Biographia Literaria
Samuel Taylor Coleridge
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Biographia Literaria
Samuel Taylor Coleridge
About This Book
I Motives to the present workâReception of the Author's first publicationâDiscipline of his taste at schoolâEffect of contemporary writers on youthful mindsâBowles's Sonnetsâ Comparison between the poets before and since II Supposed irritability of genius brought to the test of factsâCauses and occasions of the chargeâIts injustice III The Author's obligations to Critics, and the probable occasionâPrinciples of modern criticismâMr. Southey's works and character IV The Lyrical Ballads with the PrefaceâMr. Wordsworth's earlier poemsâOn Fancy and ImaginationâThe investigation of the distinction important to the Fine Arts V On the law of AssociationâIts history traced from Aristotle to Hartley VI That Hartley's system, as far as it differs from that of Aristotle, is neither tenable in theory, nor founded in facts VII Of the necessary consequences of the Hartleian TheoryâOf the original mistake or equivocation which procured its admissionâMemoria technica VIII The system of Dualism introduced by Des CartesâRefined first by Spinoza and afterwards by Leibnitz into the doctrine of Harmonia praestabilitaâHylozoismâ Materialism âNone of these systems, or any possible theory of Association, supplies or supersedes a theory of Perception, or explains the formation of the Associable XI Is Philosophy possible as a science, and what are its conditions?âGiordano BrunoâLiterary Aristocracy, or the existence of a tacit compact among the learned as a privileged orderâThe Author's obligations to the Mystics- To Immanuel KantâThe difference between the letter and The spirit of Kant's writings, and a vindication of Prudence in the teaching of PhilosophyâFichte's attempt to complete the Critical system-Its partial success and ultimate failureâObligations to Schelling; and among English writers to Saumarez X A Chapter of digression and anecdotes, as an interlude preceding that on the nature and genesis of the Imagination or Plastic PowerâOn Pedantry and pedantic expressionsâ Advice to young authors respecting publicationâVarious anecdotes of the Author's literary life, and the progress of his opinions in Religion and Politics XI An affectionate exhortation to those who in early life feel themselves disposed to become authors XII A Chapter of requests and premonitions concerning the perusal or omission of the chapter that follows XIII On the Imagination, or Esemplastic power XIV Occasion of the Lyrical Ballads, and the objects originally proposedâPreface to the second editionâThe ensuing controversy, its causes and acrimonyâPhilosophic definitions of a Poem and Poetry with scholia XV The specific symptoms of poetic power elucidated in a Critical analysis of Shakespeare's Venus and Adonis, and Rape of Lucrece XVI Striking points of difference between the Poets of the present age and those of the fifteenth and sixteenth centuriesâWish expressed for the union of the characteristic merits of both XVII Examination of the tenets peculiar to Mr. Wordsworthâ Rustic life (above all, low and rustic life) especially unfavourable to the formation of a human diction-The best parts of language the product of philosophers, not of clowns or shepherdsâPoetry essentially ideal and genericâ The language of Milton as much the language of real life, yea, incomparably more so than that of the cottager XVIII Language of metrical composition, why and wherein essentially different from that of proseâOrigin and elements of metre âIts necessary consequences, and the conditions thereby imposed on the metrical writer in the choice of his diction XIX ContinuationâConcerning the real object, which, it is probable, Mr. Wordsworth had before him in his critical prefaceâElucidation and application of this XX The former subject continuedâThe neutral style, or that common to Prose and Poetry, exemplified by specimens from Chaucer, Herbert, and others XXI Remarks on the present mode of conducting critical journals XXII The characteristic defects of Wordsworth's poetry, with the principles from which the judgment, that they are defects, is deducedâTheir proportion to the beautiesâFor the greatest part characteristic of his theory only SATYRANE'S LETTERS XXIII Critique on Bertram XXIV Conclusion