Chatterton--forger, poet and prodigy--took arsenic at the age of seventeen in 1770, the year of Wordsworth's birth. In so doing he established a Romantic myth that has distracted attention from the extraordinary qualities of his poetry. Still more discouraging to modern readers is the pseudo-medieval spelling adopted by Chatterton in passing his poems off as the work of a fifteenth-century priest. The myth, however, can be ignored, and the diction ceases very rapidly to be a problem. To Sharpe, as editor of the 1794 edition (with its first printing of the Coleridge Monody) it seemed that 'Whether the author may have been Rowley or Chatterton. . . [his poems] fully entitle him to be ranked in the fourth place among our British Poets'. Certainly they entitle him to be read.
In this revisionary study of the poetry of Coleridge, Wordsworth and their friends during the 'revolutionary decade' David Fairer questions the accepted literary history of the period and the critical vocabulary we use to discuss it. The book examines why, at a time of radical upheaval when continuities of all kinds (personal, political, social, and cultural) were being challenged, this group of poets explored themes of inheritance, retrospect, revisiting, and recovery. Organising Poetry charts their struggles to find meaning not through vision and symbol but from connection and dialogue. By placing these poets in the context of an eighteenth-century 'organic' tradition, Fairer moves the emphasis away from the language of idealist 'Romantic' theory towards an empirical stress on how identities are developed and sustained through time. Locke's concept of personal identity as a continued organisation 'partaking of one common life' offered not only a model for a reformed British constitution but a way of thinking about the self, art and friendship, which these poets found valuable. The key term, therefore, is not 'unity' but 'integrity'. In this context of a need to sustain and organise diversity and give it meaning, the book offers original readings of some well known poems of the 1790s, including Wordsworth's 'Tintern Abbey' and 'The Ruined Cottage', and Coleridge's conversation poems 'The Eolian Harp', 'This Lime-Tree Bower', and 'Frost at Midnight'. Organising Poetry represents an important contribution to current critical debates about the nature of poetic creativity during this period and the need to recognise its more communal and collaborative aspects.
Samuel Taylor Coleridge, a prominent figure of the Romantic era, presents readers with a comprehensive collection of his literary works in 'The Complete Works: Poetry, Plays, Literary Essays, Lectures, Autobiography and Letters (Classic Illustrated Edition)'. Coleridge's intricate and elegantly crafted poetry, insightful literary essays, and thought-provoking lectures offer readers a glimpse into the creativity and depth of Romantic literature. His works often explore themes of nature, imagination, and the supernatural, resonating with audiences both past and present. This edition provides readers with a wealth of material that showcases Coleridge's versatile talent and profound understanding of the human experience. The collection is a valuable resource for scholars and enthusiasts of Romantic literature alike. Samuel Taylor Coleridge's expertise as a poet, critic, and lecturer shines through in this comprehensive collection, giving readers a profound insight into his artistic vision and literary contributions. Whether you are a dedicated scholar of Coleridge's work or a newcomer to Romantic literature, 'The Complete Works' offers a rich and rewarding reading experience that is sure to captivate and inspire.
