Advanced

The Fallen World in Coleridge’s Poetry

Lindgren, Agneta LU (1999) In Lund Studies in English 96.
Abstract
This study examines the motif of the Fallen World in Coleridge’s major poems The Ancient Mariner, Christabel and Kubla Khan . The use of Milton’s Paradise Lost as an intertextual foil throughout allows themes and metaphors inherent in the Fallen World motif to emerge in Coleridge’s poetry. A Fall presupposes a standard from which one has been separated downwards. Primarily, it is understood as man’s separation from perfection and wholeness. Consequences of a Fall are evil in all its manifestations, as well as repercussions on psychological, ontological and epistemological levels. However, in the displacement from unity to fragmentariness, man undergoes a change from a static to a dynamic state. Made out of fragments, his creations, while... (More)
This study examines the motif of the Fallen World in Coleridge’s major poems The Ancient Mariner, Christabel and Kubla Khan . The use of Milton’s Paradise Lost as an intertextual foil throughout allows themes and metaphors inherent in the Fallen World motif to emerge in Coleridge’s poetry. A Fall presupposes a standard from which one has been separated downwards. Primarily, it is understood as man’s separation from perfection and wholeness. Consequences of a Fall are evil in all its manifestations, as well as repercussions on psychological, ontological and epistemological levels. However, in the displacement from unity to fragmentariness, man undergoes a change from a static to a dynamic state. Made out of fragments, his creations, while never perfect, can be splendid in parts. The text itself is the focus of interest here, and it forms the starting-point of explorations. Factors involved at the moment of our setting about interpreting a text are considered. Knowledge of the given (tradition, convention, codes) and self-knowledge are taken into account.



Coleridge’s images draw on Christian tradition and on conceptions that abound in English literature, notably in works by seventeenth-century poets concerned with religious themes. Biblical associations and the Christian tradition in general, including its terminology, imagery and liturgical elements, are considered not primarily in order to stress or define what is religious, but in order to comprehend man’s situation and relation to Nature. The ancient concept of a Fallen World is closely linked to ideas and terminologies in both Romantic and modern literary theory. (Less)
Please use this url to cite or link to this publication:
author
opponent
  • Prof. Jasper, David, Faculty of Divinity, Glasgow University
organization
publishing date
type
Thesis
publication status
published
subject
keywords
biblical associations, biblical imagery in poetry, Romantic literary theory, the Fallen World, religion in seventeenth-century poetry, Paradise Lost, Milton, Christianity and literature, Coleridge, religion in Romantic poetry, typology in literature, English language and literature, Engelska (språk och litteratur)
in
Lund Studies in English
volume
96
pages
259 pages
publisher
Lund University Press
defense location
Department of English
defense date
1999-02-27 10:15
external identifiers
  • other:ISRN: LUHSDF/HSEN-99/1022--SE+259
ISSN
0076-1451
ISBN
91-7966-555-1
language
English
LU publication?
yes
id
6d880639-d7c5-42c2-bf78-c532cf01aac7 (old id 19089)
date added to LUP
2007-05-25 09:53:04
date last changed
2016-09-19 08:44:53
@phdthesis{6d880639-d7c5-42c2-bf78-c532cf01aac7,
  abstract     = {This study examines the motif of the Fallen World in Coleridge’s major poems The Ancient Mariner, Christabel and Kubla Khan . The use of Milton’s Paradise Lost as an intertextual foil throughout allows themes and metaphors inherent in the Fallen World motif to emerge in Coleridge’s poetry. A Fall presupposes a standard from which one has been separated downwards. Primarily, it is understood as man’s separation from perfection and wholeness. Consequences of a Fall are evil in all its manifestations, as well as repercussions on psychological, ontological and epistemological levels. However, in the displacement from unity to fragmentariness, man undergoes a change from a static to a dynamic state. Made out of fragments, his creations, while never perfect, can be splendid in parts. The text itself is the focus of interest here, and it forms the starting-point of explorations. Factors involved at the moment of our setting about interpreting a text are considered. Knowledge of the given (tradition, convention, codes) and self-knowledge are taken into account.<br/><br>
<br/><br>
Coleridge’s images draw on Christian tradition and on conceptions that abound in English literature, notably in works by seventeenth-century poets concerned with religious themes. Biblical associations and the Christian tradition in general, including its terminology, imagery and liturgical elements, are considered not primarily in order to stress or define what is religious, but in order to comprehend man’s situation and relation to Nature. The ancient concept of a Fallen World is closely linked to ideas and terminologies in both Romantic and modern literary theory.},
  author       = {Lindgren, Agneta},
  isbn         = {91-7966-555-1},
  issn         = {0076-1451},
  keyword      = {biblical associations,biblical imagery in poetry,Romantic literary theory,the Fallen World,religion in seventeenth-century poetry,Paradise Lost,Milton,Christianity and literature,Coleridge,religion in Romantic poetry,typology in literature,English language and literature,Engelska (språk och litteratur)},
  language     = {eng},
  pages        = {259},
  publisher    = {Lund University Press},
  school       = {Lund University},
  series       = {Lund Studies in English},
  title        = {The Fallen World in Coleridge’s Poetry},
  volume       = {96},
  year         = {1999},
}