Joseph Albernaz examines how “the modern category of lyric voice is entangled with processes of racialization.” Albernaz focuses on the complaint poem, a subgenre that was especially important to Romantic-era abolitionists, who often ventriloquized enslaved Africans. And yet, Albernaz contends, Romantic poetry, particularly as it is taken up by Black writers, is also capable of refusing the racial logics it has traditionally upheld. In such instances, complaint negates the world as it is and reveals, however briefly, “the collective undersong of No, the depthless well of non-sense from which all sense springs.”

Virgil promises a calendar of times and tasks in his Georgics, yet the temporal leaps in his poem take us far from steady calendrical form. This essay asks how his English inheritors have evoked repeated annual cycles while also expressing idiosyncratic understandings of time and local particularities of work. The first section argues that the medieval iconography of the ‘labours of the months’ provides an important and neglected context for study of georgic writing, and enquires into the parallel influence of another iconographic tradition: that of illustrations to Virgil. Subsequent sections focus on writers (including Thomas Tusser, Mary Collier, William Cowper and Ford Madox Ford) who develop literary forms for their calendrical material and in doing so question the very shape and meaning of rural life. Where are the year’s pivots and culminations, does it take different form for men and women, does it begin or end?

Romantic nature writing emerges at roughly the same time as the industrial innovations that will eventually lead to global carbon capitalism and therefore is for some scholars coeval with the birth of the Anthropocene. This chapter takes a genealogical approach to the Anthropocene by suggesting that there are significant continuities between Romantic literature and contemporary discourses on environmental catastrophe. Focusing on two case studies – William Cowper’s The Task and Mary Shelley’s Frankenstein, both of which responded to climate change caused by volcanic eruptions – this chapter shows how Romantic writers address what it means to be alive at a catastrophic turning point in planetary history. They are concerned with the power of the human imagination to shape its environments, yet also with our vulnerability to elemental forces that we may affect but that we cannot control.

This chapter argues that William Cowper aligned various faiths against atheism and the moral degeneration that, in his mind, atheism necessarily produced. Examining poems from all phases of Cowper’s career – including his 1782 moral satires, the Olney Hymns (1779), The Task (1785), and “The Castaway” (1799; 1803) – I elucidate his belief that, unlike insensible atheists, Christians should extend their sympathy to all parts of God’s creation: to the Indians oppressed by British colonialism, to the poor inhabitants of the British countryside, even to the hares Cowper kept as pets in Olney. The only figure unworthy of such sympathy in Cowper’s thinking was the atheist. Thus, for Cowper, non-Christians from abroad were excusable, and even respectable, as long as they believed in a deity and did their best with the portion of divine light they had been granted. Cowper rejected all faiths but evangelical Christianity as false, yet he aspired to a form of sociability that was available to all theists. Although there were clear limits to Cowper’s ecumenical impulses, they reveal the imaginative multifaith alliances eighteenth-century atheism was capable of engendering.