private performance were translated into print, music, song, and poetry worked together to shape new possibilities for cultural expression.