The Romantic Context



Norman Fruman’s Coleridge: The Damaged Archangel (1972) stands as a sad monument to the tendency of many critics to regard Coleridge’s work as little more than a mosaic drawn from his extraordinarily wide reading. The danger is, then, that he becomes merely a channel for the work and ideas of others — David Hartley, Kant, the German transcendentalist philosophers, or the English seventeenth-century divines. The present study will attempt to focus solely upon the immediate subject, Samuel Taylor Coleridge, as a unique genius who was yet highly sensitive and original in his reading.


Romantic Criticism Creative Imagination Divine Revelation Religious Thinker Receive Opinion 
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Copyright information

© David Jasper 1985

Authors and Affiliations

  1. 1.Hatfield CollegeDurhamUK

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