The Romantic Critics

Abstract

‘The language of poetry naturally falls in with the language of power.’ So Hazlitt, in his essay on ‘Coriolanus’, underlined the political analogy which is implied by much of romantic criticism. The poetic imagination aggrandises and dominates; its possessor commands and holds sway over the emotions of his readers. The analogy is double-edged. Though intended as a ringing affirmation of the poet’s authority, it frequently expresses his underlying impotence. Coleridge, for example, sounds slightly peevish as he manipulates the concept of power in the following remarks: