19TH CENTURY ENGLISH LITERATURE - FINAL EXAM POTENTIAL

QUESTIONS
● How did the less romantically idealized perspectives on imagination embraced by
second-generation Romantic poets like Percy Bysshe Shelley (in his "To a Skylark") and
John Keats (in his "Ode to a Nightingale") differ from Samuel Taylor Coleridge and
William Wordsworth's views on imagination, which were characterized by a belief in its
transformative and unifying power?

In the realm of Romantic poetry, the concept of imagination serves as a central and compelling theme,
shaping the creative works of poets and influencing their perspectives on the human experience. This
essay explores the contrasting views on imagination embraced by second-generation Romantic poets,
including Percy Bysshe Shelley and John Keats, in comparison to the beliefs of first-generation poets
Samuel Taylor Coleridge and William Wordsworth. While the latter poets celebrated imagination's
transformative and unifying power, the former poets presented a less romantically idealized
perspective. This essay aims to analyze and compare the nuanced views of these poets, shedding light
on the complexities of imagination within the context of Romantic literature. Through an exploration
of their works, this essay seeks to highlight the divergent perspectives on imagination and their
implications for the broader Romantic literary movement.

In the context of Romantic poetry, the concept of imagination is characterized by its role as a
powerful and transformative force, capable of shaping perceptions, emotions, and creative expression.
Imagination, in this context, extends beyond mere fantasy or creativity; it encompasses the ability to
perceive and interpret the world in a deeply personal and emotive manner, transcending the
boundaries of reason and rationality.
Imagination holds significant importance as a central theme in Romantic literature due to its capacity
to evoke a sense of wonder, awe, and emotional intensity. Romantic poets often viewed imagination
as a means of accessing deeper truths, expressing individual subjectivity, and connecting with the
natural world. Imagination served as a source of inspiration for poets, enabling them to explore
themes of beauty, nature, love, and the human condition with heightened sensitivity and emotional
depth.

Samuel Taylor Coleridge, a first-generation Romantic poet, held a profound belief in the
transformative power of imagination. In his poetry and critical writings, Coleridge emphasized the
idea that imagination has the ability to transcend the ordinary and reveal deeper truths. He viewed the
imagination as a force that could transform and elevate the mundane, offering access to spiritual and
metaphysical realms. Coleridge's famous concept of the "willing suspension of disbelief" reflects his
belief in the imaginative capacity to transcend rational limitations and engage with the supernatural
and fantastical.

On the other hand, William Wordsworth, another first-generation Romantic poet, viewed imagination
as a unifying force that could bridge the gap between the individual and the natural world. In
Wordsworth's poetry, imagination served as a means of connecting with nature and accessing a
transcendent, spiritual reality. He celebrated the imaginative capacity to perceive and appreciate the
beauty and harmony of the natural world, emphasizing the unifying and redemptive aspects of
imaginative experience.
In contrast, second-generation Romantic poets Percy Bysshe Shelley and John Keats presented
perspectives on imagination that were more critical and less romantically idealized. In "To a Skylark,"
Shelley explores the theme of disillusionment and the limitations of human imagination in capturing
the true essence of beauty and inspiration. Similarly, Keats's "Ode to a Nightingale" delves into the
transient nature of human existence and the inability of imagination to fully escape from the harsh
realities of life.

These differences in perspective reflect a shift from the idealized and redemptive views of
imagination held by Coleridge and Wordsworth to the more critical and nuanced perspectives
presented by Shelley and Keats. The latter poets acknowledged the limitations and potential
disillusionment associated with imagination, reflecting a departure from the unbridled optimism of
their predecessors.

Specific examples from Coleridge's "Kubla Khan" and Wordsworth's "Lines Composed a Few Miles
Above Tintern Abbey" can be analyzed to illustrate their respective views on imagination, while
excerpts from Shelley's "To a Skylark" and Keats's "Ode to a Nightingale" can be used to support the
critical and less idealized perspectives presented by the second-generation Romantic poets.

The first-generation Romantic poets, Coleridge and Wordsworth, celebrated imagination as a

transformative and unifying force. They viewed imagination as a means of transcending the ordinary,
accessing deeper truths, and forging connections with nature and the spiritual realm. Their
perspectives emphasized the redemptive and unifying potential of imagination, portraying it as a
source of spiritual and emotional elevation.

In contrast, the second-generation poets, Shelley and Keats, presented a more critical and nuanced
perspective on imagination. They acknowledged the limitations and potential disillusionment
associated with human imaginative experience. Their works explored the transient nature of human
existence, the inadequacy of imagination in capturing the true essence of beauty and inspiration, and
the fleeting nature of imaginative escape from the harsh realities of life. These poets highlighted the
complexities and ambiguities of imagination, offering a departure from the idealized and redemptive
views held by their predecessors.

These differences in perspective reflect broader shifts in Romantic thought and literary sensibilities.
The first-generation poets' emphasis on the transformative and unifying power of imagination aligns
with the optimism and idealism prevalent in early Romantic literature. Their works embody a sense of
spiritual and emotional elevation, celebrating the imaginative capacity to transcend rational
limitations.

On the other hand, the second-generation poets' more critical and introspective approach to
imagination reflects a departure from this idealism. Their exploration of disillusionment, limitations,
and the fleeting nature of imaginative escape reflects a shift towards a more nuanced and complex
portrayal of human experience. This shift marks a departure from the unbridled optimism of early
Romantic literature, reflecting a growing awareness of the complexities and ambiguities inherent in
human imaginative experience.
Question 2

● Percy B. Shelley argues in A Defence of Poetry (1820) that “Poets are the
unacknowledged legislators of the World.” Explain this quote and discuss Shelley’s
overall argument, referring to his poems, “Ozymandias” (1818) and “The Mask of
Anarchy” (1819) as well as Lord Byron’s “Prometheus” (1816). Additionally,
considering Shelley’s poem “To Wordsworth” (1816) within the context of Shelley's
views on poetry and its societal influence, discuss why second-generation Romantics
might have held resentment toward Coleridge and Wordsworth.

In the realm of literary and political discourse, Percy Bysshe Shelley's assertion that "Poets are the
unacknowledged legislators of the World" stands as a profound testament to the influential power of
poetry in shaping society. This quote, originating from his essay "A Defence of Poetry" (1820), holds
significant implications for the role of poets as visionary and transformative figures within the fabric
of human civilization. Shelley's overall argument in "A Defence of Poetry" underscores the societal
and political influence of poetry, positioning it as a force for enlightenment, moral improvement, and
social change.

A Defence of Poetry," Percy Bysshe Shelley articulates a deep belief in the societal and political
influence of poetry, positioning it as a potent force for enlightenment and moral improvement. He
argues that poetry transcends mere entertainment and serves as a vehicle for conveying profound
truths, inspiring empathy, and fostering intellectual and moral progress within society. Shelley
emphasizes the transformative power of poetry, portraying poets as visionary figures capable of
shaping the moral and intellectual landscape of humanity. He views poets as agents of social change,
wielding the power to challenge oppressive systems, advocate for justice, and inspire revolutionary
thought. Shelley's perspective underscores the vital role of poetry in awakening the collective
consciousness and fostering a deeper understanding of the human experience, thus positioning poets
as influential architects of societal and political change.

"Ozymandias" serves as a powerful critique of political and authoritarian power, emphasizing the
theme of transience and decay. The poem portrays the ruins of a once-mighty empire, with the statue
of the pharaoh Ozymandias lying in desolation. Through vivid imagery and evocative language,
Shelley conveys the fleeting nature of human achievements and the inevitable decline of oppressive
power structures. The poem serves as a poignant commentary on the ephemeral nature of political
dominance and the ultimate futility of tyrannical rule, highlighting the transient legacy of
authoritarian leaders.

In "The Mask of Anarchy," Shelley explores the themes of political oppression and nonviolent
resistance. The poem condemns political tyranny and advocates for nonviolent resistance against
oppressive power structures. Through powerful and emotive language, Shelley depicts the suffering of
the oppressed and calls for courage and solidarity in the face of injustice. The poem serves as a
rallying cry for peaceful resistance and social change, urging individuals to rise against political
oppression and reclaim their rights through nonviolent means. Shelley's portrayal of nonviolent
resistance underscores the transformative potential of collective action and the pursuit of justice
through peaceful means.

In Lord Byron's "Prometheus," the character of Prometheus aligns with Percy Bysshe Shelley's
themes of rebellion against oppressive power structures and the pursuit of social justice through
creative expression. The poem portrays Prometheus as a defiant figure who challenges the authority of
Zeus and advocates for freedom and justice. Through Prometheus, Byron explores the themes of
resistance against tyrannical rule and the pursuit of social justice through creative and visionary
expression. The poem reflects Shelley's emphasis on the transformative power of creative defiance
and the role of visionary figures in inspiring social and political change. Both "Prometheus" and
Shelley's works share a common thread in their portrayal of rebellion against oppressive power
structures and the pursuit of social justice through creative expression, aligning with the broader
themes of Romantic literature and political activism.

Shelley's disillusionment with Wordsworth's shift from radical political views to a more conservative
stance reflects the changing ideological landscape within the Romantic movement. Wordsworth, who
was initially known for his radical and revolutionary fervor, later adopted a more conservative
political position, which stood in stark contrast to the radical activism embraced by second-generation
Romantics like Shelley. This shift in Wordsworth's political stance may have led to Shelley's
disillusionment and resentment, as it represented a departure from the revolutionary ideals that had
initially united the first-generation Romantics.

The second-generation Romantics, including Shelley, might have held resentment toward Coleridge
and Wordsworth due to their perceived abandonment of radical political activism and their embrace of
more conservative positions. This departure from the revolutionary fervor of the early Romantic
movement represented a fundamental ideological shift that created a rift between the two generations
of poets. The second-generation Romantics, who were deeply committed to social and political reform
through poetry, may have viewed the conservative stance of Coleridge and Wordsworth as a betrayal
of the revolutionary spirit that had initially defined the Romantic movement. This ideological divide
likely contributed to the growing resentment and disillusionment felt by the second-generation
Romantics toward their predecessors.

Question 3

● By taking the following stanzas into consideration, compare and contrast the concept of
“negative capability” in Keats’s “Ode to a Nightingale” (1819) with Shelley’s “To a Skylark”
(1820) by illustrating both poets’ engagement with poetic creation, imagination, and
(im)mortality.
Darkling I listen; and, for many a time
I have been half in love with easeful Death,
Call’d him soft names in many a mused rhyme,
To take into the air my quiet breath;
Now more than ever seems it rich to die, Teach me half the gladness
To cease upon the midnight with no pain, That thy brain must know,
While thou art pouring forth thy soul abroad Such harmonious madness
In such an ecstasy! From my lips would flow
Still wouldst thou sing, and I have ears in vain—
The world should listen then—as I am
To thy high requiem become a sod.
listening now.
John Keats, from “Ode to a Nightingale”
Percy Shelley, from “To a Skylark”

Answer 3

The concept of "negative capability" is a fundamental tenet of Romantic poetry, embodying the poet's
ability to embrace uncertainty, mystery, and the complexities of human experience without seeking
rational explanations. It represents a willingness to dwell in the realm of ambiguity and to engage with
the ineffable aspects of existence. John Keats's "Ode to a Nightingale" and Percy Bysshe Shelley's
"To a Skylark" both exemplify this concept through their exploration of mortality, transcendence, and
the imaginative capacity of the human spirit. In "Ode to a Nightingale," Keats contemplates the
longing for easeful death and the desire to escape mortal pain, while in "To a Skylark," Shelley
celebrates the skylark's song as a source of inspiration and imaginative freedom. This essay will
compare and contrast the engagement with poetic creation, imagination, and (im)mortality in Keats's
and Shelley's works, shedding light on their distinct approaches to negative capability and its
significance in Romantic poetry.

In "Ode to a Nightingale," the speaker engages in a profound contemplation of mortality and

expresses a longing for easeful death. The speaker's poignant reflection on the fleeting nature of life
and the allure of escaping mortal pain is evident in lines such as "Now more than ever seems it rich to
die, / To cease upon the midnight with no pain." This contemplation of mortality reflects the speaker's
yearning for transcendence and escape from the burdens of human existence, embodying the essence
of negative capability as the speaker embraces the mysteries of life and death without succumbing to
rational explanations. Keats's portrayal of the speaker's longing for easeful death serves as a poignant
reflection of the human capacity to grapple with the ineffable aspects of existence, embracing the
mysteries of life and death without seeking rational or definitive answers.

In "To a Skylark," the speaker expresses a profound desire to attain the ecstatic and transcendent state
experienced by the skylark. Shelley's portrayal of the skylark as a symbol of boundless joy and
inspiration reflects the speaker's longing to partake in the bird's harmonious madness and experience
the same ecstatic freedom. The poem celebrates the skylark's song as a source of inspiration and
imaginative freedom, emphasizing the transformative power of the bird's joyous melody as it uplifts
the human spirit. Through the skylark's song, Shelley engages with poetic creation, imagination, and
(im)mortality, portraying the skylark as a transcendent figure that embodies the ineffable aspects of
existence and serves as a source of creative inspiration and imaginative freedom for the speaker and
the reader alike.

Keats's contemplative longing for escape from mortal pain contrasts with Shelley's celebration of the
skylark's ecstatic song in their approaches to poetic creation and imagination. Keats's speaker
expresses a deep yearning for easeful death, longing to cease upon the midnight without pain,
reflecting a contemplative and introspective response to mortality and transcendence. In contrast,
Shelley's speaker celebrates the skylark's joyous song as a source of inspiration and imaginative
freedom, embracing the bird's ecstatic state and channeling it into a celebration of life and creativity.
The contrast lies in Keats's introspective contemplation of mortality and Shelley's outward celebration
of the skylark's song, reflecting different approaches to poetic creation and imagination in response to
the themes of mortality and transcendence.

Keats and Shelley engage with the themes of (im)mortality in relation to negative capability by
grappling with the human capacity to embrace life's mysteries without succumbing to rational
explanations. Keats, in "Ode to a Nightingale," contemplates mortality and expresses a longing for
easeful death, reflecting a deep engagement with the ineffable aspects of existence. His contemplation
of mortality embodies negative capability as he embraces the mysteries of life and death without
seeking rational explanations. Similarly, Shelley, in "To a Skylark," celebrates the skylark's song as a
source of inspiration and imaginative freedom, engaging with (im)mortality through the bird's
transcendent joy. Both poets grapple with the human capacity to embrace life's mysteries without
succumbing to rational explanations, embodying the essence of negative capability in their poetic
works.

Question 4

● Early Romantic verse was full of reverence for the natural world: In Coleridge’s “Frost at Midnight”
(1798) the poet hailed nature as the “Great universal Teacher!” and Wordsworth in “Tables Turned”
(1798) advised humanity to “Let nature be your teacher.” For them, nature was a comforting, almost
physical presence that could raise humankind’s spirits. However, the most evident departure occurred
with the second generation of Romantic poets: They wrote with an awareness of nature’s disregard for
man’s survival. Especially after the eruption of Mount Tambora in 1815, the following period was
named the “Year without a Summer” and people experienced irregularly cold weather, failed crops,
rampant disease, and riots.
In light of the information above, describe the relationship between this bleak
conception of nature with the “last man” theme and post-apocalyptic nature imagery in
Byron’s “Darkness” and Mary Shelley’s The Last Man by providing specific references
to the texts.
The reverence for the natural world in early Romantic verse is evident in the works of poets such as
Coleridge and Wordsworth, who celebrated nature as a source of comfort and spiritual elevation. In
Coleridge's "Frost at Midnight," nature is hailed as the "Great universal Teacher," while Wordsworth,
in "Tables Turned," advises humanity to "Let nature be your teacher." However, the second
generation of Romantic poets experienced a significant shift in their perception of nature, influenced
by natural disasters such as the "Year without a Summer." This period of irregularly cold weather,
failed crops, rampant disease, and social unrest led to a bleak and indifferent conception of nature.
This shift is reflected in the works of poets like Byron and Mary Shelley, whose portrayal of nature in
"Darkness" and "The Last Man" embodies desolation and post-apocalyptic imagery. The thesis of this
essay is to explore the connection between the bleak conception of nature and the "last man" theme in
Byron's "Darkness" and Mary Shelley's "The Last Man," highlighting the impact of natural disasters
on the Romantic poets' portrayal of nature as indifferent to human survival.

The "Year without a Summer" had a profound impact on the Romantic poets' view of nature, leading
to a significant shift in their perception of the natural world. The irregularly cold weather, failed
crops, rampant disease, and social unrest that followed this climatic event influenced the poets'
perception of nature as a force indifferent to human survival. The harsh aftermath of the "Year
without a Summer" created a sense of desolation and despair, as the poets witnessed the devastating
effects of nature's unpredictability and indifference to human well-being. This led to a bleak and
indifferent conception of nature as a powerful and uncontrollable force that could disrupt and threaten
human existence, shaping the Romantic poets' portrayal of nature in their works.

In Byron's poem "Darkness," the poet portrays a post-apocalyptic world that is devoid of life and
hope. The poem depicts a bleak and desolate landscape where darkness reigns supreme, and the
absence of light symbolizes the absence of life and vitality. Byron's vivid descriptions of the sun being
extinguished, the stars fading, and the earth becoming a "chaos of ceaseless gloom" create an
atmosphere of desolation and hopelessness. Specific references to the text, such as "The bright sun
was extinguish'd, and the stars / Did wander darkling in the eternal space," emphasize the theme of the
"last man" in the face of nature's indifference. The poem conveys a sense of abandonment and
isolation, as the last remnants of humanity struggle to survive in a world that has been consumed by
darkness and despair. Byron's portrayal of nature's indifference to human existence is evident in the
overwhelming sense of futility and the absence of hope, highlighting the theme of the "last man" as a
solitary figure confronting the overwhelming forces of nature.

In Mary Shelley's novel "The Last Man," nature is portrayed as a post-apocalyptic and desolate
landscape, reflecting the aftermath of a catastrophic event that has devastated the world. The novel
presents a vivid and haunting depiction of nature's disregard for human survival, as the once-thriving
landscapes are transformed into barren and uninhabitable wastelands. Specific references to the text,
such as descriptions of abandoned cities, overgrown ruins, and lifeless forests, depict the profound
impact of nature's indifference on the world and its role in shaping the theme of the "last man." The
relentless and unforgiving natural environment serves as a powerful backdrop for the struggles of the
remaining human survivors, highlighting the theme of isolation and the inevitable demise of humanity
in the face of nature's overwhelming forces.

In both Byron's "Darkness" and Mary Shelley's "The Last Man," the post-apocalyptic nature imagery
portrays a bleak and indifferent natural world. Both works depict a desolate and lifeless landscape,
emphasizing the overwhelming power of nature and its disregard for human survival. In "Darkness,"
Byron presents a world consumed by eternal darkness, where the sun is extinguished, the stars fade,
and the earth is shrouded in ceaseless gloom. Similarly, in "The Last Man," Mary Shelley portrays
abandoned cities, overgrown ruins, and lifeless forests, creating a haunting image of a world
devastated by natural forces.

However, while "Darkness" focuses on the absence of light and the extinction of life, "The Last Man"
delves into the aftermath of a catastrophic event that has transformed the natural world into a barren
wasteland. The shared portrayal of a desolate and indifferent natural world in both works reflects the
Romantic poets' response to the unpredictability and indifference of nature in the face of human
existence.

In both Byron's "Darkness" and Mary Shelley's "The Last Man," the bleak conception of nature
influences the characters' struggle for survival and their existential crises. The overwhelming power of
nature shapes the themes of isolation, despair, and the inevitable demise of humanity in the face of
natural forces. The characters in both works grapple with the harsh reality of a world devoid of life
and hope, leading to a sense of isolation and despair as they confront the indifference of nature.
Nature's overwhelming forces contribute to the characters' existential crises, as they struggle to find
meaning and purpose in a world that has been devastated by natural disasters. The themes of isolation
and despair are pervasive, reflecting the characters' futile attempts to defy the inevitable demise of
humanity in the face of indifferent natural forces.
Question 5

● Poetry, in a general sense, may be defined to be "the expression of the Imagination:" and Poetry is
connate with the origin of man. Man is an instrument over which a series of external and internal
impressions are driven, like the alternations of an ever-changing wind over an Æolian lyre; which
move it, by their motion, to ever-changing melody. But there is a principle within the human being, and
perhaps within all sentient beings, which acts otherwise than in the lyre, and produces not melody
alone, but harmony, by an internal adjustment of the sounds or motions thus excited to the impressions
which excite them. (from “A Defence of Poetry” by Percy Shelley)

How do Percy Shelley's concept of poetry as "the expression of the Imagination" and his
analogy of man as an instrument, responsive to external and internal impressions,
compare with Samuel Taylor Coleridge's use of the image of the Eolian Harp in his
poem (“The Eolian Harp”)? In what ways do these two Romantic poets explore the
influence of external and internal forces on the human experience and the creative
process, and how do their perspectives diverge in terms of the role of an internal
principle in producing harmony?

Introduction:

Percy Shelley's concept of poetry as the expression of the Imagination and his analogy of man as an
instrument responsive to external and internal impressions reflect his belief in the profound
connection between human creativity and the influence of the surrounding world. In "A Defence of
Poetry," Shelley defines poetry as "the expression of the Imagination" and compares man to an
instrument over which external and internal impressions are driven, shaping the ever-changing
melody of human experience.

Similarly, Samuel Taylor Coleridge's use of the image of the Eolian Harp in his poem "The Eolian
Harp" serves as a metaphor for the influence of external and internal forces on human experience and
the creative process. The Eolian Harp, an instrument played by the wind, symbolizes the
interconnectedness between nature and human perception, highlighting the impact of external stimuli
on human consciousness and creativity.

Thesis Statement:

The comparison and divergence between Shelley and Coleridge's perspectives on the role of external
and internal forces in shaping human experience and creativity reveal their shared emphasis on the
interplay between external impressions and internal creative impulses, as well as their differing views
on the role of an internal principle in producing harmony.
Percy Shelley's view of poetry as the expression of the Imagination emphasizes the role of human
creativity and the influence of external and internal impressions on the creative process. In "A
Defence of Poetry," Shelley presents poetry as the embodiment of the human Imagination, portraying
it as a powerful force that shapes and transforms human experience. He highlights the profound
impact of external and internal impressions on the creative process, suggesting that poetry is a
response to the ever-changing stimuli that shape human consciousness.

Shelley's analogy of man as an instrument responsive to external and internal impressions underscores
his belief in the harmonious interplay between external stimuli and internal creative impulses. He
compares man to an instrument over which a series of external and internal impressions are driven,
like the alternations of an ever-changing wind over an Æolian lyre. This analogy suggests that human
creativity is responsive to the influences of the surrounding world, and that the alternations of external
and internal impressions evoke an ever-changing melody of human experience. Shelley's belief in the
harmonious interplay between external stimuli and internal creative impulses reflects his conviction
that poetry is a product of the dynamic relationship between the human mind and the world around it,
resulting in a continuous interplay of creative expression.

In Samuel Taylor Coleridge's poem "The Eolian Harp," the Eolian harp serves as a symbol of nature's
influence on human perception and creativity. The Eolian harp, an instrument played by the wind,
represents the interconnectedness between nature and human consciousness. Coleridge's portrayal of
the Eolian harp reflects the influence of external forces, such as the wind, on human experience and
creativity. The poem explores the idea that nature's presence and movements evoke an emotional and
creative response in the human mind, emphasizing the profound impact of external stimuli on human
perception and artistic expression.

Coleridge's portrayal of the Eolian harp aligns with Shelley's perspective in that both poets emphasize
the responsiveness of human creativity to external influences. They both recognize the transformative
power of nature and its ability to inspire the human Imagination. However, Coleridge's focus on the
Eolian harp as a symbol of nature's influence on human perception and creativity differs from
Shelley's analogy of man as an instrument. While Shelley's analogy emphasizes the harmonious
interplay between external stimuli and internal creative impulses, Coleridge's portrayal of the Eolian
harp highlights the direct impact of nature on human consciousness and artistic expression. Both
perspectives underscore the profound connection between human creativity and the surrounding
world, albeit with different emphases.

Both Shelley and Coleridge explore the influence of external and internal forces on human experience
and the creative process, emphasizing the responsive nature of human perception and creativity. They
share a common emphasis on the transformative power of external stimuli and the interconnectedness
between human consciousness and the surrounding world.

Shelley's concept of poetry as the expression of the Imagination and his analogy of man as an
instrument responsive to external and internal impressions highlight the dynamic relationship between
external stimuli and internal creative impulses. Similarly, Coleridge's portrayal of the Eolian harp as a
symbol of nature's influence on human perception and creativity underscores the profound impact of
external forces on human consciousness and artistic expression.
Both poets recognize the responsiveness of human perception and creativity to external influences,
acknowledging that the surrounding world shapes and inspires human thought and artistic creation.
However, their approaches differ in the specific imagery and metaphors they use to convey this idea.
While Shelley's analogy emphasizes the harmonious interplay between external stimuli and internal
creative impulses, Coleridge's focus on the Eolian harp highlights the direct impact of nature on
human consciousness and artistic expression.

Shelley and Coleridge's perspectives diverge in terms of the role of an internal principle in producing
harmony, drawing upon their respective views on the interplay between external stimuli and internal
creative impulses.

Shelley's perspective emphasizes the harmonious interplay between external and internal impressions,
suggesting that the internal creative impulses of the human mind produce harmony through an internal
adjustment of the sounds or motions excited by external impressions. He highlights the role of the
human Imagination as the internal principle that harmonizes and transforms external stimuli into
creative expression, emphasizing the creative agency of the human mind in shaping harmony.

On the other hand, Coleridge's perspective, as reflected in his portrayal of the Eolian harp, focuses on
the direct impact of external forces, particularly nature, on human perception and creativity. While he
acknowledges the influence of internal creative impulses, Coleridge's emphasis is on the external
stimuli and their ability to evoke emotional and creative responses in the human mind. His perspective
suggests that harmony is produced through the interaction between external forces and human
consciousness, with less emphasis on the internal creative principle as the primary source of harmony.