Coleridge as Poet and Religious ThinkerIn the nineteenth century there was a definite divide between those who read Coleridge as a religious thinker and those who read him as a poet. Even now, readers and critics find it hard not to consider one aspect of his work to the exclusion of the other. Here David Jasper considers Coleridge as a poet, literary critic, theologian and philosopher, seeing him as occupying a representative place in European and English Romantic thought on poetry, religion and the role of the artist. His earliest writings are closely linked to his mature religious and critical thought, and his greatest poems, ‘Kubla Khan’, ‘The Rime of the Ancient Mariner’ and the ‘Dejection’ Ode, are a necessary prelude to the prose writings of the middle period of Coleridge’s life. Self-reflection upon the processes of creating poetry and art, particularly in the Biographia Literaria, is an important development in Coleridge’s sense of the relation of the finite to the infinite through the inspiration of the poet. Attention to the nature of inspiration, imagination and irony in creative writing leads directly to his later discussions of man’s need of a divine redeemer and the nature of divine revelation. In the later poetry, attention is given to the theme of self-reflection in which spiritual growth is part and parcel of poetic development, each balancing the other. The final part of the book considers Coleridge’s later prose, linking his reflections upon poetry with an epistemology, which he learnt principally from Kant and Fichtee in a discussion of revelation and radical evil. In conclusion, Coleridge’s religious position is summed up through the late, and still unpublished notebooks, and the fragmentary remains of the long-projected Opus Maximum. The last chapter links Coleridge with a more recent debate on the nature of inspiration, poetic and divine, which arises out of Austin Farrer’s Bampton Lectures The Glass of Vision. |
From inside the book
Results 1-5 of 72
Page vii
... God of all': Jacob Boehme and “The Eolian Harp' IV Giordano Bruno and the De umbris idearum (1582) 4 “KUBLA KHAN', 'THE RIME OF THE ANCIENT MARINER” AND “DEJECTION” I 'Kubla Khan' and the Tomorrow Yet to Come II. The Two Worlds of 'The ...
... God of all': Jacob Boehme and “The Eolian Harp' IV Giordano Bruno and the De umbris idearum (1582) 4 “KUBLA KHAN', 'THE RIME OF THE ANCIENT MARINER” AND “DEJECTION” I 'Kubla Khan' and the Tomorrow Yet to Come II. The Two Worlds of 'The ...
Page 4
... gods? Midgley is specifically using Nietzsche and Sartre in giving a religious reference to the notion of creation, describing man as God's successor (p. 46). She raises two problems from this description. First, that God's creation is ...
... gods? Midgley is specifically using Nietzsche and Sartre in giving a religious reference to the notion of creation, describing man as God's successor (p. 46). She raises two problems from this description. First, that God's creation is ...
Page 5
... God-shaped hole, left after the death of God. Turning more positively to the mystery of human originality, she addresses herself first to the ... God's creation. In his division of the Imagination into primary and Secondary, Introduction 5.
... God-shaped hole, left after the death of God. Turning more positively to the mystery of human originality, she addresses herself first to the ... God's creation. In his division of the Imagination into primary and Secondary, Introduction 5.
Page 6
... God-like within us'.” As in the symbol, heaven itself may be imaged in a dew-drop, so in reflection upon the nature and genius of the artist—or, for Coleridge, in self-reflection—may be perceived something of the nature of God's ...
... God-like within us'.” As in the symbol, heaven itself may be imaged in a dew-drop, so in reflection upon the nature and genius of the artist—or, for Coleridge, in self-reflection—may be perceived something of the nature of God's ...
Page 7
... God, as described in the writings of Martin Buber, bears comparison with Coleridge's sense of the divine perceived through the nature of man made in God's image. In her book Buber on God and the Perfect Man (1980), she describes the ...
... God, as described in the writings of Martin Buber, bears comparison with Coleridge's sense of the divine perceived through the nature of man made in God's image. In her book Buber on God and the Perfect Man (1980), she describes the ...
Contents
8 | |
20 | |
KUBLA KHAN THE RIME OF THE ANCIENT | 43 |
S THE CRITICAL PROSE | 73 |
THREE LATER POEMS | 103 |
THE LATER PROSE AND NOTEBOOKS | 116 |
INSPIRATION AND REVELATION | 144 |
Notes | 156 |
Bibliography of Secondary Sources | 178 |
Index | 191 |
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Coleridge as Poet and Religious Thinker: Inspiration and Revelation David Jasper Limited preview - 1985 |
Common terms and phrases
aesthetic Aids to Reflection Ancient Mariner artist Austin Farrer Biographia Literaria Boehme Christ Christian Coleridge's Coleridge's writings Confessio Fidei consciousness context creation creative Dejection described divine doctrine Eolian Eolian Harp Essays eternal experience faith Farrer finite fragment Friedrich Schlegel Friend(CC Glass of Vision God’s Hartley Helen Gardner human Ibid ideas individual infinite infinity inspiration intellectual intuition irony John John Thelwall Kant Kant's Kermode Kubla Khan language Lectures letter Lewesdon Hill Limbo literary criticism literature London M. H. Abrams man’s Mary Midgley McFarland metaphysical mind moral mystery narrative nature object Opus Maximum Owen Barfield Oxford perceived philosophical Piranesi's poem poet poetic poetry Polar Logic principle prose reader reading religion religious revelation Romantic S. T. Coleridge Samuel Taylor Coleridge Schelling secondary Imagination self-reflection sense Spirit suggests symbol theology theory things thought tradition truth unity universal Wordsworth