Coleridge's Romantic ImaginationThe concept of the romantic imagination is subject to varied interpretations due to the varied and changing perceptions of Romantic artists. There are several ways to view the concept of romantic imagination in the poetry of Samuel Taylor Coleridge. This difference in perception results from the reader's personal interpretation of the subject, which varies from one person to another. Therefore, this analytical discussion will be based on my own personal interpretation of Coleridge's romantic imagination. This personal interpretation of the Romantic imagination will be revealed through an analysis of Coleridge's state of mind in his interactions with nature. Throughout Coleridge's poetry, the theme of nature acts as a vehicle through which the poet's romantic imagination can be interpreted. Coleridge's states of mind through these interactions are based on his own perception of the world around him and therefore can be considered his romantic imagination. Thus, the romantic imagination explored through interaction with nature can be seen as a part of the poet that is individualistic and is not influenced by others, but reflects the poet's own state of mind. Coleridge's romantic imagination can be understood in a unique way if we look at how nature influences the poet's state of mind. There are three aspects of nature that help us understand Coleridge's state of mind, and therefore the concept of the Romantic imagination. First, by understanding that the diversity of nature stimulates Coleridge's individuality, one can easily perceive that the individualistic mindset results from interaction with nature...... middle of paper .... .. My prison. " Customized English 101-N2 course. Ed. M van Woudenberg. Edmonton: University of Alberta, 2000. 4-6. Coleridge, Samuel Taylor. "Frost at Midnight." Customized English 101-N2 courseware. Ed. M van Woudenberg. Edmonton: University of Alberta, 2000. 7-9. “Dejection: An Ode.” Co., 1998. 157. Hazlitt, William. Quoted in Bromich, David, “A note on the Romantic Self,” Raritan, Spring 95, Vol. 14 Issue 4, p66, cited in Leon Rosenthal. , “Romantic Painting: Essay on the evolution of French painting from 1815 to 1830” (Paris: LH May, 1900), 97. Quoted in Athanassoglou-Kallmyer, Nina, “Romanticism: Breaking the canon.”, Art Journal, Summer93, Vol. 52 Number 2, p.18.