Here I outline how Clare has often been excluded from the Romantic poetic canon represented by Blake, Coleridge, Wordsworth, Byron, Shelley, and Keats. Clare, like these other writers, lies within the boundaries of, but complicates our uses of the term ‘Romantic’. Clare invites sustained comparisons with these poets, especially Wordsworth, Byron, and Keats. Clare also compares readily with Robert Burns, who has been neglected in many accounts of Romanticism, but whose pervasive influence on it is made apparent by attending to Clare’s late songs and lyric works. I situate Clare within the broadest definitions of ‘Romanticism’ to show the extent to which he is embedded in the cultures those definitions identify, but I also outline how he widens understandings of them.