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.
11. to learn is, according to Plato, only to recollect. Cp. Biog. Lit. ii. 120. For Plato's doctrine of áváμvηois 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.
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.
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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 infla-
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, xli ff., xliii, lvii-lix, 99;
Fichte, xlvii, lix, 101; Schiller,
xxvii, lxxxix, 261; Lessing, xxvii-
viii, ii. 156, 296; Schelling, 1x-
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, 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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