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“... Anthologies attract good haters. In the 1790s, the reformer Hannah More blamed their editors for the decay of morals: to let people assume that you had read the entire work from which an anthology piece was excerpted, she warned girls, was no better than lying outright. In the 1840s, less predictably, Engels took time out from The Condition of the Working Class in England to sneer at the anthologies littering the sofa tables of the Manchester bourgeosie ...”

“... The Norton Anthology, edited for this period by the senior Wordsworthian, Cornell’s M.H. Abrams, centres on Wordsworth and particularly on his poetry of introspection or soul-making. McGann’s selection up-ends the Norton’s modern orthodoxy, by devoting 152 pages to Byron, only 87 to Wordsworth. McGann decorously expresses regret at the shearing ...”

“... intellectual and poetic authorities. All the material will be familiar to readers, say, of M.H. Abrams and Frank Manuel, or, on particular Romantic subjects like ruins, Tom McFarland and others. Rosen rambles on and on, quoting not only translations but even the French and German originals, in displays of erudition that make one extremely impatient. Very ...”

“... to take shape around 1950, to be gradually developed by some of the leading Romanticists. For M.H. Abrams, Northrop Frye and Geoffrey Hartman, the date 1798 retains all its charm because it signifies not an echo of 1789 so much as a correction of it – the true spiritual revolution after the false, material and murderous revolution ushered in by 1789. Harold ...”

“... of pluralism are examined, belonging respectively to Ronald S. Crane, Kenneth Burke and M.H. Abrams. Professor Booth does his best, at terrific length, to reconcile these three different pluralisms with each other, but finally they don’t seem able to settle down together except within the even bigger and better pluralism which is Professor Booth’s ...”

“... acted similarly. Since 1962, the Norton Anthology of English Literature, edited by M.H. Abrams and others, had held that ‘the medieval period in English literature extends for more than 800 years’ and included Old English as well as Middle English poetry. By the late 1990s, the Norton Anthology had seen off the rival Oxford Anthology, produced ...”

“... he was on the money, and Shelley’s most informed admirers, such as Michael O’Neill and M.H. Abrams, have described with rather more sympathy the curious mixture of rational scepticism and exuberant idealism that constitutes his mind. The early work Queen Mab exemplifies that lasting doubleness of attitude in an amusingly stark way: the extensive notes ...”

“... metaphysical current in Fidelio is part of a contemporary cultural pattern, well described by M.H. Abrams in Natural Super-naturalism. The age of the French Revolution is one of ‘apocalyptic expectation’, which impresses a whole generation of poets and philosophers, and the composer himself. Yet most of them lose ‘confidence in a millennium brought about ...”

“... In another piece of sustained deconstruction, Culler examines some statements from M.H. Abrams’s The Mirror and the Lamp in order to argue that Abrams, one of the principal critics of deconstruction, has himself unwittingly practised deconstructive strategies on romantic literary theory. ...”