Coleridgean


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Adj.1.Coleridgean - of or relating to Samuel Taylor Coleridge or his writings
Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
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To borrow a common Romantic metaphor, Beatrice functions like that well-known Coleridgean instrument, an "organic Har[p]...
(24) Lauren Caldwell, "Truncating Coleridgean Conversation and the Re-Visioning of 'Dover Beach,'" Victorian Poetry 45 (2007): 429-45, doi: 10.1353/vp.2008.0005; Nils Clausson, "Arnold's Coleridgean Conversation Poem: 'Dover Beach' and 'The Eolian Harp,'" Papers on Language and Literature 44 (2008): 276-304, http://ezproxy .library.dal.ca/login?url=http://search.ebscohost.com/login.aspx?direct=true&db =mzh&AN=2008581171&site=ehost-live.
Although Romantic poetry is philosophically complicated--combining "deistic theology," "Newtonian physics," Wordsworthian "pantheistic naturalism," Coleridgean "theism," and Shelleyean conflict between French atheism and Platonic idealism--and romantic poets differ in their philosophical viewpoints, "the common feat of the romantic nature poets was to read meanings into the landscape" (Wimsatt, "The Structure" 25-31).
A showcasing of scholarship and collegiality, real and imagined--the latter in a Coleridgean sense--the book is certain to be cited as a precedent for future attempts in this field in the academic world of India, Odisha more particularly.
She relates the process to the Coleridgean concept of the secondary imagination and to Jung's methods of the unconscious to alchemy.
In spite of the fact that the above-quoted extract is densely intertextual (Mfu's compulsion to speak, after passing through an extreme experience during the sea journey, has obvious Coleridgean connotations--like the Ancient Mariner, Mfu is possessed by speech; the positioning of the speaking voice between the intimate "I" and the external apparently omniscient narrator brings to mind "Childe Harold's Pilgrimage"; and we also hear here a subtle echo of Ariel's song, which simultaneously sends us to Hayden's "Middle Passage" and its intertextual play with that excerpt from The Tempest), the persona rejects the temptation of a literary self-absorption of the text by emphasizing the fact that he is "not a bit romantic" and that "this is real, not a sentimental / landscape".
Asimov shows, indeed, such an extraordinary command of this particular kind of rhetoric, the rhetoric of (natural) science, that its use in a fictional text seems perfectly adapted to the subject, dramatically increasing its plausibility or, to say it in Coleridgean terms, invoking the willing suspension of disbelief usually sought in science fiction as a mode based on a rational-looking explanation of its fictional worlds.
the Coleridgean definition Leighton describes sees form as
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'.
(5) The Yeatsian occasional poem is, in fact, a fusion of these two modes: the Jonsonian verse epistle and the Coleridgean conversation poem.