Abstract
This paper claims that Samuel Taylor Coleridge's poem, "Christabel," is an excellent illustration of the Gothic genre. The writer discusses the development of this style as a reaction to the "Age of Reason" and Enlightenment. The paper also discusses elements particular to the Gothic style and illustrates why "Christabel" is innovative, especially its fantastic and taboo topics. The paper explains that "Christabel" also serves to demonstrate Coleridge's impact on redirecting and revitalizing literature at the end of the 18th century.

From the Paper
"Along with William Wordsworth, Coleridge had an active hand in changing the face of poetry forever when they published their Lyrical Ballads in 1798. In this work, as well as his future work, Coleridge explored "the development of the human person, on how selves are made and lost," by introducing fantasy and innovative story lines that developed as the poem developed instead of simply focusing on a static "picture" or event (Taylor 707). This is a reflection of the times in which Coleridge lived. Much of the focus at this time was on the various scientific ideas that were in their infancy. Psychology and sociology were all but unheard of at the time, and so Coleridge's exploration of the inner self is truly innovative, but it was also his interest in things even more mysterious than this that likely generated the ideas for "Christabel." Since The Enlightenment advocated reason and logic above all other modes of thought and philosophy, this interest in the spiritual and illogical seems a natural backlash to the psychological and social pressures The Enlightenment placed on its most creative individuals. "

Tags:Samuel, Taylor, Coleridge, Christabel, Romanticism

Abstract
This paper compares and contrasts two of Samuel Coleridge's poems, "Kubla Khan" and "Pains of Sleep" to illustrate what was going through Coleridge's head, during his addiction and then during his withdrawal (which he was completely unaware of at the time).

From the Paper
" It is believed that drugs open up the mind, allowing hallucinations and such to come about. For Samuel Coleridge, the use of opium for physical ailments (as was common at the time) helped him to write some extremely interesting and powerful poetry. Several of his poems obviously reflect the affect of his use and withdrawal of the opium, which was sometimes not so pleasant."

Tags:coleridge, drugs, khan, kubla, pain, sleep

Abstract
This paper analyzes the works of Romantic poets Blake, Wordsworth, and Coleridge. The paper considers the supernatural experiences within their poems and what kind of insight they provide, as well as what these writers believe the true function of a poet and a poem actually is.

From the Paper
"For most of the Romantic poets, the notion of a supernatural or mystical experience holds great appeal for they believe that such transcendental events might provide insight into nature and the universe and man's place within it. Yet their poetry does not always depict such experiences as a means to divine wisdom, but instead often represent a world of nightmares."

Tags:Blake, Wordsworth, Coleridge, poet, romantic, divine, nature, readers

Abstract
This paper explains that friendship was a crucial concept to the Romantic poets; the leading literary figures of this period were intensely aware of each other, continually informed of others' work and the reactions to it. The author points out that Coleridge's poem, "The Eolian Harp", was developed over a period of twenty-three years, beginning in 1795; in its changing nature can be seen, among other things, the influence of Wordsworth on Coleridge's poetic art. The paper relates that Charles Lamb (1775-1834), always among Coleridge's most sympathetic, perceptive, and influential critics, played an important role in the development of Coleridge's poetic style, arguing for a clearer voice of feeling in Coleridge's verse in terms that first anticipated, then paralleled and strengthened, the influence of Wordsworth's "plain style" on Coleridge's writings.

From the Paper
"In 1791 William Wordsworth published two volumes of verse, "Descriptive Sketches" and "An Evening Walk". These two works acquired a number of admirers for the young poet, among them being Samuel Taylor Coleridge. Coleridge had been a student at Cambridge from 1791 to 1793, and upon reading "Descriptive Sketches" had declared that "seldom, if ever, was the emergence of an original poetic genius above the literary horizon more evidently announced". The two already shared some acquaintances (indeed, one of Coleridge's contemporaries at Cambridge was William Wordsworth's brother, Christopher) and they eventually met in the autumn of 1795. Either on this occasion or shortly afterwards, Wordsworth shared his poem "Guilt and Sorrow" with Coleridge, and the latter recorded the effect it had upon him."

Tags:friendship, eolian, versions, style, bower

Abstract
This paper focuses on the play "Remorse" by Samuel Taylor Coleridge who believed, like many of the Romantics, that the highest form of art was the written word as it stimulates the intellect and serves as a vehicle for the imagination. To Coleridge the sensory aspects of painting and theater and other forms of visual arts were of a baser nature than the intellectually inspired art of writing. Writing for theater was therefore a perplexing departure from his stance on the arts, a contradiction which this paper attempts to reconcile by showing that Coleridge was attempting to strengthen the audiences experience of the poetic value of the play with strong visual and sensory accompaniments.

From the Paper
"The complex relation between seeing and truth operates not only in the performance of Remorse but also in the performance of theatrical spectacle in which the audience engages each time disbelief and faculties of judgment are suspended. Whether or not the viewer is able to make this metatheatrical leap in the presence of the painting might very well depend solely on the imaginative ability of each individual viewer. Yet, the groundwork for a "superior" form of theater, one that relies on the faculty of imagination to draw metadramatic conclusion through the act of seeing, has been laid for Remorse. This appeal to a higher art form suggests that Coleridge's use of visual imagery onstage was not a contradiction of his aesthetic theories, but a reification of them."

Tags:Romanticism, imagination, romantic poet, painting, Charles Lamb, visual culture, currency of sight

Abstract
This paper discusses the differences between Samuel Taylor Coleridge's two poems: "Frost at Midnight," and "Pains of Sleep." These two poems are of different themes and forms and yet exhibit the creativeness found in Coleridge's works. The author also explains how Coleridge was also a literary critic who defined the category of conversation and imagination poems.

From the Paper
""Pains of Sleep" is another literary work from Coleridge, and it was written in 1803. Contrary to the melancholy tone yet positive outlook of the poet's behavior in "Frost at Midnight," "Pains of Sleep" shows the agony experienced by the poet in his struggle to overcome his opium addiction and its after-effect. The poem discusses Coleridge's fear of sleep, and of dreaming. It is evident in the poem's anguished tone that it Coleridge describes his agony in descriptive detail. "Pains of Sleep" is categorized as an example of an imagination poem, a poem that contains brilliant imagery and supernatural elements, and is "far-off" from the ordinary world of people. Imagery during the Romantic period is a powerful tool to express a message in creative and descriptive detail, and is often referred to as "the sensations that language creates in the mind." "

Tags:romantic, period, english, literature, literary, criticisms, fost, midnight, pains, sleep, conversation, alliteration, assonance, ellipsis, metaphors, dreaming, descriptive, detail, imagination, imagery, supernatural, opium.

Abstract
This paper discusses and analyzes the work of poet Samuel Taylor Coleridge and explains how he rebelled substantively against Neo-classical 18th century poetic formalistic and moral traditions. The paper further points out that Coleridge was instrumental in ushering in a new era of Romantic British poetry and that he greatly influenced later British Romantics like Keats, Shelley and Byron, as well as later poets of the United Kingdom and elsewhere. Additionally, the paper points out that it was Coleridge who originated blank verse in poetry and that his work had an impact modern and post-modern poetry as well.

From the Paper
"As for subject matter, 18th century Neo-classical tradition generally concerns itself with moral values; social realities, and mainstream experiences, within not only works like Pope's The Rape of the Lock (1816), but others like Wordworth's Tintern Abbey (1798). Compared against such neo-classical works, Coleridge's Kublai Khan (1816) and Rime of the Ancient Mariner (1798) make use of descriptions of the sublime through nature; of sexuality, and of the unconscious, themes largely unexplored within 18th century British Neo-classical poetry."

Tags:william, wadsworth, romantic, tradition, lyrical, ballads, the, rime, of, the, ancient, mariner

Abstract
This paper presents a look at the life of Samuel Taylor Coleridge. The writer of this paper details Coleridge's life and focuses on the ways his opium addiction affected his writing in the 1700's and 1800's.

Abstract
This paper takes a look at how two contemporary poets from the Romantic era of English Literature - Coleridge and Wordsworth, who shared colleagues and personal friends, had quite different attitudes to the world as reflected in their poetry.

From the paper:

"Samuel Taylor Coleridge and William Wordsworth were two of the greatest champions of the Romantic Movement in English literature as well as colleagues and personal friends. And yet it would be a mistake to identify them too closely with each other, for while they were both properly enamored ? as must all Romantic poets have been ? of the intense emotions that the world of nature could arouse in the human spirit, they nevertheless approached the relationship of the individual to the natural world in very different ways."

Tags:poetry, history, nature, humanitarism, life, relationship, world, view

Abstract
This paper discusses how of all the English poets that comprise the Romantic period, Lord Byron (1788-1824), John Keats (1795-1821) and Samuel Taylor Coleridge (1772-1834) stand as the quintessential masters of Romantic poetry. It examines how their contributions to the aesthetics of versification are highly representative of the Romantic period by reviewing Byron's "She Walks in Beauty," Keats' major odes ("Ode to a Nightingale", "Ode on a Grecian Urn" and "Ode to Melancholy") and Coleridge's "Rime of the Ancient Mariner."

From the Paper
"The great symbolic voice of the true Romantic poet can best be heard in John Keats' romantic odes. In "Ode to a Nightingale," Keats relates that his "heart aches, and a drowsy numbness pains/My sense, as though of hemlock I had drunk" (1st stanza, lines 1-2), which shows that Keats longs for happiness and wishes to be free like the nightingale, a symbol of great importance to the Romantic poets, for it represents freedom of expression and flights of fancy into the sublime. Thus, this image conjures up the idea that the poet has drunk poison (hemlock) which illustrates his deep longings for a spirit free of pain and misery, a reflection of the often poverty-stricken lives led by a good number of Romantic poets."

Tags:ode, nightingale, urn, ancient, mariner, beauty