Coleridge and the Literature of Sensibility |
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Page 14
... reader . Coleridge's own fictions have often seemed quite different , which is to say quite mischievous and reprehensible , in character . From Southey to De Quincey to Wellek , readers there have been who felt that his many empty ...
... reader . Coleridge's own fictions have often seemed quite different , which is to say quite mischievous and reprehensible , in character . From Southey to De Quincey to Wellek , readers there have been who felt that his many empty ...
Page 209
... reader to scale the sublime heights at a single bound ; but rather , with wonderfully flexible blank verse , they ... readers . Coleridge and Wordsworth moderated and in some respects countered this tendency in their Conversation poems ...
... reader to scale the sublime heights at a single bound ; but rather , with wonderfully flexible blank verse , they ... readers . Coleridge and Wordsworth moderated and in some respects countered this tendency in their Conversation poems ...
Page 223
... readers knew ( if they knew anything about poetry ) , primitivistic theorists like Lowth and Blair referred to what they supposed to be the earliest poems , hymns of praise like the Psalms , as ' effusions ' , and they and other ...
... readers knew ( if they knew anything about poetry ) , primitivistic theorists like Lowth and Blair referred to what they supposed to be the earliest poems , hymns of praise like the Psalms , as ' effusions ' , and they and other ...
Contents
Introduction | 7 |
The Reshaping Spirit | 21 |
Blue Coat Boys | 58 |
Copyright | |
5 other sections not shown
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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