The eighteenth-century composition of individual, unseen observers develops into the issue of how characters who are affected by invisibility to differing degrees may be related to one another in the early nineteenth century. The Romantic era engages with invisible characters through the topic of romantic love between two characters, whose love for one another is (temporally or ultimately) hindered by a third character in triadic character constellations. These intimate romantic entanglements mirror the emphasis in Romantic subject culture on the aesthetic subject. However, texts by Anna Letitia Barbauld, John Keats, and the little-known James Forbes Dalton also show a distinct thematic investment in issues of intersubjective relationships, especially the issue of who is recognised as a subject. The composition of the in/visible subject in eighteenth-century literature is thus reframed in social terms of recognition, as both canonical and non-canonical Romantic texts about love confront the question of how to configure a group of characters in a constellation that defines the characters alternately as visible or invisible.