What used to be the charm of 'the Sonnet's scanty plot of floor' to Romantic and Victorian poets? How did a kind which had fallen into disuse within the early eighteenth-century develop into a primary and enduring a part of nineteenth-century poetry? This research strains the historical past and improvement of the sonnet in the course of the nineteenth-century, reading the paintings of Wordsworth, Keats, Elizabeth Barrett Browning, Christina Rossetti, George Meredith and several key canonical and non-canonical writers.

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