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We never sell email addresses. La Puma. Generic filters. Transform Your Life. With What You Eat. And How You Live! Let Food and Nature. The years and , during which he lived in what is now known as Coleridge Cottage, in Nether Stowey, Somerset, were among the most fruitful of Coleridge's life. In , Coleridge met poet William Wordsworth and his sister Dorothy.
Wordsworth, having visited him and being enchanted by the surroundings, rented Alfoxton Park, a little over three miles [5 km] away. Besides the Rime of The Ancient Mariner, he composed the symbolic poem Kubla Khan, written—Coleridge himself claimed—as a result of an opium dream, in "a kind of a reverie"; and the first part of the narrative poem Christabel. The writing of Kubla Khan, written about the Mongol emperor Kublai Khan and his legendary palace at Xanadu, was said to have been interrupted by the arrival of a "Person from Porlock" — an event that has been embellished upon in such varied contexts as science fiction and Nabokov's Lolita.
In , Coleridge and Wordsworth published a joint volume of poetry, Lyrical Ballads, which proved to be the starting point for the English romantic movement. Wordsworth may have contributed more poems, but the real star of the collection was Coleridge's first version of The Rime of the Ancient Mariner.
It was the longest work and drew more praise and attention than anything else in the volume. In the spring Coleridge temporarily took over for Rev. Toulmin grieved over the drowning death of his daughter Jane. Poetically commenting on Toulmin's strength, Coleridge wrote in a letter to John Prior Estlin, "I walked into Taunton eleven miles and back again, and performed the divine services for Dr. I suppose you must have heard that his daughter, Jane, on 15 April in a melancholy derangement, suffered herself to be swallowed up by the tide on the sea-coast between Sidmouth and Bere [sic] Beer.
These events cut cruelly into the hearts of old men: but the good Dr. Toulmin bears it like the true practical Christian, — there is indeed a tear in his eye, but that eye is lifted up to the Heavenly Father. In the autumn of , Coleridge and Wordsworth left for a stay in Germany; Coleridge soon went his own way and spent much of his time in university towns. During this period, he became interested in German philosophy, especially the transcendental idealism and critical philosophy of Immanuel Kant, and in the literary criticism of the 18th century dramatist Gotthold Lessing.
Coleridge studied German and, after his return to England, translated the dramatic trilogy Wallenstein by the German Classical poet Friedrich Schiller into English.
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He continued to pioneer these ideas through his own critical writings for the rest of his life sometimes without attribution , although they were unfamiliar and difficult for a culture dominated by empiricism. It was at Sockburn that Coleridge wrote his ballad-poem Love, addressed to Sara. The knight mentioned is the mailed figure on the Conyers tomb in ruined Sockburn church. The figure has a wyvern at his feet, a reference to the Sockburn worm slain by Sir John Conyers and a possible source for Lewis Carroll's Jabberwocky.
The worm was supposedly buried under the rock in the nearby pasture; this was the 'greystone' of Coleridge's first draft, later transformed into a 'mount'. Coleridge's early intellectual debts, besides German idealists like Kant and critics like Lessing, were first to William Godwin's Political Justice, especially during his Pantisocratic period, and to David Hartley's Observations on Man, which is the source of the psychology which is found in Frost at Midnight.
Hartley argued that one becomes aware of sensory events as impressions, and that "ideas" are derived by noticing similarities and differences between impressions and then by naming them. Connections resulting from the coincidence of impressions create linkages, so that the occurrence of one impression triggers those links and calls up the memory of those ideas with which it is associated See Dorothy Emmet, "Coleridge and Philosophy". Coleridge was critical of the literary taste of his contemporaries, and a literary conservative insofar as he was afraid that the lack of taste in the ever growing masses of literate people would mean a continued desecration of literature itself.
In , he returned to England and shortly thereafter settled with his family and friends at Keswick in the Lake District of Cumberland to be near Grasmere, where Wordsworth had moved. Soon, however, he was beset by marital problems, illnesses, increased opium dependency, tensions with Wordsworth, and a lack of confidence in his poetic powers, all of which fuelled the composition of Dejection: An Ode and an intensification of his philosophical studies.
Later life and increasing drug use. In , he travelled to Sicily and Malta, working for a time as Acting Public Secretary of Malta under the Commissioner, Alexander Ball, a task he performed quite successfully. However, he gave this up and returned to England in Dorothy Wordsworth was shocked at his condition upon his return.
Coleridge and the Nature of Imagination | SpringerLink
From to , Coleridge returned to Malta and then travelled in Sicily and Italy, in the hope that leaving Britain's damp climate would improve his health and thus enable him to reduce his consumption of opium. Thomas de Quincey alleges in his Recollections of the Lakes and the Lake Poets that it was during this period that Coleridge became a full-blown opium addict, using the drug as a substitute for the lost vigour and creativity of his youth. It has been suggested, however, that this reflects de Quincey's own experiences more than Coleridge's. His opium addiction he was using as much as two quarts of laudanum a week now began to take over his life: he separated from his wife Sarah in , quarrelled with Wordsworth in , lost part of his annuity in , and put himself under the care of Dr.
Daniel in In , Coleridge made his second attempt to become a newspaper publisher with the publication of the journal entitled The Friend.
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Given that Coleridge tended to be highly disorganized and had no head for business, the publication was probably doomed from the start. Coleridge financed the journal by selling over five hundred subscriptions, over two dozen of which were sold to members of Parliament, but in late , publication was crippled by a financial crisis and Coleridge was obliged to approach "Conversation Sharp", Tom Poole and one or two other wealthy friends for an emergency loan in order to continue. Although it was often turgid, rambling, and inaccessible to most readers, it ran for 25 issues and was republished in book form a number of times.
Years after its initial publication, The Friend became a highly influential work and its effect was felt on writers and philosophers from J. Mill to Emerson. Between and , this "giant among dwarfs", as he was often considered by his contemporaries, gave a series of lectures in London and Bristol — those on Shakespeare renewed interest in the playwright as a model for contemporary writers. Much of Coleridge's reputation as a literary critic is founded on the lectures that he undertook in the winter of —11 which were sponsored by the Philosophical Institution and given at Scot's Corporation Hall off Fetter Lane, Fleet Street.
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Furthermore, Coleridge's mind was extremely dynamic and his personality was spasmodic. As a result of these factors, Coleridge often failed to prepare anything but the loosest set of notes for his lectures and regularly entered into extremely long digressions which his audiences found difficult to follow. However, it was the lecture on Hamlet given on 2 January that was considered the best and has influenced Hamlet studies ever since.
Before Coleridge, Hamlet was often denigrated and belittled by critics from Voltaire to Dr. Coleridge rescued Hamlet and his thoughts on the play are often still published as supplements to the text. Coleridge was regarded by many as the greatest living writer on the demonic and he accepted the commission, only to abandon work on it after six weeks. Until recently, scholars have accepted that Coleridge never returned to the project, despite Goethe's own belief in the s that Coleridge had in fact completed a long translation of the work.
In September , Oxford University Press sparked a heated scholarly controversy by publishing an English translation of Goethe's work which purported to be Coleridge's long-lost masterpiece the text in question first appeared anonymously in In , Coleridge, with his addiction worsening, his spirits depressed, and his family alienated, took residence in the Highgate homes, then just north of London, of the physician James Gillman, first at South Grove and later at the nearby 3 The Grove.
Gillman was partially successful in controlling the poet's addiction. Colerdige remained in Highgate for the rest of his life, and the house became a place of literary pilgrimage of writers including Carlyle and Emerson. In Gillman's home, he finished his major prose work, the Biographia Literaria , a volume composed of 23 chapters of autobiographical notes and dissertations on various subjects, including some incisive literary theory and criticism.
He composed much poetry here and had many inspirations — a few of them from opium overdose. Perhaps because he conceived such grand projects, he had difficulty carrying them through to completion, and he berated himself for his "indolence". It is unclear whether his growing use of opium and the brandy in which it was dissolved was a symptom or a cause of his growing depression.
He published other writings while he was living at the Gillman home, notably Sibylline Leaves , Aids to Reflection , and Church and State He died in Highgate, London on 25 July as a result of heart failure compounded by an unknown lung disorder, possibly linked to his use of opium. Coleridge had spent 18 years under the roof of the Gillman family, who built an addition onto their home to accommodate the poet.
The practical intellects of the world did not much heed him, or carelessly reckoned him a metaphysical dreamer: but to the rising spirits of the young generation he had this dusky sublime character; and sat there as a kind of Magus, girt in mystery and enigma; his Dodona oak-grove Mr. Despite not enjoying the name recognition or popular acclaim that Wordsworth or Shelley have had, Coleridge is one of the most important figures in English poetry.
His poems directly and deeply influenced all the major poets of the age. He was known by his contemporaries as a meticulous craftsman who was more rigorous in his careful reworking of his poems than any other poet, and Southey and Wordsworth were dependent on his professional advice.
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His influence on Wordsworth is particularly important because many critics have credited Coleridge with the very idea of "Conversational Poetry". As important as Coleridge was to poetry as a poet, he was equally important to poetry as a critic. Coleridge's philosophy of poetry, which he developed over many years, has been deeply influential in the field of literary criticism. This influence can be seen in such critics as A.
Lovejoy and I. Even those who have never read the Rime have come under its influence: its words have given the English language the metaphor of an albatross around one's neck, the quotation of "water, water everywhere, nor any drop to drink" almost always rendered as "but not a drop to drink" , and the phrase "a sadder and a wiser man" again, usually rendered as "sadder but wiser man". Both Kubla Khan and Christabel have an additional "Romantic" aura because they were never finished.
see url Stopford Brooke characterised both poems as having no rival due to their "exquisite metrical movement" and "imaginative phrasing. The Conversation poems. The eight of Coleridge's poems listed above are now often discussed as a group entitled "Conversation poems". The term itself was coined in by George McLean Harper, who borrowed the subtitle of The Nightingale: A Conversation Poem to describe the seven other poems as well. Harper himself considered that the eight poems represented a form of blank verse that is " In Robert Koelzer wrote about another aspect of this apparent "easiness", noting that Conversation poems such as " Coleridge's The Eolian Harp and The Nightingale maintain a middle register of speech, employing an idiomatic language that is capable of being construed as un-symbolic and un-musical: language that lets itself be taken as 'merely talk' rather than rapturous 'song'.
The last ten lines of "Frost at Midnight" were chosen by Harper as the "best example of the peculiar kind of blank verse Coleridge had evolved, as natural-seeming as prose, but as exquisitely artistic as the most complicated sonnet. Therefore all seasons shall be sweet to thee, Whether the summer clothe the general earth With greenness, or the redbreast sit and sing Betwixt the tufts of snow on the bare branch Of mossy apple-tree, while the nigh thatch Smokes in the sun-thaw; whether the eave-drops fall Heard only in the trances of the blast, Or if the secret ministry of frost Shall hang them up in silent icicles, Quietly shining to the quiet Moon.
In , M. Abrams wrote a broad description that applies to the Conversation poems: "The speaker begins with a description of the landscape; an aspect or change of aspect in the landscape evokes a varied by integral process of memory, thought, anticipation, and feeling which remains closely intervolved with the outer scene.
In the course of this meditation the lyric speaker achieves an insight, faces up to a tragic loss, comes to a moral decision, or resolves an emotional problem. Often the poem rounds itself to end where it began, at the outer scene, but with an altered mood and deepened understanding which is the result of the intervening meditation. Abrams' essay has been called a "touchstone of literary criticism". Literary criticism. In addition to his poetry, Coleridge also wrote influential pieces of literary criticism including Biographia Literaria, a collection of his thoughts and opinions on literature which he published in The work delivered both biographical explanations of the author's life as well as his impressions on literature.
The collection also contained an analysis of a broad range of philosophical principles of literature ranging from Aristotle to Immanuel Kant and Schelling and applied them to the poetry of peers such as William Wordsworth. Coleridge's explanation of metaphysical principles were popular topics of discourse in academic communities throughout the 19th and 20th centuries, and T. Eliot stated that he believed that Coleridge was "perhaps the greatest of English critics, and in a sense the last.
However, Eliot also criticizes Coleridge for allowing his emotion to play a role in the metaphysical process, believing that critics should not have emotions that are not provoked by the work being studied. Hugh Kenner in Historical Fictions, discusses Norman Furman's Coleridge, the Damaged Archangel and suggests that the term "criticism" is too often applied to Biographia Literaria, which both he and Furman describe as having failed to explain or help the reader understand works of art.
To Kenner, Coleridge's attempt to discuss complex philosophical concepts without describing the rational process behind them displays a lack of critical thinking that makes the volume more of a biography than a work of criticism. In Biographia Literaria and his poetry, symbols are not merely "objective correlatives" to Coleridge, but instruments for making the universe and personal experience intelligible and spiritually covalent. To Coleridge, the "cinque spotted spider," making its way upstream "by fits and starts," [Biographia Literaria] is not merely a comment on the intermittent nature of creativity, imagination, or spiritual progress, but the journey and destination of his life.
The spider's five legs represent the central problem that Coleridge lived to resolve, the conflict between Aristotelian logic and Christian philosophy.
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