This set offers a representitive collection of the verse satire of the Romantic period, published between the mid-1780s and the mid-1830s. As well as two single-author volumes, from William Gifford and Thomas Moore, there is also a wealth of rare, unedited material.

Volume 1 Robert Burns, 'The Holy Fair' (1786); Helen Leigh, 'A Specimen of Modern Female Education' (1788); 'The Lady and the Doctor; An Anecdote' (1788); William Cowper, 'Sweet Meat Has Sour Sauce' (1788); 'Pity for the Poor Africans' (1788); Elizabeth Hands, 'A Poem, On the Supposition of an Advertisement Appearing in a Morning Paper, of the Publication of a Volume of Poems, by a Servant Maid' (1789); 'A Poem, On the Supposition of the Book Having Been Published and Read' (1789); John Wolcot, ('Peter Pindar'); 'Song, by Mr. Paine' (1791); 'Ode to Burke' (1792); Thomas Spence, 'Burke's Address to the "Swinish Multitude"' (1793); John Thelwall and Daniel Isaac Eaton, 'King Chaunticlere; or, The Fate of Tyranny' (1793); Daniel Isaac Eaton, ('Antitype'); The Pernicious Effects of the Art of Printing Upon Society, Exposed (c. 1793-94); Anon., (attrib. to Robert Merry and Joseph Jekyll); 'Wonderful Exhibition. Signor Gulielmo Pittachio' (1794); 'No. II. More Wonderful Wonders!!!' (1794); 'Wonderful Exhibition!!! Positively the Last Season of His Performing' (1795); Samuel Taylor Coleridge, 'Fire, Famine, and Slaughter: A War Eclogue' (1798); Carolina Oliphant (Lady Nairne), 'The Laird o' Cockpen' (c. 1798); William Blake, 'When Klopstock England Defied' (c. 1797-1800); Mary Robinson, 'The Mistletoe, A Christmas Tale' (1799); 'The Confessor, A Sanctified Tale' (1800); William Wordsworth, 'A Poet's Epitaph' (1800); Anna Dodsworth, 'To Matthew Dodsworth, Esq. On a Noble Captain's Declaring that his Finger was Broken by a Gate' (1802); 'Badinage. On Recovering from a Bad Fit of Sickness at Bath' (1802); George Canning, 'Ambubaiarum Collegia, Pharmocopolae' (1803); Anon., from The Anti-Gallican; or Standard of British Loyalty, Religion and Liberty 'A Farce in One Act, Called THE INVASION OF ENGLAND' (1804); Anon., from The Scourge 'An Ensorian Essay on Something, Meaning Any Thing, and Proving Nothing' (1812); Anna Laetitia Barbauld, Eighteen Hundred and Eleven, A Poem (1812); Charles Lamb, 'The Triumph of the Whale' (1812); Jane Taylor, 'Recreation' (1816); John Keats, 'Nebuchadnezzar's Dream' (1817); Anon., from The Black Dwarf 'To Belinda' (1818); 'Rights of Women. Answer to Florio' (1818); 'An Ode to the Ladies on their Alledged Rights' (1818); 'A Scene from the New Tragi-Comedy entitled the "Undebauched Royalists", or, The Reformers Routed' (1819); 'The Peterloo Man' (1819); Percy Bysshe Shelley, 'Sonnet: England in 1819' (1819); 'A New National Anthem' (1819); William Hone, 'Non Mi Ricordo!' (1820); George Gordon, Lord Byron, 'The Irish Avatar' (1821); John Hughes, 'The Magic Lay of the One-Horse Chay' (1824); Horace Smith, 'Specimens of a Patent Pocket Dictionary' (1824-25); Thomas Hood and John Hamilton Reynolds, 'Ode to Mr. Graham, The Aeronaut' (1825); 'An Address to the Very Reverend John Ireland, D.D. Charles Fynes Clinton, LL.D. Thomas Causton, D.D. Howel Holland Edwards, M.A. The Bishop of Exeter. Wm. H. Edward Bentinck, M.A. James Webber, B.D. William Short, D.D. James Tournay, D.D. Andrew Bell, D.D. George Holcombe, D.D The Dean and Chapter of Westminster' (1825); Anon., from The Globe and Traveller 'Discovery of Another Poet' (1825); Anon. (attrib. Theodore Hook); The March of Intellect: A New Song (1825); Robert Seymour From The March of Intellect: Fashionable, Mechanical, Philosophical, Philanthropical, Professional, Political (1829); Ebenezer Elliott 'Song: Child, is thy father dead?'; 'Burns, from the Dead' 'The Jacobin's Prayer' (1830); W[illiam] T[homas] Moncrieff The March of Intellect, A Comic Poem (1830); Anon., from The Prompter 'A Notabil Ballad of ye Downefall of Kynges' (1831); John Wilson ('Christopher North'); 'A New Song, to be Sung by All Loyal and True Subjects' (1832); Maria Abdy 'My Very Particular Friend' (1834); 'A Governess Wanted' (1838); George Cruikshank and Anon. 'The Wonderful Pill' (1837); Charles Dickens 'The Fine Old English Gentleman. New Version. To be Said or Sung at All Conservative Dinners' (1841) Volume 2 George Ellis From Criticisms on the Rolliad (1784-85); Thomas James Mathias From The Pursuits of Literature (1794-97; 1798); Richard Polwhele The Unsex'd Females (1798); Eaton Stannard Barrett From All the Talents; A Satirical Poem (1807); Lady Anne Hamilton From The Epics of the Ton (1807); Richard Mant From The Simpliciad (1808); Lord Byron From English Bards and Scotch Reviewers (1809); George Daniel From The Modern Dunciad, A Satire (1814); Thomas Love Peacock From Sir Proteus: A Satirical Ballad (1814); 'S. T. Colebritche' From Christabess (1816); Percy Bysshe Shelley From Oedipus Tyrannus, or, Swellfoot the Tyrant (1820); From Peter Bell the Third (1819); Henry Luttrell From Letters to Julia, in Rhyme (1820; 1822); John Keats From The Cap and Bells, or The Jealousies (1819); Lord Byron From Don Juan (1819-24); Anon. From Khouli Khan (1820); Lord Byron The Vision of Judgment (1821); William Combe From The Tour of Doctor Syntax in Search of a Wife (1821); Sir Charles and Lady Morgan From The Mohawks: A Satirical Poem with Notes (1822); Robert Montgomery From The Age Reviewed (1827) Volume 3 John Wolcot ('Peter Pindar, Esq.'), 'The Lousiad, an Heroi-Comic Poem' (1794-96); Nathaniel Thomas Haynes Bayly ('Q. in the Corner'), 'Epistles from Bath; or Q.'s Letters to His Yorkshire Relations' (1817); William Hone and George Cruikshank, 'The Queen's Matrimonial Ladder, A National Toy, with Fourteen Step Scenes; and Illustrations in Verse, with Eighteen Other Cuts' (1820); 'James Harley', 'The Press, or Literary Chit-Chat. A Satire' (1822); Anon., 'The Illiberal! Verse and Prose from the North!!' (1822) Volume 4 William Gifford, The Baviad; A Paraphrastic Imitation of the First Satire of Persius (1791); The Maeviad (1795); 'Imitation. Dactylics. Quintessence of all the Dactylics that ever were, or ever will be written' (1797); 'Imitation of Bion. Written at St Ann's Hill' (1798); 'Epistle to Peter Pindar' (1800); 'Horace Juvenal' (Mary Robinson), Modern Manners: A Poem. In Two Cantos (1793); 'Peter Pindar' (John Wolcot), Out at Last (1801); Edward Jerningham, 'Lines on "The Baviad" and "The Pursuits of Literature"' (1797; 1806); Leigh Hunt, Ultra-Crepidarius: A Satire on William Gifford (1823); William Parsons and Hester Thrale Piozzi, 'Dedication' and 'Preface' to The, Florence Miscellany (1785); Robert Merry, 'Madness' (1785); Hester Thrale Piozzi, 'To Wm. Parsons Esq.' (1785); William Parsons, 'To Mrs Piozzi, in Reply, Written on the Anniversary of her, Wedding 25 July 1785' (1785); 'Benedict' (Edward Jerningham);, 'To May' (1787); 'Benedict' (Edward Jerningham);, 'To Melissa's Lips' (1787); 'Belinda' (Anon.);, 'Address to Benedict' (1787); 'Della Crusca' (Robert Merry);, 'The Adieu and Recall to Love' (1787); 'Anna Matilda' (Hannah Cowley);, 'To Della Crusca: The Pen' (1787); 'Della Crusca' (Robert Merry);, 'To Anna Matilda' (1787); 'Anna Matilda' (Hannah Cowley);, 'To Della Crusca' (1787); 'Della Crusca' (Robert Merry);, 'To Anna Matilda' (1787); 'Della Crusca' (Robert Merry);, 'Elegy, Written on the Plain of Fontenoy' (1787); 'Anna Matilda' (Hannah Cowley);, 'Stanzas to Della Crusca' (1787); 'Della Crusca' (Robert Merry);, 'To Anna Matilda' (1787); 'Anna Matilda' (Hannah Cowley);, 'To Della Crusca' (1787); 'Rueben' (attrib. Bertie Greatheed);, 'To Anna Matilda' (1788); Hester Thrale Piozzi, 'Sonnet. On an Air Balloon' (1788); 'Della Crusca' (Robert Merry);, 'The Slaves. An Elegy' (1788); 'The Bard' (Edward Jerningham);, 'The African Boy' (1788); 'Della Crusca' (Robert Merry);, 'The Interview' (1789); 'Laura' (Mary Robinson);, 'To Leonardo' (1789); 'Philander' (Anon.);, 'To Her Whom I Saw Weep' (1789); 'Laura Maria' (Mary Robinson);, 'To the Nightingale' (1789); Robert Merry, The Laurel of Liberty: A Poem (1790); Mary Robinson, Ainsi va le Monde (1790); 'Ignotus' (William Kendall);, 'To Laura' (1790); 'Cesario' (Miss Vaughan);, 'The Voice we Love' (1790); 'Arley' (Miles Andrews);, 'The Invitation. To Delia' (1790); 'Emma' (Anon.);, 'Henry Deceived' (1790); 'Henry' (Anon.);, 'To Emma' (1790); 'Courtney Melmoth' (Samuel Jackson Pratt);, from The New Cosmetic, or the, Triumph of Beauty, A Comedy (1791); Miles Andrews, 'Epilogue, Written by Miles Peter Andrews, Esq. and spoken, by Mrs Mattocks' (1791); Robert Merry, Ode for the fourteenth of July, 1791, the day consecrated to freedom:, being the anniversary of the revolution in France (1791); Mary Robinson, 'Ode To Della Crusca' (1791); 'Rinaldo' (Robert Merry);, 'Rinaldo to Laura Maria' (1791); Mary Robinson, 'To the Muse of Poetry' (1791); Mary Robinson, 'Echo to Him Who Complains' (1791); Edward Topham, 'Epilogue' to The Rage (1795); Miles Andrews, 'Epilogue' (1797); Anon., 'Proceedings of the Trial of Robert Faulder, Bookseller, (one of, FORTY against whom Actions were brought for selling the Baviad), for, publishing a Libel on John Williams, alias Anthony Pasquin, Esq.' (1800; William Hazlitt, A Letter to William Gifford, Esq. From William Hazlitt,, Esq. (1819) Volume 5 Thomas Moore, 'Epistle VI. To the Lord Viscount Forbes', 'Epistle VII. To Thomas Hume, Esq. MD', Corruption and Intolerance: Two Poems. With Notes, Addressed to an Englishman by an Irishman (1808), The Sceptic: A Philosophical Satire. By the Author of Corruption and Intolerance (1809); 'Letter from --- to ---' ['Parody of a Celebrated Letter']; 'Anacreontic: To a Plumasier' (1812); 'Extracts from the Diary of a Fashionable Politician' (1812); 'The Sale of the Tools' (1812); Intercepted Letters; or, The Twopenny Post-Bag. To which are added, Trifles Reprinted. By Thomas Brown, the Younger (1813); 'LAW on our side' (1813); 'Reinforcements for Lord Wellington' (1813); 'The Two Veterans' (1814); 'Epistle from Tom Crib to Big Ben' (1815); 'Fum and Hum, the two Birds of Royalty' (1816); Te Fudge Family in Paris. Edited by Thomas Brown, the Younger (1818); 'Beware, ye bards of each degree' (1818); Tom Crib's Memorial to Congress. With a Preface, Notes, and Appendix. By One of the Fancy (1819); Fables for the Holy Alliance (1823); 'An Amatory Colloquy Between Bank and Government' (1826); 'The Sinking Fund Cried' (1826); 'All in the Family Way. A New Pastoral Ballad' (1826); 'Ode to Sir T--s L-thb--ge' (1826); 'The Millenium' (1826); 'The Three Doctors' (1826); 'A Vision. By the Author of Christabel' (1826); 'A Dream of Turtle. By Sir W. Curtis' (1826); 'Corn and Catholics' (1826); 'Literary Advertisement' (1826); 'The Slave' (1827); 'A Pastoral Ballad' (1827); 'Wo! Wo!' (1827); 'The "Living Dog" and the "Dead Lion"' (1828); 'Dante Redividus' (1828); 'The Brunswick Club' (1828); 'Alarming Intelligence-Revolution in the Dictionary-One Galt at the head of it' (1830); 'Advertisement' (1830); 'Thoughts on Editors' (1831); 'Tory Pledges' (1832); 'Song of the Departing Spirit of the Tithe' (1832); 'Paddy's Metamorphosis' (1833); 'Love Song' (1833); 'The Dream of Those Days' (1834); The Fudges in England: being a sequel to the 'Fudge Family in Paris' . By Thomas Brown, the Younger, Author of the Twopenny Post-Bag', etc., etc. (1835); 'The Boy Statesman. By a Tory' (1836); 'Anticipated Meeting of the British Association in the Year 2836' (1836); 'Announcement of a new grand Acceleration Company for the promotion of the Speed of Literature' (1837); 'Grand Dinner of Type & Co.' (1838); 'Some Account of a New Genus of Church-man, called the Phill-Pot' (1838); 'Songs of the Church. No. I. "Leave Us Alone"' (1838); 'Songs of the Chuch. No. II' (1838); 'Thoughts on Patrons, Puffs, and Other Matters' (1839); 'New Hospital for Sick Literati' (1839) 'An Episcopal Address on Socialism' (1840); 'Latest Accounts from Olympus' (1840)

'can be endorsed enthusiastically...the editors not only make satires available to far more readers at any time since the Romantic period, but also provide superb headnotes and annotation.' Romanticism 'British Satire 1785-1840 is a mould-breaking resource for students and scholars of the period, an indispensable publication... I shall certainly be using [it] to teach my undergraduates... These books will be useful to generations of Romantic students and scholars and indicate the way forward for subsequent anthologists.' The Wordsworth Circle