Coleridge and His Supernaturalism
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Samuel Taylor Coleridge John Spalding Gatton University of Kentucky
The Kentucky Review Volume 4 Number 1 This issue is devoted to a catalog of an Article 6 exhibition from the W. Hugh Peal Collection in the University of Kentucky Libraries. 1982 Catalog of the Peal Exhibition: Samuel Taylor Coleridge John Spalding Gatton University of Kentucky Follow this and additional works at: https://uknowledge.uky.edu/kentucky-review Part of the English Language and Literature Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Gatton, John Spalding (1982) "Catalog of the Peal Exhibition: Samuel Taylor Coleridge," The Kentucky Review: Vol. 4 : No. 1 , Article 6. Available at: https://uknowledge.uky.edu/kentucky-review/vol4/iss1/6 This Article is brought to you for free and open access by the University of Kentucky Libraries at UKnowledge. It has been accepted for inclusion in The Kentucky Review by an authorized editor of UKnowledge. For more information, please contact [email protected]. Samuel Taylor Coleridge Gc car un1 To brc de~ In Wordsworth's judgment, Samuel Taylor Coleridge (1772-1834) was "the most wonderful man" he ever met. Endowed with one of So1 the most brilliant and complex minds of his day, he would, like bUJ Chaucer's parson, "gladly .. learn, and gladly teach." If he an< squandered a wealth of thought in correspondence and wh conversation, and left unfinished or merely projected major poems, Rh lectures, and systematic expositions of his philosophical tenets, his pre critical theories, and his theology, he nevertheless produced a vast So1 and impressive array of poetry, prose, and criticism. -
Coleridge's Imperfect Circles
Coleridge’s Imperfect Circles Patrick Biggs A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature Victoria University of Wellington 2012 2 Contents Abstract 3 Acknowledgements 4 Note on Abbreviations 5 Introduction 6 The Eolian Harp 16 This Lime-Tree Bower My Prison 37 Frost at Midnight 60 Conclusion 83 Bibliography 91 3 Abstract This thesis takes as its starting point Coleridge’s assertion that “[t]he common end of all . Poems is . to make those events which in real or imagined History move in a strait [sic] Line, assume to our Understandings a circular motion” (CL 4: 545). Coleridge’s so-called “Conversation” poems seem to conform most conspicuously to this aesthetic theory, structured as they are to return to their starting points at their conclusions. The assumption, however, that this comforting circular structure is commensurate with the sense of these poems can be questioned, for the conclusions of the “Conversation” poems are rarely, if ever, reassuring. The formal circularity of these poems is frequently achieved more by persuasive rhetoric than by any cohesion of elements. The circular structure encourages the reader’s expectations of unity and synthesis, but ultimately these expectations are disappointed, and instead the reader is surprised by an ending more troubling than the rhetoric of return and reassurance would suggest. Taking three “Conversation” poems as case studies (“The Eolian Harp,” “This Lime-Tree Bower My Prison,” and “Frost at Midnight”), this thesis attempts to explicate those tensions which exist in the “Conversation” poems between form and effect, between structure and sense. -
Imaginative Transference in Coleridge's Poetry
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1984 Imaginative Transference in Coleridge's Poetry Kevin Coakley-Welch College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the English Language and Literature Commons Recommended Citation Coakley-Welch, Kevin, "Imaginative Transference in Coleridge's Poetry" (1984). Dissertations, Theses, and Masters Projects. Paper 1539625263. https://dx.doi.org/doi:10.21220/s2-nt8g-yn85 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. IMAGINATIVE TRANSFERENCE il IN COLERIDGE’S POETRY A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts fey Kevin Coakley-Welch 1984 APPROVAL SHEET This thesis is submitted in partial fulfillment the requirements for the degree of Master of Arts Author Approved, June 1980 vatu. < < . c . u r Nathaniel Y. Elliott Wayne ¥/. Glausser / ■/ Terry Meyers 7 ABSTRACT The purpose of this thesis is to trace the use of a poetic technique labeled "imaginative transference” in a series of poems written by Samuel Taylor Coleridge. Imaginative transference is identified as that process through which Coleridge, appearing as a character in each of the poems, transfers emotions or perceptions from himself to another chosen character in the same poem. -
Wordsworth and France
LITTERARIA PRAGENSIA Studies in Literature and Culture Vol. 27, No. 54 2017 WORDSWORTH AND FRANCE Edited by David Duff, Marc Porée and Martin Procházka LITTERARIA PRAGENSIA Studies in Literature and Culture Department of Anglophone Literatures and Cultures, Faculty of Arts, Charles University, Prague, Czech Republic EDITORS Martin Procházka (Chief Editor), Zdeněk Hrbata, Ondřej Pilný, Louis Armand EDITORIAL BOARD Jan Čermák (Charles University, Prague), Milan Exner (Technical University, Liberec), Anna Housková (Charles University, Prague), Andrew J. Mitchell (Emory University, Atlanta), Jiří Pelán (Charles University, Prague), Miroslav Petříček (Charles University, Prague), Sam Slote (Trinity College, Dublin), Jiří Stromšík (Charles University, Prague), Clare Wallace (Charles University, Prague) ADVISORY BOARD Ellen Berry (Bowling Green State University, Bowling Green, Ohio), Christoph Bode (Ludwig-Maximilian-Universität München), Arthur Bradley (University of Lancaster), Rui Carvalho Homem (University of Porto), Francis Claudon (Université Paris VII), Charles Crow (Emeritus, Bowling Green State University, Bowling Green, Ohio), Malcolm Kelsall (Emeritus, University of Wales, Cardiff), Mária Kurdi (University of Pécs), Randolph Starn (Emeritus, University of California at Berkeley), Timothy Webb (Emeritus, University of Bristol) Executive Editor Ondřej Pilný Editorial Assistant Petra Johana Poncarová Cover Design lazarus Litteraria Pragensia, Ústav anglofonních literatur a kultur, FFUK, Nám. J. Palacha 2, 116 38 Praha 1, Czech Republic. e-mail: [email protected] http://litteraria-pragensia.ff.cuni.cz Published twice a year, numbered continuously. Printed by HRG, s.r.o., Litomyšl. Subscription orders to Myris Trade Ltd., P.O. Box 2, V Štíhlách 1311, 142 01 Prague, Czech Republic, ph: +420-234035200, fax: +420-234035207, [email protected], or directly to the editors. -
Mighty Poets: Hartley Coleridge and William Wordsworth
Mighty Poets: Hartley Coleridge and William Wordsworth Joanna E. Taylor, Lancaster University [email protected] History Department, Bowland Main, Lancaster University, LA1 4YW. “[H]e is a man of inimitable Power,” William Wordsworth wrote to Edward Moxon in June 1839.1 A few months later, on February 21 1840, he explained: “I admire his Genius and talents far more than I could find words to express” (Hill V.1005). The subject of these letters was Hartley Coleridge and they portray a relationship with Wordsworth that has remained obscured behind more familiar accounts that characterise Hartley, in Wordsworth’s words, as “a bairn that needed managing to the end.”2 In fact, Hartley and Wordsworth were mutually admiring as well as critical of each other’s life and work: their relationship was both more complex and more significant than has previously been acknowledged. My most straightforward claim here is that to overlook the complexities of Hartley’s and Wordsworth’s personal and poetic relationships does both authors a significant disservice. Rejecting Hartley as little more than a drunken, tragic failure overcome by the burdens of his literary inheritance is to obscure someone considered by his contemporaries one of the finest poets of his generation. In turn, Hartley’s poems to Wordsworth offer a valuable record of the poetic authority Wordsworth enjoyed in his later years. For Hartley, this power seemed to retrospectively age Wordsworth, so that the famous poems from Wordsworth’s youth seemed to have been written by someone prematurely old; Hartley claimed to his mother that he could not 1 William Wordsworth, The Letters of William and Dorothy Wordsworth, vols V-VI, edited by Alan G. -
A Study of Coleridge's "Dejection: an Ode"
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1958 A Study of Coleridge's "Dejection: An Ode" William. Shurr Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Shurr, William., "A Study of Coleridge's "Dejection: An Ode"" (1958). Master's Theses. 1696. https://ecommons.luc.edu/luc_theses/1696 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1958 William. Shurr A STUDY OF COLERIDGE'S "DEJECfIOll. AN ODE" William Boward Shl1.rr, S.J. A Thesis Submitted to the Jaculty of the Graduate School of Loyola University in Partial Fulfilment of the Requirements for the Degree of Master of Arts August 1958 LIrE William Boward Shurr, S.J., was born in Evanston, Illinois, on August 29, 19,2. After graduating from Loyola AcadelllT, Chicago, in June, 1950, he entered the Society ot Jesus at Saored Heart lontiate, tiltord, Ohio, on September 2, 1950. '!'he degree of Bachelor of Arts was oonferred on him by Loyola Un! versi ty, Chicago, in June, 1955. Since then, graduate studies in English have been pursued at West Baden College, West laden Springs, Indiana, at Loyola Un! versit)", Chioago; and at St. Louis University, st. -
The Cambridge Companion to Coleridge
The Cambridge Companion to Coleridge Samuel Taylor Coleridge is one of the most influential, as well as one of the most enigmatic, of all Romantic figures. The possessor of a precocious talent, he dazzled contemporaries with his poetry, journalism, philosophy and oratory without ever quite living up to his early promise, or overcoming problems of dependency and drug addiction. The Cambridge Companion to Coleridge does full justice to the many facets of Coleridge’s life, thought and writing. Specially commissioned essays focus on his major poems, including ‘The Rime of the Ancient Mariner’ and ‘Christabel’, his Notebooks, and his major work of non-fiction, the Biographia Literaria. Attention is given to his role as talker, journalist, critic and philosopher; to his politics, his religion, and his reputation in his own times and afterwards. A chronology and guides to further reading complete the volume, making this an indispensable guide to Coleridge and his work. lucy newlyn is Fellow and Tutor in English at St Edmund Hall, Oxford. She is an authority on Coleridge and Wordsworth, and has published exten- sively on English Romanticism. Her publications include Coleridge, Words- worth and the Language of Allusion (1986), ‘Paradise Lost’ and the Romantic Reader (1993), and Reading, Writing and Romanticism: The Anxiety of Reception (2000), all with Oxford University Press. Cambridge Companions Online © Cambridge University Press, 2006 Cambridge Companions Online © Cambridge University Press, 2006 CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Greek Tragedy The Cambridge Companion to the Classic edited by P. E. Easterling Russian Novel The Cambridge Companion to Old English edited by Malcolm V. -
William Wordsworth 1770-1850
http://www.englishworld2011.info/ 243 WILLIAM WORDSWORTH 1770-1850 William Wordsworth was born in Cockermouth in West Cumberland, just on the northern fringe of the English Lake District. When his mother died, the eight-year- old boy was sent to school at Hawkshead, near Esthwaite Lake, in the heart of that sparsely populated region that he and Coleridge were to transform into one of the poetic centers of England. William and his three brothers boarded in the cottage of Ann Tyson, who gave the boys simple comfort, ample affection, and freedom to roam the countryside at will. A vigorous, unruly, and sometimes moody boy, William spent his free days and occasionally "half the night" in the sports and rambles described in the first two books of The Prelude, "drinking in" (to use one of his favorite metaphors) the natural sights and sounds, and getting to know the cottagers, shepherds, and solitary wanderers who moved through his imagination into his later poetry. He also found time to read voraciously in the books owned by his young headmaster, William Taylor, who encouraged him in his inclination to poetry. John Wordsworth, the poet's father, died suddenly when William was thirteen, leaving to his five children mainly the substantial sum owed him by Lord Lonsdale, whom he had served as attorney and as steward of the huge Lonsdale estate. This harsh nobleman had yet to pay the debt when he died in 1802. Wordsworth was nevertheless able in 1787 to enter St. John's College, Cambridge University, where four years later he took his degree without distinction. -
The Structural Truth in Coleridge's Conversation Poems
The Structural Truth in Coleridge's Conversation Poems Chunghsuan Tung Intergrams 3.2(2001): http://benz.nchu.edu.tw/~intergrams/intergrams/ 032/032tung.htm Abstract The conversation piece/poem is relaxed and informal in tone, but serious in subject matter. It is a pseudoconversation. Actually, it is the poetspeaker's soliloquy aiming to tell some philosophical truth through a particular structure. Coleridge is the most successful practitioner of the genre. Analysis of his eight or so conversation poems easily reveals the fact that such poems have a "tripartite rondo structure" or sandwich structure, with descriptionmeditationdescription or naturemannature or detail truthdetail as their basic pattern of ingredients. In fact, such a structure is to intensify the Romantic theme of one life in the universe and the Romantic belief in the beneficial influence of nature on man. Such a structural truth best exemplifies the slogan of "The form is the content" or "Structure is truth, truth structure." Key phrases: 1. conversation poems 2. tripartite rondo structure 3. sandwich structure 4. onelife theme 5. structural truth In Princeton Encyclopedia of Poetry and Poetics, the entry of "conversation pieces" carries this information: The c. piece or poem is relaxed and informal, but serious. Like Horace's epistles and satires, from which it probably springs, it is a genre intermediate between poetry and prosepropriora sermoni, which in Coleridge's case Charles Lamb translated as "properer for a sermon." Not uncommon in the latter part of the 18th c., the c. poem is peculiarly a favorite with Wordsworth and Coleridge, doubtless because of its unique combination of unpretentiousness and depth, attributes given it by Cowper. -
Kubla Khan Study Guide
Kubla Khan Study Guide © 2017 eNotes.com, Inc. or its Licensors. ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. Summary: The Poem “Kubla Khan,” one of the most famous and most analyzed English poems, is a fifty-four-line lyric in three verse paragraphs. In the opening paragraph, the title character decrees that a “stately pleasure-dome” be built in Xanadu. Although numerous commentators have striven to find sources for the place names used here by Samuel Taylor Coleridge, there is no critical consensus about the origins or meanings of these names. The real-life Kubla Khan, a thirteenth century Mongolian general and statesman who conquered and unified China, lived in an elaborate residence known as K’ai-p’ing, or Shang-tu, in southeastern Mongolia. Coleridge’s Kubla has his palace constructed where Alph, “the sacred river,” begins its journey to the sea. The construction of the palace on “twice five miles of fertile ground” is described. It is surrounded by walls and towers within which are ancient forests and ornate gardens “bright with sinuous rills.” Xanadu is described more romantically in the second stanza. It becomes “A savage place! as holy and enchanted/ As e’er beneath a waning moon was haunted/ By woman wailing for her demon-lover!” It is inhabited not by Kubla’s family and followers, but by images from Coleridge’s imagination. -
The Cambridge Introduction to William Wordsworth
Chapter 1 Life Education and politics 3 Coleridge 7 Home at Grasmere 9 Friendship and love 11 Tory humanist? 16 Poet Laureate 19 A longing for the company of others shaped Wordsworth’s life, one he met by forming a number of intense relationships. These relationships unfolded with friends, most notably the poet Samuel Taylor Coleridge; lovers, specifi- cally Annette Vallon and Mary Hutchinson; and siblings, particularly Dorothy and John (he was not so intimate with his other two brothers, Richard and Christopher). Born in the Lake District in 1770, Wordsworth’s early life was marked by a dependency on Dorothy, to whom he was especially devoted in the absence of his father, who often worked away from home. He was also close to his mother, a figure whom he recalled as a moral and upright influence, bal- ancing his ‘moody and violent’ temperament: I remember also telling her on one week day that I had been at church, for our school stood in the churchyard, and we had frequent opportunities of seeing what was going on there. The occasion was, a woman doing penance in the church in a white sheet. My mother commended my having been present, expressing a hope that I should remember the circumstance for the rest of my life. ‘But’, said I, ‘Mama, they did not give me a penny, as I had been told they would’. ‘Oh’, said she, recanting her praises, ‘if that was your motive, you were very properly disappointed’. (PW, III.371–2) Wordsworth’s cynicism deepened when his mother died of pneumonia in 1778, and Dorothy was sent to live with his mother’s cousin, Elizabeth Threlkeld, in Halifax. -
William Wordsworth in Context
WILLIAM WORDSWORTH IN CONTEXT William Wordsworth’s poetry responded to the enormous literary, political, cultural, technological and social changes that the poet lived through during his lifetime (1770‒1850), and to his own transforma- tion from young radical inspired by the French Revolution to Poet Laureate and supporter of the establishment. The poet of the ‘ego- tistical sublime’ who wrote the pioneering autobiographical master- piece, The Prelude, and whose work is remarkable for its investigation of personal impressions, memories and experiences, is also the poet who is critically engaged with the cultural and political developments of his era. William Wordsworth in Context presents thirty-five concise chapters on contexts crucial for an understanding and appreciation of this leading Romantic poet. It focuses on his life, circle and poetic composition; on his reception and influence; on the significance of late eighteenth- and early nineteenth-century literary contexts; and on the historical, political, scientific and philosophical issues that helped to shape Wordsworth’s poetry and prose. andrew bennett is Professor of English and Director of the Centre for Romantic and Victorian Studies at the University of Bristol. HispublicationsincludeRomantic Poets and the Culture of Posterity (Cambridge, 1999), Wordsworth Writing (Cambridge, 2007), Ignorance: Literature and Agnoiology (2009) and, with Nicholas Royle, An Introduction to Literature, Criticism and Theory (4th edn, 2009)andThis Thing Called Literature: Reading, Thinking, Writing (2015). WILLIAM WORDSWORTH IN CONTEXT edited by ANDREW BENNETT University Printing House, Cambridge CB28BS, United Kingdom Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence.