artist) must absent himself from the product or created thing, but only in order to raise himself to a level with the creative power and to apprehend it spiritually.'
PAGE 259 1. 4. For of all we see, hear, feel and touch. Cp. first Lay Sermon, Appendix B: 'That which we find in ourselves is gradu mutato the substance and the life of all our knowledge. Without this latent presence of the "I am "all modes of existence in the external world would flit before us as coloured shadows.' See also Biog. Lit. i. 179.
II. to learn is, according to Plato, only to recollect. Cp. Biog. Lit. ii. 120. For Plato's doctrine of ȧváμvnois see Meno, 81 foll.; Phaedo, 73-6.
15. And coxcombs vanquish Berkeley, &c. See Biog. Lit. i. 93 f. n. and note.
PAGE 260 1.5. nature ... prophesies her being. For a development of this thought see The Prometheus of Aeschylus (Miscellanies, pp.71,72) and Church and State (Pickering, 1839), pp. 187 foll. 9. painting rests in a material remoter. Cp. Schelling, ib. p. 317.
PAGE 261 1. 2. leave the common spectator cold. Cp. Schelling, ib. p. 295: They (the works of antiquity) leave you colder than the works of nature, if you have not the spiritual insight to penetrate the husk and to feel the power that is operative in them.' Cp. also Goethe's The Collector and his Friends: The generic conception [of Greek art] leaves us cold; the ideal raises us above ourselves: but we want more; we want to return to a full enjoyment of the individual without letting go either the significant or the sublime.'
19. Guy's monument. Coleridge apparently refers to the statue of Guy (the founder of Guy's Hospital) by Scheemakers, in the square of the hospital, and the scenes from Scripture in bassorelievo on the west side.
Chantrey's children. Sir Francis Chantrey, sculptor (17821841). His 'Sleeping children', which stands in Lichfield (not Worcester) Cathedral, is generally regarded as his masterpiece.
PAGE 262 1. 3. the identity of two opposite elements. With this passage cp. Preface to Lyrical Ballads (1802) (L. B. p. 33), where Wordsworth speaks of 'the perception of similitude in dissimilitude' as the foundation of taste. Cp. also Letters, 1807 (p. 516): 'the source of our pleasure in art in the antithetical balance-loving nature of man, &c.
18. This... I have elsewhere stated, i. e. in the Essays on the Principles of Genial Criticism.
23. a difference between form as proceeding, &c. Cp. Schelling, ib. p. 303, for a fuller statement of this difference.
27. the fulness of nature is without character. The comparison of beauty to pure water, made by Winckelmann (Geschichte der antik. Kunst, iv. 2. 23; Bosanquet, Hist. of Aesthetic, p. 249), is quoted by Schelling (ib. p. 306), who adds, 'it is true that the highest beauty is characterless: but it is so only in the sense in which we say that the universe has no definite demarcations (Abmessung), neither of length, nor breadth, nor depth, because it contains all in equal infinity: or that the art of creative nature is formless, because she herself is not subjected to any particular form.'
30. The object of art is to give the whole ad hominem. Cp. Schelling, ib. pp. 305, 310-12. Coleridge's meaning seems to be that art reveals nature in the unity of its relation to man as its final
A priori, the true meaning of, i. 193
Adelung, grammarian, his opinion of Opitz, i. 137. Agreeable, the, defined, ii. 213; a component part of beauty, 233, 237; distinguished from the Good and the Beautiful, 239, 244. Akenside, and C., i. 210. Alexander and Clytus, i. 5, 206. Alice Fell, Wordsworth's poem, II. 53. Alison, his Inquiry, ii. 222, 306. Allston, Washington, the American
painter, i. 82; his pictures, ii. 223, 224, 237; C. tries to serve, 304, 305; friendship with C., 306. Amerbach, Vitus, and the law of association, i. 70.
American Federal Journals, copy C.'s political opinions, i. 148. Ancient Mariner, The, genesis of, ii. 6, 264-5.
Animal Machines, in Descartes' philosophy, i. 89. Anti-Jacobin, The Beauties of the, C. attacked in, i. 49, 222. Antique, the, leaves us cold, ii. 261, 319; limits to the imitation of, 260-I.
Aquinas, St. Thomas, and the Parva Naturalia, i. 73.
Architecture, most remote of arts from Nature, ii. 261; C.'s interest in, 312.
Ariosto, his use of old stories, ii. 161. Aristotle, his theory of association, i. 71-4, 231, 232; and Shake- speare, ii. 182, 299; on poetry, 33, IOI; C. adopts his principle of poetry, 33, 273.
Art, distinguished from Science, ii. 221; pleasure the end of, 224, 307. See Poetry, Pleasure.
Art, formative, ii. 253 ff.; the begin- nings of, 253-4; mediates between nature and man, 254, 318; the ideal in, 187, 300; the object of, 262, 320.
Artist, the, guided by ideas not rules, ii. 65, 258, 318; must eloign himself from Nature, 258, 318; imitates the spirit of nature, 259.
Arts, the Fine, their common essence, ii. 221, 305; natural division of, 221, 305; compared, 221, 306. Association, the theory of, its history, i. ch. v.; in Hobbes, 69; Aristotle, 71-3; Hume, 73; Hartley's theory of discussed, ch. vi-vii; the true practical general law of, 87, 237; C.'s views on, sum- marized, 92; its practical value for philosophy, ii. 222; its power to endear objects, 231; no element in beauty, 232, 236-7, 244,3 II, 312; in English aesthetic, 222, 306.
Atheisto Fulminato, the old monk. ish play, ii. 185, 300. Authorship, C. on, i. ch. xi; Herder on, 159, 265.
Averroes, his catalogue of Anti- Mnemonics, i. 35, 217.
Bacon, Sir Francis, his works not read at present day, i. 38; his lofty address to his readers, 41; quoted, 193.
Barbauld, Mrs., and C.'s remarks on Unitarianism, ii. 304.
Barclay, Robert, his Argenis quoted, i. 106.
Bartram, W., his Travels through North and South Carolina, &c., ii. 128, 294.
Baxter, Richard, i. 154 Beattie, James, and the philosophy
of common sense, i. 182. Beauty, or the Beautiful, promis- cuous use of the term, ii. 224; defined, 232, 234, 238, 243, 257, 309, 310-11, 314, 318; inde- pendent of interest, 224, 257, 307; the medium of aesthetic pleasure, 221, 224, 308; independent of association, 232, 236-7, 244, 257, 311; the Agreeable as an element in, 233, 237, 244; definition of, by the Mystics, 239, 312; belongs to the intellect, 242; always in- tuitive, 243; the Shapely an element in, 234, 257, 309, 311, 318; evolution of, 251; and order, ib.; its relation to purpose, 245; to proportion, 245-6; sensuous and supersensuous, 246; charac- terlessness of the highest, 319. Before and After, the sense of, when intelligible, ii. 207, 301. Being and Knowing, how recon- cilable, i. 89-90; their ultimate identity, 183, ii. 216, 303. Bell, Dr., his New System of Educa- tion, ii. 46, 277. Berkeley, Bishop, C.'s early study of,
i. 93; his Analyst, 196, 271. Bertram, Maturin's tragedy, the circumstances attending its pro- duction, ii. 181-2; its literary ancestry, 182-4; an adaptation of Shadwell's Libertine, 193; its defects exposed, 193-207. Biographia Literaria, the, its genesis and purpose, i. xc-xcv; C.'s account thereof, i. I; why so long in printing, ii. 131, 209, 295. Blackmore, Sir Richard, ii. 227, 310.
Blumenbach, the physiologist, C. studies under at Göttingen, i. 138, 259.
Boccaccio, his dehortation from marriage, i. 158, 265. Body and mind, distinguished, i. 88; their gradual separation, ii. 263. Boehme, Jacob, and C., i. 95, 103, 242-3; and Schelling, 103, 247; his pantheism, ii. 112.
Bowles, Rev. W. Lisle, C. prepared for acquaintance with his poems, i. 7; C.'s first introduction to, xiii, 8; early zeal for, 9; obligations to, 9, 15; later attitude towards, 207; criticized by C., xxxiv. Boydell, John, his engravings, ii.
Boyer, Rev. James, Head Master of Christ's Hospital, his severe treat- ment of C., i. 4, 6, 205; his influ- ence upon C.'s style and taste, 4-6. Brook, The, C.'s projected poem, i. 129, 257.
Brown, Tom, ii. 40, 275. Bürger, Klopstock's admiration for, ii. 177, 298.
Burke, Edmund, his statesmanship, i. 124-6, 256-7, 146; his Essay on the Sublime and Beautiful, ii. 312. Burnet, Thomas, his Theoria Sacra, ii. 11, 268.
Byron, Lord, and Zapolya, ii. 212, 302; purity of his diction, ii. 77.
Cabalists, the, their vital-philosophy, i. 170, 267.
Caliban, a personified abstraction, ii. 185.
Cambridge Platonists, the, and C., ii. 304.
Carrier, Jean Baptiste, ii. 186, 300. Cartwright, William, his Royal Slave quoted, i. 145.
Casimir, Coleridge's opinion of his poetry, ii. 209, 301.
Castle of Otranto, The, its influence
on the German Drama, ii. 184. Castle Spectre, The, Monk Lewis's drama, ii. 227.
Cato, Marcus, his character com-
pared with Southey's, i. 48, 222. Cause and effect, Hume's destructive analysis of, i. 83, 93, 236; the sense of, consolatory to man, ii. 207-8.
Cecilia, St., legends concerning her patronage of music, i. 42, 220. Chantrey, Sir Francis, sculptor, significance of his 'Sleeping Children', ii. 261, 319
Chaucer, his genial temper, i. 21,
213; a master of the neutral style, ii. 71, 283. Christabel, C.'s poem, C.'s view in writing, ii. 6, 265; its treat- ment by critics, i. 210, 302. Christianity, C. on the evidences of, ii. 215-16. Church, The English, folly of the clamours against its property, i. 156.
Cid, The, Southey's poem, its unique character, i. 42 F. N., 220. Cimarosa, the Italian composer, ii. 231, 310.
Cipriani, the Italian painter, ii. 187, 301.
Clergyman's vocation, its advantages and opportunities, i. 155. Cogito ergo sum, the Cartesian, C.'s introduction to, i. 95, 242; criti- cized, 185 F. N.
Coleridge, Samuel Taylor, his child- hood, i. xi-xii; school days, 4 ff.; early style, 3, 16; taste moulded by Boyer, xiii, 5 ff.; premature devotion to metaphysics, 9; intro- duction to Bowles's poems, xiii, 8 ff., 15-16; his first volumes of poems, 1, 3, 203, 204, 205, 207; introduction to the Evans family, 10, 207; converted to Unitarianism, 114, 252; first acquaintance with Southey, 49 F. N.; with Words- worth's Descriptive Sketches, 56; publishes The Watchman, 114 ff., 251, 254; introduced to Thomas Poole, 254; settles at Stowey, 122, 255; an ardent follower of Hartley, 120; intercourse with Wordsworth, ib.; suspected of Jacobinism, 122, 256; abandons politics for philo- sophy, 132; visits Germany, 137 ff. (see also Satyrane's Letters); writes on politics for the Morning Post, 141 ff., 261, 262; for the Courier, 145, 262; settles at Keswick, xxix; loss of poetic power, ib.; his visit to Malta, xlvi, 147; publishes The Friend, 110-14; lectures in London, 1-lii, 38, 213, 218; in Bristol, liii; writes and publishes the Biog. Lit., liv-lvi, xc-xcii, 1, 131, 209, 295; writes Essays on
Criticism for Felix Farley's Jour- nal, ii. 304.
Coleridge, S. T., and Bowles, i. xiii, 8 ff., 15-16, 207; Berkeley, xiv, 93; Hartley, xiv, xxv, xxix, 121; Locke, xiv, xxix; Plato, 94, 241; the Neoplatonists, ib.; Bruno, ib.; Goethe, xxvii, 261; Southey, 222; Wordsworth, xc ff., 58, 122, 223; Maass, 230-1; Boehme, 95, 103, 242-3; Descartes, 95, 242; Kant, i. xli ff., xliii, lvii-lix, 99; Fichte, xlvii, lix, 101; Schiller, xxvii, lxxxix, 261; Lessing, xxvii- viii, ii. 156, 296; Schelling, Ix- lxxxviii, 95 ff., 102, 243-4, 247, 268. (See also under the various names and subjects.)
Colours, single, how far susceptible of beauty, ii. 238, 312. Commonsense, defined, i. 63 F.N.; the so-called philosophy of, criti- cized, 182; its place in philosophy, 89, 179; an element in genius, ii. 13, 64, 268. Compound epithets, in C.'s early poems, i. 2, 204; affected by young poets, ib. Conditions and causes confused, i. 85, 236.
Conscious, the, and the Unconscious, their concurrence in the act of knowledge, i. 174, 268; in works of art, ii. 258, 318. Consciousness, the philosophic, i. 164; varying powers of, 172. Contemporaneity, its function in association, i. 85-7, 237. Continuity and contemporaneity distinguished, i. 87, 237.
Cork, The Earl of, and The Friend, i. iii.
Courier, The, C. writes for, i. 38, 145-7, 218.
Covenanters, the, i. 130, 258. Cowley, Abraham, his school, i. 15; his translation of Pindar, ii. 66; Essay on Cromwell, 97; his Latinity, 209.
Cowper, William, his Task, defects of, i. 16 F. N.; and Thomson, ib.; C.'s acquaintance with his Task, ib., 211.
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