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Reproduces in their entirety the text of the extant notebooks of the English poet, Samuel Taylor Coleridge, from the years 1794-1804.
Thomas Owens explores exultant visions inspired by Wordsworth's and Coleridge's scrutiny of the night sky, the natural world, and the domains of science. He examines a set of scientific patterns which the poets used to express ideas about poetry, religion, criticism, and philosophy, and sets out the importance of analogy in their creative thinking.
This book is an interdisciplinary collection of essays examining Goethe's Faust and its derivatives in European, North American, and South American cultural contexts. Topics include the authority of the word in Faust and Dr.Faustus, cultural memory of Herder, the Eternal-Feminine, Coleridge's responses to Faust, Argentinean adaptations, performances by Peter Stein and the Goetheanum, Canadian reception of Faust, Werner Fritsch's multimedia project Faust Sonnengesang, and the relevance of Faust for models of artificial intelligence.
Fulke Greville's reputation has always been overshadowed by that of his more famous friend, Philip Sidney, a legacy due in part to Greville's complex moulding of his authorial persona as Achates to Sidney's Aeneas, and in part to the formidable complexity of his poetry and prose. This volume seeks to vindicate Greville's 'obscurity' as an intrinsic feature of his poetic thinking, and as a privileged site of interpretation. The seventeen essays shed new light on Greville's poetry, philosophy, and dramatic work. They investigate his examination of monarchy and sovereignty; grace, salvation, and the nature of evil; the power of poetry and the vagaries of desire, and they offer a reconsideration of his reputation and afterlife in his own century, and beyond. The volume explores the connections between poetic form and philosophy, and argues that Greville's poetic experiments and meditations on form convey penetrating, and strikingly original contributions to poetics, political thought, and philosophy. Highlighting stylistic features of his poetic style, such as his mastery of the caesura and of the feminine ending; his love of paradox, ambiguity, and double meanings; his complex metaphoricity and dense, challenging syntax, these essays reveal how Greville's work invites us to revisit and rethink many of the orthodoxies about the culture of post-Reformation England, including the shape of political argument, and the forms and boundaries of religious belief and identity.
Certain moments in British Romantic poetry and art depict a state from which the attributes of existence – time and space, subject and object, language and visuality – have fallen away, leaving a domain prior to the world and to thought, the condition of mere existence. As Blank Splendour demonstrates, poems by Wordsworth, Coleridge, Keats, and Clare as well as paintings by Turner evoke a condition that transpires in a time without time, a life without life. David Collings argues that these works invite us to move beyond the subtle remnants of ontology that linger in current versions of posthuman thought, such as affect theory and speculative realism, by opening up a domain of affect without affect, a world without objects. Anticipating the philosophers Emmanuel Levinas and Maurice Blanchot, these works bring into view the mode of a deconstruction that emerged before the linguistic turn, one that meditates on the blank condition underlying modernity. Ultimately, Blank Splendour reveals how these works speak to our own moment, when thought, forced to contemplate its own extinction, enters a new form of mere existence.
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.