By Ve-Yin Tee
The Romantic phenomenon of a number of texts has been formed by way of the hyperlink among revision and authorial rationale. besides the fact that, what has been ignored are the profound implications of a number of and contradictory types of a similar textual content for a materialist process; utilizing the works of Coleridge as a case learn and the afterlife of the French Revolution because the major topic, this monograph lays out the technique for a extra certain multi-layered research. Scrutinising 4 works of Coleridge (two poems, a newspaper article and a play), the place each significant version is learn as a separate paintings with its personal exact socio-historical context, Ve-Yin Tee demanding situations the concept that anybody textual content is consultant of its totality. by means of re-reading Coleridge within the mild of other textual fabrics inside that point, he opens a much broader scope for that means and the certainty of Coleridge’s oeuvre.>
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Additional resources for Coleridge, Revision and Romanticism: After the Revolution, 1793-1818 (Continuum Literary Studies)
46 Coleridge makes perfect sense when we consider ‘Frost at Midnight’ to be the real ending to the poem. ∗∗∗ There is a curious repetition that many critics have seized upon: ‘secret ministry’. 47 Bearing in mind my interpretation of the poem, the reader may well ask: why the secrecy? What possible rationale could there be for Coleridge to engage in the kind of complex subterfuge that I have insisted upon for the 1798 version of ‘Frost at Midnight’? Perhaps it had something to do with the articulation of ideals (such as ‘Liberty’) that had become a lot less acceptable.
45 The poem moves out of the persona’s house into open space, and the final image of the son reaching out for even more space works dynamically against the constraint of the mother’s arms – indeed – against the closure of the poem itself. An infant boy reaching out from a mother’s arms is also the archetypal representation of the Madonna and Child. Using the image in the 1790s to symbolize ‘Liberty’ is entirely appropriate, if Coleridge’s opposition to the Test Acts is taken into account. Enacted soon after the Reformation as a bulwark against Catholic hegemony, the Test Acts effectively barred not only the English Catholics but also anyone who did not profess the State religion from holding public office.
No narrow bigot he – his reason’d view Thy interests, England, ranks with thine Peru – France at our doors, he sees no danger nigh, But heaves for Turkey’s woes th’ impartial sigh; A steady Patriot of the World alone, The Friend of every Country – but his own . . For the crush’d Beetle, first – the widow’d Dove, And all the warbled sorrows of the grove. Next for poor suff’ring Guilt – and, last of all, For Parents, Friends, a King and Country’s fall. Mark her fair Votaries – Prodigal of Grief, With cureless pangs, and woes that mock relief, Droop in soft sorrow o’er a faded flow’r; O’er a dead Jack-Ass pour the pearly show’r .