Coleridge and the Literature of Sensibility |
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Page 23
... present and maybe permanent incapacity to respond cre- atively to natural beauty . That recognition leads him and his reader temporarily away from the ' present ' scene to a series of reminis- cences and analyses which try to explain ...
... present and maybe permanent incapacity to respond cre- atively to natural beauty . That recognition leads him and his reader temporarily away from the ' present ' scene to a series of reminis- cences and analyses which try to explain ...
Page 224
... present to his Senses , while his great Predecessors apostrophize classes of Things , presented by the Mem- ory and generalized by the understanding . . . . " The touch of the illusionist is still to be discerned in his claim that the ...
... present to his Senses , while his great Predecessors apostrophize classes of Things , presented by the Mem- ory and generalized by the understanding . . . . " The touch of the illusionist is still to be discerned in his claim that the ...
Page 236
... present tense of Stanzas IV and V belongs to the static world of being , of the eternal verities , rather than to the world of action of the first three stanzas , but we are meant to imagine chronometric time swiftly advanc- ing all the ...
... present tense of Stanzas IV and V belongs to the static world of being , of the eternal verities , rather than to the world of action of the first three stanzas , but we are meant to imagine chronometric time swiftly advanc- ing all 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