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By G. Leadbetter

Via politics, faith and his dating with Wordsworth, the publication builds to a brand new interpretation of the poems the place Coleridge's daemonic mind's eye produces its myths: the traditional Mariner, Kubla Khan and Christabel . Re-reading the origins of Romanticism, Leadbetter finds a Coleridge right away extra established and more odd.

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1 233). By presenting Christ in this way, Coleridge decenters the authority of Christianity, rendering it one historical form among many that aspire to a greater, more ancient spiritual truth. This, as Wylie observes, is precisely the priority advocated by Giordano Bruno, who subordinated Christianity, the younger faith, to the ancient tradition, representing Christ as a member of the preaching band of theologians who originated with Zoroaster and Hermes and stretched down the ages. Hence Bruno inverted the prisca theologia, making it the authentic tradition of which Christianity was not the summation, but merely another manifestation.

Wordsworth was the first to employ the phrase, in “The Pedlar,” written between January and March 1798: “for in all things / He saw one life, and felt that it was joy” (Pedlar 27). 1 180). 1 233) Twenty years before this explicit formulation, however, the “one life” vision suffused another groundbreaking poem for Coleridge, “This Lime-tree Bower my Prison”: So my friend Struck with joy’s deepest calm, and gazing round 40 Col er idge a n d t h e Da emon ic I m aginat ion On the wide view, may gaze till all doth seem Less gross than bodily, a living Thing That acts upon the mind (CL I 335) The voice that Coleridge developed in this poem sounded the keynote for his ensuing collaboration with Wordsworth, serving as “a kind of initiation” (Newlyn 18) into their Quantocks Arcadia.

Fade to the hue of shadows” (Barbauld 142–43). Again, metaphysics is named as the threat. Stabler, however, points out that both Barbauld and Coleridge took “a transgressive pleasure in their tendency to ‘wander’ or ‘soar,’ ” and while acknowledging Barbauld’s pious “reining in of speculation,” sees the poem to Coleridge not as a rejection of metaphysics in itself, but as a warning against “Indolence wearing the garb of deep philosophy” (Stabler 197, 195, 201). Yet in the context of 1797, Barbauld’s warning chimed with the accusations of Lamb and Burke, and Unitarian piety joined establishment anti-intellectualism in marking Coleridge out in his taste for “transnaturals” (CN III 4166).

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