An exploration of the tradition of evening poetry that flourished with Coleridge, Shelley and Keats.In fresh readings of Keats, Shelley, Coleridge and others, Miller shows how evening settings enabled poets to represent the passage of time. This leads to new ways of reading canonical works, and of thinking about the kinds of themes the lyric can express.In fresh readings of Keats, Shelley, Coleridge and others, Miller shows how evening settings enabled poets to represent the passage of time. This leads to new ways of reading canonical works, and of thinking about the kinds of themes the lyric can express.Lyric poetry has long been considered an art form of timelessness, but Romantic poets became fascinated by one time above all others: evening, the threshold between day and night. Christopher R. Miller investigates the cultural background of this development. The tradition of evening poetry runs from the idyllic settings of Virgil to the urban twilights of T. S. Eliot, and flourished in the works of Coleridge, Wordsworth, Shelley and Keats. In fresh readings of familiar Romantic poems, Miller shows how evening settings enabled poets to represent the passage of time and to associate it with subtle movements of thought and perception. This leads to new ways of reading canonical works, and of thinking about the kinds of themes the lyric can express.Preface; 1. The pre-history of Romantic time; 2. Coleridge's lyric 'moment'; 3. Wordsworth's evening voluntaries; 4. Shelley's 'woven hymns of night and day'; 5. Keats and the 'Luxury of Twilight'; 6. Later inventions. The author illustrates his discussion with detailed references to the work of Virgil, Milton, Finch, Collins, Gray, Cowper, Blake, Coleridge, Wordsworth, Shelley, Keats, Eliot, and Stevens. This is an extensive list, but Miller's exclusive appeal to poetic considerations of evening results in a focused study with even broader implications; he manages to extend and revise the idea of lyric and offer new opplă6