This dissertation works against the longstanding literary critical premise that aesthetics and ethics are at odds. I challenge this notion by foregrounding the verse of four nineteenth-century-born and Northeastern-based poets who unapologetically prioritize aesthetic perception and experience in their writing. These poets—Frederick Goddard Tuckerman, Emily Dickinson, Olivia Ward Bush, and William Stanley Braithwaite—were well aware of the criticism politicians, social reformers, educators, business proponents, and even other writers leveled against the functional and ethical utility of poetry in an era when transatlantic industrial revolutions and innovations in manufacturing and transportation technology contributed to a national ethos that celebrated progress and productivity in the most concrete terms. These developments, coupled with moral and political divisions over slavery and the economic and psychic strain of a nationwide war that brought life’s precariousness into relief, spurred citizens to contemplate their sense of purpose in contexts ranging from the vocational to the existential. Writers and poets in particular faced continual pressures to defend the practical value of their work. What makes the four poets in this dissertation unparalleled, I suggest, is the way they challenge readers to revise and expand their understanding of the aesthetic by devoting poetic attention to unsettling and unsightly products and processes in the natural world. Moldering plant matter, heaps of manure, broom-ravaged spiderwebs, and fragments of driftwood; the kinds of waste and remains normally deemed indecorous for nineteenth-century verse become vibrant and arresting in the work of these poets. Yet while each poet approaches humble and neglected phenomena as worthy of aesthetic treatment, they do so without idealizing the unpalatable and disregarded subjects they portray in verse. The attention they devote to the abject—a witnessing they extrapolate from literal to human nature—is, as I show over the course of this dissertation, an ethical and political act. In addition to upholding the unsettling and unglamorous qualities of the natural subjects they honor, these poets also abstain from sentimentalizing the elements of lived experience that inform their writing, and refuse to downplay the often demanding process of poetic composition itself. While this dissertation’s insistence on regarding aspects of nature that nineteenth-century poetry has traditionally neglected is, in part, an ecocritical intervention, my project is also a call to dignify the artistic labors that reframe overlooked natural phenomena as worthy of aesthetic attention. To portray writing as work is to regard the craft as just as substantial and legitimate a pursuit as occupations whose effects are more straightforwardly measurable in practical terms. Indeed, each poet in this dissertation insists upon depicting poetic making as a labor that requires the same dexterity as the construction of an architectural structure and that has as dramatic and far-reaching effects as military and legislative developments. Far from posing an escapist diversion from the social and civic realities of their day, I argue, these poets frame aesthetic creation and experience as fundamental to human nature, especially during wartime and periods of political upheaval.