Introduction
Notes Introduction 1. See, for example, Albert O. Wlecke, Wordsworth and the Sublime (Berkeley: University of California Press, 1973); Vincent de Luca, Words of Eternity: Blake and the Poetics of the Sublime (Princeton: Princeton University Press, 1990); Angela Leighton, Shelley and the Sublime: An Interpretation of the Major Poems (Cambridge: Cambridge University Press, 1984); and Stuart Ende, Keats and the Sublime (New Haven: Yale University Press, 1976). 2. On the Sublime, ed. David Vallins, Coleridge’s Writings 5 (Basingstoke: Palgrave Macmillan, 2003). 3. Paul Magnuson, Coleridge’s Nightmare Poetry (Charlottesville: University Press of Virginia, 1974). 4. Seamus Perry, Coleridge and the Uses of Division (Oxford: Clarendon Press, 1999), p. 135. 5. On the Sublime, ed. Vallins, p. 1. 6. Raimonda Modiano, Coleridge and the Concept of Nature (Basingstoke: Macmillan, 1985), p. 101. 7. Ibid., p. 122. 8. Ibid., p. 137. 9. Steven Knapp, Personification and the Sublime (Cambridge, MA: Harvard University Press, 1985), pp. 16–23 and 77–80. 10. Thomas Weiskel, The Romantic Sublime: Studies in the Structure and Psychology of Transcendence (Baltimore: Johns Hopkins University Press, 1976), see pp. 53–9 and 158–62. 11. Perry, Uses of Division, p. 78, my emphasis. 12. David Vallins, Coleridge and the Psychology of Romanticism: Feeling and Thought (Basingstoke: Macmillan, 2000), p. 165. 13. Weiskel, Romantic Sublime, p. 57. 14. Jerome McGann, The Romantic Ideology: A Critical Investigation (Chicago: University of Chicago Press, 1983), p. 107. 15. Ibid., p. 105. 16. Indeed, sometimes the most relevant context for a poem is a limited and circumscribed one. Whilst I always endeavour to recover whatever I can of Coleridge’s contemporary force, this does not efface the necessity of acknowledging very specific historical backdrops, as in my reading of ‘The Destiny of Nations’ alongside David Hartley and Unitarian radicalism.
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