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French revolution philosophy
French revolution philosophy
Philosophy of the french revolution
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"Tintern Abbey": Millennialism and Apocalypse Thought in S. T. Coleridge and William Wordsworth's Poetics
Storming of the Bastille 1789 [1]
During and in the aftermath of the French Revolution, millennialist thought – independent of the myriad of economic and historical reasons for its precipitation – influenced many authors. Many people perceived the French Revolution as a foreshadowing of an Apocalypse that would usher in a new millenarian epoch, one levelling social distinctions between people and bringing about what was believed to be Christ's absolute rule. Samuel Taylor Coleridge was such a writer influenced by millennialist and apocalyptic belief in the late-eighteenth-century. His early writings and visions, such as in Religious Musings (1794-6), and Pantisocracy (1794), as well as his proposed communal experiment on the Susquehanna River in the United States, mark his belief in a millennium that would eliminate the social evils that he saw as detrimental to both individuals and the society in which he lived.
The Four Horsemen of the Apocalypse Revelations 6 : 1-8, detail from Albert Durer [4]
The belief in millenarian and apocalyptic movements is one that was, and remains, today pervasive. Its origins are not entirely understood, but as Hillel Schwartz notes, "its root term, millennium, refers to a first-century eastern Mediterranean text, the Apocalypse of John or Book of Revelation." [2] Schwartz further notes that: "Among the world religions we can locate two constellations of millenarian thought about an epochal pulsing of time, one Zoroastrian-Jewish-Greek-Christian, the other Hindu-Buddist-Taoist-Confucian." [3] Broadly defined, it is:
The belief that the end of the w...
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..., in Romanticism: An Anthology, with CD-ROM, 2nd ed. Oxford & Malden, MA: Blackwell, 2000.
[BACK] 11. Earl Leslie Griggs, Ed. Collected Letters of Samuel Taylor Coleridge, Vol. I. Oxford: Clarendon Press, 1956, 395, 397.
[BACK] 12. Duncan Wu and David Miall, eds. Romanticism: An Anthology, with CD-ROM, 2nd ed. Oxford & Malden, MA: Blackwell, 2000. ( 271).
[BACK] 13. Ibid, 191.
[BACK] 14. Ibid.
[BACK] 15. Wordsworth, "There is an active principle" (1798), 9-11.
[BACK] 16. Coleridge, quoted in Peterfreund, Stuart. "Coleridge and the Politics of Critical Vision." Critical Essays on Samuel Taylor Coleridge. Ed. Leonard Orr. New York, Toronto: Maxwell Macmillan International, 1994, 39.
[BACK] 17. Earl Leslie Griggs, Ed. Collected Letters of Samuel Taylor Coleridge, Vol. II. Oxford: Clarendon Press, 1956, 1013.
[BACK] 18. http://www.new-harmony.com/
G. Ed. The Norton Anthology of English Literature: The Romantic Period. New York: Norton, 2000. Barth, Robert J. Romanticism and transcendence: Wordsworth, Coleridge, and the Religious Imagination. Columbia: University of Missouri Press, 2003.
Spiegelman, Willard. "Revolutionary Romanticism." The Wall Street Journal. Dow Jones & Company, Aug. 2009. Web. Mar. 2014. http://online.wsj.com/news/articles/SB10001424052970204119704574236393080650258
The Book of Daniel is the only full-blown apocalyptic book in the Protestant recognized version of the Canon. A literary device divides the book into two halves. Chapters 1-6 are a collection of stories that introduces the reader to Daniel and three other Israelites as unwilling guests of the Babylonia Empire ruled by Nebuchadnezzar. The second half, Chapters 7-12 consists of apocalyptic imagery of deformed beasts and the heavenly court. The focus of this paper will be on chapter 7, which serves as a bridge of the two halves. Chapter 7 is the earliest of the visions as it identifies with the genre of 8-12 while through language and content it reverts to Daniel chapter 2. The linguistic break down is not as neat as the literary divide in that Dan. 2:4b-7:28 was written in Aramaic while other portions of the book is written in Hebrew.
Wordsworth and Coleridge seemed to be of a similar opinion to the general population throughout this whole period, they both began full of optimism for this time of change before slowly becoming more against it as shown in some of their poetry. ?Anecdote for Fathers? for example is a rather cynical poem focusing on a negative area of the human condition as a whole.
Kupperman, Karen Ordahl. “Thomas Morton, Historian”. The New England Quarterly, Vol. 50, No.4 (Dec., 1977), pp. 660-664. The New England Quarterly, Inc. .
Literalist fundamentalists read Revelation’s multivalent visions as predictions of doom and threat, of punishment for the many and salvation for the elect few. Scholarly scientific readings seek to translate the book’s ambiguity into one-to-one meanings and to transpose its language of symbol and myth into description and facts. In Elisabeth Schûssler Fiorenza’s The Book of Revelation: Justice and Judgment, a third way of reading Revelation is depicted. The collection of essays in this book seeks to intervene in scholarly as well as popular discourses on the apocalypse from a liberationist feminist perspective.
Bernbaum, Earnest Anthology of Romanticism and Guide Through the Romantic Movement Vol 1. New York: Thomas Nelson and Sons, 1938.
LaHaye, Tim F., and Edward E. Hindson. The Popular Encyclopedia of Bible Prophecy. Eugene, OR: Harvest House Publishers, 2004.
Magnuson, Paul. "The Gang: Coleridge, the Hutchinsons & The Wordsworths in 1802." Criticism 4(2001):451. eLibrary. Web. 11 Mar. 2014.
In two works by Coleridge, The Rime of the Ancient Mariner and Kubla Khan, both works regard the imagination as vitally important. In the Ancient Mariner, the imagination (or rather, the lack of it) condemns the Mariner to a kind of hell, with the fiends of sterility, solitude, and loneliness: “’God save thee, Ancient Mariner, from the fiends that plague thee thus! Why look’st thou so?’ ‘With my crossbow I shot the Albatross’”. In Kubla Khan, the imagination of an external being, the narrator that Coleridge created, the ideal critic, can create a masterpiece that far outstrips the meager piece of work that even the emperor of a huge, rich civilization can produce: “I would build that dome in air, a sunny dome! Those caves of ice! And all who heard should see them there, and all should cry, Beware! Beware!” In Kubla Khan, the imagination can even make people fear an otherwise inconsequential event, sequence, or organism.
Marshall, William H., ed. The Major English Romantic Poets. New York: Washington Square, Inc., 1966. Print.
Throughout the beginning of the poem there are religious undertones Coleridge uses words like bended knee and reverential to highlight a religious belief and perhaps a plea to God to cure the “Pains of Sleep” this is interesting as he seems to feel “humbled” by the spirit presence. He mentions being weak but realises he is blest by this power. The religious undertone suggests to me a feeling of utter helplessness.
Hirsch, E. D. Jr. Wordsworth and Schelling a Typical Study of Romanticism. New Haven: Yale University Press, 1960.
Through alliteration and imagery, Coleridge turns the words of the poem into a system of symbols that become unfixed to the reader. Coleridge uses alliteration throughout the poem, in which the reader “hovers” between imagination and reality. As the reader moves through the poem, they feel as if they are traveling along a river, “five miles meandering with a mazy motion” (25). The words become a symbol of a slow moving river and as the reader travels along the river, they are also traveling through each stanza. This creates a scene that the viewer can turn words into symbols while in reality they are just reading text. Coleridge is also able to illustrate a suspension of the mind through imagery; done so by producing images that are unfixed to the r...
The Web. The Web. 9 Dec. 2010. http://go.galegroup.com/ps/aboutEbook.do?pubDate=119880000&actionString=DO_DISPLAY_ABOUT_PAGE&inPS=true&prodId=LitRG&userGroupName=west89013tgps&searchType=AdvancedSearchForm&docId=GALE%7C0KTB>. - - -. “Literature Criticism from 1400 to 1800.”