Romanticism And Kazi Nazrul Islam: An Evaluation

English Romantic literature of the late eighteenth and early nineteenth centuries often recounts an individual life journey which depicts physical and spiritual pilgrimage and traverses both the inner and outer world to liberate the self and reach a revelatory moment of unification where the division between human mind and the external world is reconciled. For the Romantic poets this reconciliatory state cannot be achieved through rational investigation but via the power of imagination. In this regard, there is striking resemblance between the mystical and philosophical thought of Sufism and the idealistic thought of the English Romantic poets as they both strive for a sense of unification with the Divine or the Ultimate reality, and they both rely on imagination and intuitive perception to apprehend reality. Applying an analytical-comparative approach with specific reference to Northrop Frye’s anagogic theory (1957) which emphasizes literary commonalities regardless of direct influence or cultural or theological distinctions, this study endeavors to depict that certain Romantic poets’ longing for the reconciliation of subject and object dualism via imagination and its sublime product, poetic language, echoes the mystic’s pursuit of transcendental states of consciousness and unification with the divinely infinite. Through analysis of the concept of self-dissolution (fana) in Islamic mysticism and Sufi literature, particularly the poems of Jalal ad-Din Mohammad Balkhi (1207-1273) known in the West as Rumi, the outcome of this study reveals that the Romantics’ yearning for a state of reconciliation, which is prevalent in the major works of the Romantic poets such as William Blake (1757-1827), William Wordsworth (1770-1850), Samuel Taylor Coleridge (1772-1834), Percy Bysshe Shelley (1792-1822), and John Keats (1795-1821), corresponds to the mystic’s pursuit of unity or the Sufi’s concept of self-annihilation or fana.

In the poetry of William Wordsworth, S. T. Coleridge, P.B. Shelley, and John Keats, it is possible to observe some recurrent metaphors that are born in and stemming from poets’ similar imagination. All these poets portray in their poems that the poetic imagination as a constitutive factor in poetic creation, and they take human being’s relation to nature as a factor that inspires the imagination to employ mythical and metaphorical modes of expression. Ecocriticism highlights the fact that the literary texts should be examined whether or not they present or study the natural elements and the environment in their narration because romantic poets, who felt the pressure of the modern industrial urban life on both nature and humans, found the refuge in the natural world. Hence the idea of inquiring about the presence of nature in literary works becomes strongly meaningful when English Romantic poetry is studied. Moving from this notion, the aim of this study is thus first shedding light on the afore-mentioned Romantic Era poets’ idea of imagination, and then analysing the functions of metaphors in poems of the First (Wordsworth and Coleridge) and the Second (Shelley and Keats) generations of English Romantic Poets through the theoretical lens of ecocriticism.

This essay returns to the question of the response to the major English Romantic Poets, especially Wordsworth, Byron, Shelley, and Keats, made by Matthew Arnold in his poetry. It focuses on the doubleness and dividedness of this reponse, and it argues that Arnold wavers in an unstable but poetically productive way between seeking to establish his distance from Romantic poetry and conceding its hold over his imagination. The essay considers a range of poems by Arnold, including 'The Buried Life', Empedocles on Etna, 'Stanzas from the Grande Chartreuse', 'The Scholar-Gipsy', 'Memorial Verses', 'A Summer Night', 'Dover Beach', and 'To Marguerite--Continued'. ********** Arnold's reaction to the English Romantic poets involves a dual response of recognition and redefinition; his poems engage in an inexhaustible dialogue with the work of Wordsworth, Byron, Shelley, and Keats. Sometimes he may seem to see 'all Romantic poetry' in terms of 'a psychology of expressive feeling', as Isobel Armstrong argues, against which he sets a would-be grand style. (1) But the work of the Romantic poets feeds copiously 'The central stream' of what Arnold, to use his own phrase, feels indeed. In describing that stream flowing 'below the surface-stream, shallow and light, Of what we say we feel', Arnold evokes a 'noiseless current strong, obscure and deep'. (2) In so doing, he calls to mind the Wordsworth for whom 'suffering' is 'permanent, obscure and dark, And shares the nature of infinity'. (3) The echo points up the complexity of Arnold's intertextual relations with the Romantics. Where 'infinity' prompts sublime intuitions of ultimate meaning for Wordsworth, the idea of the 'infinite' for Arnold throws up problems of unknowableness one associates more with the poetry of Byron or Shelley. It would be wrong to schematize Arnold's response to the Romantics as drawing on Wordsworth for solace, but on Shelley and Byron for images of quest. All the Romantics elicit strong, elusive responses from him. In 'The Scholar-Gipsy', for instance, Keats supplies Arnold with a vocabulary for a state of imaginative receptivity, as in the second and third stanzas, where Keatsian sensuousness provides an atmosphere conducive to the 'quest' for the scholargypsy. The 'quest' associates itself with the verb 'come': 'Come, shepherd, and again begin the quest!' (l. 10), Arnold writes; 'again begin' suggests a repeated attempt to return to a condition of simplicity associated, via 'Glanvil's book' (l. 31), with the seventeenth century, but linked, too, by way of the echoes of Keats, with a condition of imaginative surrender that is one aspect of English Romantic poetry. The scholar-gipsy 'came to Oxford and his friends no more' (l. 40), escaping 'the sick fatigue' (l. 164) known by Arnold, but which, as he also recognizes, Romantic poets, such as Shelley with his rejection in Adonais of 'the contagion of the world's slow stain' (l. 356), were conscious of as well. (4) In the elaborate simile with which the poem closes, 'dark Iberians come' (l. 249) to undo 'the corded bales' (l. 250) bequeathed by 'the grave Tyrian trader' (l. 232).The comparison's ramifying suggestions include the welcome extended by Arnold's poetry to the legacy of Romanticism. In 'The Buried Life', as in the earlier 'To Fausta', Arnold recalls Wordsworth's 'Tintern Abbey' when he asserts: But often in the world's most crowded streets, But often, in the din of strife, There rises an unspeakable desire After the knowledge of our buried life; A thirst to spend our fire and restless force In tracking out our true, original course. (ll. 45-50) 'But oft' (l. 25), Wordsworth declares, describing his gratitude for the memory of 'beauteous forms' (l. 22) in a syntactical pattern which Arnold borrows, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them, In hours of weariness, sensations sweet. …

Previous articleNext article No AccessRomantic Poetry: The Possibilities for ImprovisationJeffrey C. RobinsonJeffrey C. Robinson Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Wordsworth Circle Volume 38, Number 3Summer 2007The Wordsworth-Coleridge Association Meeting, 2006 Article DOIhttps://doi.org/10.1086/TWC24045130 Views: 9Total views on this site © 2007 by The University of Chicago. All rights reserved.PDF download Crossref reports no articles citing this article.

<i>British Romanticism and the Critique of Political Reason</i>. Timothy Michael. Baltimore: Johns Hopkins University Press, 2016. Pp. viii+283.

This study embarks on a captivating journey into the intricate realm of British Romantic Literature, where the mythical imagination of poets and writers intertwines with age-old mythological narratives. With the aim of illuminating the profound connections between these two seemingly distinct domains, this comparative analysis delves into the creative works of renowned British Romantic authors and their engagement with mythological themes. The exploration of these intersections reveals a nuanced understanding of how myth, imagination, and literature intersect, resulting in an enriched tapestry of storytelling that transcends temporal boundaries. Our investigation commences by delving into the works of iconic Romantic figures such as John Keats, William Wordsworth, and Mary Shelley, among others. These authors, influenced by the mythological traditions of both ancient and contemporary cultures, craft narratives that resonate with timeless themes of heroism, creation, and transcendence. We analyze their poetry and prose, exploring how mythological elements infuse depth and meaning into their literary creations, ultimately offering insights into the Romantic movement's underlying mythopoeic tendencies. Furthermore, our comparative approach extends beyond the examination of individual authors to encompass the collective Romantic imagination. By analyzing recurring motifs, archetypes, and narrative structures across British Romantic Literature, we unveil the collective mythical consciousness that permeates this period. This study offers a new perspective on how the Romantic poets and novelists collectively reimagined and reshaped mythological traditions to reflect the unique cultural and societal context of their time. This exploration of the mythical imagination in British Romantic Literature highlights the enduring relevance of myth in shaping human creativity, narrative, and cultural discourse.

The paper examines how English romanticism in general and romantic poets, in particular, had an impact on concepts of romanticism in our part of the world and why it is important to understand their influence. It argues that we must look at interactions between our leading Bengali poets and their English counterparts to determine the imaginative lineage of the Bengali poets. It specifically focuses on the relationship between birds and bards, and romantic poetic imaginings of the avian lot in Rabindranath and Jibanananda in their late-romantic phase. Spectrum, Volume 16, June 2021: 115-126

100 Ahmed and ends without Robert Young; she in fact refers her reader very usefully to the work of both scholars, and to much other work besides. A signal strength in this book, therefore, is its constant commitment to a principled inclusiveness which mirrors intellectually the philanthropic projects of the period (‘‘Am I not a man and a brother?’’). There is a genuine interdisciplinary focus, with climate theory here and Linnaeantaxonomythere deftly joined to the analysis of narrative. The range of texts extendsfromRobinson Crusoe (1719) to Olaudah Equiano’s Interesting Narrative (1789), with space in between for such provocative pairings of contemporaneous works as that of Johnson ’s Journey to the Western Islands of Scotland (1775) and Edward Long’s History of Jamaica (1774). Ms. Wheeler’s term ‘‘amalgamation,’’ for the subject of her central chapter, defines the spirit of her study generally. What it yields is very fine and consistently compelling. Peter Merchant Canterbury Christ Church University College, U.K. JOHN L. MAHONEY. The Enlightenment and English Literature: Prose and Poetry of the Eighteenth Century. Prospect Heights, Ill.: Waveland, 1999. Pp. xiv ⫹ 625. $43.95 It takes some investigative work to discover this anthology’s history. Although it is not billed as a second edition, small print on the copyright page reveals that it appeared in 1980, when it was called The Enlightenment and English Literature: Prose and Poetry of the Eighteenth Century , with Selected Modern Critical Essays . But it seems to have been conceived even before that: of the dozens of titles cited in the ‘‘Suggestions for Further Reading,’’ only two were published after 1971. In fact, to judge by the selection of texts and the tenor of the commentary,the anthology would have been considered old-fashioned even in the early seventies. It is closest in character not to Tillotson, Fussell, and Waingrow’s Eighteenth-Century English Literature (1969), but to such volumes from the previous generation as R. S. Crane’s Collection of English Poems and Bredvold, Root, and Sherburn’s Eighteenth-Century Prose (both 1932). Such a blast from the past may not be unwelcome, but it seemsmore a curiosity than a serious anthology for a classroom. Most surprising is the narrowness of the canon. This volume is billed as a ‘‘companion volume’’ to Mr. Mahoney’s earlier anthology, The English Romantics : Major Poetry and Critical Theory, with Selected Modern Critical Essays (Lexington, MA, 1978), which contains only the big six Romantic poets and Hazlitt . The selection here is a little broader, but more than 70% of the volume’s pages are given to just five authors: Pope, Swift, Johnson, Boswell, and Burke. They are followed by ‘‘A Selection of Key Eighteenth -Century MinorPoetry’’(oneortwo poems each by Dyer, Thomson, Watts, Young, Blair, Akenside, Joseph Warton, Collins, Gray, Goldsmith, Chatterton, Cowper, Burns, and Crabbe), and ‘‘A Selection of Critical and Philosophical Prose’’ (extracts from Locke, Addison, Rymer, Shaftesbury, the Wartons, Young, Hume, Hurd, Duff, and Reynolds). Mr. Mahoney excludes drama and most fiction , although selections from A Tale of a Tub and Rasselas make it in. The Restoration is also excluded (except for brief extractsfromLocke’sEssay),asaremany late-century authors. The result is only twenty-eight authors, all male, all firmly canonical. Devoting nearly 450 pages to just five 101 authors has advantages. Selections are uncommonly generous: Rasselas is included complete; Reflections on the Revolution in France is represented by nearly 20,000 words, and Tale of a Tub by nearly 25,000. It does, however, run contrary to most pedagogy in the last 20 years, when the canon has expanded to include not only works by women and minorities,but also less obviously ‘‘literary’’genres.The commentary reflects this attention to masterpieces, piously celebrating great men and great works: Pope is ‘‘the eighteenth -century English man-of-letters par excellence,’’ ‘‘Swift is the master satirist not simply of English but of world literature ,’’ Johnson was ‘‘perhaps a representative of the whole range of human possibility,’’ ‘‘Boswell’s biography . . . stands as a masterpiece of its kind,’’ Burke is ‘‘the statesman/man-of-letters par excellence.’’ The lengthy headnotes are useful, and the texts themselves are fairly reliable, though the sources are not identified. Although Mr...

"English Romanticism . . . and 1930 Science" in The Moviegoer A. Lawson University of Maryland It is by now pretty generally agreed that the theme of Walker Percy's The Moviegoer (196I)Ms contemporary man's experience of alienation. There has been little attention paid, however, to the source of that alienation for John Bickerson "Binx" Boiling, Percy's representative contemporary man. A reason for this lack of attention may lie in the nature of alienation, itself. There is a hint in that direction in the novel's motto, from Kierkegaard's The Sickness Unto Death: "the specific character of despair is precisely this: it is unaware of being despair." The alienated person, like the despairer, may not be aware of or, if aware, able to give voice to his alienation. In that case, what he says about another person's alienation offers a clue to the condition from which he suffers, but cannot name. In The Moviegoer, then, very close attention should be paid to Binx's father, whose alienation Binx diagnoses with a heated absoluteness that violates his usual disguise of detached ironist. His father, Jack ("Binx" is probably a Junior, though he would never acknowledge it), was killed, his son says, by "English romanticism . . . and 1930 science" (88). This statement is, to be ponderous, not literally true; he died in an airplane crash (25). Then "English romanticism . . . and 1930 science" must have been in some way accountable for the state of Jack Boiling's mind, not his health. At first glance, the two concepts seem to be unconnected, but Binx senses, once he spontaneously links them, that the concepts behind the labels must have a relationship, and he vows to discover it (88). The nature of the relationship, it becomes clear, is that "English romanticism," as Binx uses the term, inspired "1930 science." Moreover, it becomes evident, the process of education, of forming a worldview, implied by "English romanticism . . . and 1930 science" is illustrated by moviegoing, the principal image-pattern of the novel. When Binx discusses going to the movies, in other words, he 1. The edition cited is (New York: Noonday Press, 1967). Page references to the novel will be incorporated into the text. A. Lawson71 is really talking about the way that he, like his father before him, was educated to look at the world. To a slight degree, Binx's "English romanticism" is misleading. He does not mean the English Romantic poets; rather he is alluding to the romantic idealism so pervasive in English higher education in the latter half of the nineteenth century. Although he does not mention his name, Binx is really talking about the tradition inspired by Benjamin Jowett, the legendary Master of Balliol College, Oxford, whom J. H. Muirhead credits with the "revival of Platonic study"2 in England. A very hostile authority also acknowledges Jowett's remarkable influence: Plato's story of the cave has, as everyone knows, been the subject of almost infinite controversy: people have tried to make it accord with the somewhat thinner details of his account of the Line, and with nearly everything said by Plato in the Republic and elsewhere, or with everything that others have been inspired to say by reading him. This remarkable exegesis was, of course, for many years a specifically British preoccupation, ever since Benjamin Jowett made Plato in general, and the Republic in particular, the core and centre of Oxford education.3 Such popularity continued, refurbished, and spread the image of "Plato the Gentleman (usually a Christian gentleman)," as T. M. Robinson describes it. Jowett was essential to this image, Robinson continues: "A whole generation of Oxford students . . . was spellbound by the lectures of Benjamin Jowett, and his view of Plato as the father of Idealism was bolstered by his best-known achievement, the first complete translation of Plato since the Latin version of Marsilio Ficino."4 Jowett's influence survived his death. A contemporary philosopher remembers, for example, his pre-college holiday, in 1929: "Such work as I did while I was in Santander was mainly on Plato's Republic, which I knew I should have to study when I came 2.John H. Muirhead, The Platonic Tradition in Anglo...

Keats for Beginners Brian Mcgrath (bio) Brian Mcgrath Clemson University Brian Mcgrath Brian Mcgrath is Assistant Professor of English at Clemson University. His essays have been published in Studies in Romanticism, Eighteenth-Century Fiction, and Studies in English Literature 1500—1900. At present, he is completing a book project on figures of address in Enlightenment pedagogical treatises and Romantic poems. Footnotes 1. A Hopkins Reader, ed. John Pick (New York: Doubleday, 1966), 230. I would like to thank the editors of “Reading Keats, Thinking Politics,” Emily Rohrbach and Emily Sun, as well as Anne-Lise François, Erin Goss, and Eric Lindstrom for their insightful comments and suggestions for revision. 2. The Human Condition (Chicago: University of Chicago Press, 1958), 9. 3. Studies in Poetry (London, 1907), 204. See also Nicholas Roe, John Keats and the Culture of Dissent (Oxford: Oxford University Press, 1997), 12. The reading of Keats as indifferent to politics continues, as P. M. S. Dawson argues in “Poetry in an Age of Revolution,” where Keats is described as “the most apolitical of the great Romantic poets.” In The Cambridge Companion to British Romanticism, ed. Stuart Curran (Cambridge: Cambridge University Press, 1993), 49. 4. The Romantic Ideology: A Critical Investigation (Chicago: University of Chicago Press, 1983), I. 5. Of Keats’s poem “To Autumn” in particular, McGann writes in “Keats and the Historical Method in Criticism,” “[the poem] is an attempt to ‘escape’ the period which provides the poem with its context, and to offer its readers the same opportunity of refreshment.” Modern Language Notes 94 (1979): 1023. 6. In recent decades the sense of Keats as uninterested in history and politics has been questioned. See for instance the special issue of Studies in Romanticism 25 (Summer 1986) edited by Susan Wolfson; Nicholas Roe, ed., Keats and History (Cambridge: Cambridge University Press, 1995); Roe, Keats and the Culture of Dissent, and Jeffrey N. Cox, Poetry and Politics in the Cockney School: Keats, Shelley, Hunt and their Circle (Cambridge: Cambridge University Press, 2004). The history of criticism on Keats and politics is nicely summarized by Roe in the opening pages of John Keats and the Culture of Dissent, esp. 3–7. Roe finds in Keats a powerful political voice for reform. Instead of viewing Keats as turning away from politics, Roe attends “to Keats’s eloquence as a representative voice of the most vital sector of contemporary English culture: that is, the culture of dissent in which ideological opposition to the consequent exclusion from the establishment formed the intellectual dynamic of enlightened progress in political, religious, aesthetic, and educational matters” (15). Roe pursues a rich re-imagining of Keats’s relationship to politics, one that is offered in direct opposition to the dominant view of Keats and one that returns attention to the ways in which Keats’s poetry was initially received. The political attacks on Keats published in Blackwell's Edinburgh Magazine aligned Keats with the Cockney school of poetry; in portraying Keats as immature and unworldly, these attacks defended conservative cultural values against Cockney politics. The dominant reading of Keats as apolitical emerges, then, with political attacks against Keats. 7. Robert Gittings, ed., The Letters of John Keats (Oxford: Oxford University Press, 1970), 398. Subsequent references are to this edition, cited as Letters by page in the text. See also Stanley Plumly, Posthumous Keats: A Personal Biography (New York: W.W. Norton, 2008). 8. John Keats, Complete Poems, ed. Jack Stillmger (Cambridge, MA: Harvard University Press, 1978). The poem is found on pages 361–73. The quoted lines are 142–43. Future references to Keats’s poems will be to this edition and cited parenthetically in the text by lines. Keats links poetry to survival, to a death “felt” if not fully experienced. See also Brendan Corcoran, “Keats’s Death: Toward a Posthumous Poetics,” Studies in Romanticism 48, no. 2 (Summer 2009). 9. Romantic Poetry and the Culture of Posterity (Cambridge: Cambridge University Press, 1998), 143. 10. See Susan Wolfson, “Keats enters History,” in Keats and History. 11. In offering a new account of Keats’s relationship to politics Nicholas Roe powerfully reverses the more familiar story of Keats’s total indifference. But in...

Eco-criticism has changed the topography of English Romantic Poetry. The value and significance of classical writers and the works have been criticized in the new re- adjustment mode. Thus romantic poetry reading and research have generated a lot of new meanings and literature has renewed vitality to be found in the new era of its development. From the perspective of ecological criticism, the British R omantic poet William Wordsworth Classics, Coleridge, Blake, Shelley, Byron and Keats 's works have conducted in-depth interpretation of ecological criticism in romantic poetry, which played the positive role in ecological awareness and eco- criticism Enlightenment thought in the romantic poets of contemporary. Keywords-Eco-criticism, British romanticism, direction of development

Literature has a long history, and it shows that many writers and thinkers have helped start, develop, enrich, and bring about major changes or literary catalysts in the genre they work in. Not only do they start a new trend, but they also create a completely new way of writing, often against all odds and expectations. They change the way literature is written now and in the future. Gibran A famous writer, Khalil Gibran (1883–1931), owned such a thing. He is praised for his work as a novelist, philosopher, poet, and artist. Gibran In spite of being born in Lebanon, Khalil Gibran lived most of his life in the United States. He learned about the ideas of English Romanticism while living there. Wordsworth, Blake, Shelley, and Keats were some of the most famous Romantic poets. It was because of him and his later work with the Ar-rabitah group of AL-Mahjer poets that Arabic Romanticism began, which was a reaction against Arabic neoclassical poetry. People say that Romanticism is the return to nature. The poet's mind is affected by nature, and nature responds to the poet's mind in a way that is coloured by imagination. In this way, nature becomes a major theme in the poems of William Wordsworth, who is known as the founder of English Romanticism and a literary legend. One important way that Wordsworth's love of nature shows itself is in the way he insisted on shifting the focus from city life to country life. Gibran also felt the same way about this shift, filled with nostalgia and regret for how factory smoke had changed country life. Gibran writes about nature in a way that is a lot like Wordsworth's in his famous book Munajat Arwah (Communion of Spirits), which came out in 1914. As a result, this poem is used to show how the English Romantic poet shaped Gibran's vision of nature's beauty as superior to life in cities, which is filled with pollution and waste. In this study, we will also do our best to find ways that Gibran Khalil and William Wordsworth, who started Arabic and English Romanticism, wrote about nature in ways that are similar. This essay is mostly about Gibran's well-known poem Munajat Arwah. This essay is mostly about Gibran's well-known poem Munajat Arwah. In the way that Wordsworth thought and spoke, the poem praises the superiority of nature over city life.

English Romantic poetry contributes profound love and genuine reverence of the poets to nature. Birds constitute a part of nature, and love for nature is one of the perpetual features and themes of the Romantic poetry. This article, which aims at exploring birds how English Romantic poets glorify them in their poetry, comprises five poems of four celebrated English Romantic poets, namely Wordsworth, Coleridge, Shelley and Keats. This article concludes that the Romantic poets glorify birds as a blithe spirit, a light-winged fairy, an ethereal minstrel, a blithe new-comer, a wandering voice, a darling of the spring, Christian soul and so on.

Following on from the welcome to Greece and introduction, the connections with Greece of the English Romantic poet and Philhellene, Lord Byron, are considered in the context of the contrast between Byron’s upbringing in the British Isles and his love for the Mediterranean, particularly Greece. It is argued that astronomical references in many of his works, especially his famous poem ‘She Walks in Beauty like the Night’, were inspired by his love of Greece and time spent there, rather than his earlier years in London and the north of Scotland. This short piece developed out of my introductory comments made as Chair of INSAP, in order to introduce a Greek-themed topic at the same time as putting forward the idea of astronomical influence on Lord Byron as a leading Romantic poet.

Many critics have speculated on the influence of Western literature on English romantic poets. Mainstream scholars have often referred to Greek, Roman, and Western sources, attributing the genealogy of romantic topoi to the West, while turning a blind eye to the impact of non-Western culture. As a result, the influence of Arabic materials on English Romantic poetry during the eighteenth and early nineteenth centuries remains insufficiently recognized. The present study challenges the pervasive assumption that English Romantic poets were influenced mainly by the Western philosophical, religious, and literary sources. Instead, it provides evidence supporting the view that the roots of romantic topoi derive from both intercultural encounters and transcultural experiences. In particular, the role played by Oriental, Arab, and Muslim writers in helping English romantic poets develop their themes, characters, imagery, and narrative modes is discussed. Moreover, Arab-Islamic influences on Western literature is acknowledged to rectify the misconception that romantic topoi solely resulted from the Western intercultural encounters. The analyses presented in the paper demonstrate that Arabic and Islamic sources inspired British romantic poets like Coleridge, Wordsworth, and Keats, helping them not only in finding their own voices but also in developing their themes, metaphors, symbols, characters, and images.