from The American Heritage® Dictionary of the English Language, 4th Edition
- Coleridge, Samuel Taylor 1772-1834. British poet and critic who was a leader of the romantic movement. With William Wordsworth he published Lyrical Ballads (1798), which contains "The Rime of the Ancient Mariner,” his best-known poem.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- proper n. Samuel Taylor Coleridge, English romantic poet
- proper n. Coleridge, North Carolina
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- n. English romantic poet (1772-1834)
Sorry, no etymologies found.
The description consigns "Xanadu" to parentheses and fails to mention that this monumental carving belonged to the fabled structure immortalized in Coleridge's poem.
And Jenny, I quite agree that Coleridge is the more appealing of the two.
Coleridge is asking for a certain philosophical clarity, and thus appealing more broadly to thought to sober or correct itself, to bring to enlightenment that within itself that won't make itself known.
For this reason, I want to set one primal scene of this volume in Coleridge, not his coining of the term
That is to say, we also see in Coleridge's personal encounter with the unconscious a desire for reparation and the therapeutic, a socially ameliorative gesture that allays fears about these effects in the name of what Wordsworth, in his own way always quick to move past the individual and the personal, speaks of as the collective "Mind of Man."
Psychoanalysis (50-55) and "Philosophy's Debatable Land in Coleridge's Biographia Literaria" (136-43).
"A fascinating insight into the character and behaviour of the poet Samuel Taylor Coleridge is revealed through his own notebooks, together with journals, correspondence and reminiscences from family and friends in a small display at the British Library from 27 February – 27 April 2007"
Romantic literature is replete with aesthetic examples of this philosophical tenet, whether in Coleridge's recognition of "the one life within us and abroad" ( "The Eolian Harp" [28.26]) or
The nightingale in Coleridge's poem by the same name utters forth its nocturnal "wanton song" (86) or "love-chant"
Echoing the passivity of the viewer invoked in Coleridge's condemnation of