Titlebook: Coleridge‘s Political Poetics; Radicalism and Whig Jacob Lloyd Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusive

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https://doi.org/10.1007/978-3-8349-8337-4tion of his poetic influences, especially the total exclusion of Mark Akenside, is part of his broader project of denying the radical politics of his youth. By claiming that his response to poetry was purely a question of aesthetic preference, Coleridge obscures the real nature of his political poetics in the 1790s.

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https://doi.org/10.1007/978-3-031-41877-8Romanticism; British and Irish Literature; British Politics; Samuel Taylor Coleridge; Poetry and Poetics

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Conclusion,tion of his poetic influences, especially the total exclusion of Mark Akenside, is part of his broader project of denying the radical politics of his youth. By claiming that his response to poetry was purely a question of aesthetic preference, Coleridge obscures the real nature of his political poetics in the 1790s.

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rough references to Whig poetry.Establishes the importance oThis book considers Samuel Taylor Coleridge’s engagement with ‘Whig poetry’: a tradition of verse from the eighteenth century which celebrated the political and constitutional arrangements of Britain as guaranteeing liberty. It argues that,

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https://doi.org/10.1007/978-3-322-90981-7is political ideas upon domestic human affections, rather than abstract ideas. A difficulty with this method arises because Bowles’s own poetry lauds Burke, in rejection of those sympathizing with France. Coleridge responds by presenting Burke himself as failing in sensibility.

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Coleridge, Enthusiasm, and Bowles,is political ideas upon domestic human affections, rather than abstract ideas. A difficulty with this method arises because Bowles’s own poetry lauds Burke, in rejection of those sympathizing with France. Coleridge responds by presenting Burke himself as failing in sensibility.

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Developing a Classification Model Using SVM,hority. ‘Dejection’ is organized, deliberately, so as to excite and then disappoint the expectations pertaining to the ‘Greater ode’. The poem’s presentation of imaginative failure is Coleridge’s admission that he cannot produce political poetry any longer. He leaves that task instead to the poem’s enduring figure of genius: William Wordsworth.