Thistlewood’s mental instabilities were exposed when he was imprisoned for a year in Horsham gaol for breach of the peace after challenging the home secretary Sidmouth to a duel. He emerged a broken man. Watson assumed the leadership of London’s ultra-radicals. He persuaded Henry 'Orator' Hunt to address a great reform meeting in Smithfield market in July 1819, in whose success Thistlewood participated. Deserted by moderate Spencians like Thomas Evans, however, he and Watson again began to plan insurrection, and to fund the manufacture of weapons for future use.

The rioting and looting after Henry Hunt’s great reform meeting on Spa Fields on 3 December 1816 marked a turning point in Thistlewood’s career. Its failure led to his attempt to flee to America, to his capture, and in June 1817 to the aborted treason trial of Watson, Preston, Thistlewood, and Hooper. This collapsed once it was shown to be based on the evidence of the spy John Castle.Henceforth Thistlewood was a marked man on the extremist edges of London radicalism.

Wordsworth published his Excursion in 1814 to stake his claim to being the Milton of his day: the poem was seen as the period’s most serious attempt at an epic poem. After briefly taking up Wordsworth’s goals in writing this long narrative poem, this chapter focuses on Hazlitt’s critique of the epic and on the efforts of Keats, Shelley, Byron, Peacock, Reynolds, and Hunt to rewrite it. Recognizing the power of The Excursion, the younger writers found it embracing a turn inward to the self rather than outward to sexual relations and also abandoning the attempt to reform society, whether through revolution or other means. These poets also contested the style of The Excursion, which they saw as abandoning the experimental turn of Wordsworth’s earlier poetry. The very mode of these responses to Wordsworth – the fantastic pagan romances of Endymion and Rhododaphne, the eastern quests of “Alastor” and Laon and Cythna, even the “romaunt” of Childe Harold – announce their distance from The Excursion. A "Coda" to the chapter shows how Wordsworth’s classicizing poems, particularly "Laodamia" and "Dion," can be read as a rebuke to young writers’ revolutionary take on politics and sexuality.

While written in the 1790s, Wordsworth’s Peter Bell was only published in 1819 as part of his effort to contest the dominance of Scott and Byron in narrative poetry. As contemporary responses make clear, the poem could be read as a rebuke to Byron’s celebration of villain-heroes: what came to be known as Byronic heroes, morally mixed but charismatic men. Wordsworth’s earlier participation in a collective satire on Byron suggests how Peter Bell responds to Byron and helps make sense of the ways in which Byron, Shelley, and Hunt saw the poem as a rejection of their ongoing work. While Wordsworth offered the poem as an example of the ways in which natural experiences can lead to spiritual reform, his turn to a Methodist preacher at the climax of the poem enraged his younger contemporaries, who saw Methodism as a key force in reactionary culture. In Shelley’s The Witch of Atlas and Peter Bell the Third, in Byron’s Don Juan, and in satires and reviews of Peter Bell and related works by Keats, Reynolds, and Hunt we see a collective attempt by the Cockney School to answer the challenge they heard in Peter Bell.

The “Introduction” first challenges conventional notions of influence which construct Wordsworth as a “father” to the younger poets, Keats, Shelley, and Byron. It lays out a model of mutual influence, in which Wordsworth’s post-Waterloo poetry is found to develop in a conversation with his younger contemporaries. It then establishes the intricate personal and poetic ties between Wordsworth and the “second-generation” romantics, recreating Wordsworth’s place in the post-Waterloo literary scene and how it was shaped by the developing struggle between the Lake and Cockney Schools. Our failure to understand how Wordsworth connects with “second-generation” romanticism has distorted models of his later career and created the critical commonplace of the aesthetic failure of “late” Wordsworth. The “Introduction” also supplies an overview of scholarship to date on the later Wordsworth.

Napoleon’s defeat at Waterloo sparked both a spate of cultural responses and a debate over the shape of post-revolutionary Europe. Wordsworth’s “Thanksgiving Ode” volume was his entry into this conversation. Cox creates the context for Wordsworth’s poems on Waterloo, as he takes up contemporary celebrations and religious services and explores theatrical responses to the British victory.Putting Hunt in conversation with Southey and his laureate poems, Cox shows how Wordsworth’s poems on Waterloo respond to Hunt’s earlier Descent of Liberty on Napoleon’s abdication. Wordsworth’s volume inspired its own set of responses, as there was a kind of media war in 1816 over Wordsworth, Waterloo, and Wellington. The most famous of these responses comes in Byron’s Childe Harold III.

This chapter explores the visual sources for violence and warfare created over the millennium from 500 to 1500 in the lands where Islam became a major presence. It divides the copious evidence into three chronological blocks (early, middle and late) to highlight the different visual sources that predominate in each period (architectural decoration, portable objects and illustrated manuscripts). The many scenes of violence depicted on these buildings and objects reflect the unsettled times and places where they were made and the constant occurrence of battles and warfare, some of it with sophisticated weaponry. But these vignettes of warfare and fighting also reflect a more positive view of violence, designed to invoke the prowess and heroism of the object’s owner. This triumphal theme extends to nature and the animal kingdom, as man dominates and tames the often-inhospitable landscape and the wild beasts in it. Many incidents also allude to the legendary and literary past, particularly in Iran, and metaphorically tie the object’s owner (and the viewer) to epic heroes. These many scenes of violence are thus multivalent and require decoding.

The Iliad preserves the memory of Mycenaean material culture through the description of Odysseus’s helmet covered with the tusks of the wild animals. The activity and the trophy of the boar hunt were significant for the construction of a shared male identity in Mycenaean culture, and representations of the helmet are widespread. The Iliadic helmet is also distinguished by a history of circulation that reaches back to Odysseus’s grandfather, and encompasses various forms of exchange characteristic of Homeric society.