Abstract
In the spring of 1798 Coleridge opened a political poem1 by presenting himself on high ground overlooking the sea and describing the beauty of the natural scenery about him: clouds floating and pausing above him, waves rolling beneath and woods around which, when they were not making a music of their own, were silent as if listening to the song of the night-birds. All had this in common: an element of unrestricted fluency.
This is a preview of subscription content, log in via an institution.
Buying options
Tax calculation will be finalised at checkout
Purchases are for personal use only
Learn about institutional subscriptionsPreview
Unable to display preview. Download preview PDF.
4 Influences, Confluences, Resistancy: Romantic Powers and Victorian Strength
R.J. Mann, Tennyson’s Maud Vindicated, an explanatory essay (1856).
A. Dwight Culler, Imaginative Reason, The Poetry of Matthew Arnold (New Haven, Conn., 1966) pp. 3–4.
See Francis Darwin (ed) The Life and Letters of Charles Darwin (1887) I, 316n,
R. M. Young, Darwin’s Metaphor (Cambridge 1985) p. 112.
Gillian Beer, Darwin’s Plots, Evolutionary Narrative in Darwin, George Eliot and Nineteenth-Century Fiction (1983). See especially her appraisal of Mary Hesse’s view of metaphor, pp. 91–2.
A. O.J. Cockshut, The Imagination of Charles Dickens (1961) pp. 170–82.
Author information
Authors and Affiliations
Copyright information
© 1993 John Beer
About this chapter
Cite this chapter
Beer, J. (1993). Influences, Confluences, Resistancy: Romantic Powers and Victorian Strength. In: Romantic Influences. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-23118-8_4
Download citation
DOI: https://doi.org/10.1007/978-1-349-23118-8_4
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-23120-1
Online ISBN: 978-1-349-23118-8
eBook Packages: Palgrave Literature & Performing Arts CollectionLiterature, Cultural and Media Studies (R0)