Coleridge and the Literature of Sensibility |
From inside the book
Results 1-3 of 24
Page 138
... discussion of Coleridge's use of the Aeolian harp as a metaphor , pp . 88–92 . 39. The Pleasures of Imagination , I , 73-75 , 109-24 . Anderson , IX , 736 . I quote from the 1744 version here and elsewhere , except in one or two ...
... discussion of Coleridge's use of the Aeolian harp as a metaphor , pp . 88–92 . 39. The Pleasures of Imagination , I , 73-75 , 109-24 . Anderson , IX , 736 . I quote from the 1744 version here and elsewhere , except in one or two ...
Page 139
... discussion of the ( in my view in- conclusive ) evidence that Coleridge was an informed Neoplatonist , particularly well read in Plotinus , during his Christ's Hospital days , see L. Werkmeister , ' The Early Coleridge : His " Rage for ...
... discussion of the ( in my view in- conclusive ) evidence that Coleridge was an informed Neoplatonist , particularly well read in Plotinus , during his Christ's Hospital days , see L. Werkmeister , ' The Early Coleridge : His " Rage for ...
Page 225
... discussion of Dejection as a greater Romantic lyric in Natural Supernaturalism ( New York , 1971 ) , 271–77 . 2. Abrams , ' Structure and Style ' , 527-28 . 3. Abrams , ' Structure and Style ' , 528 . 4. For Coleridge , of course , the ...
... discussion of Dejection as a greater Romantic lyric in Natural Supernaturalism ( New York , 1971 ) , 271–77 . 2. Abrams , ' Structure and Style ' , 527-28 . 3. Abrams , ' Structure and Style ' , 528 . 4. For Coleridge , of course , the ...
Contents
Introduction | 7 |
The Reshaping Spirit | 21 |
Blue Coat Boys | 58 |
Copyright | |
5 other sections not shown
Other editions - View all
Common terms and phrases
Aeolian harp ancient appear associated beautiful begin believe called century certainly Chatterton closely Coleridge Coleridge's concerned Conversation course creative critical dated Dejection delight described discussion earlier early earth effect eighteenth-century English evidence experience feel genial genius give greater greater ode hand Harmony harp heart hope human Imagination important influence inspiration kind later less light lines literary live London lyric March meaning metaphor Milton mind moon move nature never night once opening original pain passage perhaps Pindaric pleasure poem poet poetic poetry possible present quoted reader references rhetorical Romantic Sara seems sense Sensibility soul sounds Southey spirit Stanza studies suggested suppose sure sweet theory things thou thought tion Tiresias tradition true turn universe verse letter voice wind Wordsworth writings written wrote Young