Biographia literaria online dating
But neither can it be a subject without becoming an object, and, as it is originally the identity of both, it can be conceived neither as infinite nor finite exclusively, but as the most original union of both.
In the existence, in the reconciling, and the recurrence of this contradiction consists the process and mystery of production and life." Who can fail to be reminded of Carlyle's cruel account, in his Life of Sterling, of the sage of Highgate, with his endlessly recurrent nasal whine about "sum-m-ject " and "om-m-ject"?
The discussion involves his definition of the imagination or “esemplastic power,” the faculty by which the soul perceives the spiritual unity of the universe, as distinguished from the fancy or merely associative function. In particular, it discusses and engages the philosophy of Immanuel Kant, Johann Gottlieb Fichte, and Friedrich Wilhelm Joseph von Schelling.While maintaining a general agreement with Wordsworth's point of view, Coleridge elaborately refutes his principle that the language of poetry should be one taken with due exceptions from the mouths of men in real life, and that there can be no essential difference between the language of prose and of metrical composition.A critique on the qualities of Wordsworth's poetry concludes the volume.Words- worth and Coleridge, sitting out all day by the seashore dis- cussing poetry and Spinoza, had raised the suspicions of the authorities, who at that time smelt Jacobinism on every hand, and—if we are to believe Coleridge's story—a spy bad actually been set upon them.
The man had crept up behind a bank, and listened to their talk for hours together.Coleridge concentrates on the psychology of the creative process, and propounds new theories of the origins of poetic language, metre, and form, as the interpenetration of ‘passion and will’ (chs. Other chapters discuss the poetry of Shakespeare, Milton, Daniel, G.