Samuel Taylor Coleridge citátov page 2

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Samuel Taylor Coleridge

Dátum narodenia: 21. október 1772
Dátum úmrtia: 25. júl 1834

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Samuel Taylor Coleridge bol anglický filozof a básnik, predstaviteľ romantickej filozofie; 1798 vydal spolu s W. Wordsworthom Lyrical Ballads. Obaja patria k jazerným básnikom.

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Citáty Samuel Taylor Coleridge

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„Hast thou a charm to stay the morning-star
In his steep course?“

—  Samuel Taylor Coleridge
Context: Hast thou a charm to stay the morning-star In his steep course? So long he seems to pause On thy bald awful head, О sovran Blanc! St. 1.

„The poet, described in ideal perfection, brings the whole soul of man into activity, with the subordination of its faculties to each other according to their relative worth and dignity.“

—  Samuel Taylor Coleridge
Context: The poet, described in ideal perfection, brings the whole soul of man into activity, with the subordination of its faculties to each other according to their relative worth and dignity. He diffuses a tone and spirit of unity, that blends, and (as it were) fuses, each into each, by that synthetic and magical power, to which I would exclusively appropriate the name of Imagination. Ch. XIV.

„From my early reading of Faery Tales, & Genii &c &c — my mind had been habituated to the Vast — & I never regarded my senses in any way as the criteria of my belief.“

—  Samuel Taylor Coleridge
Context: From my early reading of Faery Tales, & Genii &c &c — my mind had been habituated to the Vast — & I never regarded my senses in any way as the criteria of my belief. I regulated all my creeds by my conceptions not by my sight — even at that age. Should children be permitted to read Romances, & Relations of Giants & Magicians, & Genii? — I know all that has been said against it; but I have formed my faith in the affirmative. — I know no other way of giving the mind a love of "the Great," & "the Whole." — Those who have been led by the same truths step by step thro' the constant testimony of their senses, seem to me to want a sense which I possess — They contemplate nothing but parts — and are parts are necessarily little — and the Universe to them is but a mass of little things. It is true, the mind may become credulous and prone to superstition by the former method; — but are not the experimentalists credulous even to madness in believing any absurdity, rather than believe the grandest truths, if they have not the testimony of their own senses in their favor? I have known some who have been rationally educated, as it is styled. They were marked by a microscopic acuteness; but when they looked at great things, all became a blank, and they saw nothing, and denied that any thing could be seen, and uniformly put the negative of a power for the possession of a power, and called the want of imagination judgment, and the never being moved to rapture philosophy. Letter to Thomas Poole (16 October 1797).

„I worshipped the Invisible alone.“

—  Samuel Taylor Coleridge
Context: O dread and silent mount! I gazed upon thee, Till thou, still present to the bodily sense, Didst vanish from my thought : entranced in prayer, I worshipped the Invisible alone.

„Unchanged within, to see all changed without,
Is a blank lot and hard to bear, no doubt.“

—  Samuel Taylor Coleridge
Context: Unchanged within, to see all changed without, Is a blank lot and hard to bear, no doubt. Yet why at others' Wanings should'st thou fret? Then only might'st thou feel a just regret, Hadst thou withheld thy love or hid thy light In selfish forethought of neglect and slight.

„You mould my Hopes, you fashion me within.“

—  Samuel Taylor Coleridge
Context: p>And in Life's noisiest hour, There whispers still the ceaseless Love of Thee, The heart's Self-solace and soliloquy.You mould my Hopes, you fashion me within.</p " The Presence of Love http://etext.lib.virginia.edu/stc/Coleridge/poems/Presence_Love.html" (1807), lines 1-4.

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„Work without Hope draws nectar in a sieve,
And Hope without an object cannot live.“

—  Samuel Taylor Coleridge
Context: Bloom, O ye Amaranths! bloom for whom ye may, For me ye bloom not! Glide, rich streams, away! With lips unbrightened, wreathless brow, I stroll: And would you learn the spells that drowse my soul? Work without Hope draws nectar in a sieve, And Hope without an object cannot live. l. 9.

„This power...reveals itself in the balance or reconcilement of opposite or discordant qualities: of sameness, with difference; of the general with the concrete; the idea with the image; the individual with the representative“

—  Samuel Taylor Coleridge
Context: This power... reveals itself in the balance or reconcilement of opposite or discordant qualities: of sameness, with difference; of the general with the concrete; the idea with the image; the individual with the representative; the sense of novelty and freshness with old and familiar objects; a more than usual state of emotion with more than usual order; judgment ever awake and steady self-possession with enthusiasm and feeling profound or vehement; and while it blends and harmonizes the natural and the artificial, still subordinates art to nature; the manner to the matter; and our admiration of the poet to our sympathy with the poetry. Ch. XIV.

„Great hierarch! tell thou the silent sky,
And tell the stars, and tell yon rising sun,
Earth, with her thousand voices, praises God.“

—  Samuel Taylor Coleridge
Context: Solemnly seemest like a vapoury cloud To rise before me — Rise, oh, ever rise; Rise like a cloud of incense from the earth! Thou kingly spirit throned among the hills, Thou dread ambassador from earth to heaven, Great hierarch! tell thou the silent sky, And tell the stars, and tell yon rising sun, Earth, with her thousand voices, praises God.

„I require in every thing what, for lack of another word, I may call propriety, — that is, a reason why the thing is at all, and why it is there or then rather than elsewhere or at another time.“

—  Samuel Taylor Coleridge
Context: I am by the law of my nature a reasoner. A person who should suppose I meant by that word, an arguer, would not only not understand me, but would understand the contrary of my meaning. I can take no interest whatever in hearing or saying any thing merely as a fact — merely as having happened. It must refer to something within me before I can regard it with any curiosity or care. My mind is always energic — I don't mean energetic; I require in every thing what, for lack of another word, I may call propriety, — that is, a reason why the thing is at all, and why it is there or then rather than elsewhere or at another time. 1 March 1834.

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„His rapid descents from the hyper-tragic to the infra-colloquial, though sometimes productive of great effect, are often unreasonable. To see him act, is like reading Shakespeare by flashes of lightning.“

—  Samuel Taylor Coleridge
Context: Kean is original; but he copies from himself. His rapid descents from the hyper-tragic to the infra-colloquial, though sometimes productive of great effect, are often unreasonable. To see him act, is like reading Shakespeare by flashes of lightning. I do not think him thorough-bred gentleman enough to play Othello. 17 April 1823.

„Awake, my soul! not only passive praise
Thou owest!“

—  Samuel Taylor Coleridge
Context: Awake, my soul! not only passive praise Thou owest! not alone these swelling tears, Mute thanks and secret ecstasy. Awake, Voice of sweet song! awake, my heart, awake! Green vales and icy cliffs, all join my hymn.

„A proper farce is mainly distinguished from comedy by the licence allowed, and even required, in the fable, in order to produce strange and laughable situations. The story need not be probable, it is enough that it is possible.“

—  Samuel Taylor Coleridge
Context: The myriad-minded man, our, and all men's, Shakespeare, has in this piece presented us with a legitimate farce in exactest consonance with the philosophical principles and character of farce, as distinguished from comedy and from entertainments. A proper farce is mainly distinguished from comedy by the licence allowed, and even required, in the fable, in order to produce strange and laughable situations. The story need not be probable, it is enough that it is possible. On The Comedy of Errors, in Ch. XV.

„The proper and immediate object of science is the acquirement, or communication, of truth; the proper and immediate object of poetry is the communication of immediate pleasure.“

—  Samuel Taylor Coleridge
Context: Poetry is not the proper antithesis to prose, but to science. Poetry is opposed to science, and prose to metre. The proper and immediate object of science is the acquirement, or communication, of truth; the proper and immediate object of poetry is the communication of immediate pleasure. "Definitions of Poetry" (1811).

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