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Romantic Fiat pp 115-138 | Cite as

Between Cant and Anguish: Hume in Coleridge’s Imagination

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Abstract

If we can even speak of such things, is the ‘ontology’ of a lyric poem something like its ethical occasion? Or is it an image that enforces a closed spatial form and repeats a parable for what we over weeningly think a poem must be? Does it matter what we take for that emblem? A shard or an urn? A toy or a tree? Allen Grossman’s affirmation – in which the ontological character of lyric poetry holds from the stunning fact that others exist in tension with the subject – runs up from the other direction against Virginia Jackson’s judgment that the genre itself is projected by a history of interpretation-as-ontology. For Jackson, this is the largely twentieth-century discipline of ‘lyric reading,’ in whose name we make violent appropriations just in categorizing certain things as ‘poems.’1

Keywords

Primary Imagination Lyric Reading Lyric Poetry Romantic Study Unconditional Respect 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Copyright information

© Eric Reid Lindstrom 2011

Authors and Affiliations

  1. 1.Department of EnglishUniversity of VermontUSA

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