Product Description
Coleridge's "Shorter Works and Fragments" brings together a number of substantial essays including his "Theory of Life", "Treatise on Method", "Confessions of an Inquiring Spirit", "On the Passions", and "On the Prometheus of Aeschylus". To these are added over 400 other pieces, some of them fragmentary, many of them previously unpublished. As might be expected, the subject matter includes literature and language, theology, philosophy, politics and science, but many less-predictable topics, such as child labour laws and marriage, also appear. By gathering this material and presenting it in chronological order, this text reveals the development and major characteristics of Coleridge's variety. ... Read more

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The book has no illustrations or index. It may have numerous typos or missing text. However, purchasers can download a free scanned copy of the original rare book from the publisher's website (GeneralBooksClub.com). You can also preview excerpts of the book there. Purchasers are also entitled to a free trial membership in the General Books Club where they can select from more than a million books without charge. Original Publisher: New York, Harper ... Read more

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Author Rosemary Ashton examines the many facets of Samuel Taylor Coleridge's complex personality, from poet, critic, and thinker to feckless husband and guilt-ridden opium addict. She places Coleridge's reputation within the context of both British and German Romanticism and shows how the celebrated author became a luminary of immense importance. Photos . ... Read more

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The major work of German literature, Johann Wolfgang von Goethe's Faust (1808), was translated into English by one of Britain's most capable mediators of German literature and philosophy, Samuel Taylor Coleridge.

Goethe himself twice referred to Coleridge's translation of his Faust.Goethe's character wrestles with the very metaphysical and theological problems that preoccupied Coleridge: the meaning of the Logos, the apparent opposition of theism and pantheism. Coleridge, the poet of tormented guilt, of the demonic and the supernatural, found himself on familiar ground in translating Faust.Because his translation reveals revisions and reworkings of Coleridge's earlier works, his Faust contributes significantly to the understanding of Coleridge's entire oeuvre.

Coleridge began, but soon abandoned, the translation in 1814, returning to the task in 1820.At Coleridge's own insistence, it was published anonymously in 1821, illustrated with 27 line engravings copied by Henry Moses after the original plates by Moritz Retzsch. His publisher, Thomas Boosey, brought out another edition in 1824. Although several critics recognized that it was Coleridge's work, his role as translator was obscured because of its anonymous publication. Coleridge himself declared that he "never put pen to paper as translator of Faust", and subsequent generations mistakenly attributed the translation to George Soane, a minor playwright, who had actually commenced translating for a rival press.

This edition of Coleridge's translation provides the textual and documentary evidence of his authorship, and presents his work in the context of other contemporary efforts at translating Goethe's Faust. ... Read more

Customer Reviews (2)

Coleridge was an artful liar.
An artful liar, and, almost certainly, a fine translator of Faust.

It cannot be denied that Coleridgean authorship of the 1821 Boosey Faustus _can_ be denied.However, the Coleridgean claim is more than a hypothesis---it is a working theory: the editors have proven the validity of their hypotheses through careful and compelling (if not, for everyone, convincing) evidence, both stylistic evidence and stylometric evidence.It is worth noting that both editors are accomplished and respected Coleridge scholars, and that Oxford press is not known for publishing "hypothesis."

If the strongest claim skeptics can make against Coleridge's authorship is that he himself denied it, then they have not nearly matched Burwick and McCusick's scholarly rigor.The editors have fully addressed this concern and explained why Coleridge might have been inclined to deny his role as translator.And let us not forget that Coleridge had a penchant for stretching the truth--hence my calling him an artful liar.Perhaps the man from Porlock was the real translator?

Romanticist scholars well-schooled in the true friendship of opposition can certainly handle a healthy and disinterested debate.The burden now falls upon the anti-Coleridge-authorship crowd to rebut the Burwick/McKusick claim with commensurate authority.Simply not liking the idea isn't enough.

Coleridge attribution has NOT been definitively established!
Readers are cautioned that there is still considerable debate as to the translation authorship of Goethe's "Faust" by Samuel Taylor Coleridge! His own documented denial of same ["Table Talk", February 16, 1833] notwithstanding.

It is of course the option of any scholar or group therein to advance an opinion or, indeed, scholarly hypothesis on a given matter along with what is deemed supportive evidence for the premise but quite another matter to purport and declare definitive fact while dismissing any criticism of the purported "fact" as just so much collective "oversights .. misstatements .. misrepresentation .. specious wordage .. or who and what mockingly constitutes a "gentleman" ...."

The findings in this book and no matter how scholarly researched 'still' fall within the realm of a hypothesis or, put simply, conjectured opinion. Coleridge himself denied being the translator and it appears that the effort being made here is to 'force' the Faust translation on Coleridge when this has 'not' been definitively established and remains open to both extended debate and opposing view(s).

Readers are urged to seek the available views of others on this matter as opposed to a mind-set that the issue has been finally "solved" and duly validated therein. It has not! And to imply otherwise even in the known presence of Coleridge's own denial of translator authorship begs for further discussion versus any attempt to somehow invalidate Coleridge's own disclaimer comment on the matter. The issue still remains an open one!

Dr. Anthony J. Lomenzo ... Read more

Product Description
With an introduction by T. Ashe.This Elibron Classics book is a facsimile reprint of a 1893 edition by George Bell and Sons, London. Series: The Aldine Edition of the British Poets ... Read more

Customer Reviews (1)

Ageless visions in prose and circumstances in timeless words
Coleridge was on the romantic side of poetry, however, when reading Kubla Khan, and Rime of the Ancient Mariner, you can't help but think there was some what of an explorer, an adventuristic style in his words that, save opium, had no way to bud a grow with all around hearts-a-bursting. I liken Pablo Neruda to Coleridge, their visions, love, and spirit's ferosity seem to have been forged from the same mettle. Grecian Urn, Nightingale and others should all be required reading for the young. I guarantee there would be a lot more wonder, and a little more love in this world. ... Read more

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The book has no illustrations or index. Purchasers are entitled to a free trial membership in the General Books Club where they can select from more than a million books without charge. Subjects: Drama / English, Irish, Scottish, Welsh; Drama / Shakespeare; Literary Criticism / General; Literary Criticism / Drama; Literary Criticism / Shakespeare; ... Read more

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Never since their first publication have the texts of the 1798 and 1800 editions of Lyrical Ballads been printed together.Here then is the complete text of one of the most important documents of the Romantic movement--now with revised introduction, and fully updated notes. ... Read more

Customer Reviews (3)

The best edition of an essential collection.
Wordsworth and Coleridge's 'Lyrical Ballads' was revolutionary at the time of publication, and remains one of the most important volumes in the history of English Literature. The volume contains Coleridge's famous 'Ancient Mariner', as well as popular Wordsworth pieces such as 'Tintern Abbey' and 'Michael'.

A first time reader may not quite understand what all the fuss us about, as some of Wordsworth's pieces can seem facile and at times banal, something contemporary critics savaged him for. To truly grasp the spirit of the volume the reader must take time to absorb Wordsworth's 'Advertisment' in which he outlines the 'experimental' nature of the volume, as a reaction against the the artificiality and 'innane phraseology' of the majority of popular poetry at the time.

Wordsworth uses simple language to produce intimate sketches of ordinary people: a humble begger, an idiot boy, or the female vagrant, and he does so with great sensitivity and feeling, showing us that compassion and feeling of the simplest people makes them as worthy as any privileged man. No reader will soon forget the Lucy poems, in which the narrator recalls a girl he once loved, and mourns her tragic early death. Whether Lucy was ever a real person, let alone an object of Wordsworth's affection however is another matter.

There are weak links in the collection such as 'Lines Written in Early Spring', which could be justifiably labelled 'namby-pamby' (a term Byron used to describe a certain type of Wordsworth poem). However, the most impressive piece in the whole collection must be Tintern Abbey, a poem which could never be labelled facile or 'namby pamby', it is a spiritual, philosophical, and profoundly moving poem rich with memorably powerful turns of phrase and an intoxicating pslamic quality. Tintern Abbey may very well sum-up Wordsworth's entire enterprise better than any other poem he penned. Study and understand 'Tintern Abbey' and you understand Wordsworth. As for Coleridge's 'Mariner', although it is an enchanting and strikingly original work, I share Wordsworth's assertion that it's character is somewhat at odds with the spirit of the collection.

This edition is the finest you will find anywhere. It contains both the 1798 and 1800 editions, while including extensive supporting material. A real must-have for anyone interested in English Poetry.

Wordsworth & Coleridge in their Prime: A Romantic Feast
This edition of LYRICAL BALLADS brings together both the 1798 edition (including the Advertisement that prefaced the work) and the 1800 edition (with the Preface that replaced the Advertisement) in one convenient volume.The editors, R.L. Brett and A.R. Jones, have included quite an extensive introduction, a nice bibliography, end notes to the poems, multiple appendices, and an index.It is the perfect volume to purchase if you are going to study the LYRICAL BALLADS, particularly the changes that occurred between their first and second printing.

Most of my praise will go out to this edition, as the quality of the poetry contained in it is beyond question.This early work of both Coleridge and Wordsworth finds them at the height of their powers.For those less familiar with the LYRICAL BALLADS, I will mention some of my favorite poems in the work to give you a sense of what this volume contains:

1798 Edition - "Rime of the Ancyent Marinere," "We are seven," "Lines written in early spring," "The Thorn," "Expostulation and Reply," "The Tables Turned," "Tintern Abbey."

1800 Edition - "A slumber did my spirit seal," "Lucy Gray," "Nutting," "Michael."

And now, to end this review, I shall leave you with a few lines from one of my favorite poems, one that addresses me as I spend long hours studying hard into the night to uncover the "truth" of the world:

THE TABLES TURNED by William Wordsworth

Up! Up! my friend, and clear your looks,
Why all this toil and trouble?
Up! Up! my friend, and quit your books,
Or surely you'll grow double.
...
Books! `tis a dull and endless strife,
Come, hear the woodland linnet,
How sweet his music; on my life
There's more of wisdom in it.
...
One impulse from a vernal wood
May teach you more of man;
Of moral evil and of good,
Than all the sages can.
...
Enough of science and of art;
Close up these barren leaves;
Come forth, and bring with you a heart
That watches and receives. (1-4; 9-12; 21-24; 29-32)

A clear reflection of the authors` story relationship
If you know of Wordsworth and Coleridge you might also know that they both, but Coleridge in particular, led quite stormy lives. Although this work is a representative of the not so stormy Romantic period, the poems seem to transgress from the ordinary quiet of that time in history. With "Rhyme of the ancient mariner" as the obvious headstone in the book one cannot help but feel that this is somewhat "different" lyricism. However, the two poets don't seem to be on the same mission with their work. Often the reader is pulled in different directions. Perhaps the slight confusion of this book is one of the things that has helped it survive, it is undoubtedly at the same time what justifies it and annoys the critical reader. Having said that it seem somewhat "irregular" I must add that the book contains some of the most beautiful scenery in romatic lyricism. ... Read more

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Biographia Literaria. please visit www.valdebooks.com for a full list of titles ... Read more

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This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone! ... Read more

Product Description
This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more

Product Description
This is a reproduction of a book published before 1923.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process.We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide.We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more

Product Description
This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone! ... Read more

Product Description
This volume is produced from digital images created through the University of Michigan University Library's preservation reformatting program. ... Read more

Product Description
During the late 1890s and early 1900s, Samuel Coleridge-Taylor (1875-1912) was an important and popular British composer. Respected by such contemporaries as Sir Arthur Sullivan, Sir Edward Elgar, Gustav Holst, and Ralph Vaughan Williams, he attracted the attention of the British music critics, who followed his career with curious interest and often placed him in a class with other noted composers. A prolific composer during his short lifetime, he received great public acclaim and became known both nationally and internationally-his setting of Longfellow's Hiawatha was just as popular as Handel's Messiah in Victorian England. Although he composed Hiawatha when he was only twenty-three, Coleridge-Taylor already had reached a published opus of twenty-nine compositions. Born of a West African doctor and a British mother, Coleridge-Taylor belonged to two decidedly different cultures. Therefore, his compositional style was affected by two underlying currents: the classical tradition that dominated his training at the Royal College of Music, and the African and African-American folk music that was introduced to him through contacts with members of his father's race.This revised second edition, equipped with both an updated and expanded discography and bibliography, traces the development of his compositional style from his final years at the Royal College of Music to the time of his death in 1912. Also included is a list of his arrangements and later editions of his music. The author uses examples from selected works to show the influence of classical texts, West African and African-American elements, and English poetical dramas. Of particular interest are eight rare and/or never-before seen articles by and about this ground-breaking composer. ... Read more

Product Description
This is a reproduction of a book published before 1923.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process.We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide.We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more

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Coleridge began in 1795 a series of public lectures. This volume includes all the printed and manuscript versions of the Bristol lectures in chronological sequence. Among the contents are "Lectures on Revealed Religion, Its Corruption, and Its Political Views" and "Lecture on the Slave-Trade." ... Read more