Coleridge and the Literature of SensibilityVision, 1978 - 270 sivua |
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Tulokset 1 - 3 kokonaismäärästä 43
Sivu 34
... appear as the ' Beloved Woman ' of her husband's poems , and there is reason to believe that they experienced rough times during their first year of mar- riage . But a couple of months before the letter to Cottle he de- clares that ' We ...
... appear as the ' Beloved Woman ' of her husband's poems , and there is reason to believe that they experienced rough times during their first year of mar- riage . But a couple of months before the letter to Cottle he de- clares that ' We ...
Sivu 191
... appear in a greater ode ( as they do in Stanza VII of Dejection ) not merely because they are sub- lime but because the ' Ruin ... Whose Walls more awful nod ' is an architectural analogue of the variety of greater ode ( like Kubla Khan ...
... appear in a greater ode ( as they do in Stanza VII of Dejection ) not merely because they are sub- lime but because the ' Ruin ... Whose Walls more awful nod ' is an architectural analogue of the variety of greater ode ( like Kubla Khan ...
Sivu 248
... appear in the 1834 text . There is no doubt that Coleridge himself was respon- sible for the decision to change the 1817 wording of line 68 to what appears in the 1828 and later versions . The text of Dejection printed in 1829 corrects ...
... appear in the 1834 text . There is no doubt that Coleridge himself was respon- sible for the decision to change the 1817 wording of line 68 to what appears in the 1828 and later versions . The text of Dejection printed in 1829 corrects ...
Sisältö
Introduction | 7 |
The Reshaping Spirit | 21 |
Blue Coat Boys | 58 |
Tekijänoikeudet | |
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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