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Parrinder validates “their claim to have overthrown the eighteenth-century canons of taste and to have reconstituted the genuine tradition of English poetry,” and believes that their efforts to establish a new literary paradigm was aided, in part, by their self-conscious awareness of the revolution they were creating.
However, because such norms and conventions were associated with rationality—the very target of most Romantic poetry—criticism needed to head in a different direction.
It had to “corner for itself some of the creative energy of poetry itself, or shift to a quasi-philosophical meditation on the nature and consequences of the creative act,” according to Eagleton. Eliot reports, for example, that “Wordsworth wrote his Preface to defend his own manner of writing poetry, and Coleridge wrote the Biographia to defend Wordsworth's poetry, or in part he did.” Paul A.
“What is most peculiar about his work during this period is the unusual extent to which he disregards the primary text and how completely his complex theological models and language usurp that text,” contends Corrigan.
Current scholarly work on Romantic literary theory often suggests that many of the Romantic critics were far ahead of their time, anticipating the work of various late twentieth-century thinkers. Wheeler, who states that “Coleridge's concept of polarity, of opposition, is in many ways anticipatory of Derrida's concept of difference …
Cornell University, where he taught for nearly 40 years, announced his death on Wednesday.
The change was expressed by several ruling images, or “constitutive metaphors,” as Professor Abrams called them, chiefly the mirror and the lamp.
Coleridge's critical theories also differ from Wordsworth's in that they are heavily grounded in theology.
Sometimes, particularly in his later writings according to Timothy Corrigan, the theological overwhelms the literary.
Romantic Literary Criticism English literary criticism of the Romantic era is most closely associated with the writings of William Wordsworth in his Preface to Lyrical Ballads (1800) and Samuel Taylor Coleridge in his Biographia Literaria (1817).
Modern critics disagree on whether the work of Wordsworth and Coleridge constituted a major break with the criticism of their predecessors or if it should more properly be characterized as a continuation of the aesthetic theories of seventeenth- and eighteenth-century German and English writers.