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Essay / Research Paper Abstract
A 6 page report that consists of two separate essays. The first is a 4 page essay on the role of transcendental or mystical experience in poetry as shown in William Blake's "Marriage of Heaven and Hell," Samuel T. Coleridge's "Rime of the Ancient Mariner," and selections from "The Prelude" by William Wordsworth. The second is a 2 page essay that addresses what Blake, Coleridge and Wordsworth thought about the function of the poet and poetry. Bibliography lists 7 sources.
Page Count:
6 pages (~225 words per page)
File: D0_kh2onrom.rtf
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suggests that this sort of experience was viewed as a means to insight into nature and humanitys relationship to the cosmos. However, within this general framework, the reaction of individual
poets to this paradigm was varied. The following examination of Romantic poetry focuses on how William Blakes "Marriage of Heaven and Hell," Samuel T. Coleridges "Rime of the Ancient Mariner,"
and selections from "The Prelude" by William Wordsworth demonstrate the idea of mystical experience within each poets work. ` In understanding Blakes meaning in the "Marriage of Heaven and Hell,"
it is necessary to see it in the context of the Blakes era, which was the age of the Enlightenment in the late eighteenth century. Among the literate classes of
England by the end of the eighteenth century, belief in the existence of Satan had practically disappeared (Schock 441). As this occurred, Romantic writers and artists adopted the myth of
Satan as their own and developed Satan into an ideological symbol that had a broad range of functions (Schock 441). It was used primarily to express rebellious or unconventional political,
moral or religious values (Schock 441). This is not to say that Blakes use of the Satan myth was not wholly original. The prose conclusion which ends the "Argument," which
opens "Marriage" delivers a millenarian prophecy that identifies Christ, revolution and apocalypse and, in so doing, "satanizes" all three in a way that is distinct from all other "political appropriations"
of the myth (Schock 445). As this suggests, Blake did not mean for the reader to take his poetic vision of visiting Heaven or Hell seriously, rather he appropriated the
idiom of romantic mystical experience to satirize and comment on the mores of his era. As the editors of the Norton Anthology point out Blakes ironic stance produces a vein
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