In romantic literature, a work has organic form if the structure has originated from the materials and subjects used by the author.
2 of Twentieth Century Literature in English In R.A. Foake’s Introduction to "Coleridge’s criticism of Shakespeare: a selection", he defines Coleridge’s defense of Shakespeare’s works as ‘’an act of sympathetic imagination, to enter into the spirit of each work, to reveal its inner organizing principle, and to show how Shakespeare, properly understood, was always in control and exercising judgement.’’[6] Regarding Shakespeare’s much criticized erratic form, Coleridge further imposed the possibilities of organic form: Following on from Coleridge’s 18th-century ideas on organic form, was Gerard Manley Hopkins, one of the most revered poets of the Victorian era[7] Hopkins introduced the terms “inscape” and “instress”.
Avenues were carefully sought and deliberated upon to create the ‘right words, the right image, the right arrangement of the lines on the page’.
[9] Many artists of organic form believed that a reader or audience were not immediately, if ever, considered during the construction of a poem or piece.
[10] Bruce Matthews suggests that, insofar as Schelling understands life according to a schema of freedom of thinking, representations are not absolutely different, and subjects and objects are grounded in an identity that links them together.