Chapter 5 addresses poetic representations of embodied perception including disturbed or inhibited sight, compensatory sensibility, and the interplay between the nerves and the senses in the construction of knowledge and experience. The models of embodied perception offered here correspond with a preoccupation with the limits of knowledge in contrast to the camera obscura model explored in Chapter 4. The first section of the chapter outlines a mid-century emphasis on the body’s role in individual perception by exploring descriptions of sight in topographical poetry by Thomas Gray, James Thomson, and Mark Akenside, together with accounts of sensory description in the work of the blind poet Thomas Blacklock. The subsequent section addresses models of spiritual perception and embodiment in Edward Young’s Night Thoughts and the religious poetry of William Blake. The second half of the chapter introduces the impact of Hartleian associationism and eighteenth-century accounts of the nerves and sensation. Finally, poetic examples from Akenside to Coleridge demonstrate the emergence of the Aeolian harp as an analogy for imaginative creation and sensory engagement.