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Part II argues that imagery and plot developments in The Ancient Mariner reflect political events between November 1797 and March 1798, the months when Coleridge was writing and revising his poem and contributing anti-Pittite verses and essays to the widely read opposition newspaper the Morning Post.
This new collection enables students and general readers to appreciate Coleridge's renewed relevance 250 years after his birth. An indispensable guide to his writing for twenty-first-century readers, it contains new perspectives that reframe his work in relation to slavery, race, war, post-traumatic stress disorder and ecological crisis. Through detailed engagement with Coleridge's pioneering poetry, the reader is invited to explore fundamental questions on themes ranging from nature and trauma to gender and sexuality. Essays by leading Coleridge scholars analyse and render accessible his extraordinarily innovative thinking about dreams, psychoanalysis, genius and symbolism. Coleridge is often a direct and gripping writer, yet he is also elusive and diverse. This Companion's great achievement is to offer a one-volume entry point into his incomparably rich and varied world.
An updated reappraisal of Wordsworth's and Coleridge's radical careers before their emergence as major poets.
A concise, accessible and innovative account of a major poet and thinker.
This welcome addition to the Blackwell Guides to Criticism series provides students with an invaluable survey of the critical reception of the Romantic poets. Guides readers through the wealth of critical material available on the Romantic poets and directs them to the most influential readings Presents key critical texts on each of the major Romantic poets – Blake, Wordsworth, Coleridge, Byron, Shelley and Keats – as well as on poets of more marginal canonical standing Cross-referencing between the different sections highlights continuities and counterpoints
Revision of author's thesis (doctoral)--University of Chicago, 2008 under title: The word made flesh and the mazy page: symbol and allegory in Coleridge's philosophy of faith.
Sally West's timely study is the first book-length exploration of Coleridge's influence on Shelley's poetic development. Beginning with a discussion of Shelley's views on Coleridge as a man and as a poet, West argues that there is a direct correlation between Shelley's desire for political and social transformation and the way in which he appropriates the language, imagery, and forms of Coleridge, often transforming their original meaning through subtle readjustments of context and emphasis. While she situates her work in relation to recent concepts of literary influence, West is focused less on the psychology of the poets than on the poetry itself. She explores how elements such as the development of imagery and the choice of poetic form, often learnt from earlier poets, are intimately related to poetic purpose. Thus on one level, her book explores how the second-generation Romantic poets reacted to the beliefs and ideals of the first, while on another it addresses the larger question of how poets become poets, by returning the work of one writer to the literary context from which it developed. Her book is essential reading for specialists in the Romantic period and for scholars interested in theories of poetic influence.
The Romantic phenomenon of multiple texts has been shaped by the link between revision and authorial intent. However, what has been overlooked are the profound implications of multiple and contradictory versions of the same text for a materialist approach; using the works of Coleridge as a case study and the afterlife of the French Revolution as the main theme, this monograph lays out the methodology for a more detailed multi-layered analysis. Scrutinising four works of Coleridge (two poems, a newspaper article and a play), where every major variant is read as a separate work with its own distinct socio-historical context, Ve-Yin Tee challenges the notion that any one text is representative of its totality. By re-reading Coleridge in the light of alternative textual materials within that time, he opens a wider scope for meaning and the understanding of Coleridge's oeuvre.
This is the first book-length study to read the "Ancient Mariner" as "poetry," in Coleridge's own particular sense of the word. Coleridge's complicated relationship with the "Mariner" as an experimental poem lies in its origin as a joint project with Wordsworth. J. C. C. Mays traces the changes in the several versions published in Coleridge's lifetime and shows how Wordsworth's troubled reaction to the poem influenced its subsequent interpretation. This is also the first book to situate the "Mariner" in the context of the entirety of Coleridge's prose and verse, now available in the Bollingen Collected edition and Notebooks; that is, not only in relation to other poems like "The Ballad of the Dark Ladiè" and "Alice du Clós," but also to ideas in his literary criticism (especially Biographia Literaria), philosophy, and theology. Using a combination of close reading and broad historical considerations, reception theory, and book history, Mays surveys the poem's continuing life in illustrated editions and educational textbooks; its passage through the vicissitudes of New Criticism and critical theory; and, in a final chapter, its surprising affinities with some experimental poems of the present time.
To Samuel Taylor Coleridge, tragedy was not solely a literary mode, but a philosophy to interpret the history that unfolded around him. Tragic Coleridge explores the tragic vision of existence that Coleridge derived from Classical drama, Shakespeare, Milton and contemporary German thought. Coleridge viewed the hardships of the Romantic period, like the catastrophes of Greek tragedy, as stages in a process of humanity’s overall purification. Offering new readings of canonical poems, as well as neglected plays and critical works, Chris Murray elaborates Coleridge’s tragic vision in relation to a range of thinkers, from Plato and Aristotle to George Steiner and Raymond Williams. He draws comparisons with the works of Blake, the Shelleys, and Keats to explore the factors that shaped Coleridge’s conception of tragedy, including the origins of sacrifice, developments in Classical scholarship, theories of inspiration and the author’s quest for civic status. With cycles of catastrophe and catharsis everywhere in his works, Coleridge depicted the world as a site of tragic purgation, and wrote himself into it as an embattled sage qualified to mediate the vicissitudes of his age.