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By Sally West

Sally West's well timed research is the 1st book-length exploration of Coleridge's impact on Shelley's poetic improvement. starting with a dialogue of Shelley's perspectives on Coleridge as a guy and as a poet, West argues that there's a direct correlation among Shelley's hope for political and social transformation and how during which he appropriates the language, imagery, and types of Coleridge, usually reworking their unique which means via sophisticated readjustments of context and emphasis. whereas she situates her paintings relating to contemporary ideas of literary impact, West is concentrated much less at the psychology of the poets than at the poetry itself.She explores how components akin to the advance of images and the alternative of poetic shape, frequently learnt from prior poets, are in detail on the topic of poetic function. therefore on one point, her e-book explores how the second-generation Romantic poets reacted to the ideals and beliefs of the 1st, whereas on one other it addresses the bigger query of ways poets develop into poets, through returning the paintings of 1 author to the literary context from which it built. Her publication is key analyzing for experts within the Romantic interval and for students drawn to theories of poetic impact.

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Coleridge and Shelley

Sally West's well timed learn is the 1st book-length exploration of Coleridge's impact on Shelley's poetic improvement. starting with a dialogue of Shelley's perspectives on Coleridge as a guy and as a poet, West argues that there's a direct correlation among Shelley's wish for political and social transformation and how within which he appropriates the language, imagery, and types of Coleridge, frequently remodeling their unique which means via sophisticated readjustments of context and emphasis.

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The following image turns to Hypocrisy, as Sidmouth, who is ‘Clothed with the Bible’ and riding on the crocodile itself. Shelley’s ultimate stance has not changed a great deal from the earlier poem to the later one; both use the symbol of hypocrisy as a crocodile, and both incorporate the idea of that hypocrisy being religious. However, in ‘The Mask of Anarchy’ Eldon’s ‘big tears’ which ‘Turned to mill-stones as they fell’ alludes more explicitly to the leviathan of Job 41. ’50 However, two pieces of information suggest that Shelley’s extended description of the havoc which Falsehood’s daughter Religion causes on earth may be intended to have specific contemporary relevance.

Such comments may also be an attempt to dilute his continued reverence for Southey to a correspondent to whom Shelley himself wished to remain in a position of intellectual and moral authority. The substance of Shelley’s conversations with Southey when the two poets finally met later that month is reported to Hitchener in a strangely ambivalent mix of justification and censure: You may conjecture that a man must posess [sic] high and estimable qualities, if with the prejudice of such total difference from my sentiments I can regard him great and worthy – In fact Southey is an advocate of liberty and equality; he looks forward to a state when all shall be perfected, and matter become subjected to the omnipotence of mind; but he is now an advocate for existing establishments; ...

474. 14 Michael O’Neill, ‘The Gleam of Those Words: Coleridge and Shelley’, K–SR, 19 (2005), 76–96, (p. 76). Cultivating the Topos 23 instead. There could have been nothing so unfortunate. Southey had no understanding for a toleration of such principles as Shelley’s. I should have laughed at his Atheism. I could have sympathised with him and shown him that I did so. I could have shown him that I had once been in the same state myself, and I could have guided him through it. I have often bitterly regretted in my heart of hearts that I did never meet with Shelley.

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