Coleridge and the Literature of Sensibility |
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Page 180
... kind of poem was structurally and stylistically indebted to the eighteenth - century ode . Thus to argue is certainly not to deny that the blurring and breakdown of generic categories during the eighteenth century was a phenomenon at ...
... kind of poem was structurally and stylistically indebted to the eighteenth - century ode . Thus to argue is certainly not to deny that the blurring and breakdown of generic categories during the eighteenth century was a phenomenon at ...
Page 194
... kind- the greater ode - in which the hagiographical figure ( as distinct from the poetic practice ) of Milton loomed especially large . As patron saint and martyr of the English sublime , he was the exem- plary hero of Collins ' Ode on ...
... kind- the greater ode - in which the hagiographical figure ( as distinct from the poetic practice ) of Milton loomed especially large . As patron saint and martyr of the English sublime , he was the exem- plary hero of Collins ' Ode on ...
Page 233
... kind of relationship with nature which Cole- ridge desired . They are not bad or negligible poetry and were not ... kind of aesthetic experience , but — to an- ticipate later developments in the poem - it cannot be the only kind . The ...
... kind of relationship with nature which Cole- ridge desired . They are not bad or negligible poetry and were not ... kind of aesthetic experience , but — to an- ticipate later developments in the poem - it cannot be the only kind . The ...
Contents
Introduction | 7 |
The Reshaping Spirit | 21 |
Blue Coat Boys | 58 |
Copyright | |
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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