By Sally West
Sally West's well timed research is the 1st book-length exploration of Coleridge's impression 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 different types of Coleridge, frequently remodeling their unique that means via refined readjustments of context and emphasis. whereas she situates her paintings when it comes to contemporary innovations of literary effect, West is targeted much less at the psychology of the poets than at the poetry itself.She explores how components resembling the improvement of images and the alternative of poetic shape, usually learnt from prior poets, are in detail relating to poetic goal. therefore on one point, her ebook 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 turn into poets, through returning the paintings of 1 author to the literary context from which it constructed. Her publication is vital studying for experts within the Romantic interval and for students drawn to theories of poetic effect.
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Additional resources for Coleridge and Shelley
The Table Talk comments arose from Coleridge’s expressed admiration for Shelley’s translation of parts of Goethe’s Faust, and articulate more generally his belief that ‘there are ﬂashes of the true spirit to be met with’ in Shelley’s work. His comments also provide a telling gloss on Coleridge’s own assessment of the likely inﬂuence of Southey on the young Shelley: Poor Shelley, it is a pity I often think that I never met with him. I could have done him good. He went to Keswick on purpose to see me and unfortunately fell in with Southey 12 Letters, vol.
14 In later life, Coleridge himself expressed regret that he ‘did never meet with Shelley’. Comments made by Coleridge subsequent to Shelley’s death suggest that the respect which the younger poet had for the work of the elder was, to a certain extent, reciprocated. The Table Talk comments arose from Coleridge’s expressed admiration for Shelley’s translation of parts of Goethe’s Faust, and articulate more generally his belief that ‘there are ﬂashes of the true spirit to be met with’ in Shelley’s work.
I do not feel the least disposition to be Mr. 16 Here the correspondent is signiﬁcant. Disillusioned by Southey, and ﬁnding Wordsworth and Coleridge unforthcoming, Shelley was to address his hopes and present his plans to a new ‘great character’: the philosopher William Godwin. Shelley’s change of allegiance from Southey to Godwin is evident in a letter of 16 January to Elizabeth Hitchener. Godwin has answered Shelley’s letters, ‘and he is now my friend’. ’, where the emphasis seems to draw an implied comparison with Southey.
Coleridge and Shelley by Sally West