By H.R. Rookmaaker
This research describes intimately the advance of Coleridge’s angle to nature because it is mirrored in his poetry. It analyses the various phases of Coleridge’s look for a significant relation to nature from an uncritical adoption of the eighteenth century conventions in his early poetry to a projectionist view in his poems of 1802. It deals hard new readings of a few of Coleridge’s significant poems like ‘The historical Mariner’ and ‘Dejection: an Ode’, and attempts to rehabilitate a few minor ones, like ‘The Picture’. cognizance can also be paid to his relation with Wordsworth. It discusses intimately the philosophical history of Coleridge’s perspectives and considers the contribution of German notion to his improvement. As an entire this examine provides a brand new perception into the genesis of romanticism in England.
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Additional resources for Towards a Romantic Conception of Nature: Coleridge's Poetry up to 1803: A Study in the History of Ideas (Utrecht Publications in General and Comparative Literature: Utrechtse Publikaties voor Algemene Literatuurwetenschap, Volume 20)
This is Faith! It becomes clear that faith in this context means the willingness to become oblivious of one's own self, one's interests and thoughts, so that one may be truly one with the divine universe ( T h e whole one Self). Basically, then, this faith does not differ significantly from the ideal of passivity discussed above: if man opens himself up to nature, he experiences 'God/ Diffused through all, that doth make all one whole' (11. 130-131); if he is preoccupied with himself, if his 'dim regards/ Self-centre' (11.
2 It is clear that the poem fails to establish a unity between the emblem and its application, primarily because the basis of comparison between the octave describing an ever increasing delight in nature, and the sestet treating of the acquisition of knowledge is left unspecified. For instance, the connec tion between that curious bliss at death in which the sestet culminates, and the feelings of delight occasioned by a view from a hill is at first sight elusive and obscure. ) and in order to do this he makes use of an experience he has had (or thinks he could have had) in nature, but he is as yet unable to accomplish its unified expression in poetic language.
As will be seen, Coleridge's posi tion around 1795 can be characterized in a similar way. It is probably true that, as R. 42 Similarly, Akenside's Pleasures of the Imagination may have offered him a relatively short and clear exposition of how empiricism and associationism can be reconciled with such an essentially Neoplatonic concep tion of God and nature. Cowper's nature poetry shows that the almost religious role attributed THE EIGHTEENTH CENTURY TRADITION 21 to nature in the eighteenth century is not only compatible with a Neoplatonic, but also with an orthodox Christian, point of view.
Towards a Romantic Conception of Nature: Coleridge's Poetry up to 1803: A Study in the History of Ideas (Utrecht Publications in General and Comparative Literature: Utrechtse Publikaties voor Algemene Literatuurwetenschap, Volume 20) by H.R. Rookmaaker