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NOTES
1 Robert Southey (1774–1843), who became Poet Laureate in 1813, wrote a number of long, elaborate narrative poems including Joan of Arc (1796), Thalaba the Destroyer (1801), and The Curse of Kehama (1810). “Thomas Little” was the pseudonym under which the Irish poet Thomas Moore published his earliest lyrics, many of which had a seductively erotic aspect. These
lyrics were published in duodecimo volumes colloquially called “twelvemos” or
“twelves.”
2 See Sarah M. Zimmerman, Romanticism, Lyricism, and History (Albany: State
University of New York Press, 1999), p. xii; James Chandler, England in
1819: The Politics of Literary Culture and the Case of Romantic Historicism
(Chicago and London: University of Chicago Press, 1998), especially the opening section of ch. 10, “Lyricism and Historicism”; Anne Janowitz, Lyric and
Labour in the Romantic Tradition (Cambridge: Cambridge University Press,
1998).
3 Theodor W. Adorno, “On Lyric Poetry and Society,” in Notes to Literature, ed.
Rolf Tiedemann, trans. Shierry Weber Nicholsen, 2 vols. (New York: Columbia
University Press, 1991), vol. i, p. 37. Subsequent references in the text. Subsequent
page references are given parenthetically within the text.
4 Leon Trotsky, Literature and Revolution, ed. William Keach (Chicago: Haymarket Books, 2005), p. 144. The “Proletkult” against which Trotsky’s polemic
is directed was an organization (and also a journal), founded during the early
years of the Russian Revolution, that promoted what its proponents thought of
as “proletarian” literature and art.
5 Robert Kaufman, “Adorno’s Social Lyric, and Literary Criticism Today: Poetics, Aesthetics, Modernity,” in The Cambridge Companion to Adorno, ed. Tom
Huhn (Cambridge: Cambridge University Press, 2004), p. 355. Kaufman’s other
impressive articles rethinking Adorno’s relation to Romantic theory and poetics
include “Red Kant, or The Persistence of the Third Critique in Adorno and Jameson,” Critical Inquiry 26 (2000), pp. 682–724; “Negatively Capable Dialectics:
Keats, Vendler, Adorno, and the Theory of the Avant-Garde,” Critical Inquiry
27 (2001), pp. 354–84; “Aura, Still,” October 99 (2002), pp. 45–80; “Sociopolitical (i.e. Romantic) Difficulty in Modern Poetry and Aesthetics,” Romantic Circles Praxis Series (2003), www.rc.umd.edu/praxis/poetics.ns/kaufman; “Lyric’s
Expression: Musicality, Conceptuality, Critical Agency,” Cultural Critique 60
(2005), pp. 197–216.
6 Walter Benjamin, Illuminations, ed. Hannah Arendt, trans. Harry Zohn (New
York: Schocken Books, 1969), p. 155. Subsequent references in the text.
7 Frank Lentricchia, “Lyric in the Culture of Capital,” in Subject to History: Ideology, Class, Gender, ed. David Simpson (Ithaca and London: Cornell University
Press, 1991), p. 195. Subsequent references in the text.

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8 Michael Lowy
and Robert Sayre, Romanticism against the Tide of Modernity
(Durham, NC, and London: Duke University Press, 2001). Original French edition 1992.
9 For the specific terms on which women writers entered the realm of commercial
literary production during the Romantic period, see Sonia Hofkosh, Sexual Politics and the Romantic Author (Cambridge: Cambridge University Press, 1998).

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