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By David Vallins, Kaz Oishi, Seamus Perry

While postcolonial reviews of Romantic-period literature have flourished lately, students have lengthy overlooked the level of Samuel Taylor Coleridge's engagement with the Orient in either his literary and philsophical writings. Bringing jointly major foreign writers, Coleridge, Romanticism and the Orient is the 1st great exploration of Coleridge's literary and scholarly representations of the east and the ways that those have been inspired via and went directly to effect his personal paintings and the orientalism of the Romanticists extra extensively. Bringing jointly postcolonial, philsophical, historicist and literary-critical views, this groundbreaking publication develops a brand new figuring out of 'Orientalism' that recognises the significance of colonial ideologies in Romantic representations of the East in addition to appreciating the original different types of that means and price which authors akin to Coleridge asscoiated with the Orient.

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1804, book 3, p. 111, ll. 2–11) 42 Coleridge, Romanticism and the Orient That Coleridge shared the anxieties of poets such as Cowper and Bowles can be seen in his dire predictions of the fall of Britain on account of its imperial ruthlessness. In 1803, for instance, he groaned about the ‘awful Times’ inflicted by a ‘retributive Providence’ in vengeance for ‘our horrible Iniquities in the W. India Islands & on the coasts of Guinea’ (CL, vol. 2, p. 1006). Britain would, he prophesized, fall as surely as Rome had done before the Huns.

In the face of such pressure, Juan finally reasserts his masculinity, drawing himself 32 Coleridge, Romanticism and the Orient up ‘to his full height again’, and refusing to stoop to kiss any shoe, unless that of the Pope. Juan thus is technically willing to perform the ceremony, but only on the condition that the honoured party be the spiritual leader of his own religion. Despite Baba’s threats to bowstring him (a familiar Chinese and Ottoman mode of execution), Juan ‘would not bend’ (l. 826), but maintains straight back and mind.

Alas! it was all Miss Crawford’s doing. (Austen, 2003, p. 123) Knox-Shaw argues suggestively that the narrative of Macartney’s resistance to the kowtow is the informing context of Mansfield Park, a novel in which the politics of resistance and inducement are central (1996, p. 215). This theme is also represented in Fanny’s resistance to the urging of Sir Thomas that she accept the marriage proposal of Henry Crawford. Fanny refuses, symbolically at 34 Coleridge, Romanticism and the Orient least, to kowtow before the domestic despotism of her Aunt Norris, or the more subtly despotic paternal authority of Sir Thomas Bertram.

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