柯勒律治

合集下载

kubla khan诗歌鉴赏

kubla khan诗歌鉴赏

Kubla Khan是英国浪漫主义诗人塞缪尔·泰勒·柯勒律治的一首著名诗作。

这首诗是在1797年创作的,被誉为英国文学史上的经典之作,它展现了柯勒律治独特的想象力和优美的诗歌艺术。

1. 主题分析在Kubla Khan这首诗中,柯勒律治通过对蒙古大汗忽必烈的宏伟帝国的描绘,展现了自然与恢弘、幻想与现实之间的奇妙交织。

诗中展现出了大自然的壮美景观,以及人类文明与自然之间的冲突与融合。

在诗中,柯勒律治运用了许多意象和比喻,描绘了世界上最壮美的景色和人类活动,表达了对于宇宙的神秘、人类历史的宏大和人类情感的丰富。

2. 内容分析Kubla Khan由三部分组成,第一部分描绘了著名的山川和瀑布,展现了大自然的壮美和恢弘;接着讲述了忽必烈将要建造的宫殿,表现了人类文明的辉煌和壮丽;最后描述了女巫术士的神秘仪式,体现了人类情感的悸动和神秘的奇妙。

整首诗以其瑰丽的意象和华丽的语言,描绘了宇宙的奇妙、人类的伟大和情感的丰富。

3. 语言风格柯勒律治在Kubla Khan中运用了大量的修辞手法,如比喻、隐喻、排比等,使整篇诗意境优美、言辞华丽。

他运用了丰富的形容词和动词,使诗歌文字生动鲜明,具有强烈的视觉冲击力。

整篇诗具有独特的韵律,旋律感强,语言笔法流畅自然,堪称诗歌艺术的典范。

4. 主题思想Kubla Khan揭示了柯勒律治对于自然、历史和人类情感的独特见解。

他通过对大自然和人类活动的描绘,展现了对于宇宙的神秘和奇妙的赞叹,对于人类历史的辉煌和壮美的赞美,以及对于人类情感的悸动和神秘的探索。

诗中所表达的主题思想,具有非凡的深度和广度,对于当代读者依然具有深刻的启发和引领意义。

5. 结构特点Kubla Khan整篇诗的结构非常有序,分为三个部分,每个部分之间犹如画面切换一般,紧密连接且相互呼应。

整篇诗构思巧妙、布局合理,既有法度与节奏感,又有情感与意象的流动。

整体结构上,给人以惊喜与享受,展现了诗人卓越的艺术造诣和创作才华。

柯勒律治及其作品在中国的译介与接受(1900—1949)

柯勒律治及其作品在中国的译介与接受(1900—1949)

SocialScienceVol.425,2020柯勒律治及其作品在中国的译介与接受(1900—1949)周 青(淮阴师范学院文学院,江苏淮安223300) 摘 要:20世纪初,英国浪漫主义诗人柯勒律治和他的作品随着五四新文学运动的开展进入中国。

中国的研究者们在40多年间从不同角度翻译介绍了柯勒律治及其相关作品。

关键词:柯勒律治;中国;译介;接受 中图分类号:I561 072 文献标识码:A 文章编号:1007 8444(2020)05 0520 05 收稿日期:2020 02 06 基金项目:江苏省高校哲学社会科学一般项目“柯勒律治的文学经典性及在中国的接受研究”(2017SJB1592)。

作者简介:周青,淮阴师范学院文学院讲师,同济大学博士研究生,主要从事外国文学研究。

柯勒律治(SamuelTaylorColeridge,1772—1834)是英国19世纪浪漫主义重要诗人之一,兼文艺理论家、批评家。

柯勒律治于五四新文学运动时期走进中国,中国的翻译家、研究者们在不同时期,从不同角度翻译介绍和接受了柯勒律治的诗歌作品及文艺理论。

本文试图考察20世纪上半叶柯勒律治在中国的译介和接受情况。

一、柯勒律治及其作品的最初引进为了改变中国的政局和社会面貌,追求国家民族的富强,在列强侵入、民族存亡的危急关头,清末民初的知识分子开启了思想启蒙运动。

自此,西方启蒙运动以来的各类思想、文学作品被大量引进入中国。

在文学上,从古典主义、浪漫主义,直到存在主义,等等,在20世纪的最初20年里,这些思潮几乎同时传入了中国。

当时先进的知识分子,希望在外国文学的宝库中汲取拯救本国文学甚或国民精神的精髓。

当时中国文化界的状况与欧洲浪漫主义萌芽时期颇为相似,对浪漫主义文学的翻译介绍就这样在国人的期待视野中顺理成章地开始了。

中国对英国浪漫主义诗歌的译介始于20世纪初。

1900年3月1日《清议报》第37册刊登了梁启超的文章《慧观》,文中写道:“无名之野花,田夫刈之,牧童蹈之,而窝儿哲窝士于此中见造化之微妙焉。

古舟子咏讲解

古舟子咏讲解

《古舟子咏》是英国诗人柯勒律治的作品,讲述了老水手的故事。

故事中老水手因为射杀了一只信天翁,导致船只被困在海上,遭受了巨大的灾难。

首先,老水手是罪恶的源头。

他因为个人私欲和虚荣心而射杀了善良的信天翁,这种行为违背了自然规律和道德准则。

他的罪行引发了船只被困和众人的痛苦,也让他自己陷入了无尽的孤独和自责之中。

其次,大自然的威力也是故事中的重要元素。

在冰川中迷航的船只象征着人类在大自然面前的渺小和无助。

而信天翁的出现则是大自然的恩赐和拯救的象征。

然而,因为老水手的罪行,大自然的力量转而成为了惩罚的力量,让船只无法逃脱困境。

最后,故事中的悔过与救赎也是重要的主题。

老水手在孤独、自责和痛苦中反思自己的行为,开始寻求救赎之道。

他不断地向他人讲述自己的罪行和痛苦,希望能够得到他人的理解和宽恕。

最终,在大海抓住闪电的箭光时,老水手得到了救赎和解放。

总之,《古舟子咏》是一部揭示人性善恶和自然力量的作品。

它警示人们要敬畏大自然,珍爱生命,追求内心的善良与纯洁。

同时,它也表达了人类在面对大自然时的渺小和无奈,以及悔过与救赎的重要性。

柯勒律治《古舟子咏》中对罪恶的救赎-文档资料

柯勒律治《古舟子咏》中对罪恶的救赎-文档资料

柯勒律治《古舟子咏》中对罪恶的救赎英国在19世纪逐渐形成浪漫主义的文学风潮,其中柯勒律治是湖畔派诗歌创作的主要代表。

柯勒律治一生当中所创作的诗歌并不是很多,但是很多都成为了非常经典的作品,在英国的文坛乃至世界文学历史上,都产生了非常深远的影响,可以说,诗人是一流的抒情诗歌的创作者。

柯勒律治凭借其自身非常卓越的想象能力,创作了抒情长诗《古舟子咏》,以极为荒诞的情节设置以及诡异之意象,形成了一种超自然主义的风格,并对罪恶以及罪恶的救赎,表达了深刻的思考。

一《古舟子咏》中的罪恶与救赎的分析柯勒律治在《古舟子咏》当中主要是讲述了在一次航海经历之中,一个年老的水手所遭遇到的各种光怪陆离的事件。

老水手所在的这艘船离开港口,进入大海之中,可是不幸遭遇到海面上的狂风暴雨,结果整艘船都在冰雪的海洋里面被困住了,整艘船都要面对灭顶的灾难。

就在这样一个十分危急的时候,有一只信天翁鸟从天空飞到了船舶上面,停留在船舶之中,并且引领着老水手所在的这一艘船离开冰雪封住的海谷,从而让船摆脱了危险的境地。

老水手经历了生死的磨难,因为信天翁的及时救助而得以脱离险境,但是老水手却恩将仇报,没有任何缘故,就将救助自己的信天翁鸟给射杀下来。

但是,信天翁鸟被老水手射杀死去之后,各种非常奇怪的事件就接踵而至。

让人吊诡的是,整艘航船上有两百多个水手,在信天翁鸟被射杀了之后,很多先后都离奇的死亡了,只有老水手一个人活了下来。

随后,老水手诚心祈祷,终于免除了船员们的灾难。

二《古舟子咏》中对于罪恶以及惩罚的呈现在基督教的宗教伦理当中,罪恶和惩罚必然是联系到一起的。

在基督教的教义之中,罪恶的惩罚是很多种的,其中包含了基督教中全能者上帝对于人类进行永生的惩罚,也包含了精神和物质上人类所遭受的痛苦。

所以这样的一种罪恶的痛苦,在柯勒律治笔下的《古舟子咏》里面,成为了一种呈现老水手以及老水手所代表的人类之罪恶的方式。

在《古舟子咏》当中,老水手经历了许许多多的事情,然而老水手和众多的水手们都一样,在整个出海的过程当中自然形成着罪恶。

柯勒律治与《古舟子咏》

柯勒律治与《古舟子咏》

柯勒律治与《古舟子咏》《古舟子咏》的大体情节如下:一艘船出海航行.被风吹到了南极,困在了冰山之中。

这时,一只信天翁出现了,它带领船只离开南极,脱离困境。

船上的一名老水手却将其射杀,杀戮的动机在书中并未交代。

后来,老水手的这种对生命的暴行受到了惩罚:船只静止在海上,无法行进。

全船成员在干渴中死去,唯独老水手一人在痛苦中饱受折磨,求死不得。

最后,悔过了的老水手看到了美丽的水蛇,下意识地为他们祈祷,正是此举得到了神明的认可。

于是,在精灵们的帮助下,老水手回到了自己的故乡,并由此开始了他的传教生涯。

最终神明救助老水手返回了自己的故乡,正是因为老水于最后心里充满了爱。

通过老水手的再生过程,这首诗的主旨告诉我们:人们应当从忏悔和祷告中得到幸福。

人们应当相信这个世界最终是仁慈的,理性的。

只要我们心里有爱,上帝就会保佑我们。

在柯勒律治看来,生命不是静止之物,而是一种行动和过程,是联结两极对立势力的纽带。

柯勒律治的生命理论论证了人与自然本质上的同一性。

在此基础上,柯勒律治提出其异化说,并主张人与自然的和谐。

在柯勒律治看来,异化就是人与自然的疏远分离。

太初时代,人与自然十分协调,生活在伊甸园般的天真与幸福状态中。

但自原始堕落之后,人与自然日渐疏远,陷入无尽的劫难。

作为浪漫主义诗人的柯勒律治的看法反映了当时英国少数人对理性的反判。

工业化与科学的进步把理性推到至高无上的地位,而感性与情感则被日益贬低。

人对大自然不断深化的了解导致传统的宗教与神话的破灭,造成世界的越来越物质化和人自身的物化。

因而,想要恢复人的丰富多彩的情感生活,让炽热的激情取代冷静的理性,就必须回到人与自然的和谐状态。

从原始与自然的统一,经过异化的痛苦和磨难,复归于同自然的统一,这是一条环行的旅程。

老水手恢复了生命,回到了他的村庄,回到了他那单纯而卑微的村民中间。

他的这次人生旅行,似乎只是走了一个圆圈后又回到了原来的起点。

但是老水手是否从此完全融入了村民的生活,彻底地恢复到原来的状态了呢?细细地思考不难发现,现在的他与出发前相比已是判若两人,而且他的生活也彻底改变了样。

柯勒律治的名著

柯勒律治的名著

柯勒律治的名著《古舟子咏》是一首令人难以忘怀的音乐叙事诗,该诗简洁的结构和朴素的语言向人们讲述了一个生动的罪与赎罪的故事。

在这首诗中,一位古代水手讲述了他在一次航海中故意杀死一只信天翁的故事(水手们认为它是象征好运的一种鸟)。

这个水手经受了无数肉体和精神上的折磨后,才逐渐明白“人、鸟和兽类”作为上帝的创造物存在着超自然的联系。

这首诗有许多超自然的人物和事件,充满激昂的语调,男主人公自我纠缠,所有这一切都构成了浪漫主义文学的标志。

The Rime of the Ancient Mariner古舟子咏Samuel Taylor Coleridge塞缪尔·T·柯勒律治第一章他是一个年迈的水手, 从三个行人中他拦住一人, 凭你的白须和闪亮的眼睛,请问你为何阻拦我的路程?“新郎家的大门已经敞开, 而我是他的密友良朋, 宾客已到齐,宴席已摆好,远远能听到笑语喧闹。

”他枯瘦的手把行人抓住, 喃喃言道:”曾有一艘船。

”“走开,撒手,你这老疯子!”他随即放手不再纠缠。

但他炯炯的目光将行人摄住——使赴宴的客人停步不前, 像三岁的孩子听他讲述,老水手实现了他的意愿。

赴宴的客人坐在石头上, 不由自主地听他把故事讲: 就这样老水手继续往下说,两眼闪着奇异的光芒。

“船在欢呼声中驶出海港, 乘着落潮我们愉快出航, 驶过教堂,驶过山岗, 最后连灯塔也消失在远方。

“只见太阳从左边升起, 从那万顷碧波的汪洋里! 它终日在天空辉煌照耀,然后从右边落进大海里。

“它每天升得越来越高, 正午时直射桅杆的顶极——”赴宴的客人捶打着胸膛,当听到巴松管嘹亮的乐曲。

这时新娘已跨进大门, 她如鲜红的玫瑰一样漂亮; 行吟诗人走在她前面,摇头摆尾快乐地歌唱。

赴宴的客人捶打着胸膛, 但不由自主地听他把故事讲; 就这样老水手继续往下说,两眼闪烁着奇异的光芒。

“这时大海上刮起了风暴, 它来势凶猛更叫人胆寒; 它张开飞翅追击着船只,不停地把我们向南驱赶。

柯勒律治的诗

柯勒律治的诗

柯勒律治的诗
柯勒律治的诗是指19世纪法国浪漫主义诗人阿尔弗雷德·德·柯勒律治(Alfred de Musset)创作的一系列诗歌作品。

作为浪漫主义运动的重要代表之一,柯勒律治的诗歌具有深情、激情和思想性的特点。

柯勒律治的诗歌作品常常探讨着人类的情感、爱情的喜悦和痛苦,以及对生活、时间和死亡的思考。

他的诗歌表现出对于自然界的热爱与渴望,同时也反映了对社会现象和人类行为的批判。

诗人通过独特的语言和形式表达情感,使读者能够深刻地感受到他内心的矛盾、挣扎和追求。

柯勒律治的诗歌充满了艺术性与哲学性的张力。

他运用丰富的象征手法和富有节奏感的诗句,使得他的诗作更加生动和引人入胜。

同时,柯勒律治的诗歌也具有一定的官能主义色彩,常常描述情感的酸楚和欲望的焦虑。

他在诗歌中常以自我为中心,表达对爱情的追求和无法实现的渴望,使读者能够深入体验到他的情感和思想。

柯勒律治的诗歌作品对后世影响深远。

他的写作风格和主题成为了浪漫主义诗歌的典范,对许多后来的诗人产生了重要的影响。

他的诗作也被广泛翻译成不同语言,成为世界文学的一部分。

通过他的诗歌,读者可以感受到一个复杂而纷繁的内心世界,以及对人生和爱情的思
考与探索。

总之,柯勒律治的诗歌是浪漫主义文学的杰作之一,他通过独特的语言和形式表达了对人类情感和人生意义的追求。

他的诗歌作品不仅具有美学价值,更展现了人类内心的矛盾与挣扎,引发了读者对生活、爱情和人性的思考。

kubla khan 诗歌

kubla khan 诗歌
kubla khan诗歌
《忽必烈汗》是英国浪漫主义诗人柯勒律治的一首长诗。以下是部分内容:
在遥远的东方,有一片富饶的土地,
那里有圣河亚佛流奔,穿过深不可测的洞门,
直流入不见阳光的海洋。
在这片土地上,方圆五英里肥沃的土壤,
那里有花园,蜿蜒的溪河在其间闪耀,
园里树枝上鲜花盛开,一片芬芳。
这里有森林,跟山峦同样古老,
围住了洒满阳光的一块块青草草场。
Hale Waihona Puke 那深沉而奇异的巨壑,沿青山斜裂,横过伞盖的柏树!
为她的魔鬼情郎而凄声嚎哭!

Samuel Taylor Coleridge 柯勒律治

Samuel Taylor Coleridge 柯勒律治
breath, Found Death in Life, may here find
Life in Death
1798 The Rime of the Ancient Mariner《古舟子咏》 1798 Kubla Khan 《忽必烈汗》 1816 Christabel 《克丽斯塔贝尔》
Works
rheumatism(风湿病), which gradually
destroyed his health, happiness and
poetic creativity
Death He died in Highgate, London on July 25, 1834 (62), providing his own epitaph(墓志铭):
为她的魔鬼情郎而凄声嚎哭!
And from this chasm, with ceaseless turmoil seething,
巨壑下,不绝的喧嚣在沸腾汹涌,
As if this earth in fast thick pants were breathing,
似乎这土地正喘息在快速而猛烈的悸动中,
Graveyard (墓地)
• Beneath this sod
A Poet lies; or that which once was he.
O lift one thought in prayer (祷告)for S.T.C.
That he, who many a year with toil (辛苦)of
A few months later under the reason of "insanity" (精神病 ) and he was readmitted (再次接纳) to Jesus College, though he would never receive a degree from Cambridge.

柯勒律治《古舟子吟》主要内容概要及赏析

柯勒律治《古舟子吟》主要内容概要及赏析

柯勒律治《古舟子吟》主要内容概要及赏析(最新版)编制人:__________________审核人:__________________审批人:__________________编制单位:__________________编制时间:____年____月____日序言下载提示:该文档是本店铺精心编制而成的,希望大家下载后,能够帮助大家解决实际问题。

文档下载后可定制修改,请根据实际需要进行调整和使用,谢谢!并且,本店铺为大家提供各种类型的经典范文,如诗歌散文、原文赏析、读书笔记、经典名著、古典文学、网络文学、经典语录、童话故事、心得体会、其他范文等等,想了解不同范文格式和写法,敬请关注!Download tips: This document is carefully compiled by this editor.I hope that after you download it, it can help you solve practical problems. The document can be customized and modified after downloading, please adjust and use it according to actual needs, thank you!In addition, this shop provides you with various types of classic sample essays, such as poetry and prose, original text appreciation, reading notes, classic works, classical literature, online literature, classic quotations, fairy tales, experience, other sample essays, etc. if you want to know the difference Please pay attention to the format and writing of the sample essay!柯勒律治《古舟子吟》主要内容概要及赏析【导语】:《古舟子吟》外国文学作品简析英国浪漫主义诗人柯勒律治(17721834)的叙事长诗。

柯勒律治的文化观

柯勒律治的文化观

柯勒律治的文化观
柯勒律治的文化观主要体现在他的社会文化批评思想中,他对社会和文化进行了理念主义的建构,主要表现在以下三个方面:
1.他理念主义的批评视角集合了英国经验主义和德国理念主义思想,这种集合主要反映在他的“理念”观上。

柯勒律治把理念和理性等同,从目的论的角度强调理念的先在性和普遍性。

他的理念成为理念主义的社会文化批评的标准,而和工业社会中盛行的功利主义标准形成鲜明对比。

2.柯勒律治的批评视角关注工业社会的文化健康和精神需求。

他提出“教化”概念与工业主义强调的“文明”概念形成鲜明的对比。

由于“教化”概念,一种作为精神层面的文化的观念浮出水面。

他把文化作为批评工业社会种种非人化现象的工具。

由此,他首次把文化作为抵抗工业主义的阵地。

3.柯勒律治的理念主义的批评视角还表现在他独创性的“知识阶层”的概念上。

他的知识阶层来自于他对工业资本主义早期知识分子社会角色的反思。

通过知识阶层,他呼唤一个特定的关注精神和人的知识群体能和工业社会中强调物质和工业文明的阶层相抗衡,从而成为社会精神的捍卫者和引导者,以抵制工业主义的过度泛滥。

总的来说,柯勒律治的文化观较为复杂,既有值得肯定的方面,也有需要辩证看待的方面。

可以阅读关于柯勒律治的相关书籍或者论文获取更多信息。

英国诗人柯勒律治简介

英国诗人柯勒律治简介

英国诗人柯勒律治简介塞缪尔·泰勒·柯勒律治(SamuelTaylorColeridge,1772-1834年),英国诗人和评论家,他一生是在贫病交困和鸦片成瘾的阴影下度过的,诗歌作品相对较少。

下面是小编为大家整理的英国诗人柯勒律治简介,希望大家喜欢!柯勒律治生平简介塞缪尔·柯勒律治是英国著名的诗人和评论家,也是英国浪漫主义文学的开辟者。

他的一生坎坷艰难,是对诗歌的热爱支持他生活下来。

塞缪尔·柯勒律治出生于英国的德文郡,他的父亲是当地农村的牧师。

在他九岁的时候,他的父亲去世了,之后他被送到了慈善学校。

在那里他度过了8年的时间,并且交到了查尔斯·兰姆这个至交好友。

在1791年,他进入了剑桥大学读书,但是大学生活并没有为他带来任何愉悦,所以他在两年后从军了。

军队没有完全地接纳他,很快就将他退回了学校。

在1794年,他遇见了志同道合的罗伯特·骚塞。

他们两个人因为相同的爱好和追求而结为了好友。

两人合作写了一本关于罗伯斯庇尔与法国革命的剧本。

同年,塞缪尔·柯勒律治和萨拉·弗里克成婚。

后来,弗里克的妹妹还嫁给了骚塞,这让两人的关系更加亲近。

到1797年时,塞缪尔·柯勒律治用来不到一年的时间就完成了自己的诗作。

在1800年,他搬到了开士威克,和骚塞、华兹华斯成为了邻居。

同年,为了缓解风湿,他开始吸食鸦片。

这导致他妻子带着孩子与他离婚。

虽然他曾两次试图戒掉鸦片但都没有成功。

1816年,他一边在伦敦教授莎士比亚的诗歌,一边在詹姆士的帮助下戒毒。

在伦敦待了十八年后,他去世了。

柯勒律治代表作柯勒律治的一生十分贫困,并且深受鸦片的危害,虽然他曾经想要戒毒,但是没有成功。

正是这样的生活条件导致柯勒律治代表作品十分少。

在柯勒律治代表作中最著名的一篇是《古舟子咏》,这首诗是一首音乐叙事诗,总体表达了一个犯罪与赎罪的故事。

在这首诗中,讲述了一个古代的水手在航海中故意杀死了信天翁。

塞缪尔 泰勒 柯勒律治

塞缪尔 泰勒 柯勒律治

4
唱、两首残篇确立了其在诗歌史上的一流地位。 1772年10月21日生于英格兰西南部德文郡一个乡镇牧师 的家庭,父亲是教区牧师,在他9岁时去世。 10岁到伦敦基督慈幼学校上学,熟读希腊、罗马文学, 精习形而上学。 19岁进入剑桥大学攻读古典文学。 1794年,与骚塞合写《罗伯斯庇尔的失败》一剧。 1798年,两人合作出版著名的《抒情歌谣集》,成为浪漫 主义的宣言书。
人物历程
1817年发表了著名的《文学传记》,以文学批评为主,
5
是他最完整的散文著作。 1818年作了一系列关于莎士比亚的讲演,后来收集为 《关于莎士比亚讲演集》一书。 柯勒律治青年时代即患有风湿痛等多种疾病。为求镇痛 他长期服食鸦片竟至上瘾,故健康大受损害。 1834年7月25日逝世于海格特。
6
作品介绍

7
The Rime of the Ancient Mariner ,1798 《古舟子咏》 《忽必烈汗》 《克丽斯塔贝尔》 《文学传记》
“Kubla Khan”,1816 “Christabel”,1816 Biographia Literaria,1817
柯勒律治是19世纪英国 浪漫主义诗歌的杰出代表。
《古舟子咏》(The Rime of the Ancient Mariner )
10
s:
塞缪尔· 泰勒· 柯勒律治的国籍是哪里?
英国(England)
11
“湖畔派”三诗人是哪三位诗人?
塞缪尔· 泰勒· 柯勒律治(Samuel Taylor Coleridge)威廉· 华 兹华斯(William Wordsworth)罗伯特· 骚塞(Robert Southey)
《古舟子咏》(The Rime of the Ancient Mariner )

柯勒律治诗歌幻境

柯勒律治诗歌幻境

柯勒律治诗歌幻境柯勒律治的诗歌,就像是一扇通往神秘幻境的大门。

一旦踏入,就仿佛置身于一个全然不同的世界。

柯勒律治的诗中常常有着奇谲的景象。

就像他描绘的那片古老的海洋,那可不是咱们平常看到的海边沙滩海浪的景象。

那海洋里有着巨大的海怪,海怪的模样在他的笔下仿佛就在眼前,眼睛像灯笼一样大,身上的鳞片闪着幽冷的光。

这让读诗的人就像自己驾着一艘小船,在那波涛汹涌且充满未知危险的大海上航行,心都提到了嗓子眼儿。

他的诗里的天空也很特别。

有时候是那种透着神秘紫色光芒的天空,云朵像是被魔法师捏过一样,有着各种奇怪的形状。

可能一会儿是奔跑的独角兽形状的云,一会儿又变成了拿着魔杖的巫师模样。

感觉只要一伸手,就能触摸到那奇幻的云朵,好像自己也能跟着云朵飘到那未知的仙境里去。

柯勒律治诗歌中的人物也是充满魅力的。

那些人物就像是从深山老林里走出来的精灵,或者是从古老城堡中现身的魔法师。

他们有着独特的性格,有的善良得像春天的暖阳,总是在帮助别人;有的却又神秘莫测,让人捉摸不透他们的心思。

就好比在一个迷雾重重的森林里遇到一个陌生人,你不知道他是会给你指条明路,还是会把你引入更深的迷障之中。

读柯勒律治的诗歌,就像是做一场没有尽头的美梦。

在这个梦里,时间和空间都变得不再重要。

你可以一会儿在一个充满魔法的岛屿上,看着奇花异草闪烁着奇异的光芒;一会儿又到了一个冰天雪地的地方,那里的冰雕像是有生命一样,对着你眨眼睛。

这种感觉就像是小时候玩的躲猫猫游戏,你永远不知道下一个藏身之处会有什么惊喜或者惊吓等着你。

而且他的诗会让人产生很多联想。

就像看到一幅简单的画,但是从这画里能想象出一整个故事一样。

比如他描写一个荒废的庙宇,从那残垣断壁之间,你能想象出曾经在这里发生过的盛大祭祀,能想象出那些穿着奇装异服的人们在这里跳舞祈福的场景,还能想象到后来这里经历了怎样的灾难才变成如今的模样。

柯勒律治的诗歌幻境是一个充满无限可能的地方。

它可以让我们这些被现实生活束缚的人,暂时挣脱枷锁,去体验那些在现实中永远无法经历的事情。

SamuelTaylorColeridge柯勒律治简介

SamuelTaylorColeridge柯勒律治简介

Samuel T aylor Coleridge柯勒律治简介1772-1834 Lyrical Ballads;The Fall of the Bastille巴士底狱的毁灭;The Rime of the Ancient Mariner老船夫;Kubla Khan忽必烈汗;Biographia Literaria-96文学传记Introductionborn Oct. 21, 1772, Ottery St. Mary, Devonshire, Eng.died July 25, 1834, Highgate, near LondonSamuel Taylor Coleridge, detail of an oil painting by Washington Allston, 1814; in the National …English lyrical poet, critic, and philosopher. His Lyrical Ballads, written with William Wordsworth, heralded the English Romantic movement, and his Biographia Literaria (1817) is the most significant work of general literary criticism produced in the English Romantic period.Early life and works.Coleridge's father was vicar of Ottery and headmaster of the local grammar school. As a child Coleridge was already a prodigious reader, and he immersed himself to the point of morbid fascination in romances andEastern tales such as The Arabian Nights' Entertainments. In 1781 his father died suddenly, and in the following year Coleridge entered Christ's Hospital in London, where he completed his secondary education. In 1791 he entered Jesus College, Cambridge. At both school and university he continued to read voraciously, particularly in works of imagination and visionary philosophy, and he was remembered by his schoolmates for his eloquence and prodigious memory. In his third year at Cambridge, oppressed by financial difficulties, he went to London and enlisted as a dragoon under the assumed name of Silas Tomkyn Comberbache. Despite his unfitness for the life, he remained until discovered by his friends; he was then bought out by his brothers and restored to Cambridge.On his return, he was restless. The intellectual and political turmoil surrounding the French Revolution had set in motion intense and urgent discussion concerning the nature of society. Coleridge now conceived the design of circumventing the disastrous violence that had destroyed the idealism of the French Revolution by establishing a small society that should organize itself and educate its children according to better principles than those obtaining in the society around them. A chance meeting with the poet Robert Southey led the two men to plan such a “pantisocracy” and to set up a community by the Susquehanna River in Pennsylvania. To this end Coleridge left Cambridge for good and set up with Southey as a public lecturer in Bristol. In October 1795 he married Sara Fricker, daughter of a local schoolmistress, swayed partly by Southey's suggestion that he was under an obligation to her since she had been refusing the advances of other men.Shortly afterward, Southey defected from the pantisocratic scheme, leaving Coleridge married to a woman whom he did not really love. In a sense his career never fully recovered from this blow: if there is a makeshift quality about many of its later events, one explanation can be found in his constant need to reconcile his intellectual aspirations with the financial needs of his family. During this period, however, Coleridge's intellect flowered in an extraordinary manner, as he embarked on an investigation of the nature of the human mind, joined by William Wordsworth, with whom he had become acquainted in 1795. Together they entered upon one of the most influential creative periods of English literature. Coleridge's intellectual ebullience and his belief in the existence of a powerful “life consciousness” in all individuals rescued Wordsworth from the depression into which recent events had cast him and made possible the new approach to nature that characterized his contributions to Lyrical Ballads (which was to be published in 1798).Coleridge, meanwhile, was developing a new, informal mode of poetry in which he could use a conversational tone and rhythm to give unity to apoem. Of these poems, the most successful is “Frost at Midnight,” which begins with the description of a silent frosty night in Somerset and proceeds through a meditation on the relationship between the quiet work of frost and the quiet breathing of the sleeping baby at the poet's side, to conclude in a resolve that his child shall be brought up as a “child of nature,” so that the sympathies that the poet has come to detect may be reinforced throughout the child's education.At the climax of the poem, he touches another theme, which lies at the root of his philosophical attitude:. . . so shalt thou see and hearThe lovely shapes and sounds intelligibleOf that eternal language, which thy GodUtters, who from eternity doth teachHimself in all, and all things in himself.Coleridg e's attempts to learn this “language” and trace it through the ancient traditions of mankind also led him during this period to return to the visionary interests of his schooldays: as he ransacked works of comparative religion and mythology, he was exploring the possibility that all religions and mythical traditions, with their general agreement on the unity of God and the immortality of the soul, sprang from a universal life consciousness, which was expressed particularly through the phenomena of human genius.While these speculations were at their most intense, he retired to a lonely farmhouse near Culbone, Somersetshire, and, according to his own account, composed under the influence of laudanum the mysterious poetic fragment known as “Kubla Khan.” The ex otic imagery and rhythmic chant of this poem have led many critics to conclude that it should be read as a “meaningless reverie” and enjoyed merely for its vivid and sensuous qualities. An examination of the poem in the light of Coleridge's psychological and mythological interests, however, suggests that it has, after all, a complex structure of meaning and is basically a poem about the nature of human genius. The first two stanzas show the two sides of what Coleridge elsewhere calls “commanding genius”: it s creative aspirations in time of peace as symbolized in the projected pleasure dome and gardens of the first stanza; and its destructive power in time of turbulence as symbolized in the wailing woman, the destructive fountain, and the voices prophesying war of the second stanza. In the final stanza the poet writes of a state of “absolute genius” in which, if inspired by a visionary “Abyssinian maid,” he would become endowed with the creative, divine power of a sun god—an Apollo or Osiris subduing all around him to harmony by the fascination of his spell.Coleridge was enabled to explore the same range of themes less egotistically in “The Rime of the Ancient Mariner,” composed during the autumn and winter of 1797–98. For this, his most famous poem, he drew upon the ballad form. The main narrative tells how a sailor who has committed a crime against the life principle by slaying an albatross suffers from torments, physical and mental, in which the nature of his crime is made known to him. The underlying life power against which he has transgressed is envisaged as a power corresponding to the influx of the sun's energy into all living creatures, thereby binding them together in a joyful communion. By killing the bird that hovered near the ship, the mariner has destroyed one of the links in this process. His own consciousness is consequently affected: the sun, previously glorious, is seen as a bloody sun, and the energies of the deep are seen as corrupt.All in a hot and copper sky,The bloody Sun, at noon,Right up above the mast did stand,No bigger than the Moon.. . . . . . . . . . . . . . . . . . . . . . . .The very deep did rot; O Christ!That ever this should be!Yea, slimy things did crawl with legsUpon the slimy sea.Only at night do these energies display a sinister beauty.About, about, in reel and routThe death-fires danced at night;The water, like a witch's oils,Burnt green, and blue and white.After the death of his shipmates, alone and becalmed, devoid of a sense of movement or even of time passing, the mariner is in a hell created by the absence of any link with life. Eventually, however, a chance sight of water snakes flashing like golden fire in the darkness, answered by an outpouring of love from his heart, reinitiates the creative process: he is given a brief vision of the inner unity of the universe, in which all living things hymn their source in an interchange of harmonies. Restored to his native land, he remains haunted by what he has experienced but is at least delivered from nightmare, able to see the ordinary processes of human life with a new sense of their wonder and mercifulness. These last qualities are reflected in the poem's attractive combination of vividness and sensitivity. The placing of it at the beginning of Lyrical Ballads was evidently intended to provide a context for the sense of wonder in common life that marks many of Wordsworth's contributions. While thisvolume was going through the press, Coleridge began a complementary poem, a Gothic ballad entitled “Christabel,” in which he aimed to show how naked energy might be redeemed through contact with a spirit of innocent love.Troubled years.Early in 1798 Coleridge had again found himself preoccupied with political issues. The French Revolutionary government had suppressed the states of the Swiss Confederation, and Coleridge expressed his bitterness at this betrayal of the principles of the Revolution in a poem entitled “France: An Ode.”At this time the brothers Josiah and Thomas Wedgwood, who were impressed by Coleridge's intelligence and promise, offered him in 1798 an annuity of £150 as a means of subsistence while he pursued his intellectual concerns. He used his new independence to visit Germany with Wordsworth and Wordsworth's sister, Dorothy. While there Coleridge attended lectures on physiology and biblical criticism at Göttingen. He thus became aware of developments in German scholarship that were little-known in England until many years later.On his return to England, the tensions of his marriage were exacerbated when he fell in love with Sara Hutchinson, the sister of Wordsworth's future wife, at the end of 1799. His devotion to the Wordsworths in general did little to help matters, and for some years afterward Coleridge was troubled by domestic strife, accompanied by the worsening of his health and by his increasing dependence on opium. His main literary achievements during the period included another section of “Christabel.” In 1802 Coleridge's domestic unhappiness gave rise to “Dejection: An Ode,” originally a longer verse letter sent to Sara Hutchinson in which he lamented the corrosive effect of his intellectual activities when undertaken as a refuge from the lovelessness of his family life. The poem employs the technique of his conversational poems; the sensitive rhythms and phrasing that he had learned to use in them are here masterfully deployed to represent his own depressed state of mind.Although Coleridge hoped to combine a platonic love for Sara with fidelity to his wife and children and to draw sustenance from the Wordsworth household, his hopes were not realized, and his health deteriorated further. He therefore resolved to spend some time in a warmer climate and, late in 1804, accepted a post in Malta as secretary to the acting governor.Later he spent a long time journeying across Italy, but, despite his hopes, his health did not improve during his time abroad. The time spent in Malta had been a time of personal reappraisal, however. Brought into direct contact with men accustomed to handling affairs of state, he had found himself lacking an equal forcefulness and felt that in consequence he often forfeited the respect of others. On his return to England he resolved to become more manly and decisive. Within a few months he had finally decided to separate from his wife and to live for the time being with the Wordsworths. Southey atoned for his disastrous youthful advice by exercising a general oversight of Coleridge's family for the rest of his days.Coleridge published a periodical, The Friend,from June 1809 to March 1810 and ceased only when Sara Hutchinson, who had been acting as amanuensis, found the strain of the relationship too much for her and retired to her brother's farm in Wales. Coleridge, resentful that Wordsworth should apparently have encouraged his sister-in-law's withdrawal, resolved shortly afterward to terminate his working relationship with William and Dorothy Wordsworth and to settle in London again.The period immediately following was the darkest of his life. His disappointment with Wordsworth was followed by anguish when a wounding remark of Wordsworth's was carelessly reported to him. For some time he remained in London, nursing his grievances and producing little. Opium retained its powerful hold on him, and the writings that survive from this period are redolent of unhappiness, with self-dramatization veering toward self-pity.In spite of this, however, there also appear signs of a slow revival, principally because for the first time Coleridge knew what it was to be a fashionable figure. A course of lectures he delivered during the winter of 1811–12 attracted a large audience; for many years Coleridge had been fascinated by William Shakespeare's achievement, and his psychological interpretations of the chief characters were new and exciting to his contemporaries. During this period, Coleridge's play Osorio, written many years before, was produced at Drury Lane with the title Remorse in January 1813.Late life and works.In the end, consolation came from an unexpected source. In dejection, unable to produce extended work or break the opium habit, he spent a longperiod with friends in Wiltshire, where he was introduced to Archbishop Robert Leighton's commentary on the First Letter of Peter. In the writings of this 17th-century divine, he found a combination of tenderness and sanctity that appealed deeply to him and seemed to offer an attitude to life that he himself could fall back on. The discovery marks an important shift of balance in his intellectual attitudes. Christianity, hitherto one point of reference for him, now became his “official” creed. By aligning himself with the Anglican church of the 17th century at its best, he hoped to find a firm point of reference that would both keep him in communication with orthodox Christians of his time (thus giving him the social approval he always needed, even if only from a small group of friends) and enable him to pursue his former intellectual explorations in the hope of reaching a Christian synthesis that might help to revitalize the English church both intellectually and emotionally.One effect of the adoption of this basis for his intellectual and emotional life was a sense of liberation and an ability to produce large works again. He drew together a collection of his poems (published in 1817 as Sibylline Leaves) and wrote Biographia Literaria(1817), a rambling and discursive but highly stimulating and influential work in which he outlined the evolution of his thought and developed an extended critique of Wordsworth's poems.For the general reader Biographia Literaria is a misleading volume, since it moves bewilderingly between autobiography, abstruse philosophical discussion, and literary criticism. It has, however, an internal coherence of its own. The book's individual components—first an entertaining account of Coleridge's early life, then an account of the ways in which he became dissatisfied with the associationist theories of David Hartley and other 18th-century philosophers, then a reasoned critique of Wordsworth's poems—are fascinating. Over the whole work hovers Coleridge's veneration for the power of imagination: once this key is grasped, the unity of the work becomes evident.A new dramatic piece, Zapolya, was also published in 1817. In the same year, Coleridge became associated for a time with the new Encyclopaedia Metropolitana, for which he planned a novel system of organization, outlined in his Prospectus.These were more settled years for Coleridge. Since 1816 he had lived in the house of James Gillman, a surgeon at Highgate, north of London. His election as a fellow of the Royal Society of Literature in 1824 brought him an annuity of £105 and a sense of recognition. In 1830 he joined the controversy that had arisen around the issue of Catholic Emancipation by writing his last prose work, On the Constitution of the Church and State. The third edition of Coleridge'sPoetical Works appeared in time for him to see it before his final illness and death in 1834.Evaluation.Coleridge's achievement has been given more widely varying assessments than that of any other English literary artist, though there is broad agreement that his enormous potential was never fully realized in his works. His stature as a poet has never been in doubt; in “Kubla Khan” and “The Rime of the Ancient Mariner” he wrote two of the greatest poems in English literature and perfected a mode of sensuous lyricism that is often echoed by later poets. But he also has a reputation as one of the most important of all English literary critics, largely on the basis of his Biographia Literaria.In Coleridge's view, the essential element of literature was a union of emotion and thought that he described as imagination. He especially stressed poetry's capacity for integrating the universal and the particular, the objective and the subjective, the generic and the individual. The function of criticism for Coleridge was to discern these elements and to lift them into conscious awareness, rather than merely to prescribe or to describe rules or forms.In all his roles, as poet, social critic, literary critic, theologian, and psychologist, Coleridge expressed a profound concern with elucidating an underlying creative principle that is fundamental to both human beings and the universe as a whole. To Coleridge, imagination is the archetype of this unifying force because it represents the means by which the twin human capacities for intuitive, non-rational understanding and for organizing and discriminating thought concerning the material world are reconciled. It was by means of this sort of reconciliation of opposites that Coleridge attempted, with considerable success, to combine a sense of the universal and ideal with an acute observation of the particular and sensory in his own poetry and in his criticism.John Bernard Beer Ed.Additional ReadingRichard Holmes, Coleridge: Early Visions (1990), and Coleridge: Darker Reflections (1998), are together a comprehensive biography. Norman Fruman, Coleridge, the Damaged Archangel(1971), offers a detailed account of hisborrowings from other authors. Basil Willey, Samuel Taylor Coleridge(1972); and Katharine Cooke, Coleridge(1979), are useful general surveys of his work in both prose and verse. Among the studies of his poetry are John LivingstonLowes, The Road to Xanadu: A Study in the Ways of the Imagination (1927, reprinted 1986); Stephen Potter, Coleridge and S.T.C.(1935, reissued 1965);G. Wilson Knight, The Starlit Dome: Studies in the Poetry of Vision (1941, reissued 1971); Stephen Prickett, Coleridge and Wordsworth: The Poetry of Growth (1970, reprinted 1980); John B. Beer(ed.), Coleridge's Variety: Bicentenary Studies (1974); and J. Robert Barth, Coleridge and the Power of Love (1988). The poet's politics are examined in Nicholas Roe, Wordsworth and Coleridge: The Radical Years (1988); and John Morrow, Coleridge's Political Thought (1990). Other critical analyses include J.A. Appleyard, Coleridge's Philosophy of Literature(1965); Thomas McFarland, Coleridge and the Pantheist Tradition (1969); Ian Wylie, Young Coleridge and the Philosophers of Nature (1989); Paul Hamilton, Coleridge's Poetics (1983); K.M. Wheeler, The Creative Mind in Coleridge's Poetry(1981); and Catherine Miles Wallace, The Design of Biographia Literaria (1983).。

柯勒律治神学自然观及其艺术观研究

柯勒律治神学自然观及其艺术观研究

柯勒律治神学自然观及其艺术观研究柯勒律治神学的自然观及其艺术观柯勒律治神学自然观柯勒律治神学自然观是一种基督教神学派别,其自然观的中心思想是,上帝通过自然的方式与人类进行沟通。

自然被视为上帝的话语和上帝的作品,这也是为什么这派别将自己称为“自然神学”的原因。

在柯勒律治神学的自然观中,自然界中的所有事物都是有意义的。

每个生物、每个岩石、每个花朵、每个星星都有一种神圣的意义。

这些意义包括了每个事物的属性、抽象的本质属性、它们的关系和它们在自然的大局中的角色。

因为自然被认为是上帝的话语,因此自然的意义就是上帝的意义。

此外,柯勒律治神学还认为,自然的美是上帝的美,自然的韵律是上帝的韵律。

自然所展示的美以及它的韵律已经说明了上帝是多么的美好和多么的和谐。

这些相互联系的美与韵律是我们需要学习和尊重的。

柯勒律治神学的艺术观柯勒律治神学基于自然而产生的艺术观是一种哲学上的美学,并在柯勒律治神学中得到了展示。

柯勒律治神学的艺术观认为,所有的艺术作品都应该是带着神圣意义的,艺术创作应该是一种表达神意的方式。

具体来说,一个艺术家应该通过他的作品去理解自然并向自然致敬。

这样的艺术作品被称为“自然的重现”。

因此,对于柯勒律治神学来说,艺术作品应该反映着自然世界里的和谐、和平和亲密关系。

艺术家应该通过得到自然的启示和自然的材料去表达神圣的情感和意义。

柯勒律治神学的自然观及其艺术观在以下五个方面可以得到具体展示:1. 湖s色彩在柯勒律治神学的自然观中,颜色是沟通上帝的一种方式。

湖的色彩在图像、诗歌和音乐中被重现。

因此,一张湖的画作不仅仅是描绘湖水的颜色,更是一种探索自然的方式,是它与上帝的对话。

2. 紫云紫云被柯勒律治神学视为神圣的符号。

在柯勒律治神学的自然观中,紫云象征着和平和祥和。

它们在天空中交流和互动,融为一体。

这样的自然景象被用来表达上帝的声音,这些声音是我们应该倾听和追寻的。

3. 森林森林是自然中最神秘的事物之一。

柯勒律治会话诗《风弦琴》的同一性诗学观探讨

柯勒律治会话诗《风弦琴》的同一性诗学观探讨

柯勒律治会话诗《风弦琴》的同一性诗学观探讨柯勒律治会话诗《风弦琴》是维护整体社会的友善性的杰出代表,其同一性诗学观也是十分引人注目的。

本文将重点探讨《风弦琴》中的同一性诗学观,并借此从更多角度剖析柯勒律治的社会理念。

首先,从《风弦琴》的表达原意来看,它社会理念的核心是同一性。

该诗以“风弦琴”这一比喻作为中心,把社会关系比喻为七种把社会关系看成一个紧密团结一致的“家族”。

在一家人之间,他们相互支持、共同分享、关系密切,就像琴弦上的音符配合得如此和谐。

此外,诗中还提到了以物不恃己之原则,反对以物求人的恃强欺弱,让家族中的成员保持一致,不断提高自身能力,采取一种共同发展,让社会各部分保持和谐,使社会秩序得到维护。

此外,柯勒律治的同一性诗学观可以用于指导实证社会学,更清楚地理解社会发展。

从实证角度来看,柯勒律治的社会理念有助于推动社会发展,它认为各社会部分之间的关系是互相协作的,以共同发展为目的的,有时会成为拉开社会进步的第一步。

这也与实证社会学的研究一致,通过考察社会发展的动态历史,我们发现,共同发展确实是社会进步的重要动力。

从分析的角度来看,柯勒律治的社会理念很容易接受。

与其他社会理论不同,它认为社会不受外界因素影响,而是人们之间的关系能够通过自身发展实现协调与整合。

因此,柯勒律治的社会理论更容易被人们接受,也被更多的学者采用为社会发展的参照模型。

综上所述,柯勒律治会话诗《风弦琴》所提出的同一性诗学观是一种模糊的社会理念,可以从两个角度分析:从诗歌的语义来看,柯勒律治的社会理念的核心是同一性,它强调社会成员之间的协作、共同发展;从实证社会学及分析角度来看,柯勒律治的社会理论符合实践社会发展规律,其社会理念也最容易为人类所接受。

因此,柯勒律治的同一性诗学观,无论从理论思想还是实证社会学的角度,都受到了普遍的认可,并且得到了广泛的应用。

  1. 1、下载文档前请自行甄别文档内容的完整性,平台不提供额外的编辑、内容补充、找答案等附加服务。
  2. 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
  3. 3、如文档侵犯您的权益,请联系客服反馈,我们会尽快为您处理(人工客服工作时间:9:00-18:30)。

My comments
He was always a dreamer . Though he suffered from illness and poverty, he was still stick in writing and reached a high position in romantic poets.He wanted to express his admire of the wonderful life according to exerting super imaginations and mysterious power in his poems. he once said, “Alas, my only confidants”. He devoted his thoughts, his observations, sentences and also his dreams and his fantasies to his works.
Achievements
His actual achievement as a poet can be divided into two remarkably diverse groups: the demonic & the conversational. The demonic group includes his three masterpieces: "The Rime of the Ancient Mariner," "Christabel" & "Kubla Khan." Mysticism & demonism with strong imagination are the distinctive features of this group. Generally, the conversational group speaks more directly of an allied theme: the desire to go home, not to the past, but to " an improved infancy." Each of these poems bears a kind of purgatorial atonement, in which Coleridge must fail or suffer so that someone he loves may succeed or experience joy. Coleridge is one of the first critics to give close critical attention to language, maintaining that the aim of poetry is to give pleasure "through the medium of beauty." In analyzing Shakespeare, Coleridge emphasizes the philosophic implication, reading more into the subject than the text & going deeper into the inner reality than only caring for the outer form.
Born on 21 October 1772 in Ottery St. Mary, Devonshire, England Sent to Christ’s Hospital, a charity school founded in the 16th century at 10 Attended Jesus College, Cambridge from 1791 until 1794,left without a degree Won the Browne Gold Medal for an ode that he wrote on the slave trade in 1792 Married Sara Fricker for social constraints in 1795, but separated with her in 1808 The years 1797 and 1798: the most fruitful of his life. Published with Wordsworth a joint volume of poetry, Lyrical Ballads, in 1798 Addicted to opium after 1800 Gave a series of lectures in London and Bristol between 1810 and 1820uly 1834 of heart failure compounded by an unknown lung disorder
3 poetical masterpiece s
Position
One of the most influential English literary critics and philosopher of the 19th century; “perhaps the greatest of English critics, and in a sense the last.” (T.S. Eliot) One of the first critics to give close critical attention to language; “…the true end of poetry is to give pleasure through the medium of beauty”. a founder of the Romantic Movement in England Poets, and a member of the Lake Poets a major influence, on American transcendentalism. best known for his poems The Rime of the Ancient Mariner and Kubla Khan,and Christabel, as well as for his major prose work Biographia Literaria
Samuel Taylor Coleridge
Contents
Personal life
Major Literary Works His Position in English Literature
Characteristics of His Poems His Achievements
Life Story
Kubla Khan
"Kubla Khan" was composed in a dream after Coleridge took the opium. The poet was reading about Kubla Khan when he fell asleep. The images of the river, of the magnificent palace and other marvelous scenes deposited in his unconsciousness were expressed into about two or three hundred lines. But when he was writing them down, a stranger interrupted him and the vision was never recaptured. Only 54 lines survived.
Characteristics of His Poems
Coleridge was esteemed by some of his contemporaries & is generally recognized today as a lyrical poet & literary critic of the first rank. His poetic themes range from the supernatural to the domestic. His treatises, lectures, & compelling conversational powers made him one of the most influential English literary critics & philosophers of the 19th century.
Appreciation
The poem mixes fantastical images of the place where Kubla Khan had ordered his pleasure dome to be constructed with Coleridge's yearning to return to the vision. In purely Romantic terms, the imagery in the poem shows the serene beauty and frightening violence of nature tamed by human thought and craft.
Appreciation
There is also a spiritual undercurrent in the veneration of the environment and the prophetic wisdom of the ancients. The poet also places his own involvement within a religious framework by saying that he has 'drunk the milk of paradise' by having this dream.
相关文档
最新文档