how many poems of coleridge were included in lyrical ballads
four
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Lyrical Ballads Lyrical Ballads, with a Few Other Poems is a collection of poems by William Wordsworth and Samuel Taylor Coleridge, first published in 1798 and generally considered to have marked the beginning of the English Romantic movement in literature. The immediate effect on critics was modest, but it became and remains a landmark, changing the course of English literature and poetry. Most of the poems in the 1798 edition were written by Wordsworth, with Coleridge contributing only four poems to the collection, including one of his most famous works, "The Rime of the Ancient Mariner". A second edition was
Lyrical Ballads
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one poem in the 1798 edition entitled "Lines written near Richmond, upon the Thames, at Evening." Lyrical Ballads Lyrical Ballads, with a Few Other Poems is a collection of poems by William Wordsworth and Samuel Taylor Coleridge, first published in 1798 and generally considered to have marked the beginning of the English Romantic movement in literature. The immediate effect on critics was modest, but it became and remains a landmark, changing the course of English literature and poetry. Most of the poems in the 1798 edition were written by Wordsworth, with Coleridge contributing only four poems to the collection, including
Lyrical Ballads
2900290
Lyrical Ballads Lyrical Ballads, with a Few Other Poems is a collection of poems by William Wordsworth and Samuel Taylor Coleridge, first published in 1798 and generally considered to have marked the beginning of the English Romantic movement in literature. The immediate effect on critics was modest, but it became and remains a landmark, changing the course of English literature and poetry. Most of the poems in the 1798 edition were written by Wordsworth, with Coleridge contributing only four poems to the collection, including one of his most famous works, "The Rime of the Ancient Mariner". A second edition was
Lyrical Ballads
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and the following four lines to the exquisite sweetness and almost "Italian" delicacy of his Poetry.—In Shakespeare's 'Lover's Complaint' there is a fine stanza almost prophetically characteristic of Mr. Sheridan." Following the note was 9 lines of poetry: In the original "Morning Chronicle" edition, the first four lines read: The "Sonnets on Eminent Characters" contained many poems dedicated to those Coleridge considered his hero from many fields. The heroes were divided into those who were artists, intellectuals, political figures, and military figures in a way similar to how John Milton divided his poems dedicated to various individuals. In particular, Milton's
To Sheridan
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of death." Later critics focused on the importance of the poems to Wordsworth's poetic technique. Durrant argued that "The four 'Lucy' poems which appeared in the 1800 edition of "Lyrical Ballads" are worth careful attention, because they represent the clearest examples of the success of Wordsworth's experiment." Alan Grob (1932–2007) focused less on the unity that the poems represent and believed that "the principal importance of the 'Matthew' and 'Lucy' poems, apart from their intrinsic achievement, substantial as that is, is in suggesting the presence of seeds of discontent even in a period of seemingly assured faith that makes the
The Lucy poems
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and directly after "She dwelt" within "Lyrical Ballads". In addition, "I travelled" was sent to the poet's childhood friend and later wife, Mary Hutchinson, with a note that said it should be "read after 'She dwelt'". Coleridge biographer J. Dykes Campbell records that Wordsworth instructed "I travelled" to be included directly following "A slumber", an arrangement that indicates a connection between the poems. Nevertheless, the question of inclusion is further complicated by Wordsworth's eventual retraction of these instructions and his omission of "I travelled" from the two subsequent editions of "Lyrical Ballads". The 1815 edition of "Lyrical Ballads" organised the
The Lucy poems
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(Coleridge) were written by Coleridge; all other poems were written by Wordsworth. In first edition, 1798 there were 19 poems written by Wordsworth and 4 poems by Coleridge. For the 1800 edition, Wordsworth added several poems which make up Volume II. The poem "The Convict" (Wordsworth) was in the 1798 edition but Wordsworth omitted it from the 1800 edition, replacing it with Coleridge's "Love". "Lewti or the Circassian Love-chaunt" (Coleridge) exists in some 1798 editions in place of "The Convict". The poems "Lines written when sailing in a Boat at evening" and "Lines written near Richmond, upon the Thames" are
Lyrical Ballads
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and their emergence is marked by the first romantic manifesto in English literature, the "Preface" to "Lyrical Ballads" (1798). The poems in "Lyrical Ballads" were mostly by Wordsworth, though Coleridge contributed "Rime of the Ancient Mariner". Among Wordsworth's most important poems are "Lines Composed a Few Miles Above Tintern Abbey", "Resolution and Independence", "" and the autobiographical epic "The Prelude". Robert Southey (1774–1843) was another of the so-called "Lake Poets", and Poet Laureate for 30 years, although his fame has been long eclipsed by William Wordsworth and Samuel Taylor Coleridge. Thomas De Quincey (1785–1859) is best known for his "Confessions
English literature
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Nitrous Oxide and its Respiration", and received a more positive response. William Wordsworth and Samuel Taylor Coleridge moved to the Lake District in 1800, and asked Davy to deal with the Bristol publishers of the Lyrical Ballads, Biggs & Cottle. Coleridge asked Davy to proofread the second edition of the Lyrical Ballads, the first to contain Wordsworth's Preface in a letter dated 16 July 1800: "Will you be so kind as just to look over the sheets of the lyrical Ballads". Wordsworth subsequently wrote to Davy on 29 July 1800, sending him the first manuscript sheet of poems and asking
Humphry Davy
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about Hartley are, 'The Nightingale' is as a whole a less successful poem than the other conversation poems. It has rather a blank at the centre, just where the others pivot on a significant controlling idea." The Nightingale: A Conversation Poem The Nightingale: A Conversation Poem is a poem written by Samuel Taylor Coleridge in April 1798. Originally included in the joint collection of poems called "Lyrical Ballads", the poem disputes the traditional idea that nightingales are connected to the idea of melancholy. Instead, the nightingale represents to Coleridge the experience of nature. Midway through the poem, the narrator stops
The Nightingale: A Conversation Poem
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Percy Bysshe Shelley, and the much older William Blake, followed later by the isolated figure of John Clare; also such novelists as Walter Scott from Scotland and Mary Shelley, and the essayists William Hazlitt and Charles Lamb. The publication in 1798 of "Lyrical Ballads", with many of the finest poems by Wordsworth and Coleridge, is often held to mark the start of the movement. The majority of the poems were by Wordsworth, and many dealt with the lives of the poor in his native Lake District, or his feelings about nature—which he more fully developed in his long poem "The
Romanticism
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the universality of human emotions. Even the title of the collection recalls rustic forms of art – the word "lyrical" links the poems with the ancient rustic bards and lends an air of spontaneity, while "ballads" are an oral mode of storytelling used by the common people. In the 'Advertisement' included in the 1798 edition, Wordsworth explained his poetical concept: The majority of the following poems are to be considered as experiments. They were written chiefly with a view to ascertain how far the language of conversation in the middle and lower classes of society is adapted to the purpose
Lyrical Ballads
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and journalist Thomas De Quincey (1785–1859). However, at the time, Walter Scott (1771–1832) was the most famous poet. Scott achieved immediate success with his long narrative poem "The Lay of the Last Minstrel" in 1805, followed by the full epic poem "Marmion" in 1808. Both were set in the distant Scottish past. The early Romantic Poets brought a new emotionalism and introspection, and their emergence is marked by the first romantic manifesto in English literature, the "Preface" to "Lyrical Ballads" (1798). The poems in "Lyrical Ballads" were mostly by Wordsworth, although Coleridge contributed the long "Rime of the Ancient Mariner".
British literature
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fits of passion have I known", "She dwelt among the untrodden ways" and "A slumber". In December 1798, Wordsworth sent copies of "Strange fits" and "She dwelt" to Coleridge and followed his letter with "A slumber". Eventually, "A slumber", was published in the 1800 edition of "Lyrical Ballads". Unique amongst Lucy poems, "A slumber" does not directly mention Lucy. The decision by critics to include the poem as part of the series is based in part on Wordsworth's placing it in close proximity to "Strange fits" and directly after "She dwelt" in the "Lyrical Ballads". The Lucy poems fall within
A slumber did my spirit seal
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an increasing interest in the ballad form among social elites and intellectuals, particularly in the Romantic movement from the later 18th century. Respected literary figures Robert Burns and Walter Scott in Scotland collected and wrote their own ballads. Similarly in England William Wordsworth and Samuel Taylor Coleridge produced a collection of "Lyrical Ballads" in 1798 that included Coleridge's "The Rime of the Ancient Mariner". Wordsworth, Coleridge, and Keats were attracted to the simple and natural style of these folk ballads and tried to imitate it. At the same time in Germany Goethe cooperated with Schiller on a series of ballads,
Ballad
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A slumber did my spirit seal "A slumber did my spirit seal" is a poem written by William Wordsworth in 1798 and published in the 1800 edition of "Lyrical Ballads". It is usually included as one of his The Lucy poems, although it is the only poem of the series not to mention her name. The poem is a mere eight lines long; two "stanzas." During the autumn of 1798, Wordsworth travelled to Germany with his sister Dorothy and fellow poet Samuel Taylor Coleridge. From October 1798, Wordsworth worked on the first drafts for his "Lucy poems", which included "Strange
A slumber did my spirit seal
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The Nightingale: A Conversation Poem The Nightingale: A Conversation Poem is a poem written by Samuel Taylor Coleridge in April 1798. Originally included in the joint collection of poems called "Lyrical Ballads", the poem disputes the traditional idea that nightingales are connected to the idea of melancholy. Instead, the nightingale represents to Coleridge the experience of nature. Midway through the poem, the narrator stops discussing the nightingale in order to describe a mysterious female and a gothic scene. After the narrator is returned to his original train of thought by the nightingale's song, the narrator recalls a moment when he
The Nightingale: A Conversation Poem
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included in the "Lyrical Ballads", a joint publication with Wordsworth. The nightingale is part of a discussion directed to Wordsworths in which Coleridge refutes the traditional association between nightingales and melancholic feelings because of the bird's appearance in the myth of Philomela. In a break from tradition, the nightingales in Coleridge's poem represented an experience he had with the Wordsworths. The narrative is interrupted by a mysterious female character. In this case, the female is not Coleridge's wife, Sara, a fact which separates "The Nightingale" from the other poems in the series. The work mentions Hartley, the child they had
Conversation poems
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Somerset, just a few miles away from Coleridge's home in Nether Stowey. Together Wordsworth and Coleridge (with insights from Dorothy) produced "Lyrical Ballads" (1798), an important work in the English Romantic movement. The volume gave neither Wordsworth's nor Coleridge's name as author. One of Wordsworth's most famous poems, "Tintern Abbey", was published in this collection, along with Coleridge's "The Rime of the Ancient Mariner". The second edition, published in 1800, had only Wordsworth listed as the author, and included a preface to the poems. It was augmented significantly in the next edition, published in 1802. In this preface, which some
William Wordsworth
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The Matthew poems The "Matthew" poems are a series of poems, composed by the English Romantic poet William Wordsworth, that describe the character Matthew in Wordsworth's poetry. Wordsworth, during his early career, focused on writing in blank-verse. However, in March 1798, he began to write a series of poems in ballad meter, which were later added to the "Lyrical Ballads". From October 1798 to February 1799, Wordsworth worked on the "Matthew" poems along with the "Lucy" poems and other poems. During this time, Wordsworth was living at Goslar and was separated from Samuel Taylor Coleridge, which caused him to become
The Matthew poems
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to have inaugurated the Romantic movement in English poetry with the publication in 1798 of their "Lyrical Ballads". Hazlitt was introduced to Wordsworth by Coleridge, and both had a shaping influence on him, who was privileged to have read "Lyrical Ballads" in manuscript. Though Hazlitt was never close with Wordsworth, their relationship was cordial for many years. As between Coleridge and Hazlitt, as well as Southey and Hazlitt, differences between Wordsworth and Hazlitt over politics were a major cause of the breakdown of their friendship. But there was another cause for the rupture. Hazlitt had reviewed Wordsworth's "The Excursion" in
The Spirit of the Age
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had seen the daffodils together with Wordsworth. The poem itself was placed in a section of "Poems in Two Volumes" entitled "Moods of my Mind" in which he grouped together his most deeply felt lyrics. Others included "To a Butterfly", a childhood recollection of chasing butterflies with Dorothy, and "The Sparrow's Nest", in which he says of Dorothy "She gave me eyes, she gave me ears". The earlier "Lyrical Ballads", a collection of poems by both himself and Samuel Taylor Coleridge, had been first published in 1798 and had started the romantic movement in England. It had brought Wordsworth and
I Wandered Lonely as a Cloud
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of a "Person from Porlock" – an event that has been embellished upon in such varied contexts as science fiction and Nabokov's "Lolita". During this period, he also produced his much-praised "conversation poems" "This Lime-Tree Bower My Prison", "Frost at Midnight", and "". In 1798, Coleridge and Wordsworth published a joint volume of poetry, "Lyrical Ballads", which proved to be the starting point for the English romantic age. Wordsworth may have contributed more poems, but the real star of the collection was Coleridge's first version of "The Rime of the Ancient Mariner". It was the longest work and drew more
Samuel Taylor Coleridge
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The Lucy poems The Lucy poems are a series of five poems composed by the English Romantic poet William Wordsworth (1770–1850) between 1798 and 1801. All but one were first published during 1800 in the second edition of "Lyrical Ballads", a collaboration between Wordsworth and Samuel Taylor Coleridge that was both Wordsworth's first major publication and a milestone in the early English Romantic movement. In the series, Wordsworth sought to write unaffected English verse infused with abstract ideals of beauty, nature, love, longing and death. The poem was written during a short period while the poet lived in Germany. Although
The Lucy poems
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William Wordsworth, having read Shelvocke's account of that voyage, suggested Hatley's shooting of an albatross as the basis of a contemplated joint work with Coleridge. Wordsworth dropped out of the project soon after, but Coleridge continued, and the poem was published in "Lyrical Ballads" (1798), containing poems by both men, and assuring Hatley a place in literary history. The oldest child in a family of hatters, Simon Hatley was born on 27 March 1685 in Woodstock, Oxfordshire, England. His parents were Symon and Mary Hatley. Simon Hatley's mother's name at birth was Mary Herbert and, her son later stated while
Simon Hatley
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Vision of Repentance". Because of a temporary fallout with Coleridge, Lamb's poems were to be excluded in the third edition of the "Poems "though as it turned out a third edition never emerged. Instead, Coleridge's next publication was the monumentally influential "Lyrical Ballads" co-published with Wordsworth. Lamb, on the other hand, published a book entitled Blank Verse with Charles Lloyd, the mentally unstable son of the founder of Lloyds Bank. Lamb's most famous poem was written at this time and entitled "The Old Familiar Faces". Like most of Lamb's poems, it is unabashedly sentimental, and perhaps for this reason it
Charles Lamb
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The Rime of the Ancient Mariner The Rime of the Ancient Mariner (originally The Rime of the Ancyent Marinere) is the longest major poem by the English poet Samuel Taylor Coleridge, written in 1797–98 and published in 1798 in the first edition of "Lyrical Ballads". Some modern editions use a revised version printed in 1817 that featured a gloss. Along with other poems in "Lyrical Ballads", it is often considered a signal shift to modern poetry and the beginning of British Romantic literature. "The Rime of the Ancient Mariner" relates the experiences of a sailor who has returned from a
The Rime of the Ancient Mariner
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and begins to sink. The man is then seen adrift in a Lusitania lifeboat only to be picked up decades later by the SS "Andrea Doria". The Rime of the Ancient Mariner The Rime of the Ancient Mariner (originally The Rime of the Ancyent Marinere) is the longest major poem by the English poet Samuel Taylor Coleridge, written in 1797–98 and published in 1798 in the first edition of "Lyrical Ballads". Some modern editions use a revised version printed in 1817 that featured a gloss. Along with other poems in "Lyrical Ballads", it is often considered a signal shift to
The Rime of the Ancient Mariner
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work of original materialist philosophy entitled "The Apocalypse of Nature" (London, 1791), to which many of Wordsworth's philosophical sentiments may well be indebted. In 1807 Wordsworth published "Poems in Two Volumes", including "". Up to this point Wordsworth was known only for "Lyrical Ballads", and he hoped that this new collection would cement his reputation. Its reception was lukewarm, however. In 1810, Wordsworth and Coleridge were estranged over the latter's opium addiction, and in 1812, his son Thomas died at the age of 6, six months after the death of 3-year-old Catherine. The following year he received an appointment as
William Wordsworth
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in "Lyrical Ballads and A Few Other Poems" with a few written by Coleridge. Wordsworth describes the moment of finishing the poem: My friends will not deem it too trifling to relate that while walking to and fro I composed the last stanza first, having begun with the last line. When it was all but finished, I came in and recited it to Mr. Coleridge and my Sister, and said, 'A prefatory stanza must be added, and I should sit down to our little tea-meal with greater pleasure if my task were finished.' I mentioned in substance what I wished
We Are Seven
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published in 1800, in which Wordsworth included additional poems and a preface detailing the pair's avowed poetical principles. For another edition, published in 1802, Wordsworth added an appendix titled "Poetic Diction" in which he expanded the ideas set forth in the preface. Wordsworth and Coleridge set out to overturn what they considered the priggish, learned, and highly sculpted forms of 18th-century English poetry and to make poetry accessible to the average person via verse written in common, everyday language. They emphasize the vitality of the living voice used by the poor to express their reality. This language also helps assert
Lyrical Ballads
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section of the story is influenced by Joyce’s love of Irish music. William Wordsworth was a Romantic poet in the 1800s. He became a renowned poet with his collaboration with Samual Taylor Coleridge when they wrote the collection of poems together, the "Lyrical Ballads". In Wordsworth's time, epiphanies had not yet been given that term and were referred to by Wordsworth as "spots of time." There is an agreement that the modern term for the literature device "epiphany" began with Romanticism and in particular with the works of William Wordsworth. Wordsworth's innovation of "spots of time" in his poems have
Epiphany (literature)
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in Somerset. The two poets quickly developed a close friendship. In 1797, Wordsworth and his sister Dorothy moved to Alfoxton House, Somerset, just a few miles away from Coleridge's home in Nether Stowey. Together, Wordsworth and Coleridge (with insights from Dorothy) produced "Lyrical Ballads" (1798), an important work in the English Romantic movement. The volume gave neither Wordsworth's nor Coleridge's name as author. One of Wordsworth's most famous poems, "Tintern Abbey", was published in the work, along with Coleridge's "The Rime of the Ancient Mariner". The second edition, published in 1800, had only Wordsworth listed as the author, and included
Early life of William Wordsworth
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based on the "real language of men", and which avoids the poetic diction of much 18th-century poetry. Here, Wordsworth gives his famous definition of poetry, as "the spontaneous overflow of powerful feelings" which "takes its origin from emotion recollected in tranquility." The poems in "Lyrical Ballads" were mostly by Wordsworth, though Coleridge contributed, one of the great poems of English literature, the long "Rime of the Ancient Mariner", a tragic ballad about the survival of one sailor through a series of supernatural events on his voyage through the South Seas, and which involves the symbolically significant slaying of an albatross.
Romantic literature in English
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she grew in sun and shower", and "A slumber did my spirit seal". Although they are presented as a series in modern anthologies, Wordsworth did not conceive of them as a group, nor did he seek to publish the poems in sequence. He described the works as "experimental" in the prefaces to both the 1798 and 1800 editions of "Lyrical Ballads", and revised the poems significantly—shifting their thematic emphasis—between 1798 and 1799. Only after his death in 1850 did publishers and critics begin to treat the poems as a fixed group. In 1798, Wordsworth and Samuel Taylor Coleridge jointly published
The Lucy poems
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species of reaction, the tranquility gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind. The poems of "Lyrical Ballads" intentionally re-imagined the way poetry should sound: "By fitting to metrical arrangement a selection of the real language of men," Wordsworth and his English contemporaries, such as Coleridge, John Keats, Percy Shelley, and William Blake, wrote poetry that was meant to boil up from serious, contemplative reflection over the interaction of humans with their environment. Although many stress the notion of spontaneity in Romantic
Romantic poetry
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Poets William Wordsworth and Samuel Taylor Coleridge. Wordsworth used the form for many of the "Lyrical Ballads" (1798 and 1800), and for his longest efforts, "The Prelude" and "The Excursion". Wordsworth's verse recovers some of the freedom of Milton's, but is generally far more regular: Coleridge's blank verse is more technical than Wordsworth's, but he wrote little of it: His so-called "conversation Poems" such as "The Eolian Harp" and "Frost at Midnight" are the best known of his blank verse works. The blank verse of Keats in "Hyperion" is mainly modelled on that of Milton, but takes fewer liberties with
Blank verse
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lyrics of 1799". Besides an emphasis on nature, as Bennett Weaver points out, "The dominant theme of the poems of 1799 is death: death for the children of the village school, for Matthew's daughter, and for Lucy Gray." In his ""Preface to Lyrical Ballads"", which is called the "manifesto" of English Romantic criticism, Wordsworth calls his poems "experimental". The year 1793 saw Wordsworth's first published poetry, with the collections "An Evening Walk" and "Descriptive Sketches". He received a legacy of £900 from Raisley Calvert in 1795 so that he could pursue writing poetry. That year, he met Samuel Taylor Coleridge
Early life of William Wordsworth
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removed, included an explanation of how Lucy was to die: "But slow distemper checked her bloom / And on the Heath she died." The last of the "Lucy poems" to be composed, "I travelled among unknown men", was the only one not included in the second edition of "Lyrical Ballads". Although Wordsworth claimed that the poem was composed while he was still in Germany, it was in fact written during April 1801. Evidence for this later date comes from a letter Wordsworth wrote to Mary Hutchinson referring to "I travelled" as a newly created poem. In 1802, he instructed his
The Lucy poems
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Studios in the French Alps in February 1980 and according to Mick Cox the second take was the one used on the album. The spoken section is in 3/4 time that begins with John Allair's church organ solo. Morrison originally wrote the song as a poem about William Wordsworth and Samuel Taylor Coleridge making a literary trip to the Lake District in England where they worked together on the poems that were to become their landmark joint venture, Lyrical Ballads. Morrison has been quoted as saying, "['Summertime in England'] was actually part of a poem I was writing, and the
Summertime in England
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Salt-Water Poems and Ballads Salt-Water Poems and Ballads is a book of poetry on themes of seafaring and maritime history by John Masefield. It was first published in 1916 by Macmillan, with illustrations by Charles Pears. Many of the poems had been published in Masefield's earlier collections, "Salt-Water Ballads" (1902), "Ballads" (1903) and "Ballads and Poems" (1910). They were included in "The Collected Poems of John Masefield" published by Heinemann in 1923. "Salt-Water Poems and Ballads" includes "Sea-Fever" and "Cargoes", two of Masefield's best known poems. "Sea-Fever" first appeared in "Salt-Water Ballads" – Masefield's first volume of poetry published in
Salt-Water Poems and Ballads
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Salt-Water Poems and Ballads Salt-Water Poems and Ballads is a book of poetry on themes of seafaring and maritime history by John Masefield. It was first published in 1916 by Macmillan, with illustrations by Charles Pears. Many of the poems had been published in Masefield's earlier collections, "Salt-Water Ballads" (1902), "Ballads" (1903) and "Ballads and Poems" (1910). They were included in "The Collected Poems of John Masefield" published by Heinemann in 1923. "Salt-Water Poems and Ballads" includes "Sea-Fever" and "Cargoes", two of Masefield's best known poems. "Sea-Fever" first appeared in "Salt-Water Ballads" – Masefield's first volume of poetry published in
Salt-Water Poems and Ballads
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Christabel (poem) Christabel is a long narrative poem by Samuel Taylor Coleridge, in two parts. The first part was reputedly written in 1797, and the second in 1800. Coleridge planned three additional parts, but these were never completed. Coleridge prepared for the first two parts to be published in the 1800 edition of "Lyrical Ballads", but on the advice of William Wordsworth it was left out; the exclusion of the poem, coupled with his inability to finish it, left Coleridge in doubt about his poetical power. It was published in a pamphlet in 1816, alongside "Kubla Khan" and "The Pains
Christabel (poem)
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liberals, including the bookseller Joseph Cottle, the later publisher of Coleridge's and Wordsworth's "Lyrical Ballads". During this time, Coleridge began to raise money through lectures on politics, of which he gave three during February. His first lecture was called "A Moral and Political Lecture", given at the Bristol Corn Market, attacked the British government and William Pitt. The other two lectures were reworked to form a pamphlet entitled "Conciones ad Populum. Or Addresses to the People", published on 3 December 1795. In the pamphlet, Coleridge uses the image of the winter 1794 famine in asking for political changes. Coleridge continued
Early life of Samuel Taylor Coleridge
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Henry Lonsdale of Carlisle, in 1842, as "The Poetical Works of Miss Susanna Blamire, The Muse of Cumberland". These two publishers had collected her manuscripts since 1836. Her corpus contains Gothic allegories in Standard English; songs in the Scots dialect, such as "What ails this Heart o' Mine"; songs in the Cumberland dialect, such as 'Wey, Ned! Man!', which are comparable to poems in the same dialect by William Wordsworth and Samuel Taylor Coleridge in their "Lyrical Ballads"; colloquial epistles addressed to friends; and the use of heroic couplets, in "Stoklewath or the Cumbrian Village", an intricate depiction of rural
Susanna Blamire
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becomes enchanted with Geraldine, ordering a grand procession to announce her rescue. The unfinished poem ends here. It is unclear when Coleridge began writing the poem which would become "Christabel". Presumably, he prepared it beginning in 1797. During this time, he had been working on several poems for "Lyrical Ballads", a book on which he collaborated with William Wordsworth. "Christabel" was not complete in time for the book's 1798 publication, though it did include "The Rime of the Ancient Mariner". The first part of the poem was likely completed that year, however. He continued to work on Part II of
Christabel (poem)
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poems, "Lyrical Ballads", had rejected the Enlightenment thesis of reason over faith and tradition. Coleridge's later writings, including "Lay Sermons" (1816), "Biographia Literaria" (1817) and "Aids to Reflection" (1825), justified traditional conservative positions on hierarchy and organic society, criticism of materialism and the merchant class and the need for "inner growth" that is rooted in a traditional and religious culture. Coleridge was a firm believer in social institutions and a harsh critic of Jeremy Bentham and his utilitarian philosophy. Writer, historian and essayist Thomas Carlyle was also an early traditionalist thinker, defending medieval notions such as aristocracy, hierarchy, organic society
Traditionalist conservatism
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to his childhood home at Ottery and then went to visit William and Dorothy Wordsworth. It was during this time that Coleridge wrote "Fears in Solitude: Written in April 1798, During the Alarm of an Invasion". The poem was included in a joint publication with William Wordsworth called "Lyrical Ballads", which first appeared in 1798 (see 1798 in poetry). Originally, Coleridge intended to place "Lewti or the Circassian Love-chaunt" in the collection. "The Nightingale" was published in seven other editions but was altered little. The poem begins with Milton's line in "Il Penseroso" about nightingales and then corrects it: The
The Nightingale: A Conversation Poem
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years of negotiation and pleading on the part of Scott before it was finally published by the Macmillan Co. of Canada." While the book sold poorly, it had an effect on those who read it. "The poems in "New Provinces" had an impact on Canadian verse far beyond any prefatorial pronouncements: in its implicit call for new findings and new attitudes in Canadian writing, it might be likened to the effect of the Wordsworth-Coleridge "Lyrical ballads" in 1798 on the Romantics... The effect of "New provinces" was that it established the ‘Montreal Group’ as the Canadian avant-garde of its time."
New Provinces (poetry anthology)
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Three years she grew in sun and shower "Three years she grew in sun and shower" is a poem composed in 1798 by the English poet William Wordsworth, and first published in the "Lyrical Ballads" collection which was co-written with his friend and fellow poet Samuel Taylor Coleridge. As one of the five poems that make up the "Lucy series", the work describes the relationship between Lucy and nature using words and sentiments. The author creates an impression of the indifference of nature as the poem progresses. The care with which Nature had sculpted Lucy, and then casually let her
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on 27 November 1800. Several other of his early poems appeared in the same collection, including “The Eve of St. John”. “Glenfinlas” was next included in Scott’s "Minstrelsy of the Scottish Border" (1802), a collection of traditional ballads alongside some modern imitations. In 1805 he published his first long narrative poem, "The Lay of the Last Minstrel", which proved to be such a sensational success with both readers and critics that its publisher, Longman, followed it up with a volume of Scott’s original poems from the "Minstrelsy" together with some of his translations and lyric poems. These "Ballads and Lyrical
Glenfinlas (poem)
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many facts concerning his education and studies and his early literary adventures, an extended criticism of William Wordsworth's theory of poetry as given in the preface to the "Lyrical Ballads" (a work on which Coleridge collaborated), and a statement of Coleridge's philosophical views. In the first part of the work Coleridge is mainly concerned with showing the evolution of his philosophic creed. At first an adherent of the associational psychology of David Hartley, he came to discard this mechanical system for the belief that the mind is not a passive but an active agency in the apprehension of reality. The
Biographia Literaria
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to Joseph Cottle in 1799: However, when "Lyrical Ballads" was reprinted, Wordsworth included it despite Coleridge's objections, writing: Upon its release, the poem was criticized for being obscure and difficult to read. The use of archaic spelling of words was seen as not in keeping with Wordsworth's claims of using common language. Criticism was renewed again in 1815–16, when Coleridge added marginal notes to the poem that were also written in an archaic style. These notes or glosses, placed next to the text of the poem, ostensibly interpret the verses much like marginal notes found in the Bible. There were
The Rime of the Ancient Mariner
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of Arc" was published in the same year. Cottle next undertook the publication and support of Coleridge's periodical, "The Watchman". He was shortly afterwards introduced by Coleridge to William Wordsworth, and the acquaintance resulted in the publication of the two poets' "Lyrical Ballads" in the autumn of 1798. In the following year Cottle retired from business as a bookseller. His acquaintance with Coleridge was renewed years later. When in 1814 and 1815 Coleridge was at a low ebb by his opium addiction, Cottle addressed to him some well intended rebukes. In his "Biographia Literaria", Coleridge alludes to Cottle as ‘a
Joseph Cottle
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it to the Wedgwoods in June 1798. Coleridge thought of publishing the work with Wordsworth's drama, "The Borderers", but instead printed two extracts, "The Dungeon" and "The Foster-Mother’s Tale", in "Lyrical Ballads" in 1798. Sheridan communicated to Coleridge in May 1798 and July 1800 about the possibility of staging "Osorio", but Coleridge resented Sheridan's cavalier handling of his manuscript and referred to him as "a damned impudent Dog". By October 1812, Sheridan's interests in Drury Lane had been bought out and the theatre was run by a subcommittee and largely managed by Samuel Whitbread and Samuel Arnold. Coleridge applied directly
Osorio (play)
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There are 60 historic poems, romances, legends, ballads and lyrical epic poems in the third book, which is called "Virsi-Lauluja" or "Hymns". There are 24 new poems in the preface. Lönnrot's third edition of "Kanteletar" in 1887 had the third book revised in full, as it contained 137 poems. Later editions adhered to the original printing with the exception of 10 poems which were taken from the third book as an appendix. The lyrical poetry of "Kanteletar" comes, for the most part, from Finnish Karelia. In his forward, Lönnrot makes note of Lieksa, Ilomantsi, Kitee, Tohmajärvi, Sortavala, Jaakkima and Kurkijoki
Kanteletar
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Kisfaludy Society, of which he became second secretary. Garay enriched Hungarian literature with numerous lyrical poems, ballads and tales. The first collection of his poems was published in Pest; and his prose tales appeared in 1845, under the title of "Tollrajzok" (Sketches with the Pen). His historical ballads and legends, styled Árpádok (Pest, 1847, 2nd ed. 1848), showed him to be a master in the art of ballad-writing. Some of his lyrical poems also are excellent, as, for example, "Balatoni kagylók" (Shells from Lake Balaton) (Pest, 1848). His legend "Bosnyák Zsófia" (Pest, 1847), and his poetical romance "Frangepán Kristófné" (Christopher
János Garay
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snow-storm. Her footsteps were traced by her parents to the middle of the lock of a canal, and no other vestige of her, backward or forward, could be traced. The body however was found in the canal." "Lucy Gray" was first published in Volume 2 of the 1800 edition of "Lyrical Ballads". "Lucy Gray" is generally not included with Wordsworth's "Lucy" poems, even though it is a poem that mentions a character named Lucy. The poem is excluded from the series because the traditional "Lucy" poems are uncertain about the age of Lucy and her actual relationship with the narrator,
Lucy Gray
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This poetry collection explored themes of domestic violence, misogyny, violence against destitute characters, and political oppression. “Robinson’s last work pleads for a recognition of the moral and rational worth of women: ‘Let me ask this plain and rational question,--as not woman a human being, gifted with all the feelings that inhabit the bosom of man?". Robinson's main objective was to respond to "Lyrical Ballads" written by authors Wordsworth and Coleridge; who were not as well known at the time. Although it was not as highly praised as May Wollstonecraft’s "A Vindication of the Rights of Woman", published in 1792, Lyrical
Mary Robinson (poet)
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of the Wye since I met the little Girl there in 1793. It would have given me greater pleasure to have found in the neighbouring hamlet traces of one who had interested me so much; but it was impossible, as unfortunately I did not even know her name. Wordsworth began to write the poem in early 1798 while working on many other poems modelled on the ballad form for a joint poetry collection with Samuel Coleridge. The collection was proposed in March because Wordsworth needed to raise money for a proposed journey to Germany with Coleridge. These poems were included
We Are Seven
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in his 1815 volume "Lyrical Ballads". A major collection titled "The Poems of Anne, Countess of Winchilsea", edited by Myra Reynolds, was published in 1903. For many years, it was considered the definitive collection of her writings. It remains the only scholarly collection of Finch's poetry, and includes all of the poems from Miscellany Poems and poems retrieved from manuscripts. Further, Reynolds's impressive introduction did as much to re-establish Finch's reputation as Wordsworth's previous praise. Later, The Wellesley Manuscript, which contained 53 unpublished poems, was released. Literary scholars have noted Finch's distinctive voice and her poems' intimacy, sincerity, and spirituality.
Anne Finch, Countess of Winchilsea
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William Wordsworth William Wordsworth (7 April 1770 – 23 April 1850) was a major English Romantic poet who, with Samuel Taylor Coleridge, helped to launch the Romantic Age in English literature with their joint publication "Lyrical Ballads" (1798). Wordsworth's "magnum opus" is generally considered to be "The Prelude", a semi-autobiographical poem of his early years that he revised and expanded a number of times. It was posthumously titled and published, before which it was generally known as "the poem to Coleridge". Wordsworth was Britain's poet laureate from 1843 until his death from pleurisy on 23 April 1850. The second of
William Wordsworth
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the classical elegiac meter. Afterward, Samuel Taylor Coleridge argued that the elegiac is the form "most natural to the reflective mind" and that it may be upon any subject, so long as it reflects on the poet himself. Coleridge was quite aware that his definition conflated the elegiac with the lyric, but he was emphasizing the "recollected" and "reflective" nature of the lyric he favored and referring to the sort of elegy that had been popularized by Gray. Similarly, William Wordsworth had said that poetry should come from "emotions "recollected" in tranquility" (Preface to "Lyrical Ballads", emphasis added). After the
Elegiac
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tall tree’s shadow sleeps upon his breast. (lines 69–74) The poem borrows from many other poems. In particular, Coleridge included lines connected to "A Midsummer Night's Dream", the works of John Milton, Collins, Bowles, Alexander Pope's translation of the "Iliad", and Gray's elegies among others. Coleridge's "Songs of the Pixies" is unique to his poems in that he focuses on fairies in a manner similar to Milton's "Comus" and images found within Milton's "Allegro" and "Il Penseroso". In the poem, Coleridge is self-described as a bard in regard to his poetic status. After Coleridge met William Wordsworth, he began to
Songs of the Pixies
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Coleridge was treated with laudanum, or opium, during this time. From his schooldays onward, opium use would be a constant throughout his life. Of the three poems, "Pain" was printed in the 1834 collection of Coleridge's poems and "Genevieve" was printed in many of Coleridge's collections throughout his life. "A Few Lines" was included with copies of "Pain" and "Nemo Repente Turpissimus" sent to Coleridge's brother George. "Pain" is a conventional sonnet that emphasises how pain is able to remove the pleasure from life: "A Few Lines" is Coleridge's rewriting of a portion of William Woty's play "The Country Gentleman".
Pain: Composed in Sickness
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"chapbooks" which often drew on ballad stories. They were produced in huge numbers, with over 400,000 being sold in England annually by the 1660s. Tessa Watt estimates the number of copies sold may have been in the millions. Many were sold by travelling chapmen in city streets or at fairs. The subject matter varied from what has been defined as the traditional ballad, although many traditional ballads were printed as broadsides. Among the topics were love, marriage, religion, drinking-songs, legends, and early journalism, which included disasters, political events and signs, wonders and prodigies. Literary or lyrical ballads grew out of
Ballad
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with his own poetic form until 1794. Although they don't provide a sense of where Coleridge developed his poetry later, the school-age poems do give insight into Coleridge's thoughts and feelings during those years. When Thomas Middleton gave Coleridge an edition of William Lisle Bowles's "Sonnets", he was inspired by the poems and even wrote a sonnet to Bowles in praise of the poems' language in 1794. Other poets, including William Cowper and his conversational poem, "The Task" (1785), also served as an influence in terms of how to compose diction within poetry. Coleridge explained his feelings about those that
Early life of Samuel Taylor Coleridge
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of nature' in his volume "Lyrical Ballads" in which "She Dwelt" first appeared. Early works, such as Tintern Abbey, can be seen as an ode to his experience of nature (though he preferred to avoid this interpretation), or as a lyrical meditation on the fundamental character of the natural world. Wordsworth later recalled that as a youth nature once stirred in him, "an appetite, a feeling and a love", but by the time he wrote "Lyrical Ballads", it evoked "the still sad music of humanity". The five 'Lucy' poems are often interpreted as representing both his apposing views of nature
She dwelt among the untrodden ways
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many opinions on why Coleridge inserted the gloss. Charles Lamb, who had deeply admired the original for its attention to "Human Feeling", claimed that the gloss distanced the audience from the narrative, weakening the poem's effects. The entire poem was first published in the collection of "Lyrical Ballads". Another version of the poem was published in the 1817 collection entitled "Sibylline Leaves" (see 1817 in poetry). On a surface level the poem explores a violation of nature and the resulting psychological effects on the mariner and on all those who hear him. According to Jerome McGann the poem is like
The Rime of the Ancient Mariner
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to sailors who thought it was a naval songbook. Coleridge made several modifications to the poem over the years. In the second edition of "Lyrical Ballads", published in 1800, he replaced many of the archaic words. The poem may have been inspired by James Cook's second voyage of exploration (1772–1775) of the South Seas and the Pacific Ocean; Coleridge's tutor, William Wales, was the astronomer on Cook's flagship and had a strong relationship with Cook. On this second voyage Cook crossed three times into the Antarctic Circle to determine whether the fabled great southern continent existed. Critics have also suggested
The Rime of the Ancient Mariner
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Walter Scott, wrote, "There are certainly some pieces there which are good for nothing... and very many which it was highly injudicious to publish... The Ode upon Pre-existence is a dark subject darkly handled. Coleridge is the only man who could make such a subject luminous." Francis Jeffrey, a Whig lawyer and editor of the "Edinburgh Review", originally favoured Wordsworth's poetry following the publication of "Lyrical Ballads" in 1798 but turned against the poet from 1802 onward. In response to Wordsworth's 1807 collection of poetry, Jeffrey contributed an anonymous review to the October 1807 "Edinburgh Review" that condemned Wordsworth's poetry
Ode: Intimations of Immortality
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Eminent Characters" contained many poems dedicated to those Coleridge considered his hero from many fields. Of the poems, "To Godwin" is similar to the poems "To Bowles" and "To Robert Southey" in that they talk about Coleridge's personal life and Godwin's influence over it. However, Coleridge's view of Godwin changed over time and he grew dissatisfied with the poem as a result. Coleridge respected Godwin for Godwin's support of those put on trial during the 1794 Treason Trials, and Coleridge owed much of his political beliefs to Godwin. However, Coleridge and Godwin differed on their views of religion, which became
To Godwin
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To Priestley "To Priestley" is a sonnet by Samuel Taylor Coleridge first published in the 11 December 1794 "Morning Chronicle". Like most of the "Sonnets on Eminent Characters", "To Priestley" addresses an individual Coleridge particularly admired; Joseph Priestley held many political and theological beliefs that Coleridge adopted during this time. Coleridge completed "To Priestley" at the beginning of December 1794. Following "To Burke", "To Priestley was published in the 11 December 1794 "Morning Chronicle" as the third poem in the "Sonnets on Eminent Characters" series. The poem was later included in Coleridge's 1796 collection of poems and collections printed after
To Priestley
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"Tintern Abbey", can be viewed as odes to his experience of nature. His poems can also be seen as lyrical meditations on the fundamental character of the natural world. Wordsworth said that, as a youth, nature stirred "an appetite, a feeling and a love", but by the time he wrote "Lyrical Ballads", it evoked "the still sad music of humanity". The five "Lucy poems" are often interpreted as representing Wordsworth's opposing views of nature as well as meditations on the cycle of life. They describe a variety of relationships between humanity and nature. For example, Lucy can be seen as
The Lucy poems
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quality to the poems almost reminiscent of Anglo Saxon literature. The characteristics and style of Graveyard poetry is not unique to them, and the same themes and tone are found in ballads and odes. Many of the Graveyard School poets were, like Thomas Parnell, Christian clergymen, and as such they often wrote didactic poetry, combining aesthetics with religious and moral instruction. They were also inclined toward contemplating subjects related to life after death, which is reflected in how their writings focus on human mortality and man’s relation to the divine. The religious culture of the mid-eighteenth century included an emphasis
Graveyard poets
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introduced in Book XII of the 1805 edition. Early life of William Wordsworth William Wordsworth (7 April 1770 – 23 April 1850) was an English Romantic poet who, with Samuel Taylor Coleridge, helped launch the Romantic Age in English literature with their 1798 joint publication, "Lyrical Ballads". His early years were dominated by his experience of the countryside around the Lake District and the English moors. Dorothy Wordsworth, his sister, served as his early companion until their mother's death and their separation when he was sent to school. Wordsworth's parents were John Wordsworth, a legal agent for James Lowther, 1st
Early life of William Wordsworth
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and writer ... ." Thomas Campbell (1777–1844) was a Scottish poet and the editor of the "New Monthly Magazine", where several of the essays that were later incorporated into "The Spirit of the Age" were first published. With the 1799 publication of his poem "The Pleasures of Hope", written in the formal language and rhymed couplets characteristic of an earlier period (though also with some traits of the emerging Romantic period), Campbell was catapulted into fame, becoming one of the most popular poets of the day, far more so than his Romantic contemporaries Wordsworth and Coleridge, whose "Lyrical Ballads" had
The Spirit of the Age
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Early life of William Wordsworth William Wordsworth (7 April 1770 – 23 April 1850) was an English Romantic poet who, with Samuel Taylor Coleridge, helped launch the Romantic Age in English literature with their 1798 joint publication, "Lyrical Ballads". His early years were dominated by his experience of the countryside around the Lake District and the English moors. Dorothy Wordsworth, his sister, served as his early companion until their mother's death and their separation when he was sent to school. Wordsworth's parents were John Wordsworth, a legal agent for James Lowther, 1st Earl of Lonsdale and Collector of Customs at
Early life of William Wordsworth
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transformation. Rather than the despotism of Pitt, the tyranny condemned in "Remorse" may be that of Napoleon, whom Coleridge despised. Radical allusions are diminished in "Remorse": the persecuted character of Alhadra, for example, is simplified in "Remors"e with the notable omission of her apocalyptic vengeance speech that ends "Osorio". This reduction of Alhadra's complexity betrays Coleridge's diminished sympathy for the oppressed masses. The excision of Albert's dungeon soliloquy in Act V ("The Dungeon" in "Lyrical Ballads") from "Remorse" is another illustration of Coleridge's later conservatism. Dungeons like the Bastille were a potent Gothic symbol of "ancien regime" tyranny. Albert asserts
Osorio (play)
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of poetic pleasure. If the experiment with vernacular language was not enough of a departure from the norm, the focus on simple, uneducated country people as the "subject" of poetry was a signal shift to modern literature. One of the main themes of "Lyrical Ballads" is the return to the original state of nature, in which people led a purer and more innocent existence. Wordsworth subscribed to Rousseau's belief that humanity was essentially good but was corrupted by the influence of society. This may be linked with the sentiments spreading through Europe just prior to the French Revolution. Poems marked
Lyrical Ballads
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a preface to the poems, which was augmented significantly in the 1802 edition. This Preface to Lyrical Ballads is considered a central work of Romantic literary theory. In it, Wordsworth discusses what he sees as the elements of a new type of poetry, one based on the "real language of men" and which avoids the poetic diction of much 18th-century poetry. Here, Wordsworth gives his famous definition of poetry as "the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility." A fourth and final edition of Lyrical Ballads was published in 1805. In 1799, Wordsworth
Early life of William Wordsworth
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of his rhythm" (Humphry Ward's "English Poets"). His verse abounded in allusions to the characters and follies of the day. His humour was much imitated. His poems were first edited by Rufus Wilmot Griswold (New York, 1844); another American edition, by W. A. Whitmore, appeared in 1859; an authorized edition with a memoir by Derwent Coleridge appeared in 1864: "The Political and Occasional Poems of W. M. Praed" (1888), edited with notes by his nephew, Sir George Young, included many pieces collected from various newspapers and periodicals. Sir George Young separated from his work some poems, the work of his
Winthrop Mackworth Praed
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of 18th-century poems dealing with rivers, including many poems within Egerton Brydges's "Sonnets and Other Poems", Charlotte Smith's "Elegiac Sonnets", and Thomas Warton's "To the River Lodon". These, in turn, establish the tradition that William Wordsworth's "Tintern Abbey" would later join. The opening of "Tintern Abbey" is related to how Coleridge opens "To the River Otter" and how Warton opens "To the River Lodon". According to William Wimsatt, nature is connected to humanity, and the poem relies on the river to talk about childhood. However, Hendrik Rookmaaker points out that there is little evidence to read the poem in such
To the River Otter
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the other Lake poets into the poetic limelight. Wordsworth had published nothing new since the 1800 edition of "Lyrical Ballads", and a new publication was eagerly awaited. Wordsworth had, however, gained some financial security by the 1805 publication of the fourth edition of "Lyrical Ballads"; it was the first from which he enjoyed the profits of copyright ownership. He decided to turn away from the long poem he was working on ("The Recluse") and devote more attention to publishing "Poems in Two Volumes", in which "I Wandered Lonely as a Cloud" first appeared. Wordsworth revised the poem in 1815. He
I Wandered Lonely as a Cloud
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good period of his career, contemporary reviewers were split on the matter and many negative reviews cast doubts on his circle of poets known as the Lake Poets. Negative reviews were found in the "Critical Review", "Le Beau Monde" and "Literary Annual Register". George Gordon Byron, a fellow Romantic poet but not an associate of Wordsworth's, responded to "Poems in Two Volumes", in a 3 July 1807 "Monthly Literary Recreations" review, with a claim that the collection lacked the quality found in "Lyrical Ballads". When referring to "Ode: Intimations of Immortality", he dismissed the poem as Wordsworth's "innocent odes" without
Ode: Intimations of Immortality
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other critics felt that the lack of a strong lyrical structure and the use of Middle Eastern myths detracted from the poem. The basis for Southey wishing to write long poems came from his private reading of literature while attending Westminster School as a boy. In Summer 1799, Southey completed writing "Madoc" and began working on "Thalaba". He started to work with Coleridge, and both Coleridge's "Kubla Khan" and "Thalaba" shared many sources. He then travelled to Burton where he continued to write the poem, which he called a romance at the time. He soon after travelled to Portugal in
Thalaba the Destroyer
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be incorporated with poems by some of Anderson’s contemporaries in anthologies that followed the popular reprints of his ballads, always stressing their Cumbrian affiliation. One such collection was "Ballads in the Cumberland dialect, chiefly by R. Anderson" (1808, second edition 1815, Wigton), which included poems by Miss Blamire and other anonymous female writers, Ewan Clark and Mark Lonsdale, as well as woodcuts in the style - or from the workshop - of Thomas Bewick. The influence of the earlier pastoral style is manifest in the many dialogue poems there, including Anderson‘s own work. A more ambitious anthology of dialect verse,
Robert Anderson (poet)
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if it was originally written by him and edited by Coleridge. When the poem was printed in Coleridge's 1796 collection of poems, it is attributed to Lamb. When the poem was to be printed in Coleridge's 1803 edition of poems, Lamb did not claim ownership of the poem. The poem was edited by someone between its various printings but with few changes. The poem was also not included in Lamb's 1798 or 1818 collections of poems, but Coleridge did not include the poem in any of his later collections of poems. Although the true authorship is unknown, it is possible
To Mrs Siddons
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by friend Samuel Taylor Coleridge "as a woman of undoubted genius." The collection of "Poems" published in 1791 had a "subscription list of 600 people was headed by His Royal Highness, George, Prince of Wales, and included many other members of the nobility. Some people subscribed because of her writing, some because of her notoriety, and some perhaps out of pity for the former actress, now crippled and ill. Reviews were generally kind, and noted traces in her poems of a sensibility that would later be termed Romanticism." Twenty years after her death the "Poetical Works of The Late Mrs.
Mary Robinson (poet)
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'greater Romantic lyric', a genre that began with Coleridge's 'Conversation' poems, and included William Wordsworth's "Tintern Abbey", Percy Bysshe Shelley's "Stanzas Written in Dejection" and John Keats's "Ode to a Nightingale", and was a major influence on more modern lyrics by Matthew Arnold, Walt Whitman, Wallace Stevens, and W. H. Auden." In 1966, George Watson devoted a chapter to the poems in his literary analysis "Coleridge the Poet". Although stressing that the form was the only type of poetry Coleridge created, he admitted that "the name is both convenient and misleading. A conversation is an exchange; and these poems, a
Conversation poems
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poem: "Almost daily social intercourse with this remarkable brother and sister seemed to provide the catalyst to greatness, for it is during this period that Coleridge conceived his greatest poems, 'Christabel,' 'The Rime of the Ancient Mariner,' and 'Kubla Khan,' poems so distinctive and so different from his others that many generations of readers know Coleridge solely through them." She latter added that "Of all the poems Coleridge wrote, three are beyond compare. These three, 'The Ancient Mariner,' 'Christabel,' and 'Kubla Khan,' produced an aura which defies definition, but which might be properly be called one of 'natural magic.'" What
Kubla Khan
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connotation. One of her most popular compositions remains ""Paayoji maine Ram Ratan dhan paayo"" (पायो जी मैंने राम रतन धन पायो। ). Meera's poems are lyrical "padas" (metric verses) in Rajasthani language. While thousands of verses are attributed to her, scholars are divided in their opinion as to how many of them were actually penned by Meera herself. There are no surviving manuscripts of her poetry from her time, and the earliest records with two poems credited to her are from early 18th-century, more than 150 years after she died. The largest collection of poems credited to her are in
Meera
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may detect, if you are so fortunate, the slitter of the true metal; and it is the very presence of these precious morsels that is so surprising — how the same pen could at the same time produce so much that is good and so much that is utterly worthless." Bush Ballads and Galloping Rhymes Bush Ballads and Galloping Rhymes (1870) is the second poetry collection by Australian poet Adam Lindsay Gordon. It was also the last collection to be published during the poet's lifetime appearing only the day before the author's suicide. The original collection included only 16 poems,
Bush Ballads and Galloping Rhymes
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bringing a cosmic dimension to the girl's death and demonstrating Wordsworth's mastery of both the majestic and the mundane in his poetry. A slumber did my spirit seal "A slumber did my spirit seal" is a poem written by William Wordsworth in 1798 and published in the 1800 edition of "Lyrical Ballads". It is usually included as one of his The Lucy poems, although it is the only poem of the series not to mention her name. The poem is a mere eight lines long; two "stanzas." During the autumn of 1798, Wordsworth travelled to Germany with his sister Dorothy
A slumber did my spirit seal
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published all of the poems that had appeared in either "The “Bab” Ballads" or "More “Bab” Ballads", once again "excluding" "Etiquette." Some twentieth-century editions of "More “Bab” Ballads" include "Etiquette". In 1890 Gilbert produced "Songs of a Savoyard", a volume of sixty-nine detached lyrics from the Savoy Operas, each with a new title, and some of them slightly reworded to fit the changed context. Many of them also received "Bab" illustrations in the familiar style. He also included two deleted lyrics from "Iolanthe" (footnoted as "omitted in representation"). The effect was that of a new volume of "Bab Ballads". Indeed,
Bab Ballads
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with some of his sons and daughters. Humphreys published an 1802 edition of "Lyrical Ballads" by William Wordsworth and Samuel Taylor Coleridge. He died in Philadelphia and was buried in the cemetery of Christ Church. James Humphreys (printer) James Humphreys (January 15, 1748 – February 2, 1810) was a printer, publisher, merchant and politician in Nova Scotia and Pennsylvania. He represented Shelburne County in the Nova Scotia House of Assembly from 1793 to 1796. He was born in Philadelphia, the son of James Humphreys and Susanna Assheton. He studied medicine at the College of Philadelphia but left without completing his
James Humphreys (printer)
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Brown & Green. In 1799 Longman purchased the copyright of Lindley Murray's "English Grammar", which had an annual sale of about 50,000 copies. In the following year Richmal Mangnall's "Historical and Miscellaneous Questions for the Use of Young People" was purchased, and went through 84 editions by 1857. About 1800 he also purchased the copyright of Southey's "Joan of Arc" and Wordsworth's "Lyrical Ballads", from Joseph Cottle of Bristol. He published the works of Wordsworth, Coleridge, Southey and Scott, and acted as London agent for the "Edinburgh Review", which was started in 1802. In 1802 appeared the first part of
Longman
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of poetry. Chapter XIV describes the preparations with Wordsworth for their revolutionary collaboration "Lyrical Ballads" (first edition 1798), for which Coleridge had contributed the more romantic, gothic pieces including "The Rime of the Ancient Mariner". Poetry and fiction involving the supernatural had gone out of fashion to a large extent in the 18th century, in part due to the declining belief in witches and other supernatural agents among the educated classes, who embraced the rational approach to the world offered by the new science. Alexander Pope, notably, felt the need to explain and justify his use of elemental spirits in
Suspension of disbelief
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Ladies". In 1799, six months after the publication of the "Lyrical Ballads" of Wordsworth and Coleridge, "The Pleasures of Hope" was published. It is a rhetorical and didactic poem in the taste of his time, and owed much to the fact that it dealt with topics near to men's hearts, with the French Revolution, the partition of Poland and with negro slavery. Its success was instantaneous, but Campbell was deficient in energy and perseverance and did not follow it up. He went abroad in June 1800 without any very definite aim, visited Gottlieb Friedrich Klopstock at Hamburg, and made his
Thomas Campbell (poet)
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World by Way of the Great South Sea", in which the incident of Hatley shooting the albatross is told. "Much the greatest part of the story was Coleridge's invention", Wordsworth later wrote, though it was Wordsworth's idea that the main plot device of the narrative should involve the killing of an albatross in the South Sea, for which "the tutelary spirits of these regions take upon them to avenge the crime." Wordsworth soon found their poetic styles incompatible and withdrew from the project, but Coleridge continued. "The Rime of the Ancient Mariner" was published in their joint work, "Lyrical Ballads",
Simon Hatley
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musician, who feel that they are moved and softened, yet know not whence or why.” In France, "Philomèle" was an operatic stage production of the story, produced by Louis Lacoste during the reign of Louis XIV. First published in the collection "Lyrical Ballads", "The Nightingale" (1798) is an effort by Samuel Taylor Coleridge (1772–1834) to move away from associations that the nightingale's song was one of melancholy and identified it with the joyous experience of nature. He remarked that "in nature there is nothing melancholy," (line 15) expressing hope "we may not thus profane / Nature’s sweet voices, always full
Philomela