DOCSLIB.ORG

The Eternal Recurrence: Coleridge and the "Echo Or Mirror Seeking of Itself"

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Eternal Recurrence: Coleridge and the Return to the Eternal Recurrence: Coleridge and the "Echo or Mirror Seeking of Itself" Item Type text; Electronic Dissertation Authors Reddy, Pavan Kumar Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 19:29:14 Link to Item http://hdl.handle.net/10150/612127 1 RETURN TO THE ETERNAL RECURRENCE: Coleridge and the “Echo or Mirror Seeking of Itself” by Pavan Kumar Reddy __________________________ Copyright © Pavan Kumar Reddy 2016 A Dissertation Submitted to the Faculty of the DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2016 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Pavan Kumar Reddy, titled “Return to the Eternal Recurrence: Coleridge and the ‘Echo or Mirror Seeking of Itself’” and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. Charles E. Sherry__________________________________________________Date: 4/14/2016 Suresh Raval______________________________________________________Date: 4/14/2016 Meg Lota Brown___________________________________________________Date: 4/14/2016 Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. Dissertation Director: Charles E. Sherry________________________________Date: 4/14/2016 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Pavan Kumar Reddy 4 DEDICATION To my father, T. Shantikar Reddy, the best man I have known. And to my mother, Laura Reddy, love and gratitude. 5 TABLE OF CONTENTS ABSTRACT……………………………………………………………………………………….8 INTRODUCTION……………………………………………………………………………….11 CHAPTER 1: FRACTALS OF MIND…………………………………………………………..37 1. Coleridge and the Intellectual Climate….…………………………………………….39 2. Fruit and Kernel of Coleridge’s Organicism………………………………………….46 2.1 Multeity and Unity…………………………………………………………...52 2.2 Life: Teleology and God’s Blueprint in Nature……………………………...58 2.3 Evolution: Biological and Spiritual………………………………………….62 2.4 Humankind as the Emerging Image of God…………………………………67 3. The Artistry of Organicism…………………………………………………………....72 CHAPTER 2: SPIRIT IN THE MIND…………………………………………………………..82 1. Spinoza and the Allure of Pantheism………………………………………………….83 2. Faith, Reason, and the Christian Doctrine…………………………………………….89 3. Mind Creates its Reality……………………………………………………………….93 3.1 Reason and Faith……………………………………………………………..96 3.2 Matter: The Modification of Intelligence…………………………………..100 3.3 Subject and Object: Spiritual Unity in Multeity……………………………107 4. God’s Will and Individual Free Will………………………………………………...111 6 5. Bildung and Logos…………………………………………………………………...115 6. Aesthetic Education………………………………………………………………….118 6.1 Love, Beauty, Freedom in Art……………………………………………...122 CHAPTER 3: IMAGINATION AND THE “SELF”-CREATING “I AM”……………………126 1. Coleridge’s Theory of Imagination in Context………………………………………128 2. Primary Imagination and the Foundation of (Self-) Consciousness…………………131 3. Secondary Imagination and the Contemplation of Self-Consciousness……………..138 4. The Organic Nature of Poetic Imagination…………………………………………..140 5. Art, Nature, and Truth………………………..………………………..……………..142 5.1 The Symbol………………………..………………………..………………144 5.2 Organicism of Art………………………..………………………..………..149 6. Analogy Between Poet and God………………………..………………………..…..154 CHAPTER 4: INTIMATIONS OF DIVINITY………………………………………………...162 1. “The Eolian Harp” …..………………………..…………..…………………………164 2. LOVE: Will to Separation and Oneness…..………………………..…………..……174 2.1 Love as Will and Intention in Creation…..………………………..………..176 2.2 Individuality in and through Multeity…..………………………..…………178 2.3 Oppositions and Dichotomies: Centripetal and Centrifugal Forces of Love.182 3. Creation, Freedom, and the Ascent of Being…..………………………..…………...186 3.1 Reunion and the Synthesizing Power of Imagination…..…………………..186 3.2 Creation and Evolution…..………………………..…………..……………191 7 CHAPTER 5: CORRESPONDENCES OF THE SELF-SEEKING SPIRIT…………………..198 1. “This Lime-Tree Bower My Prison” ………………………………………………..200 2. “Frost at Midnight” ………………………………………………………………….205 CHAPTER 6: BEING AND THE “CO-ETERNAL INTER-CIRCULATION OF DEITY”…..235 1. “The Rime of the Ancient Mariner” ………………………………………………...238 1.1 Lessons of Love…………………………………………………………….245 1.2 Pagan-Christian Synthesis………………………………………………….250 2. Spirit’s Journey………………………………………………………………………254 2.1 Synthesis of Linear and Circular Time……………………………………..258 2.2 Humankind’s Destiny………………………………………………………259 3. Being and Becoming in the Eternal Recurrence of Time in Eternity………………..263 3.1 Time and Eternity…………………………………………………………..263 3.2 Cycles and Repetitions of the Primal Hierophany………………………….265 3.3 Archetypes and Rituals of the Eternal Return………………………………269 3.4 The Mariner’s Transgression……………………………………………….274 3.5 Being and Becoming: Eternity in Time…………………………………….277 CONCLUSION…………………………………………………………………………………287 ABBREVIATIONS ……………………………………………………………………………298 WORKS CITED………………………………………………………………………………..300 8 ABSTRACT “Return to the Eternal Recurrence: Coleridge and the ‘Echo or Mirror Seeking of Itself’” demonstrates how Samuel Taylor Coleridge provides a unique vision of reality in which all entities, processes, and creations are symbiotic parts of a single, all-encompassing world-soul whose existence and growth are rooted in the gradual expression of an innate spiritual power and intention. Following a divine blueprint, life is the germinating expression of God’s imagination, and evolution the progressive emergence of God’s image in creation effectuated through the human mind. Coleridge illustrates how, by utilizing the divine power of imagination, he is able to decipher the images from the material world as characters of God’s symbolic language of self- revelation; subsequently, through the divine “attribute” of reason, he is able to transform them into a corresponding symbolic language of poetry intimating God’s ideas to other minds. He realizes that his creativity is a finite repetition of God’s infinite act of creation in which “spirit,” God’s living and growing power of consciousness implanted in creation, beholds itself in its myriad self-reflections. This project synthesizes and builds upon the theories of the major European Romantics, Idealists, and modern critics to establish a comprehensive explanation of Coleridge’s intricate and evolving philosophical ideas concerning the individual’s organic kinship with God and the role of art and creativity in revealing this kinship. I illustrate not only how the theory of organicism forms the foundation of the complex, reciprocal relationship between artistic expression and self-awareness, but also how there is an organic interrelationship between the individual’s developing self-consciousness and spirit’s growing awareness of its cosmic totality. Coleridge, I argue, self-consciously embodies this process in his life and works. He progressively attains a greater understanding of his developing self-consciousness and intellectual powers 9 through his meditative writings. He becomes cognizant that the process by which he develops his theories on poetry, art, and life is simultaneously a process of self-discovery. This activity mirrors a universal development of spirit in humankind coming to a greater awareness of itself throughout history as propounded by Immanuel Kant, G.W.F. Hegel, F.W.J. Schelling, among others, and Coleridge himself. Hence, Coleridge’s growing self-awareness contributes to while it is simultaneous subsumed within universal spirit’s progress and self-revelation. Coleridge’s writings, I conclude, reveal that the macrocosmic and microcosmic processes are organically interrelated, interdependent, and symbiotic. Coleridge develops and defines his unique individuality as a philosopher-poet while attempting to reconcile his Christian faith with Spinoza’s pantheism. By revealing how his mind serves as an intellectual channel connecting European philosophy to British Romantic thought, chapters one and two demonstrate how Coleridge is a synthesizing, organic thinker attempting to establish his own “system” that brings “all knowledges into harmony.” This synthesizing activity follows a spiritual mandate as well. I illustrate how Coleridge, following Schelling, contends that all the human senses and faculties, the mind’s constitution, and our resulting understanding of reality are precisely what they ought to be based on God’s structuring
Load more

Recommended publications
  • Coleridge Family
    Coleridge Family: An Inventory of Their Literary File Photography Collection at the Harry Ransom Center Descriptive Summary Creator: Coleridge Family Title: Coleridge Family Literary File Photography Collection Dates: undated Extent: 32 items Abstract: Thirty-two photographs that are primarily portraits of members of the Coleridge family, which includes the Romantic poet, Samuel Taylor Coleridge (British, 1772-1834). Call Number: Photography Collection PH-02899 Language: English Access: Open for research. To make an appointment or to reserve photography materials, please email Visual Materials Reference staff. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility. Restrictions on Authorization for publication is given on behalf of the University of Use: Texas as the owner of the collection and is not intended to include or imply permission of the copyright holder which must be obtained by the researcher. For more information please see the Ransom Center's Open Access and Use Policies.
    [Show full text]
  • Towards a Poetics of Becoming: Samuel Taylor Coleridge's and John Keats's Aesthetics Between Idealism and Deconstruction
    Towards a Poetics of Becoming: Samuel Taylor Coleridge’s and John Keats’s Aesthetics Between Idealism and Deconstruction Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät IV (Sprach- und Literaturwissenschaften) der Universität Regensburg eingereicht von Charles NGIEWIH TEKE Alfons-Auer-Str. 4 93053 Regensburg Februar 2004 Erstgutachter: Prof. Dr. Rainer EMIG Zweitgutachter: Prof. Dr. Dieter A. BERGER 1 TABLE OF CONTENTS PAGE DEDICATION .............................................................................................................. I ACKNOWLEDGMENTS ........................................................................................... II ABSTRACT ............................................................................................................... VI English........................................................................................................................ VI German...................................................................................................................... VII French...................................................................................................................... VIII INTRODUCTION Aims of the Study......................................................................................................... 1 On the Relationship Between S. T. Coleridge and J. Keats.......................................... 5 Certain Critical Terms................................................................................................
    [Show full text]
  • |||GET||| Samuel Taylor Coleridge
    SAMUEL TAYLOR COLERIDGE - THE MAJOR WORKS 1ST EDITION DOWNLOAD FREE Samuel Taylor Coleridge | 9780199537914 | | | | | Samuel Taylor Coleridge, First Edition More information about this seller Contact this seller 7. Routledge and Sons Essay on Coleridge's drama "Osorio" by P. Ships same or next business day. Wikimedia Commons has media related to Samuel Coleridge-Taylor. Original publisher's rust-colored cloth binding with printed paper title label to spine. Composers were not handsomely paid for their music, and they often sold the rights to works outright in order to make immediate income. Dell Book LB The collection is generally considered to have marked the beginning of the English romantic movement, and despite negative critical reception at first, subsequent editions were produced Samuel Taylor Coleridge - The Major Works 1st edition the book has remained a staple in poetry and British literature studies for over two centuries. First Edition; Fourth Printing. New York Times. Condition: As New. See my photos of this book more available upon request. Samuel Taylor Coleridge. We respond aesthetically, without purpose. Thomas, a champion of lost works by black composers, also revived Coleridge's Hiawatha's Wedding Feast in a performance commemorating the composition's th anniversary with the Cambridge Community Chorus at Harvard's Sanders Theatre in the spring of Frontis in Volume I. We trust, however, that satiety will banish what good sense should have prevented; and that, wearied with fiends, incomprehensible characters, with shrieks, murders, and subterraneous dungeons, the public will learn, by the multitude of the manufacturers, with how little expense of thought or imagination this species of composition is manufactured.
    [Show full text]
  • Henry Nelson Coleridge
    Henry Nelson Coleridge: An Inventory of His Collection at the Harry Ransom Center Descriptive Summary Creator: Coleridge, Henry Nelson, 1798-1843 Title: Henry Nelson Coleridge Collection Dates: 1808-1849, undated Extent: 2 boxes (.84 linear feet) Abstract: Includes manuscripts and letters written and received by Henry Nelson Coleridge, nephew of and editor of the works of Samuel Taylor Coleridge, along with a few personal items, including his diaries and appointment book. The bulk of the outgoing letters are addressed to his wife, Sara Coleridge, and the rest of his family. Incoming correspondence from various Coleridge family members, Basil Montagu, Robert Southey, Alfred Tennyson, William Wordsworth, and others are present. Call Number: Manuscript Collection MS-0860 Language: English, French, Spanish Access: Open for research Administrative Information Processed by: Joan Sibley and Jamie Hawkins-Kirkham, 2011 Note: This finding aid replicates and replaces information previously available only in a card catalog. Please see the explanatory note at the end of this finding aid for information regarding the arrangement of the manuscripts as well as the abbreviations commonly used in descriptions. Repository: The University of Texas at Austin, Harry Ransom Center Coleridge, Henry Nelson, 1798-1843 Manuscript Collection MS-0860 2 Coleridge, Henry Nelson, 1798-1843 Manuscript Collection MS-0860 Works: Untitled essay on Samuel Taylor Coleridge, handwritten manuscript/ incomplete, 1 Container page (numbered 13), undated. 1.1 Untitled poem What thou didst fear, or fearing not, didst guess..., initialed handwritten manuscript, 2 pages, 1831; included is a copy by Sara Coleridge. Untitled poem Whoe'er, with toil oppressed, would roam..., handwritten manuscript, 2 pages, undated.
    [Show full text]
  • The Lost Boy: Hartley Coleridge As a Symbol of Romantic Division
    Halsall, Martyn (2009) The Lost Boy: Hartley Coleridge as a Symbol of Romantic Division. In: Research FEST 2009, July 2009, University of Cumbria. Downloaded from: http://insight.cumbria.ac.uk/id/eprint/840/ Usage of any items from the University of Cumbria’s institutional repository ‘Insight’ must conform to the following fair usage guidelines. Any item and its associated metadata held in the University of Cumbria’s institutional repository Insight (unless stated otherwise on the metadata record) may be copied, displayed or performed, and stored in line with the JISC fair dealing guidelines (available here) for educational and not-for-profit activities provided that • the authors, title and full bibliographic details of the item are cited clearly when any part of the work is referred to verbally or in the written form • a hyperlink/URL to the original Insight record of that item is included in any citations of the work • the content is not changed in any way • all files required for usage of the item are kept together with the main item file. You may not • sell any part of an item • refer to any part of an item without citation • amend any item or contextualise it in a way that will impugn the creator’s reputation • remove or alter the copyright statement on an item. The full policy can be found here. Alternatively contact the University of Cumbria Repository Editor by emailing [email protected]. The Lost Boy: Hartley Coleridge as a Symbol of Romantic Division. Dr Martyn Halsall Late one freezing evening in 1798 the writer Samuel Taylor Coleridge was completing a poem.
    [Show full text]
  • 'Frost at Midnight' and Al-Sayyab's 'Marha Ghail
    METATHESIS: JOURNAL OF ENGLISH LANGUAGE LITERATURE AND TEACHING p-ISSN: 2580-2712 Vol. 5, No. 1, April 2021 PP 93-102 e-ISSN: 2580-2720 DOI: 10.31002/metathesis.v5i1.3420 A Comparative Analysis of the Conversational Elements in Coleridge’s ‘Frost at Midnight’ and Al-Sayyab’s ‘Marha Ghailan’ Taymaa Hussein Kheirbek* Department of English Language, College of Education, Charmo University Alsulaimanya, Iraq [email protected]* *corresponding author Received: Revised: Accepted: Published: 19 November 2020 02 May 2021 25 May 2021 5 June 2021 Abstract The conversation poem is a genre of poetry mostly associated with Samuel Taylor Coleridge. It is usually characterized by being personal, emotional in nature, and often drawing on real events from the poet's life. This paper presents a comparative study of the conversational elements in S. T. Coleridge’s ‘Frost at Midnight’ and Badr Shaker Al-Sayyab’s ‘Marha Ghailan’. Similarity in focus, content, and style are going to be studied. In addition to that, certain points are going to be discussed and compared like; the minimalistic setting, the subjective experiences of both poets, the role of nature, the use of religion and myths, and the role given to the conversational partners. Keywords: Arabic Poetry, English Romantic poetry, Free verse, Conversation poetry Introduction The experience of being a father is not something that can be easily put into words. Therefore, any attempt to do so should be celebrated like S. T. Coleridge ‘s ‘Frost at Midnight’ and Badr Shaker Al-Sayyab’s ‘Marha Ghailan’. They succeeded in turning the very special moments they spent with their sons, Hartley and Ghailan, into beautiful poems.
    [Show full text]
  • Chapter 6: S. T. Coleridge
    Romanticism Chapter 6: S. T. Coleridge “The Eolian Harp” “Frost at Midnight” “To a Young Ass” 2011 Fall Sehjae Chun Life of S. T. Coleridge 1772 born in the country town of Ottery St Mary, Devon 1791-1794 attended Jesus College, Cambridge. a plan to found a utopian commune-like society, called Pantisocracy 1798 published Lyrical Ballads with Wordsworth 1800 returned to England and shortly thereafter settled with his family and friends at Keswick in the Lake District of Cumberland to be near Grasmere 1808 separated from his wife Sarah 1810 quarrelled with Wordsworth 1817 finished his major prose work, Biographia Literaria 1834 died in Highgate, London 2 S. T. Coleridge Major Works of Poetry Biographia Literaria The Rime of the Ancient Mariner Christabel, Kubla Khan, a Vision, The Pains of Sleep Fears in Solitude Lyrical Ballads, with a few Other Poems Poems on Various Subjects Sibylline Leaves: A Collection of Poems Sonnets from various authors The Poetical Works of S. T. Coleridge 3 S. T. Coleridge • A Poet of Supernatural Nature • A Poet of Conversation Poems • A Poet of Radicalism • A Poet of Imagination 4 A Poet of Supernatural Nature • willing suspension of disbelief • experiencing nature as an integral part of the development of a complete soul and sense of personhood • nature's capacity to teach joy, love, freedom, and piety, crucial characteristics for a worthy, developed individual. • a respect for and delight in natural beauty • guarded against the pathetic fallacy, or the attribution of human feeling to the natural world • an
    [Show full text]
  • Hartley Coleridge
    Hartley Coleridge: An Inventory of His Collection at the Harry Ransom Center Descriptive Summary Creator: Coleridge, Hartley, 1796-1849 Title: Hartley Coleridge Collection Dates: 1796-1933, undated Extent: 15 boxes (6.30 linear feet), 2 oversize folders (osf) Abstract: Includes manuscripts and letters written by, to, or about Hartley Coleridge, the English author, educator, and eldest son of poet Samuel Taylor Coleridge. Correspondents include members of the Coleridge, Southey, Wordsworth and related families—including Samuel Taylor Coleridge and Robert Southey—and other notables such as Charlotte Brontë and Lord Alfred Tennyson. A number of letters are addressed to Derwent Coleridge following the death of his brother Hartley in 1849. Call Number: Manuscript Collection MS-0859 Language: English, German, Latin, Welsh Access: Open for research Administrative Information Processed by: Joan Sibley and Michael Ramsey, 2012 Note: This finding aid replicates and replaces information previously available only in a card catalog. Please see the explanatory note at the end of this finding aid for information regarding the arrangement of the manuscripts as well as the abbreviations commonly used in descriptions. Repository: The University of Texas at Austin, Harry Ransom Center Coleridge, Hartley, 1796-1849 Manuscript Collection MS-0859 2 Coleridge, Hartley, 1796-1849 Manuscript Collection MS-0859 Works: Untitled essays: Container On adversity, handwritten manuscript with corrections, 2 pages, undated. 1.1 On Antonio Augustino, handwritten manuscript, 4 pages, undated. On biological deformities, handwritten manuscript, 5 pages, undated. On books, handwritten manuscript, 22 pages, undated; partially published as The books of my childhood in essays and marginalia by Hartley Coleridge, vol. 1, p.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Life & Correspondence of John Duke Lord Coleridge, Lord
    CORRESPONDENCE ORD COLERIDGE (iJortteU Hniuerfiitg 2Iibrarg 3tljaca, HcM ^nrk WORDSWORTH COLLECTION Made by CYNTHIA MORGAN ST. JOHN ITHACA, N. Y. THE GIFT OF VICTOR EMANUEL CLASS OF 1919 1925 LIFE (ff CORRESPONDENCE OF JOHN DUKE LORD COLERIDGE LORD CHIEF JUSTICE OF ENGLAND LIFE ^ CORRESPONDENCE OF JOHN DUKE LORD COLERIDGE LORD CHIEF JUSTICE OF ENGLAND WRITTEN AND EDITED BY ERNEST HARTLEY COLERIDGE IN TWO VOLUMES VOLUME I WITH ILLUSTRATIONS NEW YORK D. APPLETON AND COMPANY 1904 I. PRINTED IN ENGLAND TAis Edition is Copyright in all Countries signatory to the Berne Treaty <,>^^'^'% 4^;' TO AMY LADY COLERIDGE THESE MEMORIALS OF HER HUSBAND JOHN DUKE LORD COLERIDGE LORD CHIEF JUSTICE OF ENGLAND ARE INSCRIBED BY HER COUSIN ERNEST HARTLEY COLERIDGE OCTOBER 1904 ; PREFACE I AM indebted to many persons, friends or repre- sentatives of friends, of the late Lord Coleridge, for the right to publish in these volumes letters to him which remained in his possession, and letters from him which passed into their hands at once, or, afterwards, came into their possession. My thanks and acknowledgments, on this score, are due to the executors of Cardinal Newman ; of Cardinal Manning ; of the late Master of Balliol of Dean Stanley ; of Lord Blachford ; of Mr. James Russell Lowell : to Mr. Richard Arnold ; Lord Acton ; Mr. Charles Chauncey Binning ; Mr. Arthur Benson ; Lord Brampton ; the Rev. the Hon. W. E. Bowen ; Mr. John Brown (of Edinburgh University) ; Miss Edith Coleridge ; Mr. Richard Dana ; Mr. Coningsby Disraeli ; Mr. Drew ; Sir Mountstuart E. Grant Duff ; Miss Hawker ; the Earl of Iddesleigh ; Mrs. Jake ; Lord Lindley Mrs.
    [Show full text]
  • Coleridge and Wordsworth in the Quantocks
    Coleridge and Wordsworth in the Quantocks Written and designed by Terence Sackett of the Friends of Coleridge Why did the two poets choose the Quantocks? Samuel Taylor Coleridge first visited Nether Stowey in 1794, while on a walking A fine country house for the Wordsworths tour of Somerset with the poet Robert Southey. Crossing the River Parrett at Coleridge first met William Wordsworth in Combwich, they visited Coleridge’s Cambridge friend Henry Poole at Shurton. Bristol. The two poets took to each other Henry Poole took them to Nether Stowey where Coleridge was introduced to immediately. the man who was to be his most faithful friend and supporter – the tanner and In 1797 Wordsworth and his sister Dorothy Stowey benefactor Thomas Poole. were renting a country house at Racedown Poole accompanied them on a visit to the home of his conventional cousins at in West Dorset. Coleridge, keen to renew nearby Marshmills. The poets shocked them with their radical republican views and deepen the friendship, rushed down to and support for the French Revolution – England was at war with France at the persuade them to move to the Quantocks. Thomas Poole time and there was a serious threat of a French invasion. They found his enthusiasm impossible to resist. Once again Tom Poole was given the task CHRISTIE’S A poor choice of cottage of finding a house for the Wordsworths to Alfoxden House, near Holford to rent. Alfoxden, just outside the village of In 1796 Samuel Taylor Coleridge was living in Bristol. ‘There is everything here, sea, woods wild as fancy Holford and four miles from Stowey, could In his characteristically courageous and foolhardy ever painted, brooks clear and pebbly as in not have been more different to Gilbards.
    [Show full text]