Chapter 3 focuses on a small number of letters from Keats to his poet-friend John Hamilton Reynolds written in the first few months of their friendship, in late 1817 and early 1818. As aspiring young poets, Reynolds and Keats developed a close, competitive-collaborative friendship in which the exchange of letters played an important part. The chapter examines the ways in which some of the main tenets of Keats’s conceptual or theoretical sense of both letter-writing and literary criticism arose out of the interchange of letters with a poet with whom he actively collaborated. Through a reading of Keats’s commentary on the power of Shakespeare’s poems and plays, the chapter argues that letter-writing is intrinsically collaborative, and that in his letters to Reynolds, Keats also emphasizes the collaborative or corresponding quality of both literature and literary criticism.

This chapter investigates the ways in which Percy and Mary Shelley engaged with the idea of witchcraft. In The Witch of Atlas Percy Shelley playfully poses the question: what if God (or Christ) was a witch with a sense of humor? Like her mother, Mary Wollstonecraft, and other Romantic-era women, Mary Shelley was suspicious of representations of female magic. All her novels chronicle how women who have or pretend to possess power, supernatural or otherwise, are inevitably sidelined or written out of the narrative by the men they love and the collusion of the social and historical contexts in which they find themselves. The chapter concludes with an extended analysis of her novel, Valperga, arguing that the introduction of the figure of the witch enables Shelley to finish the novel that she struggled with and to find a way to avenge the wrongs done to the other two female characters.

The presence of witches in Walter Scott’s Waverly novels is suggestive of social and occasionally political disorder, but their presence – like the context of revolutionary crises – also provides his male characters with an opportunity to confront something larger than themselves, a possibly inimical force, and to evolve in this process. Scott, not satisfied with collecting works of demonology, decided to write one himself. This chapter investigates the tensions in his Letters on Demonology and Witchcraft between Scott’s impartiality as a demonologist and a writer of historical fiction, his antiquarian impulse and the genuine sympathy he has for women accused of witchcraft.

Chapter 8 looks at a critical moment in Keats’s life in order to trace the way, in his letters, he works through a crucial decision about his future as a writer. Focusing on a series of interlinked and in some ways ‘porous’ letters written during a single week in September 1819, the chapter discusses Keats’s sense that he is, or soon will be, ‘unpoeted’ – that he can no longer be a poet. Alone in the small city of Winchester, Keats writes a series of often overlapping letters that ultimately move him towards a decision concerning whether or not to end his career as a poet. The chapter aligns the specific circumstances of the limited space of the cathedral city in which Keats is temporarily staying with the limited space of the letter-page itself and examines how he resolves a critical life choice in and through correspondence.

Scott’s sympathy for the figure of the witch is put to the test in Guy Mannering with the introduction of Meg Merrilies, the Roma prophetess and witch. Merrilies’s status as a local sibyl and matriarchal leader within the Romany community is deliberately contrasted with Guy Mannering’s academic magic as an educated English astrologer, and, later, his social standing as a colonel and beloved father/patriarch. In addition, Merrilies’s powers as a storyteller or story-shaper are also in tension with Scott’s authorial control. It is not surprising, therefore, that the climactic resolution in Guy Mannering hinges on the death of Merrilies. Yet Scott’s effort to suppress and contain the disruptive presence of Merrilies by disposing of her is not entirely successful. This chapter concludes with a brief overview of the afterlife of Meg Merrilies in theatrical productions, Keats’s famous poem, and her influence on the aged Sarah Siddons.

Whereas male poets such as Coleridge and Keats used the figure of the witch to explore the connections between the shapeshifting powers of the female demonic and (male) creativity, the third chapter reveals how women novelists like Charlotte Smith and Maria Edgeworth remapped contemporary cultural anxieties in Britain surrounding witches and transgressive female energies onto the colonial landscape of Jamaica. These two authors position the female practitioners of Obeah as an intriguing alternative to the degradation of women in England and the enslaved populations in the colonies.

Chapter 7 builds on, while in some ways reversing, the analysis in Chapter 6. It examines the thirty-nine surviving letters from Keats to Fanny Brawne from the perspective of their distancing function. Keats’s often distinctly fraught and sometimes emotionally coercive letters and notes to Fanny mostly date from the summer and early autumn of 1819, when he was away from London on a writing retreat, and from February to March 1820, when he was living right next door to the Brawne family at Wentworth Place in Hampstead but was often too unwell to see her. The chapter considers Keats’s love letters as informed and even instructed by the writers he happens to be reading (especially Jean-Jacques Rousseau and Philip Massinger), arguing that what he is reading can itself distance the writer from his recipient as much as bring the two together: Keats’s epistolary intertextuality itself distances him from the object of his desire.

This chapter continues the discussion of eighteenth-century representations of Lady Macbeth as a monstrous wife and mother, examining how this was depicted in a series of paintings that portray Lady Macbeth as dominating and exerting control over her timid spouse. After the French Revolution, British caricaturists cast Jacobin sympathizers as the witches in Macbeth, and visual artists such as Johan Zoffany, Henry Fuseli and William Blake invoked the figure of the witch to fuel fears regarding dangerous female sexuality and the horrific consequences of giving women social and political power. Mary Wollstonecraft, who embodied these fears for Fuseli and Blake, along with Germaine de Staël and Sarah Siddons, responded by emphasizing the psychological elements of Macbeth and representing Lady Macbeth as a sympathetic character.

The book ends with a brief Postscript on not reading letters. It examines the correspondence between Keats’s friend and carer Joseph Severn and Keats’s friends back in London as the poet is dying in Rome in the winter of 1820–1. The correspondence records how, having effectively stopped writing poetry more than a year earlier, Keats is now no longer able to read, let alone write, even letters. The chapter argues that this epistolary stoppage has itself fed into the cultural reception of the life and work of a poet who has become admired, respected, and loved for his correspondence as much as for his poems.

Chapter 5 proposes that friendship is one of the founding principles of, and one of the main reasons for writing, familial letters. It focuses on the exchange of letters between Keats and his friend the artist Benjamin Robert Haydon, suggesting that the exchange itself sustained but also threatened the friendship because of its engagement with a paradoxical logic of reciprocity that governs both friendship and letter-writing. The chapter pays particular attention to the inherent contingency of epistolary friendship – friendship that is supplemented or sustained by epistolary contact – in the case of Keats’s mutually flattering but sometimes difficult relationship with a man who shared the poet’s sense of artistic ambition while lacking his talent and genius. As a form of gift exchange, the interchange of letters between two friends may be said to be governed by the economics of an implicit but difficult and ultimately paradoxical reciprocity.

Scott’s struggles to maintain authorial control against the incursions of Merrilies’s witchlike powers compels him to consciously assume the more distanced role of an antiquarian collecting stories of female enthusiasm in subsequent novels, offering up prognoses of mental instability for the witches in The Antiquary, The Pirate and Ivanhoe. This chapter also introduces an entirely new and different witch figure: Rebecca, a lovely young Jewish healer whose potential marriage to Ivanhoe is challenged by racial prejudice and misogynistic suspicions that brand her as a witch. Although Rebecca is rescued from her trial as a witch, she does not receive the happy ending she deserves. Scott writes her out of the narrative in the end when she and her father decide to leave England. Yet Ivanhoe’s choice of a bride – the mild and dutiful Rowena – pales by comparison to Rebecca, inviting readers to envision an alternative ending: the union of Rebecca and Ivanhoe, and the socially transformative potential of this marriage between a Christian and a Jew, the story’s hero, and a purported witch.

The Introduction situates Romanticism Bewitched within current historicist scholarship on gender and witchcraft, feminist political theory and recent scholarship on misogyny and women’s anger. In addition, it traces the trajectory of witchcraft belief from the seventeenth century down to the Romantic era, exploring the eighteenth-century fascination with Shakespeare’s Macbeth and the gendered politics of representations of Lady Macbeth. During the Romantic period, Siddons’s powers of enchantment in that role, and the effect it had on her audience, is an example of how the figure of the Romantic witch opened a space to imagine and explore the constructive and destructive uses of female magic. While some Romantic witches confirmed the worst fears regarding female magic and its pernicious influence, other Romantic witches invited more positive reactions, ranging from sympathy to the deep admiration bordering on awe that Siddons inspired.

This chapter provides an analysis of Ann Radcliffe’s representation of contemporary female artists and authors like herself and Sarah Siddons as witches or enchantresses in “On the Supernatural in Poetry,” and offers examples of the wide variety of witches in Romantic-period Gothic literature, with sections on mother witches, political witches, marvelous witches, Faustian witches and serpent witches. Romantic-era Gothic writers discussed include well-known authors such as Ann Radcliffe, Matthew Lewis, Samuel Coleridge and Charlotte Dacre as well as lesser-known writers (at least to us now) such as Catherine Smith, Mary Julia Young and George Brewer.