![](/files/05/79/44/f057944/public/442bb055992def8db2ce8ec42148348a.gif) | and Samuel Taylor Coleridge, 346, 349, 384;
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![](/files/05/79/44/f057944/public/442bb055992def8db2ce8ec42148348a.gif) | critical reception of, 147, 382;
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![](/files/05/79/44/f057944/public/442bb055992def8db2ce8ec42148348a.gif) | and the Byronic hero, 382, 400;
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![](/files/05/79/44/f057944/public/442bb055992def8db2ce8ec42148348a.gif) | and the dramatic monologue, 378;
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![](/files/05/79/44/f057944/public/442bb055992def8db2ce8ec42148348a.gif) | and dream poetry, 365-367;
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![](/files/05/79/44/f057944/public/442bb055992def8db2ce8ec42148348a.gif) | and the French Revolution, 388;
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![](/files/05/79/44/f057944/public/442bb055992def8db2ce8ec42148348a.gif) | influence of, 377, 536;
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![](/files/05/79/44/f057944/public/442bb055992def8db2ce8ec42148348a.gif) | influences on, 117-118, 401;
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![](/files/05/79/44/f057944/public/442bb055992def8db2ce8ec42148348a.gif) | and John Keats, 381, 385, 398;
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![](/files/05/79/44/f057944/public/442bb055992def8db2ce8ec42148348a.gif) | on poetry, 384-385;
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![](/files/05/79/44/f057944/public/442bb055992def8db2ce8ec42148348a.gif) | political poetry of, 392-395;
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![](/files/05/79/44/f057944/public/442bb055992def8db2ce8ec42148348a.gif) | on Alexander Pope, 384- 385;
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![](/files/05/79/44/f057944/public/442bb055992def8db2ce8ec42148348a.gif) | and Romanticism, 363-367, 369-375, 377-378, 387;
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