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British Romantic Lit > Samuel Taylor Coleridge > Flashcards

Samuel Taylor Coleridge Flashcards

1
Q

1772

A

born in Devonshire

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2
Q

1791

A

enters Cambridge University

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3
Q

1794

A

leaves Cambridge University w/o a degree
- plans “Pantisocracy” a utopian democratic community in rural Pennsylvania w/ Robert Southey (doesn’t come to fruition)

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4
Q

1795

A

befriends Wordsworth

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5
Q

1798

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publishes Lyrical Ballads w/ Wordsworth and spends winter in Germany w/ him
- where he studied German philosophy and literary criticism

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6
Q

1800-01

A

becomes reliant upon laudanum (opium dissolved in alcohol) for physical pain

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7
Q

1808

A

begins lecturing on literature and poetry in London, especially for female audiences who couldn’t attend university

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8
Q

1810

A

falling out with Wordsworth

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9
Q

1817

A

publishes Biographia Literaria (an autobiography that also includes critical essays on lit and poetry)

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10
Q

1834

A

passes away

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11
Q

From Biographia Literaria: Fancy and the Imagination & On the Imagination

A
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12
Q

Fancy and imagination as distinct

A

“Repeated meditations led me..and the same power” (pg 495)
- most humans have a little of both => what differentiates one from another?

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13
Q

The imagination (on the imagination)

A

“The imagination…are essentially fixed and dead” (496)
- “agent of perception” => helps you interpret the world
- primary = human perception => create something from scratch
- secondary = agent of conscious world, a memory of the primary => contemplate emotions and try to evoke it in the audience, recreating something of the original act
- “eternal act of creation” = power to create in our minds, build something new
- imagination creates originality, but maybe an imitation of something already there
- create something out of thin air
- not everyone possesses imagination

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14
Q

Fancy (on the imagination)

A

“Fancy..from the law of association” (496)
- if God is imagination then fancy would be man’s actions
- fancy applies to material things => bound to concrete reality
- “Law of association” => using what you already have to build something (reconfigures, combines, rearranges)
- putting two things together => might not end up as the same thing
- bring out pre-existing materials and reconfiguring it into something new

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15
Q

From Lectures on Shakespeare: Fancy and Imagination on Shakespeare’s Poetry

A
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16
Q

Shakespeare’s imaginative and fanciful writing

A

” Shakespeare possessed the chief..upon an extended prospect” (504-05)
- bringing together two things that coexist
- imagination creates things out of the blue that doesn’t compare to fancy
- what romantic poets are doing is similar to Shakespeare

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17
Q

Movement and motion in Shakespeare

A

“Thus the flight of Adonis…over inanimate objects” (505)
- “He in the night from Venus’ eye” => fancy
- poetry about movement and how it’s constantly shifting
- Shakespeare pushes specific poetic language to its breaking point

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18
Q

Shakespeare’s originality

A

“is Shakespeare a great…true imitation of the essential principles?” (506)
- in first question: is Shakespeare great b/c he resembles older poets?
- second qs: or do we like him b/c he’s different from them? => marks departure from them
- does he have a free imagination or just obeying status quo
- for Coleridge: part of what Shakespeare’s originality is that he breaks from tradition

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19
Q

Shakespeare’s genius and freedom

A

“For it is even this..under laws of its own origination” (506)
- using rules to spur invention

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20
Q

Mechanic vs. Organic Form

A
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21
Q

Organic form

A

“The form is mechanic…wisdom deeper than consciousness” (507)
- organic: raw materials that hasn’t been pressed on by man, a convention that’s not rigidly bound to poetic convention => in poetry: blank verse, free verse
- put into poetic convention 2 unlike things => a disservice to the muse
- choose a poetic form that’s most appropriate => choose a topic
- mechanical form: dictates what you write
- subject matter should determine what you write about, what you convey in the poem (Coleridge)
- organic => writing in a style that the muse dictates
- shouldn’t start w/ poetic convention first but subject first

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22
Q

Eolian Harp

A
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23
Q

Embodied contact b/twn nature and the harp

A

“And that simplest Lute…is music slumbering on her instrument” (lines 12-33)
- exchange b/twn human imagination and nature

24
Q

This Lime Tree Bower My Prison & Kubla Khan

A
  • both explore the power of creativity and the imagination
    -“This lime tree bower” creates realistic visions of people based in reality
  • “Kubla Khan” imagines speculative, extraordinary landscapes => divorced from reality
25
Q

Mi Metic

A

imitation of real world through art, realistic

26
Q

This Lime tree bower my prison

A
27
Q

Solitude and imagination

A

“Well they are gone…of the blue clay-stone” (lines 1-19)
- bower: pleasant shady place underneath a tree etc.
- “this lime tree bower my prison” => tone is dramatic and emotional (like he’s in a prison), feeling of isolation, all hope is lost, trapped in his body and can’t get up (being sick is like incarceration)
- missing out on his friends wandering nature
-shift fr. own imagination to friends doing something => virtual knowledge of what friends are up to (imagining, putting himself in their position)
- physically captive to a certain area but his mind is wandering => transcend his physical body
- in the beginning, very detailed as if writing himself into the scene => laying down the scene

28
Q

Picturing his friends in present tense

A

“Now, my friends emerge…and strange calamity” (lines 20-32)
- invoking city/country tension => nostalgia going on
- picturing what they’re doing but we don’t know for sure
- Coleridge’s imagination => system where nature brings you back, emotions are restored
- nature is a site of social exchange (“Intercourse”)

29
Q

apostrophe

A

a figure of speech in which a speaker addresses an abstraction, object, or dead/absent person
- ex: prayer that addresses an abstract personification of something
- Coleridge addressing his friends => creativity takes place of his body

30
Q

Addressing nature

A

“Ah! slowly sink…spirits perceive his presence” (lines 32-43)
- nature is good and peaceful (how Marianne relates to nature)
- why is speaker addressing sun or the blue ocean? => sun and the ocean are the most “organic” forms we have in the world, thinking of nature leads to thinking of other people
- creating something that’s not literally in front of them (active imagination)
- some kind of personality trait that links you to natural phenomenon

31
Q

Imagined, virtual pleasures

A

“A delight…asI myself were there” (lines 43-45)
- poem becomes surrogate experience => substitute for real life experience
- ability to create virtual experiences

32
Q

Nature as a friend

A

“Henceforth I shall know…the joys we cannot share” (lines 59-67)
- imagining the joys not shared w/ him
- personifies nature => “never deserts” “may lift the soul”
- nature can teach us about love and beauty
-“keep the heart awake to love and beauty” => keeps us receptive

33
Q

Kubla Khan

A
  • the imagination possesses a power that is omnipotent and godlike
  • transport and altered states
34
Q

Paradise Lost by John Milton

A
  • mind is its own place => can be in the beautiful place in the world and have a fight w/ someone and ruin it
  • can make something terrible into something great
  • imagination can give you freedom => reign supreme
35
Q

Kubla Khan:
The opium induced vision

A

“In the summer of the year…that are here preserved” (pg 464-465)
- go from real life to having elaborate dream sequence => describing and transcribing a dream sequence

36
Q

The ephemeral vision

A

“though he still retained…which a stone had been cast” (pg 465)
- poet trying to hold onto a flighty vision that fades away

37
Q

The autonomy of art

A

“In Xanadu did Kubla Khan…enfolding sunny spots of greenery” (lines 1-11)
- mythical location essentially Garden of Eden

38
Q

Kublai Khan more info

A
  • founder of the Yuan dynasty of China (1271-1368)
  • emperor of the Mongol Empire (1260-1294)
  • Xanadu based upon Shangdu, Khan’s summer palace
  • elaborate fantasy of the racial politics => summer house as a refuge of imagination
  • Khan associated w/ beauty, decadence
39
Q

Orientalism

A
  • term coined by Edward Said
  • study of the “Orient” (the “Middle East”) by the “Occident” (the “Western World)
  • notice the relational geography of these terms => the East only acquires meaning in relation to the West
  • Said’s study Orientalism explores discourses related to the “Orient” (literature, philology, painting) and how they influence/justify colonial and imperial domination
40
Q

Abyssinia

A

“A damsel with a dulcimer…singing of Mount Abora” (37-41)
- Abyssinia is what Ethiopia used to be called
- cross racial politics: from asia to ethiopia
- Mount Abora: a product of fantasy but also rooted in Ethiopia => creating extravagant, supernatural version of it that crosses over different traditions

41
Q

The Rime of the Ancient Mariner

A
42
Q

Edward Said on Orientalism

A

“Taking the late 18th c. ..during the post-Englightenment period” (1978)
- discourse refers to idealogical purpose, politicized
- literary representations of the world => Orient
- “What it means to be European, Western etc.”

43
Q

Medieval Romance

A
  • a verse narrative that depicts a chivalric age in which a hero embarks upon a quest (usually a knight in order to gain a lady’s favor)
  • emphasizes chivalric traits of courage, loyalty, honor, and manners
  • often includes supernatural occurrences
  • modifications of the epic
  • similar estrangement happening in Rime of the Ancient Mariner and Kubla Khan => set in geographically remote places, tapping into historical drama
44
Q

The opening

A

“There was a ship…the bright eyed Mariner” (lines 9-20)
- “thus spake” - sound shakespearean
- “cannot choose but hear” = last poem in Lyrical Ballads
- waiting for wedding ceremony to start => minstrel, kind of like a ballad, telling a story

45
Q

The mariner, marriage, and modernity

A

“The wedding guest here beat..the merry minstrelsy” (lines 31-36)
- institutional forms of attachment
- marriage is a sign of futurity or keeping alliance b/twn two bloodlines
- Mariner is an outdated figure that can’t be assimilated into structure

46
Q

The Mariner as a poet-minstrel-troubadour

A

“I pass like night…which biddeth me to prayer” (lines 582-596)
- circularity => ends w/ man teaching us a story
- Mariner is like a romantic poet => only select people that can evoke language, alone b/c he ‘passes from land to land’ (isolation to romantic poet)
- maybe something incompatible b/twn isolation and heterosexual institution

47
Q

Style

A
  • deliberately archaic, antiquated style of Rime invites readers to consider the continuities b/twn the medieval and the contemporary era
48
Q

Gothic

A
  • genre interested in pleasurable terror and horror
  • mystery, supernatural, and the macabre
  • emphasizes emotion, irrationality, overwhelming thrills, and the unconscious
  • refers to an architectural style (“Gothic”) associated w/ medieval era => ancient castles, ruined abbeys, abandoned monasteries => something archaic, dilapidated has held on
49
Q

When Gotchic originated

A
  • originates in 18th c. as a response to Enlightenment: a philosophical movement characterized by logic and reason
  • 1764: Horace Walpole publishes The Castle of Otranto (one of the earliest novels) based upon a fictitious medieval manuscript and salacious circumstances => one of the most popular topics
  • 1790s: Novels featuring horror, mystery, and bizarre become increasingly popular
  • 1818: Mary shelley, Frankenstein
50
Q

More on Gothic

A
  • explores the unconscious and irrational
  • what haunts us might be historical traumas and atrocities or it might also be the monster within => excavate unresolved traumas haunting a society, Mariner seems like a ghost that haunts England
  • doubles and doppelgangers => the repressed underside of modern life
  • what’s repressed will inevitably resurface => the more you suppress, the more fixated you’ll be
  • often a gateway to the taboo and transgressive
51
Q

Death at sea

A

“Are those her ribs through…Quoth she, and whistles thrice” (lines 185-198)
- supernatural appearance of woman (w/ death) => description is angelic
- facts, logic, reason where we think we’re superior to reason => brings out of the made up rationality and brings us back to nature that we think we’re so above
- death isn’t necessarily a horrific thing => can be beautiful
- “the game is done, I’ve won” => a siren (gothic uncanny happening)

52
Q

Unable to die

A

“The cold sweat melted…and yet I could not die” (lines 253 - 262)
- what makes human human is the ability to die
- can’t die on sea => become monstrous (reinforce ideas of conventions)
- Mariner is traumatized individual who’s surrounded by death => something monstrous about extremity of being too young or too old

53
Q

More on Rime

A
  • Rime part of broader rise of sea fiction (Robinson Crusoe) => literature set at sea makes ocean into metaphor for variety of different things, sea fiction about empire, mapping the world, understanding relation of human and nature
  • Maritime expeditions a matter of empire (colonial territories), science (natural history and botany), and psychology (depths of the sea) => depths of sea become unconscious
  • Mariner occupies a tenuous relation to England => not really British (outcast), goes to sea which changes relationship w/ his home country
54
Q

Limits of the Known world

A

“With sloping masts and dipping prow…like noises in a swound” (lines 45-62)
- something about north and south pole that fascinated humans in this time
- surrounded by ice => imagery

55
Q

Murdering the albatross

A

“And a good south wind…I shot the Albatross” (lines 71-82)
- violent, murderous relationship
- no psychological interiority/exploration => no reason he shot it
- modern => irrational side of human subjectivity
- different predatory relationship b/twn human and natural world
- albatross associated w/ wind (like wind w/ Wordsworth) => kills it = wind stops and ship also stops and when there’s no wind they’re stuck in the water
- undoing natural harmony w/ natural world

British Romantic Lit (8 decks)

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