Abstract
This paper outlines the qualities and criteria of romantic poetry and attempts to show how it is possible to compare and contrast the poetic style and subject matter of Coleridge's poems,to these criteria in order to determine the extent to which he fits the description "Romantic poet." The poems analyzed are "Eolian Harp," "This Lime-Tree Bower My Prison" and "Kubla Khan." The paper then highlights Coleridge's Gothic credentials, focusing in particular on "Christabel."

From the Paper
"An excellent example of innovation in the way that a poem is divided, and indeed of many other Romantic attributes, is This Lime-Tree Bower My Prison; it contains three sections of twenty, twenty-four and thirty four lines respectively, an irregular structure. The first section conveys a sense of lost opportunity; resigned to missing out on a walk with his friends, Coleridge, due to his heightened insecurities, initially wallows in self pity, an almost obligatory action in many of his autobiographical poems, "Well, they are gone, and here I must remain / This lime-tree bower my prison!" This focus on, or reference to, the poet himself is an important feature of Romantic poetry and can also be seen in Lines, The Eolian Harp, and Reflections On Having Left a Place of Retirement. However, the second part of the first section and the entire second section show a complete change in spirits on the part of Coleridge, who begins to derive pleasure from imagining the natural beauty surrounding, and the enjoyment of, his friends as they walk. "

Tags:bower, christabel, eolian, gothic, harp, khan, kubla, lime, samuel, tree

Abstract
This paper provides a discussion of the differences that separate the first generation of Romantic poets from the second generation of Romantic poets, including examples from their works and elements of Romanticism that carry across both generations of poets.

From the Paper
"In "The Norton Anthology of Literature", M. H. Abrams maintains that there are five cardinal elements of Romantic poetry, including the fact that poetry is not an imitation of nature but a representation of the poet's internal emotions. The Romantic poets were grouped into first Coleridge, Wordsworth, Blake, etc. generation, and second, Byron, Shelley, Keats, etc. generation poets. While all of the poets in both generations focused on emotion and nature in their works, there are distinct differences between the generations..."

Tags:Wordsworth, Shelley, Blake, Coleridge, Keats, Byron, nature, revolution, God, identity

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 discusses William Wordsworth and Samuel Taylor Coleridge's joint poetic venture, 'Lyrical Ballads'; Coleridge's 'The Rime of the Ancient Mariner'; Wordsworth's 'Lines Composed a Few Miles above Tintern Abbey, 'Lines Written in Early Spring', 'The World is Too Much with Us' and 'To Toussaint L'Ouverture' and William Blake's 'A Poison Tree', 'The Chimney Sweeper' and 'America: A Prophecy Empire is No More'. The author describes the various ways that each poet addresses the grandeur in everyday things, the common person and the concept of liberation. The paper concludes that these romantic poets used their individual skills to convey to their readers their concerns about life and the plight of humanity in what was becoming an increasingly difficult and unpredictable world.

From the Paper
"Wordsworth and Coleridge's joint poetic venture, 'Lyrical Ballads', showcases the poetic ability of each man. Coleridge with the inclusion of 'The Rime of the Ancient Mariner' holds the reader fascinated with his powerful use of language to convey a message to his reader. In 'The Rime of the Ancient Mariner', Coleridge relies on a fantastic story to teach a moral lesson to his reader. Coleridge puts his masterpiece in language that speaks powerfully to people and with which people can identify. In this, Coleridge is a skilled writer."

Tags:language, beauty, disconnection, interactions, criticism

Abstract
The paper shows how Romanticism was a period in human history where structure and form were abandoned for unrestricted thought and movement. It discusses its influence on poetry and how, through their representation of memory in their poetry, poets sought to illustrate the complexities of the human mind as well as explore Descartes' supposition of "I think, therefore I am." This paper specifically looks at two poems from the Romantic Era: "The Nightingale" by Coleridge and "The Idiot Boy" by Wordsworth. By conducting a thorough analysis of these two poems, the paper shows how many poets believed memory to be more than just observation to the past. Memories are loaded with the reminiscer's interpretation of previous events and are therefore subject to the reminiscer's culture, character and rationalizing process. The paper discusses how, by representing memory in this way, poets provide their own interpretation of how the human mind operates and what it really means to be fully aware as a member of the human race.

From the Paper
"From the onset, the descriptions of the natural surroundings given by the narrator demonstrates the thought processes of the mind in capturing images from the outside. When the narrator talks of "No cloud, no relique of the sunken day distinguishes the West, no long thin slip of sullen Light, no obscure trembling hues," they are not merely observations because the narrator talks of images that are not there. Instead, the narrator implies more about his expectations at seeing a cloud and a relique of the sunken day, and his surprise at finding neither in sight. This is an example of the mind interpreting more than just the surroundings but taking into account time and circumstance in evaluating what is going on outside the mind. This can also be gleaned from the choice of adjectives the narrator employs in describing his surroundings. The narrator observes the "soft bed of verdure" and "vernal showers." "

Tags:Enlightenment, perception, Betty, Foy, Nightingale, Coleridge, Idiot, Boy, Wordsworth.

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 studies the Romantic period in English literature, from 1798 to 1832. The paper evaluates the lyrical ballads of Sir William Wordsworth and Samuel Taylor Coleridge, which were published at the turn of the 19th century. The paper first analyzes William Wordsworth's poems "Expostulation and Reply" and "The Tables Turned", to demonstrate how the Romantic poets turned to nature as their schoolroom and derived life's lessons from nature. Next, the paper examines three Coleridge poems: "The Rime of the Ancient Mariner," "Kubla Khan" and "Christabel". The paper explains that each of these poems demonstrates the juxtaposition between nature and the sub-conscious, particularly the dream-state.

From the Paper
"The old regime in England took its stand in the face of revolutionary fervor based on the American and French Revolutions. For those who sympathized with the Revolution, they needed a new revolution directed against reason and toward something else, and that "something else" was imagination (Adams 363). Romanticism was a movement marked by a shift in feeling, a shift in sensibility, as well as a new concept of man's relation to the natural order and to Nature in particular. As with most movements, the perception that a group of poets exhibited this sort of shift in sensibility is something imposed after the fact by critics reading the works of Keats, Coleridge, and Wordsworth, among others, and finding that many of their sentiments and responses demonstrate a similarity in outlook different from the previous age. Romanticism was marked by certain attitudes, among them the following: 1) a growing interest in Nature and in the natural, primitive, and uncivilized manifestations of Nature; 2) a growing interest in scenery; 3) an association of human moods with the "moods" of Nature, leading to a subjective feeling for it and interpretation of it; 4) an emphasis on natural religion; 5) an emphasis on the need for spontaneity in thought and action and in the expression of thought; 6) more importance given to natural genius and the power of the imagination; 7) a tendency to exalt the individual and his or her needs and an emphasis on the need for a freer and more personal expression; and 8) the cult of the Noble Savage (Cuddon 814-815)."

Tags:romantic, dream, nature, The, Rime, of, the, Ancient, Mariner, Kubla, Khan, Christabel, Samuel, Taylor, Coleridge, Sir, Walter, Scott, Sir, William, Wordsworth

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 argues that nostalgia in poetry can be considered a particular kind of literary device, through which it is possible to gain some degree of insight into the whole ideology on which the romantic movement was based. Through an analysis of the poetry of William Wordsworth and Samuel Taylor Coleridge, it looks at how the romantics mourn the fleeting nature of time and look back to the golden age of childhood - which can only be recaptured through nostalgia. It shows how nostalgia allows the poets the opportunity to not only recapture the past, but to manipulate and control it and how the nostalgia displayed in romantic poetry is, then, a tool of the intellect and a calculated attempt to make sense of a confused world of impressions and feelings, to bring order where previously there was only chaos.

From the Paper
"Coleridge's is an extreme model of nostalgia. Casting his mind back to childhood, he finds that the child he once was is also indulging in nostalgic thoughts of a still deeper past; the past he may have experienced even before birth, on a far different plane. This is the blissful, innocent world which becomes the ideal for all present existence, and the child who can still recall it, and imaginatively re-inhabit that world through nostalgia becomes, to the romantic mind, like a visionary without language or the proper means of expressing his recollection."

Tags:childhood, emotion, golden, shelly, time, tranquility

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