By Coleridge, Samuel Taylor; Tee, Mark Ve-Yin; Coleridge, Samuel Taylor
The Romantic phenomenon of a number of texts has been formed by means of the hyperlink among revision and authorial cause. even though, what has been neglected are the profound implications of a number of and contradictory models of a similar textual content for a materialist strategy; utilizing the works of Coleridge as a case learn and the afterlife of the French Revolution because the major subject matter, this monograph lays out the technique for a extra unique multi-layered research. Scrutinising 4 works of Coleridge (two poems, a newspaper article and a play), the place each significant version is learn as a separate paintings with its personal particular socio-historical context, Ve-Yin Tee demanding situations the suggestion that anybody textual content is consultant of its totality. by means of re-reading Coleridge within the gentle of other textual fabrics inside that point, he opens a much wider scope for which means and the certainty of Coleridge's oeuvre.
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Extra resources for Coleridge, revision and romanticism : after the revolution, 1793-1818
The Bishop of Llandaff’s Address. 4 The reason why Coleridge put his name to the Fears pamphlet was no doubt the same as Johnson’s for publishing it: a conciliatory gesture to their enemies in the press and the government. ‘France, an Ode’ had already been published in the Morning Post on 16 April (as ‘The Recantation, an Ode. By S. T. Coleridge’), and the effect had been immediate: on 23 April the Anti-Jacobin had noted how that newspaper ‘alone has wisely shrunk from our severity, reformed its Principles in some material points, and in more than one of its last columns, held a language which the Whig Club and Corresponding Society will not soon forgive’.
Uniting and becoming one with our will and spirit’ (AR (CC), p. 78). It is because of that that no one ‘conversant with the Volumes of Religious biography’ would fail to be struck by how the ‘men’ from ‘all ages of the Christian era bear the same characters’ (AR (CC), p. 103). In other words, we should reflect on God in order to reflect God. The persona of ‘Frost at Midnight’, in searching for ‘sympathies’ with the burning soot, has effectively chosen to abandon God. Bearing in mind the elder Coleridge’s religious outlook, it is merely appropriate that he is made to find only smoke and mirrors.
Conversely, when ‘Catholic’ is the term of reference the representations are generally positive. This is plainly the case with the notebook entries on Germany (CN, I, entries 403, 409–410); indeed, Coleridge was at his most unequivocally affirmative when dealing with Catholicism on a purely ideological level divorced from its national and international context (see, for example, CN, I, entry 1302). I would suggest that he was, effectively, distinguishing Catholicisms. The status of the religion varied considerably across Europe.