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 wish for political and social transformation and how within which he appropriates the language, imagery, and types of Coleridge, frequently reworking their unique which means via refined readjustments of context and emphasis. whereas she situates her paintings on the subject of contemporary suggestions of literary impression, West is concentrated much less at the psychology of the poets than at the poetry itself.She explores how components reminiscent of the advance of images and the alternative of poetic shape, frequently learnt from previous poets, are in detail regarding poetic function. hence on one point, her publication 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 the way poets develop into poets, through returning the paintings of 1 author to the literary context from which it built. Her booklet is vital examining for experts within the Romantic interval and for students attracted to theories of poetic impact.
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Extra resources for Coleridge and Shelley
14, I, p. 574. 16 Letters, vol. 1, p. 231. 17 Letters, vol. 1, pp. 232–3, 249. 18 For Southey’s part, his interest in the young poet appears if slightly indulgent, certainly genuine. Writing to Charles Danvers in 1812 of Shelley’s appearance at Keswick, Southey’s tone consists of a mixture of humour and genuine affection when describing Shelley’s publication of The Necessity of Atheism: ‘For happening to have a great deal of genius, a great deal of enthusiasm, and high notions of sincerity and virtue he thought that having discovered truths of such inﬁnite utility to mankind it was his bounden duty to disseminate them’.
See SPP, pp. 221–3. Cultivating the Topos And the shadows of the night, Like Sidmouth, next, Hypocrisy On a crocodile rode by. 35 ‘The Mask of Anarchy’ (14–25)49 One of the reasons that ‘The Mask of Anarchy’ is a satire with far more contemporary relevance than ‘Falsehood and Vice’ is due to Shelley’s use here of speciﬁc political ﬁgures and his alliance of each to a particular form of vice. It is possible to see how images and ideas from the earlier poem are developed more successfully in the later one.
From this period, Shelley began to acquire a sustained interest in the work of both Wordsworth and Coleridge which was to continue throughout his life. Southey’s library at Greta Hall was extensive, and Shelley certainly had some access to its contents, as Southey’s own comment about having put the young poet ‘upon a course of Berkeley’ implies. In his Life of Shelley, Thomas Jefferson Hogg suggests that this access may have been limited. Hogg recalls an anecdote, presumably related by Shelley, that although Southey’s ‘dismal house’ was lined with books, the handling of them was not encouraged: ‘I took out some volume one day, as I was going downstairs with him.