Titlebook: Coleridge‘s Political Poetics; Radicalism and Whig Jacob Lloyd Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusive

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Introduction,ridge’s engagement with the work of Mark Akenside, William Lisle Bowles, Thomas Percy, William Cowper, and John Thelwall, justifying these as his most significant poetic influences. The introduction finishes by outlining the structure and arguments of the rest of the book.

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Introduction,cate a stylistic preference, but incorporates the ideas of other texts, sometimes in order to repurpose them. Political developments in Coleridge’s thinking can be understood by investigation of the uses he makes of his poetic influences..The chapter discusses Coleridge’s eclectic political radicali

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Whig Poetics and Akenside,esence in Coleridge’s prose and verse of 1794–1797, it argues that Coleridge’s response to Akenside enables him to make use of this tradition of Whig poetry. By drawing on Akenside’s connection of political action to aesthetics and metaphysics, especially in ., Coleridge suggests an identification w

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Coleridge, Enthusiasm, and Bowles,urke had depicted its supporters as enthusiasts. This chapter reads Coleridge’s predilection for the sentimental poetry of William Lisle Bowles as conditioned by what Coleridge felt were persuasive points made by Burke. Coleridge accepts Burke’s premise that political decisions and institutions must

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,Coleridge’s Poetry of 1796 and 1797,of William Lisle Bowles so as to establish the primacy of sympathetic sentiment in cultivating political values. The collection concludes with the lengthy blank verse poem, ‘Religious Musings’. Despite the significant shift in form and poetic register for this poem, the chapter argues that Coleridge

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,The Politics of Ancient Ballads: ‘The Rime of the Ancyent Marinere’ and , inflected: to celebrate the poetry of the Middle Ages could be taken as a Whiggish gesture of support for the belief that liberty was a gothic inheritance, preserved in Britain’s supposed Ancient Constitution created by the Saxons. This chapter argues that Coleridge’s imitation of the Gothic in ‘Th

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