Samuel Taylor Coleridge Biography - Life, Childhood, Death ~ Lifestyle News

Samuel Taylor Coleridge, a leader of the British Romantic movement, was born on October 21, 1772, in Devonshire, England. Themes birds public domain About Samuel Taylor Coleridge > sign up for poem-a-day Receive a new poem in your inbox daily. Email Address. Sign Up.Samuel Taylor Coleridge (1772-1834) was an English poet, literary critic and philosopher who, with his friend William Wordsworth, was a founder of the Romantic Movement in England and a member of the Lake Poets. He wrote the poems The Rime of the Ancient Mariner and Kubla Khan, as well as the major prose work Biographia Literaria.Early in 1798 Coleridge had again found himself preoccupied with political issues. The French Revolutionary government had suppressed the states of the Swiss Confederation, and Coleridge expressed his bitterness at this betrayal of the principles of the Revolution in a poem entitled "France: An Ode."Samuel Taylor Coleridge is the premier poet-critic of modern English tradition, distinguished for the scope and influence of his thinking about literature as much as for his innovative verse. Active in the wake of the French Revolution as a dissenting pamphleteer and lay preacher, he...Samuel Taylor Coleridge, a leader of the British Romantic movement, was born on October 21, 1772, in Devonshire, England.

Amazon.com: Samuel Taylor Coleridge: Books, Biography

Samuel Taylor Coleridge is the premier poet-critic of modern English tradition, distinguished for the scope and influence of his thinking about literature as much as for his innovative verse. Active in the wake of the French Revolution as a dissenting pamphleteer and lay preacher, he...Romantic-era poet Samuel Taylor Coleridge famously defined imagination as the human mind's temporary replication of the divine creation of the world. "The primary Imagination," he wrote, "I hold to be … a repetition in the finite mind of the eternal act of creation." In other words, the human mind's creative powers—finite as they are—imitate in miniature the divine words thatSamuel Taylor Coleridge (1772-1834) was one of the great Romantic poets. He was a writer of visionary imagination, lyric intensity and philosophical profundity.Samuel Taylor Coleridge. Rime of the Ancient Mariner. Birthplace: Ottery St. Mary, Devonshire, England Location of death: London, England Cause of death: Heart Failure Rema. Military service: 15th Dragoons English poet and philosopher, born on the 21st of October 1772, at his father's vicarage of Ottery St. Mary's, Devonshire. His father, the Rev

Samuel Taylor Coleridge - Troubled years | Britannica

Samuel Coleridge-Taylor, (born Aug. 15, 1875, London, Eng.—died Sept. 1, 1912, Croydon, Surrey), English composer who enjoyed considerable acclaim in the early years of the 20th century.Samuel Taylor Coleridge >The English author Samuel Taylor Coleridge (1772-1834) was a major poet of >the romantic movement. He is also noted for his prose works on literature, >religion, and the organization of society. Born on Oct.Samuel Taylor Coleridge was influential in the founding and development of English Romantic poetry. Despite suffering from mood swings and an opium addiction, Coleridge produced some memorable poetry and was also a noted literary critic. Short Bio S.T. Coleridge (1772-1834) Samuel Taylor Coleridge was born in Ottery St. Mary, Devon in 1772.Samuel Taylor Coleridge Coleridge was born on 21 October 1772in Ottery St. Mary, Devonshire. His father, who was the vicar of Ottery and the headmaster of its grammar school, died when he was yet a boy, in 1781. Thereafter, to continue hisAccording to Coleridge's preface to Kubla Khan, the poem was composed one night after he experienced an opium -influenced dream after reading a work describing Shangdu, the summer capital of the Yuan dynasty founded by the Mongol Emperor Kublai Khan.

Jump to navigation Jump to search "Coleridge" redirects here. For other makes use of, see Coleridge (disambiguation). This article is ready the early Nineteenth-century English poet. For the past due 19th-century British composer, see Samuel Coleridge-Taylor.

Samuel Taylor ColeridgeColeridge in 1795Born21 October 1772Ottery St Mary, Devon, Great BritainDied25 July 1834 (aged 61)Highgate, Middlesex, United Kingdom of Great Britain and IrelandOccupationPoet, critic, philosopherAlma materJesus College, CambridgeLiterary motionRomanticismNodesk worksThe Rime of the Ancient Mariner, Kubla Khan, Christabel, Conversation poems, Biographia LiterariaPartnerSara FrickerYoungstersHartley Coleridge Berkeley Coleridge Sara Coleridge Derwent ColeridgeSignature

Samuel Taylor Coleridge (/ˈkoʊlərɪdʒ/;[1] 21 October 1772 – 25 July 1834) used to be an English poet, literary critic, philosopher and theologian who, along with his friend William Wordsworth, was a founder of the Romantic Movement in England and a member of the Lake Poets. He also shared volumes and collaborated with Charles Lamb, Robert Southey, and Charles Lloyd. He wrote the poems The Rime of the Ancient Mariner and Kubla Khan, as well as the primary prose paintings Biographia Literaria. His critical work, especially on William Shakespeare, was once extremely influential, and he helped introduce German idealist philosophy to English-speaking culture. Coleridge coined many acquainted phrases and phrases, together with "suspension of disbelief".[2] He had a big influence on Ralph Waldo Emerson and American transcendentalism.

Throughout his adult lifestyles Coleridge had crippling bouts of nervousness and depression; it has been speculated that he had bipolar disorder, which had now not been defined all through his lifetime.[3] He was bodily dangerous, which could have stemmed from a bout of rheumatic fever and other youth illnesses. He was handled for these conditions with laudanum, which fostered a lifelong opium dependancy.

Early existence and training

Main article: Early existence of Samuel Taylor Coleridge

Coleridge was once born on 21 October 1772 in the town of Ottery St Mary in Devon, England.[4] Samuel's father used to be the Reverend John Coleridge (1718–1781), the well-respected vicar of St Mary's Church, Ottery St Mary and used to be headmaster of the King's School, a loose grammar faculty established by means of King Henry VIII (1509–1547) in the the town. He had up to now been master of Hugh Squier's School in South Molton, Devon, and lecturer of close by Molland.[5] John Coleridge had three children by way of his first wife. Samuel used to be the youngest of ten by the Reverend Mr. Coleridge's 2d wife, Anne Bowden (1726–1809),[6] more than likely the daughter of John Bowden, Mayor of South Molton, Devon, in 1726.[7] Coleridge means that he "took no pleasure in boyish sports" but instead learn "incessantly" and performed by himself.[8] After John Coleridge died in 1781, 8-year-old Samuel was once despatched to Christ's Hospital, a charity college which was founded in the 16th century in Greyfriars, London, the place he remained right through his formative years, finding out and writing poetry. At that faculty Coleridge become buddies with Charles Lamb, a schoolmate, and studied the works of Virgil and William Lisle Bowles.[9] In one of a sequence of autobiographical letters written to Thomas Poole, Coleridge wrote: "At six years old I remember to have read Belisarius, Robinson Crusoe, and Philip Quarll – and then I found the Arabian Nights' Entertainments – one tale of which (the tale of a man who was compelled to seek for a pure virgin) made so deep an impression on me (I had read it in the evening while my mother was mending stockings) that I was haunted by spectres whenever I was in the dark – and I distinctly remember the anxious and fearful eagerness with which I used to watch the window in which the books lay – and whenever the sun lay upon them, I would seize it, carry it by the wall, and bask, and read."

Coleridge seems to have preferred his teacher, as he wrote in memories of his college days in Biographia Literaria:

I loved the inestimable merit of an excessively smart, even though at the identical time, a very severe master [...] At the similar time that we have been learning the Greek Tragic Poets, he made us learn Shakespeare and Milton as classes: and they were the lessons too, which required most time and trouble to bring up, so as to break out his censure. I learnt from him, that Poetry, even that of the loftiest, and, apparently, that of the wildest odes, had a common sense of its own, as severe as that of science; and harder, because extra subtle, extra advanced, and depending on more, and more fugitive reasons. [...] In our own English compositions (a minimum of for the closing 3 years of our faculty training) he showed no mercy to word, metaphor, or symbol, unsupported through a legitimate sense, or the place the similar sense may were conveyed with equal force and dignity in plainer phrases... In fancy I can virtually pay attention him now, exclaiming Harp? Harp? Lyre? Pen and ink, boy, you mean! Muse, boy, Muse? your Nurse's daughter, you imply! Pierian spring? Oh aye! the cloister-pump, I suppose! [...] Be this as it may, there was one custom of our grasp's, which I can't cross over in silence, because I believe it ... worthy of imitation. He would frequently allow our theme workout routines, ... to amass, till every lad had 4 or 5 to be looked over. Then striking the whole number abreast on his desk, he would ask the writer, why this or that sentence would possibly no longer have found as suitable a place underneath this or that other thesis: and if no pleasurable resolution might be returned, and two faults of the same kind had been found in one exercise, the irrevocable verdict followed, the workout was once torn up, and some other on the same topic to be produced, along with the tasks of the day.[10]

He later wrote of his loneliness at school in the poem Frost at Midnight: "With unclosed lids, already had I dreamt/Of my sweet birthplace."

From 1791 till 1794, Coleridge attended Jesus College, Cambridge.[11] In 1792, he won the Browne Gold Medal for an ode that he wrote on the slave trade.[12] In December 1793, he left the college and enlisted in the 15th (The King's) Light Dragoons the usage of the false name "Silas Tomkyn Comberbache",[13] most likely because of debt or as a result of the woman that he liked, Mary Evans, had rejected him. His brothers arranged for his discharge a couple of months later under the explanation why of "insanity" and he was readmitted to Jesus College, though he would by no means obtain a point from the college.

Pantisocracy and marriage

Mary Matilda Betham, Sara Coleridge (Mrs. Samuel Taylor Coleridge), Portrait miniature, 1809 Image of Coleridge, from The Rime of the Ancient Mariner and The Vision of Sir Launfal (via Coleridge and James Russell Lowell), revealed by way of Sampson Low, 1906. Plaque commemorating Coleridge at St Mary's Church, Ottery St Mary Cambridge and Somerset

At Jesus College, Coleridge used to be introduced to political and theological ideas then thought to be radical, including those of the poet Robert Southey with whom he collaborated on the play The Fall of Robespierre. Coleridge joined Southey in a plan, later deserted, to discovered a utopian commune-like society, referred to as Pantisocracy, in the desolate tract of Pennsylvania. In 1795, the two buddies married sisters Sara and Edith Fricker, in St Mary Redcliffe, Bristol,[14] however Coleridge's marriage with Sara proved unsatisfied. He grew to loathe his spouse, whom he married principally as a result of of social constraints. Following the start of their fourth child, he eventually separated from her.

A third sister, Mary, had already married a 3rd poet Robert Lovell and both became companions in Pantisocracy. Lovell also introduced Coleridge and Southey to their future patron Joseph Cottle however died of a fever in April 1796. Coleridge used to be with him at his demise.

In 1796 he released his first quantity of poems entitled Poems on more than a few subjects, which also integrated four poems by way of Charles Lamb in addition to a collaboration with Robert Southey and a piece recommended through his and Lamb's schoolfriend Robert Favell. Among the poems have been Religious Musings, Monody on the Death of Chatterton and an early version of The Eolian Harp entitled Effusion 35. A 2nd edition used to be printed in 1797, this time together with an appendix of works by way of Lamb and Charles Lloyd, a tender poet to whom Coleridge had turn into a personal tutor.

In 1796 he additionally privately printed Sonnets from Various Authors, together with sonnets by way of Lamb, Lloyd, Southey and himself as well as older poets akin to William Lisle Bowles.

Coleridge made plans to establish a journal, The Watchman, to be revealed each and every eight days to avoid a weekly newspaper tax.[15] The first factor of the short-lived magazine was published in March 1796. It had ceased newsletter through May of that 12 months.[16]

The years 1797 and 1798, right through which he lived in what is now known as Coleridge Cottage, in Nether Stowey, Somerset, had been among the most fruitful of Coleridge's life. In 1795, Coleridge met poet William Wordsworth and his sister Dorothy. (Wordsworth, having visited him and being enchanted through the surroundings, rented Alfoxton Park, a bit over three miles [5 km] away.) Besides The Rime of the Ancient Mariner, Coleridge composed the symbolic poem Kubla Khan, written—Coleridge himself claimed—in consequence of an opium dream, in "a kind of a reverie"; and the first phase of the narrative poem Christabel. The writing of Kubla Khan, written about the Mongol emperor Kublai Khan and his mythical palace at Xanadu, was stated to have been interrupted by way of the arrival of a "Person from Porlock" – an event that has been embellished upon in such various contexts as science fiction and Nabokov's Lolita. During this era, he additionally produced his much-praised "conversation poems" This Lime-Tree Bower My Prison, Frost at Midnight, and The Nightingale.

In 1798, Coleridge and Wordsworth published a joint quantity of poetry, Lyrical Ballads, which proved to be the start line for the English romantic age. Wordsworth could have contributed more poems, however the actual famous person of the assortment was Coleridge's first version of The Rime of the Ancient Mariner. It used to be the longest paintings and drew more praise and a focus than anything else in the quantity. In the spring Coleridge briefly took over for Rev. Joshua Toulmin at Taunton's Mary Street Unitarian Chapel[17] while Rev. Toulmin grieved over the drowning loss of life of his daughter Jane. Poetically commenting on Toulmin's power, Coleridge wrote in a 1798 letter to John Prior Estlin, "I walked into Taunton (eleven miles) and back again, and performed the divine services for Dr. Toulmin. I suppose you must have heard that his daughter, (Jane, on 15 April 1798) in a melancholy derangement, suffered herself to be swallowed up by the tide on the sea-coast between Sidmouth and Bere [sic] (Beer). These events cut cruelly into the hearts of old men: but the good Dr. Toulmin bears it like the true practical Christian, – there is indeed a tear in his eye, but that eye is lifted up to the Heavenly Father."[18]

The West Midlands and the North

Coleridge also worked in short in Shropshire, where he came in December 1797 as locum to its local Unitarian minister, Dr Rowe, in their church in the High Street at Shrewsbury. He is claimed to have learn his Rime of the Ancient Mariner at a literary evening in Mardol. He used to be then considering a occupation in the ministry, and gave a probationary sermon in High Street church on Sunday, 14 January 1798. William Hazlitt, a Unitarian minister's son, was in the congregation, having walked from Wem to listen to him. Coleridge later visited Hazlitt and his father at Wem however within an afternoon or two of preaching he gained a letter from Josiah Wedgwood II, who had presented to lend a hand him out of monetary difficulties with an annuity of £150 (roughly £13,000 in today's money[19]) in step with 12 months on condition he surrender his ministerial occupation. Coleridge accepted this, to the unhappiness of Hazlitt who was hoping to have him as a neighbour in Shropshire.[20]

From 16 September 1798, Coleridge and the Wordsworths left for a stay in Germany; Coleridge quickly went his personal method and spent a lot of his time in college towns. In February 1799 he enrolled at the University of Göttingen, the place he attended lectures via Johann Friedrich Blumenbach and Johann Gottfried Eichhorn.[21] During this era, he became all in favour of German philosophy, especially the transcendental idealism and demanding philosophy of Immanuel Kant, and in the literary criticism of the 18th-century dramatist Gotthold Lessing. Coleridge studied German and, after his return to England, translated the dramatic trilogy Wallenstein by means of the German Classical poet Friedrich Schiller into English. He endured to pioneer those concepts through his personal critical writings for the rest of his existence (once in a while without attribution), despite the fact that they were unfamiliar and tough for a culture dominated by empiricism.

In 1799, Coleridge and the Wordsworths stayed at Thomas Hutchinson's farm on the River Tees at Sockburn, near Darlington.

Samuel Taylor Coleridge's daughter Sara Coleridge – 1830. Portrait via Richard James Lane

It was at Sockburn that Coleridge wrote his ballad-poem Love, addressed to Sara Hutchinson. The knight mentioned is the mailed figure on the Conyers tomb in ruined Sockburn church. The determine has a wyvern at his toes, a connection with the Sockburn Worm slain via Sir John Conyers (and a conceivable supply for Lewis Carroll's Jabberwocky). The computer virus used to be supposedly buried below the rock in the within sight pasture; this was once the 'greystone' of Coleridge's first draft, later remodeled into a 'mount'. The poem was an immediate inspiration for John Keats' well-known poem La Belle Dame Sans Merci.[22]

Coleridge's early highbrow debts, but even so German idealists like Kant and critics like Lessing, were first to William Godwin's Political Justice, especially throughout his Pantisocratic duration, and to David Hartley's Observations on Man, which is the source of the psychology which is found in Frost at Midnight. Hartley argued that one becomes conscious of sensory occasions as impressions, and that "ideas" are derived by means of noticing similarities and variations between impressions after which by means of naming them. Connections as a result of the twist of fate of impressions create linkages, in order that the incidence of one impression triggers the ones links and calls up the reminiscence of the ones concepts with which it's associated (See Dorothy Emmet, "Coleridge and Philosophy").

Coleridge was vital of the literary taste of his contemporaries, and a literary conservative insofar as he used to be afraid that the lack of taste in the ever rising plenty of literate people would imply a persevered desecration of literature itself.

In 1800, he returned to England and shortly thereafter settled with his friends and family in Greta Hall at Keswick in the Lake District of Cumberland to be close to Grasmere, the place Wordsworth had moved. He used to be a houseguest of the Wordsworths' for eighteen months, however was a hard houseguest, as his dependency on laudanum grew and his widespread nightmares would wake the youngsters. He was once additionally a fussy eater, to Dorothy Wordsworth's frustration, who had to cook dinner. For instance, now not content with salt, Coleridge sprinkled cayenne pepper on his eggs, which he ate from a teacup.[23] His marital problems, nightmares, illnesses, higher opium dependency, tensions with Wordsworth, and an absence of self belief in his poetic powers fuelled the composition of Dejection: An Ode and an intensification of his philosophical research.[24]

In 1802, Coleridge took a nine-day strolling vacation in the fells of the Lake District. Coleridge is credited with the first recorded descent of Scafell to Mickledore via Broad Stand, despite the fact that this was more due to his getting lost than a keenness for mountaineering.[25]

Later lifestyles and increasing drug use

Coleridge at age 42, portrait by means of Washington Allston Main article: Coleridge and opium Travel and The Friend

In 1804, he travelled to Sicily and Malta, running for a time as Acting Public Secretary of Malta underneath the Civil Commissioner, Alexander Ball, a role he performed successfully. He lived in San Anton Palace in the village of Attard. He gave this up and returned to England in 1806. Dorothy Wordsworth was once shocked at his situation upon his go back. From 1807 to 1808, Coleridge returned to Malta after which travelled in Sicily and Italy, in the hope that leaving Britain's damp local weather would support his fitness and thus allow him to cut back his intake of opium. Thomas De Quincey alleges in his Recollections of the Lakes and the Lake Poets that it was right through this era that Coleridge became a full-blown opium addict, the usage of the drug as a substitute for the misplaced vigour and creativity of his early life. It has been instructed that this reflects De Quincey's personal reports greater than Coleridge's.[26]

His opium habit (he used to be using as much as two quarts of laudanum every week) now began to take over his existence: he separated from his spouse Sara in 1808, quarrelled with Wordsworth in 1810, lost section of his annuity in 1811, and put himself underneath the care of Dr. Daniel in 1814. His dependancy led to severe constipation, which required common and humiliating enemas.[27]

In 1809, Coleridge made his 2nd attempt to become a newspaper writer with the e-newsletter of the magazine entitled The Friend. It was a weekly publication that, in Coleridge's in most cases ambitious genre, was written, edited, and revealed almost completely single-handedly. Given that Coleridge tended to be extremely disorganised and had no head for industry, the publication was once most probably doomed from the start. Coleridge financed the journal through selling over five hundred subscriptions, over two dozen of which have been bought to participants of Parliament, however in late 1809, e-newsletter used to be crippled by a monetary crisis and Coleridge was once obliged to way "Conversation Sharp",[28] Tom Poole and one or two other rich pals for an emergency mortgage to proceed. The Friend was once an eclectic publication that drew upon every nook of Coleridge's remarkably diverse knowledge of law, philosophy, morals, politics, history, and literary complaint. Although it used to be regularly turgid, rambling, and inaccessible to most readers, it ran for 25 issues and was once republished in e-book shape a bunch of instances. Years after its initial e-newsletter, a revised and expanded version of The Friend, with added philosophical content material including his 'Essays on the Principles of Method', became a highly influential work and its effect used to be felt on writers and philosophers from John Stuart Mill to Ralph Waldo Emerson.

London: ultimate years and death Blue plaque, 7 Addison Bridge Place, West Kensington, London

Between 1810 and 1820, Coleridge gave a chain of lectures in London and Bristol – the ones on Shakespeare renewed hobby in the playwright as a model for contemporary writers. Much of Coleridge's popularity as a literary critic is based on the lectures that he undertook in the iciness of 1810–11, which were sponsored through the Philosophical Institution and given at Scot's Corporation Hall off Fetter Lane, Fleet Street. These lectures were heralded in the prospectus as "A Course of Lectures on Shakespeare and Milton, in Illustration of the Principles of Poetry." Coleridge's ill-health, opium-addiction problems, and slightly risky character intended that each one his lectures have been plagued with issues of delays and a general irregularity of high quality from one lecture to the next. As a end result of these elements, Coleridge regularly failed to prepare the rest however the loosest set of notes for his lectures and incessantly entered into extremely long digressions which his audiences discovered tricky to practice. However, it was once the lecture on Hamlet given on 2 January 1812 that was thought to be the easiest and has influenced Hamlet research ever since. Before Coleridge, Hamlet used to be incessantly denigrated and belittled by way of critics from Voltaire to Dr. Johnson. Coleridge rescued the play's recognition, and his ideas on it are steadily still printed as dietary supplements to the text.

In 1812 he allowed Robert Southey to make use of extracts from his huge quantity of non-public notebooks of their collaboration Omniana; Or, Horae Otiosiores.

In August 1814, Coleridge used to be approached by Lord Byron's writer, John Murray, about the chance of translating Goethe's vintage Faust (1808). Coleridge used to be regarded by way of many as the biggest living writer on the demonic and he authorised the commission, handiest to abandon paintings on it after six weeks. Until not too long ago, scholars were in settlement that Coleridge never returned to the challenge, in spite of Goethe's personal belief in the 1820s that he had in truth finished an extended translation of the work. In September 2007, Oxford University Press sparked a heated scholarly controversy by way of publishing an English translation of Goethe's paintings that purported to be Coleridge's long-lost masterpiece (the text in query first seemed anonymously in 1821).[29]

Between 1814 and 1816, Coleridge lived in Calne, Wiltshire and seemed ready to concentrate on his work and arrange his addiction, drafting Biographia Literaria. He rented rooms from a neighborhood surgeon, Mr Page, on Church Street, simply opposite the front to the churchyard. A blue plaque marks the property today.[30][31]

In April 1816, Coleridge, with his addiction worsening, his spirits depressed, and his circle of relatives alienated, took place of dwelling in the Highgate homes, then simply north of London, of the doctor James Gillman, first at South Grove and later at the nearby 3 The Grove.[32] It is unclear whether his growing use of opium (and the brandy in which it was dissolved) used to be a symptom or a motive of his growing depression. Gillman used to be partly successful in controlling the poet's habit. Coleridge remained in Highgate for the rest of his lifestyles, and the area become a spot of literary pilgrimage for writers including Carlyle and Emerson.

In Gillman's home, Coleridge finished his main prose paintings, the Biographia Literaria (most commonly drafted in 1815, and completed in 1817), a quantity composed of 23 chapters of autobiographical notes and dissertations on quite a lot of topics, including some incisive literary idea and criticism. He composed a considerable quantity of poetry, of variable high quality. He revealed other writings while he was residing at the Gillman properties, significantly the Lay Sermons of 1816 and 1817, Sibylline Leaves (1817), Hush (1820), Aids to Reflection (1825), and On the Constitution of the Church and State (1830).[33] He additionally produced essays published shortly after his dying, corresponding to Essay on Faith (1838)[34] and Confessions of an Inquiring Spirit (1840).[35] A host of his followers had been central to the Oxford Movement, and his spiritual writings profoundly formed Anglicanism in the mid-nineteenth century.[36]

Coleridge additionally labored extensively on the more than a few manuscripts which form his "Opus Maximum", a work which was once partially intended as a post-Kantian paintings of philosophical synthesis.[37] The work used to be never published in his lifetime, and has often been observed as proof for his tendency to conceive grand projects which he then had problem in sporting through to of entirety. But whilst he often berated himself for his "indolence", the long list of his revealed works calls this myth into query. Critics are divided on whether the "Opus Maximum", first printed in 2002, successfully resolved the philosophical issues he had been exploring for most of his adult lifestyles.[38]

Coleridge died in Highgate, London on 25 July 1834 in consequence of heart failure compounded by means of an unknown lung disorder, possibly connected to his use of opium. Coleridge had spent 18 years beneath the roof of the Gillman family, who constructed an addition onto their house to house the poet.[39]

Faith could also be outlined as constancy to our personal being, as far as such being isn't and can not grow to be an object of the senses; and hence, by clear inference or implication to being usually, as far as the same is not the object of the senses; and once more to whatever is affirmed or understood as the situation, or concomitant, or consequence of the same. This will likely be best possible explained by an example or example. That I am conscious of one thing within me peremptorily commanding me to do unto others as I'd they must do unto me; in different words a categorical (that is, number one and unconditional) crucial; that the maxim (regula maxima, or ideally suited rule) of my movements, each inward and outward, will have to be reminiscent of I may just, with none contradiction coming up therefrom, will to be the legislation of all moral and rational beings. Essay on Faith

Carlyle described him at Highgate: "Coleridge sat on the brow of Highgate Hill, in those years, looking down on London and its smoke-tumult, like a sage escaped from the inanity of life's battle ... The practical intellects of the world did not much heed him, or carelessly reckoned him a metaphysical dreamer: but to the rising spirits of the young generation he had this dusky sublime character; and sat there as a kind of Magus, girt in mystery and enigma; his Dodona oak-grove (Mr. Gilman's house at Highgate) whispering strange things, uncertain whether oracles or jargon."[40]

Remains

Coleridge is buried in the aisle of St. Michael's Parish Church in Highgate, London. He was once at first buried at Old Highgate Chapel however was re-interred in St. Michael's in 1961.[41] Coleridge may see the red door of the then new church from his closing place of abode across the green, where he lived with a physician he had was hoping might treatment him (in a area owned today by Kate Moss). When it was found out Coleridge's vault had change into derelict, the coffins – Coleridge's and those of his spouse, daughter, son-in-law, and grandson – had been moved to St. Michael's after a world fundraising enchantment.[42]

Drew Clode, a member of St. Michael's stewardship committee states, "they put the coffins in a convenient space which was dry and secure, and quite suitable, bricked them up and forgot about them". A recent excavation published the coffins were not in the location most believed, the some distance corner of the crypt, however in truth below a memorial slab in the nave inscribed with: "Beneath this stone lies the body of Samuel Taylor Coleridge".[42]

St. Michael's plans to revive the crypt and make allowance public get right of entry to. Says vicar Kunle Ayodeji of the plans: "...we hope that the whole crypt can be cleared as a space for meetings and other uses, which would also allow access to Coleridge's cellar."[42]

Poetry

Coleridge is one of the most essential figures in English poetry. His poems without delay and deeply influenced all the primary poets of the age. He was identified through his contemporaries as a meticulous craftsman who was once more rigorous in his cautious remodeling of his poems than another poet, and Southey and Wordsworth were dependent on his professional recommendation. His affect on Wordsworth is especially essential because many critics have credited Coleridge with the very idea of "Conversational Poetry". The concept of utilising commonplace, everyday language to precise profound poetic photographs and concepts for which Wordsworth became so well-known may have originated almost fully in Coleridge's mind. It is hard to consider Wordsworth's nice poems, The Excursion or The Prelude, ever having been written without the direct influence of Coleridge's originality.

As vital as Coleridge was to poetry as a poet, he used to be similarly necessary to poetry as a critic. His philosophy of poetry, which he developed over a few years, has been deeply influential in the box of literary grievance. This influence can be noticed in such critics as A. O. Lovejoy and I. A. Richards.[43]

The Rime of the Ancient Mariner, Christabel, and Kubla Khan Coleridge draft of the poem Kubla Khan

Coleridge is arguably highest identified for his longer poems, particularly The Rime of the Ancient Mariner and Christabel. Even those that have by no means read the Rime have come under its affect: its words have given the English language the metaphor of an albatross round one's neck, the quotation of "water, water everywhere, nor any drop to drink" (virtually at all times rendered as "but not a drop to drink"), and the phrase "a sadder and a wiser man" (generally rendered as "a sadder but wiser man"). The phrase "All creatures great and small" can have been inspired by means of The Rime: "He prayeth best, who loveth best;/ All things both great and small;/ For the dear God who loveth us;/ He made and loveth all." Christabel is known for its musical rhythm, language, and its Gothic tale.

Kubla Khan, or, A Vision in a Dream, A Fragment, even if shorter, could also be widely known. Both Kubla Khan and Christabel have an extra "Romantic" aura as a result of they were never finished. Stopford Brooke characterised both poems as having no rival due to their "exquisite metrical movement" and "imaginative phrasing."

The Conversation poems Main article: Conversation poems The Eolian Harp (1795) Reflections on having left a Place of Retirement (1795) This Lime-Tree Bower my Prison (1797) Frost at Midnight (1798) Fears in Solitude (1798) The Nightingale: A Conversation Poem (1798) Dejection: An Ode (1802) To William Wordsworth (1807)

The 8 of Coleridge's poems listed above at the moment are often discussed as a bunch entitled "Conversation poems". The time period itself was once coined in 1928 by George McLean Harper, who borrowed the subtitle of The Nightingale: A Conversation Poem (1798) to describe the seven other poems as properly.[44][45] The poems are considered via many critics to be among Coleridge's best verses; thus Harold Bloom has written, "With Dejection, The Ancient Mariner, and Kubla Khan, Frost at Midnight shows Coleridge at his most impressive."[46] They also are among his most influential poems, as mentioned further under.

Harper himself regarded as that the 8 poems represented a sort of blank verse that is "...more fluent and easy than Milton's, or any that had been written since Milton".[47] In 2006 Robert Koelzer wrote about any other aspect of this apparent "easiness", noting that Conversation poems equivalent to "... Coleridge's The Eolian Harp and The Nightingale maintain a middle register of speech, employing an idiomatic language that is capable of being construed as un-symbolic and un-musical: language that lets itself be taken as 'merely talk' rather than rapturous 'song'."[48]

A statue of the Ancient Mariner at Watchet Harbour, Somerset, England

The closing ten strains of Frost at Midnight were selected through Harper as the "best example of the peculiar kind of blank verse Coleridge had evolved, as natural-seeming as prose, but as exquisitely artistic as the most complicated sonnet."[49] The speaker of the poem is addressing his infant son, asleep by his facet:

Therefore all seasons will likely be candy to thee, Whether the summer season clothe the general earth With greenness, or the redbreast sit down and sing Betwixt the tufts of snow on the naked department Of mossy apple-tree, while the nigh thatch Smokes in the sun-thaw; whether the eave-drops fall Heard simplest in the trances of the blast, Or if the secret ministry of frost Shall dangle them up in silent icicles, Quietly shining to the quiet Moon.

In 1965, M. H. Abrams wrote a large description that applies to the Conversation poems: "The speaker begins with a description of the landscape; an aspect or change of aspect in the landscape evokes a varied by integral process of memory, thought, anticipation, and feeling which remains closely intervolved with the outer scene. In the course of this meditation the lyric speaker achieves an insight, faces up to a tragic loss, comes to a moral decision, or resolves an emotional problem. Often the poem rounds itself to end where it began, at the outer scene, but with an altered mood and deepened understanding which is the result of the intervening meditation."[50] In fact, Abrams was once describing each the Conversation poems and later poems influenced by means of them. Abrams' essay has been called a "touchstone of literary criticism".[51] As Paul Magnuson described it in 2002, "Abrams credited Coleridge with originating what Abrams called the 'greater Romantic lyric', a genre that began with Coleridge's 'Conversation' poems, and included Wordsworth's Tintern Abbey, Shelley's Stanzas Written in Dejection and Keats's Ode to a Nightingale, and was a major influence on more modern lyrics by Matthew Arnold, Walt Whitman, Wallace Stevens, and W. H. Auden."[45]

Literary grievance

Biographia Literaria

In addition to his poetry, Coleridge also wrote influential pieces of literary criticism together with Biographia Literaria, a suite of his ideas and evaluations on literature which he published in 1817. The paintings delivered both biographical explanations of the author's life in addition to his impressions on literature. The assortment also contained an analysis of a extensive vary of philosophical rules of literature starting from Aristotle to Immanuel Kant and Schelling and applied them to the poetry of peers comparable to William Wordsworth.[52][53] Coleridge's explanation of metaphysical principles have been common topics of discourse in instructional communities all over the Nineteenth and twentieth centuries, and T.S. Eliot said that he believed that Coleridge was once "perhaps the greatest of English critics, and in a sense the last." Eliot means that Coleridge displayed "natural abilities" a ways greater than his contemporaries, dissecting literature and making use of philosophical ideas of metaphysics in some way that brought the matter of his criticisms away from the textual content and into a global of logical research that blended logical analysis and emotion. However, Eliot also criticises Coleridge for permitting his emotion to play a role in the metaphysical process, believing that critics must now not have feelings that aren't provoked via the work being studied.[54]Hugh Kenner in Historical Fictions, discusses Norman Fruman's Coleridge, the Damaged Archangel and means that the term "criticism" is just too regularly carried out to Biographia Literaria, which both he and Fruman describe as having failed to explain or lend a hand the reader understand works of artwork. To Kenner, Coleridge's attempt to speak about complex philosophical ideas without describing the rational process behind them shows an absence of vital pondering that makes the volume extra of a biography than a work of criticism.[55]

In Biographia Literaria and his poetry, symbols are not simply "objective correlatives" to Coleridge, however instruments for making the universe and private experience intelligible and spiritually covalent. To Coleridge, the "cinque spotted spider," making its way upstream "by fits and starts," [Biographia Literaria] is not merely a comment on the intermittent nature of creativity, imagination, or non secular growth, however the adventure and vacation spot of his life. The spider's five legs represent the central problem that Coleridge lived to unravel, the war between Aristotelian good judgment and Christian philosophy. Two legs of the spider represent the "me-not me" of thesis and antithesis, the thought that a factor cannot be itself and its reverse concurrently, the foundation of the clockwork Newtonian world view that Coleridge rejected. The closing 3 legs—exothesis, mesothesis and synthesis or the Holy trinity—constitute the concept that issues can diverge without being contradictory. Taken together, the five legs—with synthesis in the center, form the Holy Cross of Ramist good judgment. The cinque-spotted spider is Coleridge's brand of holism, the quest and substance of Coleridge's idea and spiritual lifestyles.

Coleridge and the influence of the Gothic Engraving of a scene from The Rime of the Ancient Mariner. The frozen group and the albatross by Gustave Doré (1876)

Coleridge wrote opinions of Ann Radcliffe's books and The Mad Monk, amongst others. He feedback in his critiques: "Situations of torment, and images of naked horror, are easily conceived; and a writer in whose works they abound, deserves our gratitude almost equally with him who should drag us by way of sport through a military hospital, or force us to sit at the dissecting-table of a natural philosopher. To trace the nice boundaries, beyond which terror and sympathy are deserted by the pleasurable emotions, – to reach those limits, yet never to pass them, hic labor, hic opus est." and "The horrible and the preternatural have usually seized on the popular taste, at the rise and decline of literature. Most powerful stimulants, they can never be required except by the torpor of an unawakened, or the languor of an exhausted, appetite... We trust, however, that satiety will banish what good sense should have prevented; and that, wearied with fiends, incomprehensible characters, with shrieks, murders, and subterraneous dungeons, the public will learn, by the multitude of the manufacturers, with how little expense of thought or imagination this species of composition is manufactured."

However, Coleridge used those elements in poems equivalent to The Rime of the Ancient Mariner (1798), Christabel and Kubla Khan (published in 1816, but recognized in manuscript form prior to then) and no doubt influenced different poets and writers of the time. Poems like those both drew inspiration from and helped to inflame the craze for Gothic romance. Coleridge also made substantial use of Gothic elements in his commercially a hit play Remorse.[56]

Mary Shelley, who knew Coleridge nicely, mentions The Rime of the Ancient Mariner two times without delay in Frankenstein, and a few of the descriptions in the novel echo it indirectly. Although William Godwin, her father, disagreed with Coleridge on some vital problems, he respected his reviews and Coleridge continuously visited the Godwins. Mary Shelley later recalled hiding in the back of the settee and hearing his voice chanting The Rime of the Ancient Mariner.

C. S. Lewis also makes mention of his name in The Screwtape Letters (as a poor instance of prayer, in which the devils should inspire).

Religious beliefs

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Although his father was an Anglican vicar, Coleridge worked as a Unitarian preacher between 1796 and 1797. He in the end returned to the Church of England in 1814. His most noteworthy writings on religion are Lay Sermons (1817), Aids to Reflection (1825) and The Constitution of Church and State (1830).[57]

Theological legacy

Despite being most commonly remembered these days for his poetry and literary grievance, Coleridge was additionally (most likely in his personal eyes basically) a theologian. His writings include discussions of the status of scripture, the doctrines of the Fall, justification and sanctification, and the personality and infinity of God. A key determine in the Anglican theology of his day, his writings are still frequently referred to via contemporary Anglican theologians. F. D. Maurice, F. J. A. Hort, F. W. Robertson, B. F. Westcott, John Oman and Thomas Erskine (as soon as known as the "Scottish Coleridge") had been all influenced by him.[57]

Political pondering

Coleridge used to be additionally a profound political philosopher. While he began his existence as a political radical, and an fanatic for the French Revolution, over the years Coleridge evolved a more conservative view of society, reasonably in the approach of Burke.[58] Although observed as cowardly treachery via the next technology of Romantic poets,[59] Coleridge's later idea changed into a fruitful supply for the evolving radicalism of J. S. Mill.[60] Mill discovered 3 facets of Coleridge's concept particularly illuminating:

First, there was once Coleridge's insistence on what he known as "the Idea" in the back of an establishment – its social function, in later terminology – as opposed to the possible flaws in its exact implementation.[61] Coleridge sought to grasp meaning from within a social matrix, now not outside it, the use of an imaginative reconstruction of the past (Verstehen) or of unfamiliar methods.[62] Secondly, Coleridge explored the essential stipulations for social balance – what he termed Permanence, in counterbalance to Progress, in a polity[63] – stressing the importance of a shared public sense of community, and nationwide schooling.[64] Coleridge also usefully hired the natural metaphor of herbal expansion to make clear the historical construction of British history, as exemplified in the common legislation tradition – working his means thereby towards a sociology of jurisprudence.[65]

Collected works

The current usual version is The Collected Works of Samuel Taylor Coleridge, edited by means of Kathleen Coburn and many others from 1969 to 2002. This collection seemed throughout Sixteen volumes as Bollingen Series 75, printed variously by means of Princeton University Press and Routledge & Kegan Paul.[66] The set is damaged down as follows into additional parts, resulting in a total of 34 separate printed volumes:

Lectures 1795 on Politics and Religion (1971); The Watchman (1970); Essays on his Times in the Morning Post and the Courier (1978) in Three vols; The Friend (1969) in 2 vols; Lectures, 1808–1819, on Literature (1987) in 2 vols; Lay Sermons (1972); Biographia Literaria (1983) in 2 vols; Lectures 1818–1819 on the History of Philosophy (2000) in 2 vols; Aids to Reflection (1993); On the Constitution of the Church and State (1976); Shorter Works and Fragments (1995) in 2 vols; Marginalia (1980 and following) in 6 vols; Logic (1981); Table Talk (1990) in 2 vols; Opus Maximum (2002); Poetical Works (2001) in 6 vols (section 1 – Reading Edition in 2 vols; phase 2 – Variorum Text in 2 vols; part 3 – Plays in 2 vols).

In addition, Coleridge's letters are to be had in: The Collected Letters of Samuel Taylor Coleridge (1956–71), ed. Earl Leslie Griggs, 6 vols. (Oxford: Clarendon Press).

References

^ .mw-parser-output cite.quotationfont-style:inherit.mw-parser-output .citation qquotes:"\"""\"""'""'".mw-parser-output .id-lock-free a,.mw-parser-output .quotation .cs1-lock-free abackground:linear-gradient(clear,transparent),url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")appropriate 0.1em middle/9px no-repeat.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .quotation .cs1-lock-limited a,.mw-parser-output .citation .cs1-lock-registration abackground:linear-gradient(clear,clear),url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")appropriate 0.1em heart/9px no-repeat.mw-parser-output .id-lock-subscription a,.mw-parser-output .citation .cs1-lock-subscription abackground:linear-gradient(transparent,clear),url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em middle/9px no-repeat.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registrationcolour:#555.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration spanborder-bottom:1px dotted;cursor:assist.mw-parser-output .cs1-ws-icon abackground:linear-gradient(clear,clear),url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")appropriate 0.1em center/12px no-repeat.mw-parser-output code.cs1-codecolour:inherit;background:inherit;border:none;padding:inherit.mw-parser-output .cs1-hidden-errorshow:none;font-size:100%.mw-parser-output .cs1-visible-errorfont-size:100%.mw-parser-output .cs1-maintshow:none;color:#33aa33;margin-left:0.3em.mw-parser-output .cs1-formatfont-size:95%.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-leftpadding-left:0.2em.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-rightpadding-right:0.2em.mw-parser-output .citation .mw-selflinkfont-weight:inherit"Coleridgean Morsels | Sundry | Coleridge Corner". inamidst.com. Retrieved 30 July 2018. ^ See J C McKusick '"Living Words": Samuel Taylor Coleridge and the Genesis of the OED', Modern Philology, 90.1 (1992), which notes that the OED first edition (1884–1928) cites Coleridge for three,569 words, many of which he cash. ^ Jamison, Kay Redfield. Touched with Fire: Manic-Depressive Illness and the Artistic Temperament. Free Press (1994), 219–224. ^ Radley, 13 ^ Unsworth, John, The Early Background of S.T. Coleridge, printed in The Coleridge Bulletin, No 1, Summer 1988, pp 16–25 [1] "Lecturer of Molland" was an workplace established and funded by a member of the Courtenay family, lords of the manor of Molland, and involved preaching sermons in Molland Church, in all probability additionally in Knowstone Church adjoining ^ James Gillman (2008) The Life of Samuel Taylor Coleridge. Bastion Books ^ Unsworth, John, The Early Background of S.T. Coleridge, printed in The Coleridge Bulletin, No 1, Summer 1988, pp 16–25 [2] ^ Coleridge, Samuel Taylor, Joseph Noel Paton, Katharine Lee Bates.Coleridge's Ancient Mariner Ed Katharine Lee Bates. Shewell, & Sanborn (1889) p.2 ^ Morley, Henry. Table Talk of Samuel Taylor Coleridge and The Rime of the Ancient Mariner, Christabel, &c. New York: Routledge (1884) pp.i-iv ^ Coleridge, Samuel Taylor. Biographia Literaria. Princeton UP, 1985, p. 10. ^ "Coleridge, Samuel Taylor (CLRG791ST)". A Cambridge Alumni Database. University of Cambridge. ^ Radley, 14 ^ Holmes, 4 ^ "Chatterton". St Mary Redcliffe. Archived from the authentic on 3 July 2011. Retrieved 17 January 2011. ^ Bate, 24 ^ Radley, 16 ^ Welcome to Taunton's Historic Unitarian Congregation and Chapel (Dec. 2005). Unitarian Chapel, Mary Street, Taunton. Retrieved 21 October 2006. ^ "Joshua Toulmin (*1331) 1740 – 1815. Calvert-Toulmin, Bruce. (2006) Toulmin Family Home Page". Archived from the unique on 11 October 2012. Retrieved 21 October 2006. ^ "Measuring Worth – Purchase Power of the Pound". measuringworth.com. Retrieved 4 November 2017. ^ Dickins, Gordon (1987). An Illustrated Literary Guide to Shropshire. Shropshire Libraries. p. 19. ISBN 0-903802-37-6. ^ van Woudenberg, Maximiliaan (2018). Coleridge and Cosmopolitan Intellectualism 1794–1804. The Legacy of Göttingen University. London: Routledge. pp. 93–103. ISBN 9781472472380. ^ The Conyers falchion (a vast, quick medieval sword) is historically offered to incoming Bishops of Durham, as they journey throughout the bridge at Croft. ^ Waldegrave, Katie (2013). The Poets' Daughters: Dora Wordsworth and Sara Coleridge. London: Windmill Books. p. 21. ISBN 978-0099537342. ^ Waldegrave, Katie (2014). The Poets' Daughters: Dora Wordsworth and Sara Coleridge. London. p. 21. ISBN 9780099537342. ^ "Poet climbs Scafell – A natural history of Britain". iberianature.com. Retrieved 4 November 2017. ^ Hough, Barry; Davis, Howard (2010). Coleridge's Laws: A Study of Coleridge in Malta. Open Books Publishers. ISBN 9781906924133. ^ Holmes, Richard. Coleridge: Darker Reflections, London: HarperCollins, 1998, pp. 12–14 (quoting Coleridge "Notebooks" 2805). ISBN 9780007378821 ^ For an appraisal of Sharp's function in Coleridge's occupation, see Knapman, D. (2004) Conversation Sharp: the Biography of a London Gentleman, Richard Sharp (1759–1835), in Letters, Prose and Verse. [Private Publication]. (Held by way of British Library) ^ The debate is being followed at a devoted page on "Faustus (1821) controversy".. ^ Stuff, Good. "Samuel Taylor Coleridge blue plaque in Calne". blueplaqueplaces.co.uk. Retrieved 4 November 2017. ^ Webmaster, Wiltshire Council. "My Page". Wiltshire Council. Retrieved 4 November 2017. ^ Holmes (1998), p.429. ^ Coleridge, Samuel Taylor (1830). On the Constitution of the Church and State according to the Idea of Each with Aids toward a Right Judgment on the Late Catholic Bill (1 ed.). London: Hurst, Chance & Co. Retrieved 12 September 2014. ^ "Readbookonline.net". readbookonline.net. Retrieved 4 November 2017. ^ "Readbookonline.net". readbookonline.web. Retrieved 4 November 2017. ^ See Luke S. H. Wright, Samuel Taylor Coleridge and the Anglican Church (Notre Dame: Notre Dame University Press, 2010). ^ See Peter Cheyne, Coleridge's Contemplative Philosophy (Oxford: Oxford University Press, 2020). ^ Mary Anne Perkins and Nicholas Reid both argue that in September 1818 Coleridge resolved the problems he had earlier faced in his discussion of Schelling in the Biographia, and that the "Opus Maximum" accordingly sets out a fairly systematic post-Kantian position (Perkins, Coleridge's Philosophy, p.10, and Reid, Coleridge, Form and Symbol, pp.viii and 126). ^ Gillman, Alexander William (23 July 1895). Searches into the History of the Gillman Or Gilman Family: Including the Various Branches in England, Ireland, America and Belgium. E. Stock – by means of Internet Archive. searches into historical past alexander gillman. ^ Carlye, Thomas, Life of John Sterling, Book 1 Chapter 8 ^ Cameron. "Samuel Taylor Coleridge Highgate London". poetsgraves.co.united kingdom. Retrieved 11 August 2017. ^ a b c Kennedy, Maev (12 April 2018). "Samuel Taylor Coleridge's remains rediscovered in wine cellar". The Guardian. Retrieved 12 April 2018. ^ "Samuel Taylor Coleridge – The English Literary Canon". theenglishcanon.info. Retrieved 25 October 2019. ^ Harper (1928), pp. 3–27. ^ a b Magnuson (2002), p. 45. ^ Bloom (1971), p. 202. ^ Harper (1928), p. 11. ^ Koelzer (2006), p. 68. ^ Harper (1928), p. 15. ^ Abrams (1965), p. ^ Koelzer (2006). p. 67. ^ Beckson (1963), pp. 265–266. ^ See article on Mimesis ^ Eliot (1956), pp. 50–56. ^ Kenner (1995), pp. 40–45. ^ Parker, p. 111 ^ a b "Coleridge's Religion". victorianweb.org. ^ D Daiches ed., Companion to Literature 1 (1963) p. 110 ^ D Hay, Young Romantics (London 2011) p. 38 and p. 67 ^ E Halevy, The Triumph of Reform (London 1961) p. 158 ^ A Ryan, J S Mill (London 1974) p. 70; A Hamilton, 'Coleridge and Conservatism: Contemplation of an Idea', in ed. P Cheyne, Coleridge and Contemplation (Oxford: OUP 2017) ^ J Skorupski, Why Read Mill Today? (London 2007) p. 7-8 ^ J S Mill, On Liberty Etc (Oxford 2015) p. 192 ^ A Ryan, J S Mill (London 1974) p. 57-8 ^ P Edwards, The Statesman's Science (2004) p. 2-3 ^ "Browse Princeton Catalog in Collected Works of Samuel Taylor Coleridge | Princeton University Press". press.princeton.edu. Retrieved 29 January 2018.

External links

Wikimedia Commons has media associated with Samuel Taylor Coleridge. Wikiquote has quotations associated with: Samuel Taylor Coleridge Wikisource has unique works written by or about:Samuel Taylor ColeridgeWorks through Samuel Taylor Coleridge at Project Gutenberg Works by means of or about Samuel Taylor Coleridge at Internet Archive Works by way of Samuel Taylor Coleridge at LibriVox (public domain audiobooks) Poems through Coleridge from the Poetry Foundation. Retrieved 19 October 2010 Works of Coleridge at the University of Toronto. Retrieved 19 October 2010 Friends of Coleridge Society. Retrieved 19 October 2010 The re-opening of Coleridge Cottage close to Exmoor. Celebrating a cave's link to the town's most famous son – Samuel Taylor Coleridge by way of Martin Hesp at Western Morning Press Portraits of Samuel Taylor Coleridge at the National Portrait Gallery, London Samuel Taylor Coleridge at the British LibraryArchival fabrics "Archival material relating to Samuel Taylor Coleridge". UK National Archives. Coleridge archive at the Victoria University. Retrieved 19 October 2010 Letters of Samuel Taylor Coleridge from the Internet Archive. Retrieved 19 October 2010 Samuel Taylor Coleridge Collection. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.vteSamuel Taylor ColeridgeTopics Early lifestyles Opium use Albatross metaphor Lake Poets Pantisocracy Coleridge's concept of existence Organic shape Romantic epistemology Suspension of disbeliefEarly poetry "The Destruction of the Bastile" "Dura Navis" "Easter Holidays" "Monody on the Death of Chatterton" "On Quitting School" "Pain: Composed in Sickness" "Songs of the Pixies"Plays The Fall of Robespierre Remorse (Osorio) ZapolyaCambridge andBristol poetry The Destiny of Nations Lines on an Autumnal Evening Lines Written at Shurton Bars On Receiving an Account Ode on the Departing Year Religious Musings To a Young Ass To Fortune To the River OtterEminentCharacters "To Erskine" "To Burke" "To Priestley" "To Fayette" "To Kosciusko" "To Pitt" "To Bowles" "To Mrs Siddons" "To Godwin" "To Southey" "To Sheridan" "To Lord Stanhope"Conversationpoems Dejection: An Ode The Eolian Harp Fears in Solitude Frost at Midnight The Nightingale: A Conversation Poem Reflections on Having Left a Place of Retirement This Lime-Tree Bower My Prison To William WordsworthLate poetry andLyrical Ballads Christabel "France: An Ode" "Hymn Before Sunrise" Kubla Khan The Rime of the Ancient MarinerBiographical andother works Biographia Literaria The Watchman NotebooksFamily Sara Coleridge (daughter) Derwent Coleridge (son) Hartley Coleridge (son) Christabel Rose Coleridge (granddaughter) Ernest Hartley Coleridge (grandson) Herbert Coleridge (grandson) James Coleridge (brother) Henry Nelson Coleridge (nephew and son-in-law) vteRomanticismCountries Denmark England (literature) France (literature) Germany Norway Poland Russia (literature) Scotland Spain (literature) Sweden (literature)Movements Bohemianism Coppet crew Counter-Enlightenment Dark romanticism Düsseldorf School Gesamtkunstwerk Gothic fiction Gothic Revival (architecture) Hudson River School Indianism Jena Romanticism Lake Poets Nazarene motion Ossian Romantic hero Romanticism and Bacon Romanticism in science Romantic nationalism Romantic poetry Opium and Romanticism Transcendentalism Ultra-Romanticism WallenrodismWriters Abovian Abreu Alencar Alfieri Alves Andersen A. v. 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