By Richard Gravil (editor), Lucy Newlyn (editor), Nicholas Roe (editor)
The unifying thrust of the e-book is an exploration of the stress in Coleridge's thought and perform among the mind's eye and the ordinary, and a delineation of the actual profile of Coleridge's mind's eye in comparison to that of Wordsworth. There are demanding reassessments of Dejection: an Ode, Christabel and Kubla Khan, between different poems; a cluster of essays at the family members among Coleridge and Wordsworth; a strikingly unique exam of Coleridge's mind's eye at paintings within the privateness of his notebooks; and an interesting research of the missed mind's eye of Mrs Coleridge. the quantity opens and closes with significant statements by way of Jonathan Wordsworth on Coleridge's basic mind's eye and by means of John Beer on Kubla Khan, and contains paintings by means of such eminent students as Thomas MacFarland, David Erdman, Norman Fruman, Robert Barth, Anthony Harding, and Stephen Parrish.
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Additional info for Coleridge's Imagination: Essays in Memory of Pete Laver
BL, I, p. 303) The laughable progression from tar-water to the Trinity is indeed to be found in Siris, but there is also a subtler version of the Ascent of Being that Coleridge undoubtedly read in 1796, and that could not fail to be of interest to him in the period when he was formulating his views of a 30 JONATHAN WORDSWORTH transcendental human power. 'The perceptions of sense are gross', writes Berkeley towards the end of the work, but even in the senses there is a difference . . and from them, whether by gradual evolution, or ascent, we arrive at the highest.
And though now the bat Wheels by, and not a swallow twitters, Yet still the solitary humble-bee Sings in the bean-flower! The delight in the passage is characteristic of the solitude of identity. The invocation of 'the humble-bee' points to Theocritus, for the humming of bees is one of the chief evocations of his most characteristic moment. Yet the humble-bee here is as 'solitary' as the poet himself. In the passage from the Seventh Idyll quoted above, 'the bees hummed to and fro' about the spring; in the Fifth Idyll there are 'bees humming bravely at the hives'; here the solitary humble-bee 'Sings in the bean-flower'.
To develope the powers of the Creator is our proper employment . . Our Almighty Parent hath therefore given to us Imagination. 18 What is certain is that for Coleridge 'the sublime of man' continued, despite his new interest in the poetic imagination and the fancy, to be a transcendental power analogous to divine creativity. After the Letter to Sara Hutchinson in 1802 the poetry that celebrates this power ceases to be written by Coleridge; but there can be no doubt that the higher imagination that comes to dominate the later stages of The Prelude depends upon his thinking.
Coleridge's Imagination: Essays in Memory of Pete Laver by Richard Gravil (editor), Lucy Newlyn (editor), Nicholas Roe (editor)