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Journal articles on the topic 'Coleridge'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Whissell, Cynthia. "Challenging an Authorial Attribution: Vocabulary and Emotion in a Translation of Goethe's Faust Attributed to Samuel Taylor Coleridge." Psychological Reports 108, no. 2 (2011): 358–66. http://dx.doi.org/10.2466/28.pr0.108.2.358-366.

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This article disputes the stylometric attribution of an anonymous English 1821 translation of Goethe's German verse drama Faust to the poet and critic Samuel Taylor Coleridge. The translation was compared to four known Coleridgean dramas, two of which were translations from German. Evidence challenging Coleridge's authorship came from words used proportionally more often by Coleridge, words used proportionally more often by the unknown translator, differential employment of parallel word forms (“O” and “hath” for Coleridge, “oh” and “has” for the translator), and differences in the undertones

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Morrison, Robert. "‘Two faces, each of a confused countenance’: Coleridge, De Quincey, and Contests of Authority." Romanticism 27, no. 3 (2021): 322–34. http://dx.doi.org/10.3366/rom.2021.0525.

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Thomas De Quincey exploits his rivalry with Samuel Taylor Coleridge to structure many of the key features of his most famous work, ‘Confessions of an English Opium-Eater’ (1821). De Quincey's idolization of Coleridge began early and survived the anger and disappointment he felt after the collapse of their friendship and his discovery of Coleridge's intellectual duplicity. In ‘Confessions’, De Quincey's accounts of himself as a scholar of Greek literature, Ricardian economics, and Kantean philosophy are all galvanized by his knowledge that Coleridge too has worked in these areas. As opium addic

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3

Haider, Ali Jal. "DEJECTION : AN ODE--- COLERIDGE’S UNCONVENTIONAL TREATMENT OF THEME." JOURNAL OF ENGLISH LANGUAGE AND LITERATURE 10, no. 04 (2023): 13–16. http://dx.doi.org/10.54513/joell.2023.10403.

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Coleridge is influenced by the poetic ideas of Wordsworth. He has a firm faith in Pantheism. He is fascinated by the healing power of nature. He keenly observes nature in his own way. For, his Romanticism is a philosophy, a way of life and garret of optimism. But in Dejection: An Ode, Coleridge’s treatment of theme is unconventional. The poem is personal in tone. Coleridge's internal conflict makes him unaware to feel nature. He argues the he has lost his power, poetic creativity, he has lost his sources of secondary imagination. He wants an escape to abstract world. He wants to observe the ha

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Hashimoto, Takehiro. "The Reception of Milton’s Samson Agonistes in Coleridge’s Remorse." English Language and Literature Studies 6, no. 4 (2016): 1. http://dx.doi.org/10.5539/ells.v6n4p1.

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The present study explores the influences of Milton’s Samson Agonistes on Coleridge’s Remorse in terms of poetic dialogue. Poetic dialogue is an open-ended poetic collaboration between authors consisting of various poetic forms of literature (Magnuson, 1988). The study of such literary collaboration is usually concerned with contemporary authors. This study, however, proposes that poetic dialogue is possible between Coleridge and precedent poets. Magnuson (1988)’s theory of poetic dialogue found that there are two collaborative processes of the negation and application of the character. In the

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Murray, Chris. "“Death in his hand”." Nineteenth-Century Literature 78, no. 3 (2023): 179–210. http://dx.doi.org/10.1525/ncl.2023.78.3.179.

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Chris Murray, “‘Death in his hand’: Theories of Apparitions in Coleridge, Ferriar, and Keats” (pp. 179–210) On a chance meeting in 1819, Samuel Taylor Coleridge told John Keats about his theory of “double touch.” This hypothesis is key to the famous accounts in which each poet mythologizes the other. In his writings on double touch, Coleridge surmises that we engage with our world simultaneously by sensory perception and an energetic connection derived from Mesmerism. Disruption to either aspect of double touch results in the pathological state of “single touch,” symptoms of which can include

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Healey, Nicola. "Derwent Moultrie Coleridge's Australian Exile." Romanticism 24, no. 1 (2018): 22–35. http://dx.doi.org/10.3366/rom.2018.0351.

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The literary career and troubled life of Derwent Moultrie Coleridge (1828–80), Derwent Coleridge's eldest son (S. T. Coleridge's first grandson) has been critically overlooked. After a period of alcohol-related, reckless behaviour at Cambridge University, he was exiled to Australia in November 1850, lest he continue to dishonour his father and the Coleridge name. Despite struggling considerably, he quickly became part of an Australian literary circle and he often contributed poems to Sydney newspapers. This essay analyses the most biographical of his poems that was published in the Australian

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Aljumily, Refat. "Who was the translator of the anonymous 1821 of Goethe’s Faustus? Could the translator have been Coleridge?" International Journal of English and Comparative Literary Studies 2, no. 2 (2021): 50–63. http://dx.doi.org/10.47631/ijecls.v2i2.205.

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The 1821 translation of Goethe’s Faustus is not signed by the translator. We know who translated Friedrich Schiller’shistorical dramas ThePiccolominiand The Death of Wallenstein, for example, not because the translator identified himself as Coleridge but based on evidence from within and without. This article offers a three-part review to ‘Faustus’ from the German of Goethe translated by Samuel Taylor Coleridge’ (Oxford University Press, 2007), edited by Frederick Burwick and James C. McKusick. It argues that there is no definitive evidence during Coleridge’s lifetime or for centuries after hi

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van Woudenberg, Maximiliaan. "Coleridge in Wolfenbüttel: The Double Portrait of Hans Sachs." Modern Language Review 119, no. 3 (2024): 297–327. http://dx.doi.org/10.1353/mlr.2024.a930811.

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Abstract: In 1799 Samuel Taylor Coleridge studied at the University of Göttingen to research German literature for his projected biography of Lessing. On his return journey to England in June 1799, Coleridge visited the Wolfenbüttel library, where he discovered a double portrait of the German Meistersinger Hans Sachs by Andreas Herneisen. Familiar with the afterlives of Sachs’s likeness, Coleridge understood the significance of this obscure portrait and recorded a detailed description in his notebooks. This article engages in a comparative analysis of Coleridge’s note and his studies of the vi

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Duggett, Tom. "Coleridge and the Idea of History." Romanticism 29, no. 1 (2023): 42–55. http://dx.doi.org/10.3366/rom.2023.0579.

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Coleridge spoke in September 1831 of his wish ‘to make History scientific, and Science historical – to take from History its accidentality – and from Science its fatalism’. This self-description raises the question of Coleridge's status as a ‘scientific historian’. Is Coleridge a prototype for R.G. Collingwood's definition of this mode of scientific study, of solving problems, not surveying periods, putting questions to ‘the world of ideas’ which historical evidence ‘creates in the present’? Is Coleridge, alternatively, the pattern of Collingwood's deluded ‘pigeon-holer’, arranging the past ‘i

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Norman, Daniel. "Coleridge's Humour in The Watchman." Romanticism 25, no. 2 (2019): 117–28. http://dx.doi.org/10.3366/rom.2019.0413.

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This essay seeks to challenge Coleridge's (and some subsequent critics') retrospective accounts of the glib naivety of The Watchman's humour, by arguing that his jokes reveal a careful and considered approach to the dissemination of his ideas. It identifies several types of humour employed within the work, examining both the articles Coleridge himself contributed, and the manner in which he arranged the contributions of others. Such an examination is only possible in full view of the contemporary periodical context, to which Coleridge is quite clearly responding. By adapting, and at times unde

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Veronie, Crystal. "Maternal-Child Bonds and Resistive Embodiment in Sara Coleridge’s Writing." Essays in Romanticism 29, no. 2 (2022): 169–85. http://dx.doi.org/10.3828/eir.2022.29.2.5.

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As the daughter of Romantic poet Samuel Taylor Coleridge, Sara Coleridge has long been of scholarly interest. This essay explores Coleridge’s sophisticated perspectives on embodiment, illness, and motherhood and the infringement of medical authority on maternal authority. Drawing on transcriptions of unpublished manuscripts of Coleridge’s “Diary of Her Children’s Early Years” and letters to her husband during her convalescence in Brighton in 1832, this essay argues that Coleridge’s experiences of illness and disability play a foundational role in her development of strategies of resistive embo

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Jasper, David. "N.F.S. Grundtvig, S.T Coleridge - The Hymnwriter and the Poet." Grundtvig-Studier 42, no. 1 (1991): 56–67. http://dx.doi.org/10.7146/grs.v42i1.16058.

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N.F.S. Grundtvig, S.T. ColeridgeSalmedigteren og den poetiske forfatter.Af David JasperI sin sammenligning mellem de to digtere viser David Jasper, at der er oplagte sammenligningspunkter, bl.a. i henseende til det omfattende forfatterskab og bredden af emner og stilformer. Men der er dog også åbenbare forskelle. Således omtaler Jasper, at Grundtvig fra sine tidlige år gennemgik en udvikling med brydnings- og afklaringsperioder, der førte frem mod en stadig tydeligere distance til hans romantiske udgangspunkt; mens Coleridge på sin side forblev inden for en romantisk bestemt horisont.Ligeledes

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Miss Roshani Saiyyad and Mr. Ashok Kumar Malviya. "A Repentant Shadow of old Mariner in Rime of the Ancient Mariner." Creative Launcher 5, no. 5 (2020): 68–72. http://dx.doi.org/10.53032/tcl.2020.5.5.09.

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The present paper is an attempt of Coleridge's psychological, supernatural phenomenon, perspective and uncertainty in human life through the Old Mariner life. Somewhere somebody offence in life needed to recognizance sins and repentance. Before death, need to confession and repentance. Coleridge almost represents his love for creatures and nature in the poem and inscribe the marvellous nature imagery in this poem. Coleridge confluence natural with supernatural elements in Rime of the Ancient Mariner. He presents 'Death' into mariner lives. Coleridge proved that punishment of any sin is an oppo

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Aburumman, Manal, and Ahmad Y. Majdoubeh. "Implications of Solipsism in Samuel Coleridge's "Frost at Midnight" and "Dejection: An Ode"." Dirasat: Human and Social Sciences 50, no. 4 (2023): 592–99. http://dx.doi.org/10.35516/hum.v50i4.5760.

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Objectives: This research aims to examine Samuel Coleridge's "Frost at Midnight" (1798) and "Dejection: An Ode" (1802). It explores the implications of solipsism in these two poems. Methods: To achieve this purpose, the research reviews some major works in philosophy that dwell on solipsism, briefly traces the evolution of solipsism, how some philosophers and literary critics define and employ the concept in literature, and how solipsism specifically features Coleridge’s thought. Through a critical and an analytical reading of the two chosen poems, the research highlights solipsistic inc

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Poštić, Svetozar. "To Act or not to Act: How Coleridge Changed the Way We See Hamlet." Respectus Philologicus 26, no. 31 (2014): 133–43. http://dx.doi.org/10.15388/respectus.2014.26.31.10.

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Exactly 200 years ago, from 1811 to 1819, Samuel Taylor Coleridge, one of the most famous English Romantic poets, held a series of influential lectures about William Shakespeareand his plays. His presentation of “Hamlet”, a play hitherto not only negatively appraised, but even viewed quite negatively by the leading critics, most notably Samuel Johnson, was especially significant. His insightful analysis helped to change the general opinion about the play, and pointed to the qualities of “Hamlet” that made it into perhaps the best known and most frequently played drama in the next 200 years. In

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van Woudenberg, Maximiliaan. "Revisiting the Harz Tour of Coleridge and the ‘Carlyon-Parry-Greenation’ in May 1799." Romanticism 27, no. 1 (2021): 16–27. http://dx.doi.org/10.3366/rom.2021.0489.

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The walking tour of the Harz Mountains in 1799 by Coleridge and his English companions – Clement Carlyon, Charles Parry, and George Bellas Greenough – was an exploration of Romantic science and Romantic poetry. This paper examines the Harz tour of the ‘Carlyon-Parry-Greenation’ as a geological and mineralogical excursion concurrent with Coleridge's Harzreise described in his letters. Influenced by the natural history lectures of Professor Blumenbach, the Harz walking tour was organised around visits to caves and mines. A comparative analysis of Coleridge's letters and Charles Parry's journal r

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Murray, Chris. "Coleridge, Isherwood and Hindu Light." Romanticism 22, no. 3 (2016): 269–78. http://dx.doi.org/10.3366/rom.2016.0288.

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This essay explores light, as conceived in Hinduism, as an intellectual tool used to mediate the contrary impulses of body and soul. Samuel Taylor Coleridge and Christopher Isherwood addressed this philosophical quandary by reference to the light-based cosmology of Bhagavad Gita. They did so by opposite means: Coleridge's search for the Hindu light was primarily based on reading, while Isherwood adopted self-cultivation practices. In ‘Dejection: An Ode’, the Indian idea of light allows Coleridge to imagine the resolution of his love for Sara Hutchinson. By contrast, Isherwood devoted himself t

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Chadha, Sonia, and Parul Mishra. "A Fresh Perspective in the Lyrical Ballads of Samuel Taylor Coleridge’s The Rime of Ancient Mariner through the aspect of Water." RESEARCH HUB International Multidisciplinary Research Journal 9, no. 1 (2022): 55–60. http://dx.doi.org/10.53573/rhimrj.2022.v09i01.011.

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The Romantic Era is known for the new wave of thought and Samuel Taylor Coleridge being the pioneer delivered a ray of hope for changing the traditional trend of the period. The four realm of the earth it is supposed to be the main factor for making this blue planet to survive and Coleridge portrayed the utility of these in his ballad The Rime of Ancient Mariner through a sea voyage of a mariner by establishing some ethical values related to water. The purpose of this study is to analyze the importance of water and water bodies in S.T. Coleridge major work such as The Rime of Ancient Mariner a

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Mei, Shenyou. "Coleridge’s Surrogate: An Inquiry into the Identity of the Glossist of The Rime of the Ancient Mariner (1817)." Anglia 142, no. 4 (2024): 775–92. https://doi.org/10.1515/ang-2024-0064.

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Abstract The writer of the marginal gloss of The Rime of the Ancient Mariner (1817) has long been viewed by critics as an imaginary editor obsessed with dry rational analysis and pedantic moral teaching while being incapable of imagination and emotion, totally different from the poet. This essay first queries this notion and, by examining some key gloss passages, demonstrates that the glossist is at times capable of extraordinary empathy. The glossist’s ability to combine reason and emotion is a telling testament to Coleridge’s idea of how to be a qualified reader. Given the fact that Coleridg

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Pladek, Brittany. "‘A Radical causation’: Coleridge's Lyrics and Collective Guilt." Romanticism 23, no. 1 (2017): 62–74. http://dx.doi.org/10.3366/rom.2017.0307.

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This paper argues that the early lyrics of Samuel Taylor Coleridge explore the ethical work of collective guilt, a feeling with enormous Romantic and contemporary significance. Coleridge's lyrics formally model collective guilt while making a cautious case for its social value. By reading ‘Fears in Solitude’ and The Rime of the Ancient Mariner through recent work in social psychology and the philosophy of ethics, I show how Coleridge creates causalities of feeling, affirming meaningful relationships of responsibility that go beyond personal guilt. I conclude that Romantic lyric offers an ideal

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Howe, Anthony. "Lamb, Coleridge, and the Poetics of Publication." Romanticism 26, no. 3 (2020): 245–54. http://dx.doi.org/10.3366/rom.2020.0475.

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This essay explores the poetics of Lamb's early letters to Coleridge. I argue for a sharp awareness, on Lamb's part, of the potentially negative effect publication can have on literary writing. Lamb resists this at the level of epistolary form, by entwining his sonnets with the letters into which he writes them. Where Lamb's poems, taken in themselves, remain modest performances, the letter-poem hybrid texts in which they participate are of significant critical interest. Among other things they establish a critique of Coleridge and his paying court to the literary marketplace. These insights,

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Everest, Kelvin. "Keats Meets Coleridge." Romanticism 28, no. 2 (2022): 175–87. http://dx.doi.org/10.3366/rom.2022.0553.

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Keats and Coleridge met for the one and only time on 11 April 1819. That accidental meeting embodied a range of circumstances and contexts which converged to create the conditions in which Keats’s poetic career advanced beyond its initial rapid development. Brief but intense exposure to Coleridge’s unceasingly philosophical turn of mind, as the two poets walked on Hampstead Heath, precipitated a newly self-conscious address on Keats’s part to the power of metaphor to express the mind’s activity in perception and artistic creation. This produced in the ‘Ode to Psyche’ a new level of intellectua

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Hosseini, Sajed, and Payam Babaie. "Artistic Immortality as an Objet Petit a: The Subject of Samuel Taylor Coleridge’s “Kubla Khan”." Khazar Journal of Humanities and Social Sciences 25, no. 1 (2022): 5–16. http://dx.doi.org/10.5782/2223-2621.2022.25.1.5.

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This study presents a psychoanalytical reading of Coleridge’s “Kubla Khan” having an eye on Žižek’s theory of the subject. “Kubla Khan” contains a host of components providing an illustration of Coleridge’s psychological status. In such a case, Žižekian approach to psychoanalysis could provide a suitable paradigm for an analytical reading of the poem. The works of Žižek conducted disputatious re-articulations of the subject/object, the displacement of an objet petit a (object of desire) with object-cause of desire, and parallax. Žižek, like Hegel, accentuates the one-to-one relationship of the

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Zook, Melinda. "Early Whig Ideology, Ancient Constitutionalism, and the Reverend Samuel Johnson." Journal of British Studies 32, no. 2 (1993): 139–65. http://dx.doi.org/10.1086/386026.

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In 1833, Samuel Taylor Coleridge wrote, “I do not know where I could put my hand upon a book containing so much sense with sound constitutional doctrine as this thin folio of Johnson's works.” The “Johnson” to whom Coleridge referred was not the celebrated Doctor Samuel Johnson of the eighteenth century but instead the late seventeenth-century Whig clergyman, the Reverend Samuel Johnson. Reverend Johnson's single volume of complete works impressed Coleridge; he scribbled laudatory remarks throughout the margins of a 1710 edition. Coleridge admired the directness of Johnson's style and his pers

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Shears, Jonathon. "‘Old Men – and Women – May be Permitted to Speak Long’: Samuel Taylor Coleridge and the Voice of Experience." Romanticism 25, no. 3 (2019): 249–60. http://dx.doi.org/10.3366/rom.2019.0430.

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This article explores the complications involved in speaking from a position of seniority and experience in the life and work of Samuel Taylor Coleridge. It goes beyond the familiar caricatures of Coleridge as a garrulous old man, perpetuated by the likes of J. B. Priestley and Max Beerbohm, to address his self-consciousness in securing a listener, drawing comparisons and contrasts with the ‘Old Maid’ Miss Bates in Jane Austen's Emma. The article then pursues the theme of listening to elderly voices in verse from different periods of Coleridge's career including ‘The Old Man of the Alps’, ‘You

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Ford, Stephen H. "Coleridge as Philosopher of Missions." Harvard Theological Review 111, no. 2 (2018): 216–41. http://dx.doi.org/10.1017/s0017816018000068.

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AbstractColeridge directed hisAids to Reflection(1825, 1831) to young men preparing for Christian vocations, missionaries in particular, and planned, but did not write, a seventh supplementary essay, which may be reconstructed from Coleridge's œuvres, to correct what he thought was inadequate preparation. Missionaries are educators whose preparation must include scientific biblical criticism: Christianity evolves with culture generally. Anthropography is required in order to foster inter-cultural exchange, including insight into a tradition's metaphors. Missionaries engage in proselytism, insi

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Cheshire, Paul. "Cottle's Bristol Album, ‘Evening’ and the ‘Insane Man at Dr Fox's’." Romanticism 23, no. 1 (2017): 15–26. http://dx.doi.org/10.3366/rom.2017.0303.

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Joseph Cottle started his Bristol Album in 1795, recognizing the promise of his new circle of friends. Among those who contributed poems to this album were Southey, Coleridge, Wordsworth, William Gilbert, Dr Beddoes, and the anonymous author of a poem ‘Evening’, described in the album as ‘Written by an Insane Man at Dr Fox's’. ‘Evening’ appears in the album immediately before a contribution in Coleridge's hand, and it has a number of verbal parallels with ‘The Eolian Harp’, which Coleridge was to start two months later. Dr Edward Long Fox, who in 1795 played a leading role in Bristol's radical

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Romanyshyn, Nataliia. "POLITICAL CONCEPTS IN THE POETRY OF SAMUEL TAYLOR COLERIDGE." Inozenma Philologia, no. 135 (December 15, 2022): 27–39. http://dx.doi.org/10.30970/fpl.2022.135.3805.

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The presented article is aimed at disclosing the features of poetic conceptualization of political concepts in the poetry of famous English Romantic – Samuel Taylor Coleridge. The research is based on the cognitivediscursive approach and involves the application of research tools of cognitive poetics, cognitive stylistics, cultural and literary studies, which builds a vector of analysis from the concept as a social phenomenon to its embodiment, explicit and implicit, by the diversity of textual aesthetic resources at diff erent levels of textual matter. Artistic actualization of political noti

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Smoker, James Gordon. "Samuel Taylor Coleridge (1772–1834) and Nature’s Divine Participation: Reverence for the One and the Many in the Scientific and Poetic Imagination." Religions 15, no. 6 (2024): 641. http://dx.doi.org/10.3390/rel15060641.

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This paper considers the influence of Platonism and Neoplatonism on the British Romantic poet and theologian Samuel Taylor Coleridge (1772–1834) and how they informed his reverence for nature. Coleridge did not see this reverence as merely personal but sought to call an increasingly materialist and industrializing England back to a Platonic social imagination that would better revere the created world. First, I will establish the influence of Platonic and Neoplatonic thought on his philosophical system. Second, I will show how the relationship between Platonic philosophy and scientific pursuit

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Leadbetter, Gregory. "Poets in a Transnatural Landscape: Coleridge, Nature, Poetry." Romanticism 27, no. 1 (2021): 46–62. http://dx.doi.org/10.3366/rom.2021.0491.

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This essay addresses the nature of the experience of nature, as evoked, in particular, by Coleridge, and the relationship between that experience and the impulse to speak of it, especially in poetry. Always a fascinated observer of his own responsiveness, he wrote to Thomas Wedgwood in 1802 that ‘I never find myself alone within the embracement of rocks & hills, a traveller up an alpine road, but my spirit courses, drives, and eddies, like a Leaf in Autumn: a wild activity, of thoughts, imaginations, feelings, and impulses of motion, rises up from within me’. As in his verse, the rhythmic

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Perry, Seamus. "Coleridge's Turtle: Coleridge and the Divisibility of Life." Wordsworth Circle 28, no. 1 (1997): 27–34. http://dx.doi.org/10.1086/twc24042519.

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Thomas, Alex. ""Can She the Bodiless Dead Espy?": Coleridge and the Hermeneutics of Ghost Seeing." ELH 91, no. 4 (2024): 1167–99. https://doi.org/10.1353/elh.2024.a945317.

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Abstract: This article argues for a revised understanding of Coleridge's aesthetics of the preternatural by analyzing them through the lens of his long-standing engagement with the phenomenology and hermeneutics of ghost-seeing. Focusing first on critical works such as The Friend, The Statesman's Manual , and Coleridge's notes on Hamlet , I contend that Coleridge articulates an account of visionary experience which stresses the primacy of the interpretive act. The article concludes with a reading of Christabel as a meditation on the hermeneutics of apparitions in which the interpretive crisis

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Edmundson, Mark. "Coleridge!" Literary Imagination 20, no. 2 (2018): 165–73. http://dx.doi.org/10.1093/litimag/imy050.

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Edmundson, Mark. "Coleridge!" Literary Imagination 20, no. 2 (2018): 165–73. https://doi.org/10.1353/lim.2018.a942458.

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Flores Moreno, Cristina. "Nature Imagined in S. T. Coleridge's "Meditative Poems" and Miguel de Unamuno's Poesías : A Study on Reception." Journal of English Studies 5 (May 29, 2008): 83. http://dx.doi.org/10.18172/jes.122.

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This paper aims at exploring some aspects of Miguel de Unamuno’s engagement with Samuel Taylor Coleridge’s poetry. The Spanish author wrote in 1907 his first collection of poems, Poesías. A non-negligible number of poems in the collection bear significant resemblances with Samuel Taylor Coleridge’s “meditative” poems. It is my purpose here to analyse these similarities so as to prove that they are not mere chance, but the result of Unamuno’s attentive reading of Coleridge’s poems, which he frequently praised. Hence, a study of the Spanish author’s readings of the 1893 edition of The Works of S

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Naishtat Bornstein, Lilach. "Coleridge’s Translation of the Song of Deborah." Prooftexts 40, no. 1 (2023): 140–89. http://dx.doi.org/10.2979/ptx.2023.a899252.

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Abstract: Coleridge wrote a translation of the first ten verses of the Song of Deborah in September 1798, while on a boat overseas on the way to Germany, in what was his first-ever voyage outside of England. This article offers a close reading of this manuscript, which has not yet been examined thoroughly by scholars, and suggests what lay behind Coleridge’s choice to translate it at this specific moment in his life and career. The Song of Deborah in fact continued to fascinate the poet throughout his life, especially in relation to the innovative Romantic poetics he developed together with Wi

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Li, Cha, and Qian Zhao. "An Ambiguous Manifestation of Draining Inspiration-Exploring Coleridge’s Writing Block." Methodology Insight 1, no. 2 (2025): 1–12. https://doi.org/10.71290/mi01020001.

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Samuel Taylor Coleridge’s celebrated yet incomplete poem Kubla Khan has received mixed reviews, but it remains a quintessential example of Romantic poetry. This article adopts Writer’s Block Theory to explore Coleridge’s writing block, especially during the process of creating Kubla Khan. It argues that Coleridge’s writing block is attributed to a combination of external and internal factors. The external causes are related to the turbulent historical context and his personal struggles, while the internal ones include physiological/affective causes and motivational/cognitive causes. Then the a

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Mahoney, Charles. "‘The malignity of Reviewers’: Coleridge, Wilson, and Blackwood's." Romanticism 23, no. 3 (2017): 234–42. http://dx.doi.org/10.3366/rom.2017.0338.

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The first number of the refashioned Blackwood's Edinburgh Magazine opens with a review of Samuel Taylor Coleridge's Biographia Literaria which is still regarded as one of the most virulent ‘attacks’ in the history of periodical reviewing. What could have motivated John Wilson to disparage Coleridge so personally and at such length? One factor may have been the treatment of Francis Jeffrey in the Biographia. Jeffrey's presence in both the Biographia and Wilson's review reveals a complicated debate regarding reviewing practices in the 1810s at the same time as it illuminates the boisterous, unpr

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SWAGATA ROY, SWAGATA ROY. ""The Influence of Romanticism on the Poetry of William Wordsworth and Samuel Taylor Coleridge"." Innovative Research Thoughts 10, no. 4 (2024): 80–83. https://doi.org/10.36676/irt.v10.i4.1541.

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An analysis of the enormous impact that Romanticism had on the poetry of William Wordsworth and Samuel Taylor Coleridge, two of the most influential figures of the Romantic movement in English literature. Through the examination of significant works such as Wordsworth's Lyrical Ballads and Coleridge's The Rime of the Ancient Mariner, the study investigates the manner in which the poetry of these authors exemplifies the fundamental principles of Romanticism. These principles include a profound reverence for nature, an emphasis on individual experience and emotion, and a rejection of the rationa

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Avery, Joshua. "The Failure of the Sacraments in Coleridge’s Rime of the Ancient Mariner." Renascence 72, no. 2 (2020): 87–98. http://dx.doi.org/10.5840/renascence20207227.

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This essay argues that Coleridge’s Rime of the Ancient Mariner represents in its imagery a tension within Coleridge prior to his conversion to Anglicanism. Specifically, the poem’s treatment of institutional sacraments argues for their apparent inefficacy, at least from the Mariner’s vantage point. The sacramental idea upheld by a High Church view would suggest that particular earthly institutions, such as Holy Communion or matrimony, could function as actual and not merely symbolic vehicles of divine grace. The Rime, however, displays a protagonist whose hopes for such possibilities are repea

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Shaub, Kiel. "Modelling Genius: Performance and Pedagogy in Coleridge’s Royal Institution Lectures." Romanticism 31, no. 1 (2025): 36–47. https://doi.org/10.3366/rom.2025.0670.

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This article explains how Royal Institution lecturing policy informs Coleridge’s 1808 lecture series on the Principles of Poetry. The explanation rests on the pedagogical rationale requiring all RI lecturers experimentally to demonstrate or illustrate the principles they introduce. While lecturers on natural philosophy and chemistry fulfilled this obligation through on-stage experiments, lecturers on the ‘arts’ typically made use of models to demonstrate the function of a product of art. Coleridge, I argue, in order to illustrate his principles of Poetic and critical genius, instead uses himse

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Fogell, Martin. "Coleridge-Taylor." Musical Times 129, no. 1742 (1988): 170. http://dx.doi.org/10.2307/965308.

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Self, Geoffrey. "Coleridge-Taylor." Musical Times 130, no. 1756 (1989): 323. http://dx.doi.org/10.2307/966024.

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Woodring, Carl. "Talking Coleridge." Wordsworth Circle 27, no. 1 (1996): 55–57. http://dx.doi.org/10.1086/twc24042485.

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Enniss, Stephen. "IN THE AUTHOR’S HAND:: ARTIFACTS OF ORIGIN AND TWENTIETH-CENTURY READING PRACTICE." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 2, no. 2 (2001): 106–20. http://dx.doi.org/10.5860/rbm.2.2.197.

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Our contemporary fascination with origins, with the creative moment itself, goes back at least as far as the Romantic period, which, more than any other, enshrined the literary fragment as a relic of original artistic inspiration. Though Samuel Coleridge’s unfinished poem “Kubla Khan” is perhaps a familiar example, it is nevertheless worth retelling his account of that poem for what it conveys about romantic notions of creativity. When the poem was first published in 1816, Coleridge prefaced the text with a note explaining the circumstances of its composition and the reason the poem remained u

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Botero Camacho, Manuel. "The Romantic Concealment of Desire: Coleridge’s and Wordsworth’s Poetic Voices." Littera Aperta. International Journal of Literary and Cultural Studies 6 (December 8, 2021): 5–28. http://dx.doi.org/10.21071/ltap.v6i6.14040.

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    The present study poses an interpretation of Samuel Taylor Coleridge’s “The Eolian Harp” and William Wordsworth’s “Lines Written a Few Miles above Tintern Abbey” so as to evince the subject of desire as the ulterior motif of these texts, even though the poetic voices of these works attempt to conceal such a theme. This reading interprets both poems as compositions that share the same thematic line as William Blake’s “The Book of Thel” and John Keats’ “Ode on a Grecian Urn”. Consequently, the close reading of the poems by Wordsworth and Coleridge will be presented.&#

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Adnan, Al Zamili Mohsen Hanif. "The Individual-Nature Relationship in Keats's "Ode on a Grecian Urn"." Multicultural Education 7, no. 3 (2021): 35. https://doi.org/10.5281/zenodo.4569130.

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<em>This article discusses the individual-nature relationship in John Keats’s “Ode on a Grecian Urn” in light of Samuel Taylor Coleridge’s poetic theories associated with this concept which are embraced by his poem, “The Rime of the Ancient Mariner”. More than that, it displays, in a poetic discussion, a critical analysis of Keats’s ode as a strong interconnection that ties the individual to nature. The main focus of this study is the sensory relationship of Keats with nature taking into consideration that it is identical with Coleridge’s poetic

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Lawley, Paul. "Failure and Tradition: Coleridge / Beckett." Samuel Beckett Today / Aujourd'hui 18, no. 1 (2007): 31–46. http://dx.doi.org/10.1163/18757405-018001003.

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Using a model of literary tradition derived from T. S. Eliot and mediated by J. L. Borges, this paper proposes a tradition of creative failure which would enable the work of Beckett to be read that of S. T. Coleridge, and vice-versa. Two texts by Coleridge are briefly considered in this context, and the problematic of creative failure in which they are implicated is related to key claims in Beckett's . A concluding statement suggests the benefits of reading Coleridge and Beckett within the common perspective of a literary tradition, the perception of which the two writers both shape and are sh

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Allchin, Arthur Macdonald. "Grundtvig and Coleridge: Heritage and Prophery." Grundtvig-Studier 50, no. 1 (1999): 162–72. http://dx.doi.org/10.7146/grs.v50i1.16338.

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Grundtvig og Coleridge. Arv og profetiAf Arthur Macdonald AllchinTitlen på denne afhandling refererer til en artikel samling, der blev udgivet i 1993 under redaktion af Allchin med flere. I en række afhandlinger, der dækkede meget forskelligartede emner, var det sigtet at gennemføre en samtale mellem forskere fra England /USA og fra Danmark om »Grundtvig og den engelsk-sprogede verden«, jvf. Bogens undertitel. Med udgivelsen af bogen nåede de bestræbelser, der gennem hele Grundtvigselskabets levetid har kendetegnet udgivelsen af denne årbog, og som yderligere er blevet accentueret ved oprettel

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Jagger, Jasmine. "Wordsworth, Coleridge, and the Healing Powers of the Imagination." Romanticism 22, no. 1 (2016): 33–47. http://dx.doi.org/10.3366/rom.2016.0255.

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This article discusses a medical link between Wordsworth and Coleridge during and around the composition of The Prelude. Looking closely at popular medical treatises on the imagination and its specific powers over the human mind and body in the late 1700s and early 1800s, it identifies a medical ‘strand’ within the The Prelude, particularly in relation to its address to an ailing Coleridge. Through biographical tracking and close attention to certain poetic emphases and motifs, it identifies a special motive for Wordsworth's writing of his poem, as well as an emergent dynamic between the two p

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