Frases de Samuel Taylor Coleridge
Samuel Taylor Coleridge
Fecha de nacimiento: 21. Octubre 1772
Fecha de muerte: 25. Julio 1834
Samuel Taylor Coleridge , poeta, crítico y filósofo inglés, quien fue, junto con su amigo William Wordsworth, uno de los fundadores del Romanticismo en Inglaterra y uno de los lakistas. Sus obras más conocidas son, posiblemente, Rime of the Ancient Mariner y Kubla Khan, así como su obra en prosa Biographia Literaria.
Autores similares
William Shakespeare449
escritor inglés
Walter Scott7
escritor del Romanticismo británicoFrases Samuel Taylor Coleridge
„Day after day, day after day,
We stuck, nor breath nor motion;
As idle as a painted ship
Upon a painted ocean.“
— Samuel Taylor Coleridge, The Rime of the Ancient Mariner
„Common sense in an uncommon degree is what the world calls wisdom.“
— Samuel Taylor Coleridge, Literary Remains, Vol. 1
„Metaphisics is a word that you, my dear Sir! are no great friend to / but yet you will agree, that a great Poet must be, implicitè if not explicitè, a profound Metaphysician.“
— Samuel Taylor Coleridge
Context: Metaphisics is a word that you, my dear Sir! are no great friend to / but yet you will agree, that a great Poet must be, implicitè if not explicitè, a profound Metaphysician. He may not have it in logical coherence, in his Brain & Tongue; but he must have it by Tact / for all sounds, & all forms of human nature he must have the ear of a wild Arab listening in the silent Desart, the eye of a North American Indian tracing the footsteps of an Enemy upon the Leaves that strew the Forest —; the Touch of a Blind Man feeling the face of a darling Child.
Letter to William Sotheby (13 July 1802).
„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.
„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).
„The Beautiful arises from the perceived harmony of an object, whether sight or sound, with the inborn and constitutive rules of the judgment and imagination: and it is always intuitive.“
— Samuel Taylor Coleridge
Context: The Good consists in the congruity of a thing with the laws of the reason and the nature of the will, and in its fitness to determine the latter to actualize the former: and it is always discursive. The Beautiful arises from the perceived harmony of an object, whether sight or sound, with the inborn and constitutive rules of the judgment and imagination: and it is always intuitive.
„Flowers are lovely; love is flower-like;
Friendship is a sheltering tree“
— Samuel Taylor Coleridge
Context: Flowers are lovely; love is flower-like;
Friendship is a sheltering tree;
Oh the joys that came down shower-like,
Of friendship, love, and liberty,
Ere I was old!
"Youth and Age", st. 2 (1823–1832).
„Bloom, O ye Amaranths! bloom for whom ye may,
For me ye bloom not!“
— 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.
