Coleridgean


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Adj.1.Coleridgean - of or relating to Samuel Taylor Coleridge or his writings
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She relates the process to the Coleridgean concept of the secondary imagination and to Jung's methods of the unconscious to alchemy.
the Coleridgean definition Leighton describes sees form as
Having assimilated what was previously beyond him through a contemplation of the greater power of God, the narrator is brought to the point of rapture and here--again in a Keatsian or Coleridgean manner--the narrator returns to his uncongenial starting point at the end of the poem:
In this sense, Frankenstein's monster, whose soul glows with love but also with aggression, is a Coleridgean figure.
What we see in the Scotch novels is a Coleridgean unity: the idea is expressed in the image; the individual is representative; the story is contained within the autonomous work of art.
34) Yeats expounded a Coleridgean 'extremes meet' philosophy in pursuit of a creative unity of being, but, as Peter Howarth points out, this 'has serious problems as a view of history, since if all enemies can be seen as anti-selves, then all conflict is really a process toward unity, and an artistic necessity'.
Bottinius contrasts a mechanical assemblage of "studies" or "facts" with a Coleridgean process of imaginative fusion that, in fact, inclines toward the "vulgar and extern" in its disgustingly material figures for imagination.
5) The Yeatsian occasional poem is, in fact, a fusion of these two modes: the Jonsonian verse epistle and the Coleridgean conversation poem.
The ever symbolic alba tross, harbinger of death (shades of the famous Coleridgean poem "The Rime of the Ancient Mariner"), plays constantly on his mind, though in the end, it is not the giant bird that brings about his doom but his vindictive comrades.
Simile is to metaphor as allegory to symbol and as "fancy," in Samuel Taylor Coleridge's writings, is to "imagination": only the second has the "esemplastic" (another Coleridgean term) power to create something new.
In this article, I argue that De Quincey spins these individual literary "reports" of Coleridgean opium consumption into a posthumous "record" of illicit habit-formation.
With the astounding advances in both thought and science, "reason" both in its narrowly rational and its empirical forms, not only is distinguished and separated from the imagination, but the latter increasingly is relegated to mere "fancy" (in the Coleridgean sense).