All the major Romantic poets tried their hands at drama, expecting success in the theater to balance the frequent commercial failure of their poetic works. So Wordsworth invested his hopes in Borderers, Coleridge in Remorse and Zapolya, Shelley in Cenci, Keats in Otho the Great and Blake in his fragmentary Edward the Third. For the authors of transgressive dramas, however, the publicity surrounding theatrical exposure created a dilemma. On the one hand, provocative heresy had to be made public in order to question received opinions and create scandalous celebrity; on the other, publication and public performance risked intervention by the Examiner of Plays under Britain’s 1737 Licensing Act, with the dangers of libel prosecutions and forced self-exile.