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Samuel Taylor Coleridge
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Samuel Taylor Coleridge is the premier poet-critic of modern English tradition, distinguished for the scope and influence of his thinking about literature as much as for his innovative verse. Active in the wake of the French Revolution as a dissenting pamphleteer and lay preacher, he inspired a brilliant generation of writers and attracted the patronage of progressive men of the rising middle class. As William Wordsworth's collaborator and constant companion in the formative period of their careers as poets, Coleridge participated in the sea change in English verse associated with Lyrical Ballads (1798). His poems of this period, speculative, meditative, and strangely oracular, put off early readers but survived the doubts of Wordsworth and Robert Southey to become recognized classics of the romantic idiom.
Coleridge renounced poetic vocation in his thirtieth year and set out to define and defend the art as a practicing critic. His promotion of Wordsworth's verse, a landmark of English literary response, proceeded in tandem with a general investigation of epistemology and metaphysics. Coleridge was preeminently responsible for importing the new German critical philosophy of Immanuel Kant and Friedrich von Schelling; his associated discussion of imagination remains a fixture of institutional criticism while his occasional notations on language proved seminal for the foundation and development of Cambridge English in the 1920s. In his distinction between culture and civilization Coleridge supplied means for a critique of the utilitarian state, which has been continued in our own time. And in his late theological writing he provided principles for reform in the Church of England. Coleridge's various and imposing achievement, a cornerstone of modern English culture, remains an incomparable source of informed reflection on the brave new world whose birth pangs he attended.
Samuel Taylor Coleridge was born on 21 October 1772 in the remote Devon village of Ottery St. Mary, the tenth and youngest child of Ann Bowdon Coleridge and John Coleridge, a school-master and vicar whom he was said to resemble physically as well as mentally. In vivid letters recounting his early years he describes himself as "a genuine Sans culotte, my veins uncontaminated with one drop of Gentility." The childhood of isolation and self-absorption which Coleridge describes in these letters has more to do, on his own telling, with his position in the family. Feelings of anomie, unworthiness, and incapacity persisted throughout a life of often compulsive dependency on others.
A reader seemingly by instinct, Coleridge grew up surrounded by books at school, at home, and in his aunt's shop. The dreamy child's imagination was nourished by his father's tales of the planets and stars and enlarged by constant reading. Through this, "my mind had been habituated to the Vast—& I never regarded my senses in any way as the criteria of my belief. I regulated all my creeds by my conceptions not by my sight—even at that age." Romances and fairy tales instilled in him a feeling of "the Great" and "the Whole." It was a lesson he never forgot. Experience he always regarded as a matter of whole and integrated response, not of particular sensations. Resolving conflicted feelings into whole response occupies much of his best verse, and his developed philosophical synthesis represents a comparable effort of resolution.
A year after the death of his father in 1781 Coleridge was sent to Christ's Hospital, the London grammar school where he would pass his adolescence training in Hebrew, Latin, and Greek, at which he excelled, and in English composition. His basic literary values were formed here under the tutelage of the Reverend James Bowyer, a larger-than-life figure who balanced classical models with native English examples drawn from Shakespeare and Milton. While Wordsworth was imitating Thomas Gray at Hawkshead Grammar School, Coleridge was steeping in this long tradition of distinguished writing, learning to compose on Bowyer's principles. These included an insistence on sound sense and clear reference in phrase, metaphor, and image: literary embroidery was discouraged. So were conventional similes and stale poetic diction. Coleridge's later development as a poet may be characterized as an effort to arrive at a natural voice which eschewed such devices. Critical of the rhetorical excesses of the poetry of sensibility which prevailed at the time, he would join forces with Wordsworth in promoting "natural thoughts with natural diction" (Biographia Literaria, chapter 1).
Charles Lamb's evocative portrait of "Christ's Hospital Five and Thirty Years Ago" (1820) suggests what a hothouse environment the school was at the time. The student population included boys who went on to important careers in letters, church, and state. Even in such company Coleridge stood out unmistakably: "Come back into memory, like as thou wert in the day-spring of thy fancies, with hope like a fiery column before thee—the dark pillar not yet turned—Samuel Taylor Coleridge—Logician, Metaphysician, Bard!—How have I seen the casual passer through the Cloisters stand still, intranced with admiration (while he weighed the disproportion between the speech and the garb of the young Mirandula), to hear thee unfold, in thy deep and sweet intonations, the mysteries of Jamblichus, or Plotinus (for even in those years thou waxedst not pale at such philosophic draughts), or reciting Homer in his Greek, or Pindar—while the walls of the old Grey Friars re-echoed to the accents of the inspired charity-boy!" The opening notes of awe and eventual disappointment are characteristic, but the portrait of the artist as a young prodigy is more disturbing than Lamb admits. The vatic voice was already alive to its social possibilities, the sole resource of an isolated personality.
At Christ's Hospital, Coleridge acquired an exalted idea of poetry to match this waxing voice. From Bowyer he would learn that "Poetry, even that of the loftiest and, seemingly, that of the wildest odes, had a logic of its own, as severe as that of science." The comparison of poetry and science was an important one, leading to his mature definition of the art as a form of composition whose immediate aim was pleasure while science was concerned first of all with truth. Yet poetry arrived at truth in its own way, and that way was "more difficult, because more subtle, more complex, and dependent on more, and more fugitive causes." The logic of science was derived from pure reason; the logic of poetry depended on human understanding, which was anything but pure. Understanding belonged to the world of sensation, generalization, and language, and through it poetry was committed to ordinary human experience. Hence its tangled condition. The words of the common tongue kept the poet in touch with this common world.
Poetry as living speech, poetry as act of attention: the commitments of Christ's Hospital encouraged fresh judgment on the state of the art, and on what rang true now. Pope's couplets had begun to sound contrived while the more masculine energies of Shakespeare and Milton were welling up in the imagination of a generation of young writers. In the sonnets of the Reverend William Lisle Bowles, the schoolboy Coleridge found a contemporary model whose voice struck him as "tender" yet "manly," at once "natural and real." These words are Coleridge's own, and they describe his aspirations at least as much as they do Bowles's fulsome versifications. Long after the model had lost its grip on him, he would credit Bowles with drawing him out of a metaphysical daze, restoring him to "the love of nature, and the sense of beauty in forms and sounds." To the poet in his first flush, Bowles represented the modern possibilities of "the more sustained and elevated style" in English verse.
At Jesus College, Cambridge, where Coleridge matriculated in October 1791, he composed a mass of occasional poetry. Full of the rhetorical machinery of the middling verse of the period, and often cloying in sentiment, these early poems have little in common with the work of 1795 and after, on which his reputation would be founded. They do not even show him developing in the direction of his mature voice. Some of the phrasing of this college phase bears witness to the force of Milton's example on the student's impressionable ear. The backward ambience of Cambridge in the 1790s seems to have retarded Coleridge's muse, setting him to composing an arid (and ungrammatical) prize poem in Greek (in summer 1792), while driving him to escape from "bog and desolation." Reports of his college life suggest that he was absorbing not only Greek texts but English political pamphlets at this interesting moment. Edmund Burke's Reflections on the Revolution in France (1790) had met the rising sympathy for events in France with questions about the legitimacy and future of the state. Coleridge is said by a Cambridge contemporary to have consumed Burke's various productions on first publication, reciting them from memory to company at supper. His sympathies were broadly liberal—critical of William Pitt's government and the slave trade, yet wary of the situation in France. He was active in defense of William Frend, a Unitarian and Fellow of Jesus College who was expelled for publishing a pamphlet advocating Peace and Union (1793). This episode marks the beginning of a convergence between politics and poetry in Coleridge's career which is characteristic and important. For he was never a disinterested observer. His poetry participated in ongoing reactions to events at home and abroad, and he recognized its vocation in this public setting.
On the basis of seemingly contradictory responses, Coleridge has sometimes been depicted as a turncoat who betrayed his original revolutionary sympathies. His poems suggest, and his lay sermons of the period confirm, that his allegiance was always to an ideal of freedom, not to democratic insurgency. The quality of his ambivalence did not prevent his speaking out in situations which damaged his reputation among Burke's party, his natural constituency. What sort of revolutionary would enlist in the king's army in this perilous moment? Coleridge did so on 2 December 1793 under an assumed name, fleeing debts and discouragement at college. He was rescued by family and friends after serving locally for some five months. Escape, servitude, and retreat would become a familiar pattern in Coleridge's life.
The Fall of Robespierre was a collaboration undertaken with Southey, whom he met at Oxford in June 1794, while on a walking tour from Cambridge. With Southey he hatched another escape route, a utopian scheme for immigration to America, where a small group was to found a commune on the banks of the Susquehanna in Pennsylvania. The ideals of Pantisocracy, as they called their project, involved shared labor and shared rewards. Servitude in this setting was exalted as "aspheterism," a Christian selflessness. "Religious Musings" envisions the dismal historical world which they hoped to escape, as well as their aspiration:
'Tis the sublime of man,
Our noontide majesty, to know ourselves
Parts and proportions of one wondrous whole!
This fraternizes man, this constitutes
Our charities and bearings!
Pantisocracy occupied Coleridge's energies and continued to influence his sense of vocation for some time after the scheme's collapse in 1795. A communitarian ideal remained essential to his writing, as to the life he now proposed to live.
For he left Cambridge, without taking a degree, in December 1794, in the midst of this communitarian enthusiasm and was soon thrown back on his own resources. In the course of the next year Coleridge delivered a series of lectures on politics and religion in Bristol, where Southey had connections. He considered various journalistic enterprises and made influential friends, including Joseph Cottle, a local publisher, who was interested enough in his poetry to advance him living expenses against copyright. The volume of Poems on Various Subjects (including four sonnets by Lamb and part of another by Southey) which Cottle would publish in 1796 represents a rite of passage. Behind him, the young author's school verse, sonnets, and rambling effusions trace a course of aimless poetasting. Before him, in "The Eolian Harp" (included in the 1796 volume as "Effusion xxxv") and in "Religious Musings" (which concluded the volume), something is stirring. The former, addressed to Sara Fricker, whom he married in Bristol on 4 October 1795, looks forward to the conversational line which he would develop and share with Wordsworth. The latter, on which he claimed in a letter to "build all my poetic pretensions," is an affirmation of Christian principle in troubled times. Both poems are broadly communitarian in aspiration.
Coleridge expanded on "Religious Musings" over the next two years. A section of it was published as "The Present State of Society" in The Watchman, a periodical which Coleridge conducted through ten issues (1 March-13 May 1796). Its contents were various, including reports from Parliament, foreign intelligence, and responses to current issues. The loaf was leavened with bits of poetry, some of it the editor's own. The Watchman failed despite Coleridge's strenuous efforts to enlist subscribers, but it bears witness to his seriousness of purpose. This conjunction was where Coleridge staked his claim. Poetry as a vatic art in the service of a general social revival: the restless England of George III, reeling from the shock of American and French revolutions, was surely prepared to listen. The scientific and political culture which had emerged in the 1770s was gaining force among the dissenters, Unitarians in particular, whom Coleridge cultivated in and around Bristol. They were his constituency and his means of support. He spoke to them in sermons and lectures, through The Watchman and also, as he hoped, through his verse.
His move with Sara to Clevedon, Somersetshire, along the Bristol Channel, in October 1795 was a change of air though not of social context. From here he continued his attack on the king and his ministers, returning occasionally to Bristol to lecture or walking to Bridgwater to speak at the Unitarian chapel. At his cottage he wrote "The Eolian Harp," a meditative poem different in every way from "Religious Musings" and the real inauguration of his mature voice. In its primitive form, as the effusion of 1796, it reflects the conflict between natural response—"the sense of beauty in forms and sounds," as he put it in the Biographia Literaria—and higher responsibility. Nature as an animated, omnipresent life force, a benevolent companion, is memorably characterized through the image of the wind harp, which is identified with the poet's "indolent and passive brain." Poetic imagination is simply an instrument of this Nature, one "organic harp" among others in its universal symphony. In the exemplary setting of the new life he was undertaking, the claims of enlightenment thinking succumbed to faith.
"The Eolian Harp"establishes the terms of this important conflict, which was not simply intellectual but broadly social in implication. For pantheism was associated with the progressive scientific culture for which the empirical world of nature was simply reality itself. A personal God had no empirical reality. Unitarians and various sorts of deists adhered to a divinity which was known through sensation: a Nature god of sorts. This was Coleridge's intellectual milieu, and he tried out its ideas in his Bristol period. Yet his enduring commitments showed through. The community espoused in the conclusion of "The Eolian Harp" is not the egalitarian utopia of scientific aspiration, but "the family of Christ." The ideals of Pantisocracy triumph over the temptations of the new science. In his extensive correspondence of the period Coleridge proclaimed himself a Necessitarian for whom everything had a place in the divine scheme. "The Eolian Harp" shows how the lure of an alternative vision of human experience dominated by sensation could provoke an equal and opposite reaffirmation of first principles to the contrary. A traditional faith was confirmed through temptation.
Community after the collapse of Pantisocracy meant a wife and family, impassioned friendships based on shared concerns, and the company of kindred spirits. Thomas Poole, a prosperous tanner of good family in the tiny Somerset village of Nether Stowey, became Coleridge's closest associate in the uncertain period following his return to Bristol in 1796. The arduous and ultimately futile enterprise of The Watchman led him to seek a steady haven where he might work and write in sympathetic surroundings. Supporting Sara and their newborn son, Hartley (born September 1796), was a priority: "Literature will always be a secondary Object with me." There was something desperate in such a resolution, and it proved hard to keep after their move to a small thatched cottage in Nether Stowey at the end of 1796.
"This Lime-Tree Bower My Prison," composed from Poole's cottage garden the next year, relates to the community which he made there. Poole had proved a loyal friend and steady companion; his patronage was crucial to the success of the resettlement. Wordsworth, whom Coleridge had met in Bristol some time before, came to visit with his sister, Dorothy, and they soon occupied a substantial house at Alfoxden, walking distance from Nether Stowey. Charles Lloyd lived at Coleridge's cottage for a time, providing steady income in exchange for tuition. Lamb, the old friend from Christ's Hospital, and the youthful Hazlitt joined Cottle and other Bristol connections to make up a real if transient community of socially interested parties. All were writers at least by aspiration; all were involved in the reformation of English values for which "romanticism" has since come to stand. The lives they were leading on the fringes of conventional society would become the subject of their work.
So it was in "This Lime-Tree Bower My Prison," which describes a walk some of them took one day in Coleridge's absence. The jealous Sara had spilled a pan of boiling milk on his foot, excluding him from the company of Dorothy and William Wordsworth, as well as Charles Lamb, on a jaunt in the surrounding spur of low hills—combes, in local parlance—the Quantocks. From his confinement in the garden, he celebrates the pleasures of the natural world as seen from within this harmonious community of like-minded individuals. The detailed evocation of their itinerary marks the apogee of his response to landscape. In the end, the poet's imagination triumphs over his separation: his bower reveals pleasures of its own; Nature is hospitable to human response. Sensation proves adequate to human need; Nature is a providential resource against isolation. The poem's conclusion dwells on the joy of companionship in such a world.
Coleridge's new community was instrumental in bringing him to such feeling, and to such expression. This proved to be the most satisfying arrangement he would ever enjoy. It was the setting of his verse breakthrough, of the annus mirabilis in which most of his enduring poems were written. Here he built on the achievement of Clevedon, writing reflectively about his inner life in a social environment which excited and encouraged the questions he was asking. Was the human place in nature a merely passive one, comparable to the wind harp's? Was natural beauty sufficient to our moral needs? And more speculatively, what was the meaning of nature conceived as an organ of divine will? How did this bear on our idea of society?
These questions haunt the reflective idiom which he developed in the course of this residence of a year and a half at Nether Stowey, with storm clouds brewing on the horizon. The topographic realism of "This Lime-Tree Bower My Prison" reverts via Wordsworth's An Evening Walk (1793) to James Thomson and The Seasons (1730), but the voice at work here is that of "a man speaking to men," in the parlance of the "Preface" to the 1800 edition of Lyrical Ballads. Speech replaces stale poetic convention from the start. The character of the poet lies at the center of the exercise. The self-consciousness of Wordsworth's poetically premature ramble is turned to good effect in Coleridge's effort at something true to the occasion. The sense of occasion is conveyed in fresh blank verse, not the rattling heroic couplets of Wordsworth's first extended production. The prickly personifications and moralizing eye of "An Evening Walk" are vestigially present in "This Lime-Tree Bower My Prison," but the effect is not of conventional chatter. Coleridge's diction is clear and direct for the most part, his apostrophes natural to the drama of the situation which he develops.
Walking was more than recreation for the writers' colony in the Quantocks. It provided the fresh air which their assumptions required. If Nature were to be their muse, and the source of their living values, it would have to be observed in all its sorts and conditions. Coleridge's plan for an expansive treatment in verse of the course of a brook from source to river shows how his walks in the nearby combes contributed to his reflection on the human condition. "The Brook" as he conceived it would mix "description and incident" with "impassioned reflection on men, nature, society." He traced a local stream to its wellsprings, recording occasional images in his notebook, but these are all that survive of an ambitious and characteristic project of the period.
Wordsworth's move to Alfoxden in the summer of 1797 stimulated further projects. At loose ends Coleridge found in Wordsworth a catalyst for his thinking about poetry. The year following his friend's move to the area would prove to be his most productive, and the beginning of a collaboration which culminated in the Lyrical Ballads volume. On his own telling, his conversations with Wordsworth during this year "turned frequently on the two cardinal points of poetry, the power of exciting the sympathy of the reader by a faithful adherence to the truth of nature, and the power of giving the interest of novelty by the modifying colors of imagination." The first point may be described as Wordsworthian, the second as basically Coleridgean. Imagination was already one of his preoccupations; he was interested in Erasmus Darwin's idea that "the excess of fancy is delirium, of imagination mania." Extraordinary states of mind, or casts of spirit, color his major poems of this period of innovation, and the effects which he achieved through them have earned enduring recognition.
Most extraordinary of all, in the eyes of later readers, is "Kubla Khan," an opium-induced, orientalizing fantasia of the unconscious. It is important to recognize that Coleridge himself claimed nothing for this production's "supposed poetic merits." He did not publish it until 1816, under financial pressure as usual and at the urging of Lord Byron, and only as an appendage to the more substantial "Christabel," which Wordsworth had excluded from the second edition of Lyrical Ballads (1800). The poem was not liked even then. As a "psychological curiosity" it was interesting to its author mainly as evidence of a state of extreme imaginative excitement. "Kubla Khan" had nothing to do with the reflective idiom to which Coleridge was committed. It might be verse, but it was not good poetry.
The story of its genesis is one of the prodigies of English literature. In the course of a solitary walk in the combes near the Bristol Channel in the fall of 1797, Coleridge took two grains of opium for the dysentery which had been bothering him for some time. He retired to an old stone farmhouse some distance from Porlock, where he fell asleep while reading an old travel book, Purchase His Pilgrimage (1613), by Samuel Purchase. He awoke hours later to record the extraordinary train of images which arose during his opiated stupor. The act of composition was interrupted by a "person from Porlock"—often conjured by later poets as a figure of life intruding on art—and it proved impossible to continue afterward. Much ink has been spilled over these circumstances, but their oddity makes them generally plausible, even considering Coleridge's habits of prevarication.
If they are significant at all it is because they epitomize his reputation as the truant phantast of romantic legend. He did much to encourage it, certainly, but he lived to regret what his friends made of him and to defend himself against charges of idleness and premature decay. The Coleridge phenomenon, as it might be called, has been recounted in every literary generation, usually with the emphasis on wonder rather than disappointment, though sometimes—among moralizing critics, never among poets—with a venom which recalls the disillusionment of his associates. Henry James's story, "The Coxon Fund" (1895), based on table talk of the genius who became a nuisance, is indicative of both attitudes. The Coleridge phenomenon has distorted Coleridge's real achievement, which was unique in scope and aspiration if all too human in its fits and starts.
The compelling imagery of "Kubla Khan" might be regarded as preparation for "The Rime of the Ancient Mariner," conceived soon after on a walk to the port of Watchet on the Bristol Channel in the company of Wordsworth and his sister. Some time before, John Cruikshank, a local acquaintance of Coleridge's, had related a dream about a skeleton ship manned by spectral sailors. This became the germ of a momentous project in which Wordsworth acted as collaborator. The plot was hatched on the walk, according to Wordsworth's own later recollections, and it was he who conceived of the tale of crime and punishment which Coleridge would treat, in Christian terms, as a story of transgression, penitence, and atonement. Wordsworth also claimed to have suggested that the Old Navigator, as Coleridge initially called him, kill an albatross and be set upon by the "tutelary spirits" of Cape Horn, where the deed is done. He contributed some few lines of verse to the poem in addition.
The collaboration on "The Rime of the Ancient Mariner" is interesting on several counts. It underlines the collective enterprise involved in the inauguration of the new poetic idiom which would eventually be called Romantic. Creation of this kind is more than a matter of oracular power. It has much to do with rational inquiry and exchange. Further, the episode gives some idea of the working relations between Coleridge and Wordsworth at the moment when the scheme for Lyrical Ballads (1798) was being hatched. Their constant companionship on walks, at Alfoxden and elsewhere, gave rise to extended discussion of poetry present and past. Both proved open to suggestion; both grew as poets through their conversations. Most of what is known of this process is known through the Lyrical Ballads volume and its later "Preface." The conclusions which it expresses, in Wordsworth's voice more than Coleridge's, have long been seen as foundations of modern poetry.
The genesis of the "Ancient Mariner" is more than the story of one poem. It is the story of a project. In Coleridge's own account of events, they decided on two sorts of poems for Lyrical Ballads : "In the one, the incidents and agents were to be, in part at least, supernatural; and the excellence aimed at was to consist in the interesting of the affections by the dramatic truth of such emotions, as would naturally accompany such situations, supposing them real. And real in this sense they have been to every human being who, from whatever source of delusion, has at any time believed himself under supernatural agency."
Lyrical Ballads was deliberately experimental, as the authors insisted from the start. The "Ancient Mariner" pointed the way. The fact that it was a collaboration meant that both authors took responsibility for the design of the experiment. This was more than a volume of poems from various hands. The largely negative reviews which it excited on publication concentrated on the "Ancient Mariner," in part because it was the most substantial poem in the collection, but also because of its self-consciously archaic diction and incredible plot. Southey described it in a dismissive (and anonymous) review as "a Dutch attempt at German sublimity." Elsewhere it was reckoned "the strangest story of a cock and a bull that we ever saw on paper." The character of the Mariner also caused confusion.
Despite the problems, the poem flourished on the basis of strong local effects—of its pictures of the "land of ice and snow" and of the ghastly ship in the doldrums, in association with a drumming ballad meter. Wordsworth frankly disliked it after the reviews came in, but Lamb led the way in appreciating its odd mix of romance and realism. It is perhaps as a poem of pure imagination, in the words of Robert Penn Warren's landmark reading, that the "Ancient Mariner" has appealed. In this respect among others it bears comparison with "Kubla Khan"; they are usually classified, with Christabel, as poems of the supernatural. All answer to the formula proposed for Coleridge's contributions to Lyrical Ballads: supernatural, or at least preternatural, phenomena dignified by association with a human voice. For most readers this is the line of Coleridge's verse that has mattered. Whatever their liabilities of dramatic construction, the highly charged imagery of these poems has made a strong impression. Its influence rings clear in Shelley and Keats in the next generation, and in Tennyson, Browning, Rossetti, and Swinburne among their Victorian inheritors. In the title of W. H. Auden's Look, Stranger! (1936) the echo of the Mariner's exhortation, "Listen, Stranger!," from the text of 1798, shows how far Coleridge's oracular voice would carry.
Coleridge's contributions to the Lyrical Ballads volume included a short piece from Osorio called "The Foster-Mother's Tale," and a meditative poem in blank verse, "The Nightingale," as well as "The Ancient Mariner." The collaboration with Wordsworth is perhaps most striking in their development of the conversational idiom for which the subtitle of "The Nightingale, A Conversation Poem, Written in April, 1798" provided a name. It was not the first of the conversation poems; these are considered to begin from "The Eolian Harp" and to include "Reflections on Having Left a Place of Retirement'' and "This Lime-Tree Bower My Prison" among his earlier meditative verses. Coleridge himself never distinguished them in this way, nor has Wordsworth's poetry of the kind ever been described as conversational. Yet the term has come to stand for Coleridge's decisive innovation as a poet and for his contribution to the formation of Wordsworth's voice.
It was at this moment of intense exchange that Coleridge wrote his most imposing conversational verse, and that Wordsworth wrote "Lines Written A Few Miles Above Tintern Abbey," his startling initiation in the conversational idiom. Wordsworth's poem stands at the end of Lyrical Ballads rather as the "Ancient Mariner" stands at the beginning. It stands out, a monument to the realized achievement of the experiment. From the title, with its particularity about time and place, and the graceful discursive manner, through the association of ideas and the praise of Nature to the address in the concluding stanza to his sister, this poem is virtually a homage to Coleridge's conversational manner. What Wordsworth would make of the conversation poem is the story of the most distinguished poetic career of the period.
Their achievement in the developing conversational line has seemed more momentous in retrospect than it did at the time. "Tintern Abbey" was noticed only fitfully in early reviews. Yet the example of the conversation poems took where it mattered most, among the poets of the next generation and every generation since. Shelley's "Julian and Maddalo" (1818) represents an early effort to expand on the possibilities of conversational verse. Matthew Arnold and T. S. Eliot in England and Robert Frost in America elaborated variously on the conversational convention. The testimony of Charles Tomlinson shows how the influence of Coleridge's innovation has been transmitted by modern writers: "The distinguishable American presences in my own work, so far as I can tell, were, up to then, Pound, Stevens, and Marianne Moore, and yet, if through them the tonality sounded American, the tradition of the work went back to Coleridge's conversation poems." The meditative verse of Geoffrey Hill in the same postwar generation rings changes on the Coleridgean originals of this line of modern verse.
Wordsworth made the conversation poem the vehicle of his celebration of enlightenment values: of nature as spiritual home, of man as the measure of things. Coleridge's conversational verse points in the same direction under the influence of his great friend, yet it is deeply conflicted under the surface. The conviction of a benevolent nature is compromised by mounting fears. In the earlier poems of the kind these are indicated only indirectly. In "Frost at Midnight," composed from the front room of the Lime Street cottage in the winter of 1798, the poet's isolation drives him to test the resources of nature conceived as a mediating agent. The poem dramatizes Coleridge's sense of vulnerability in the face of a threatening outside world. Part of this feeling must have come from the growing hostility of the community in which he was living. Fear of a French invasion was widespread, and the outsiders were suspected of democratic sympathies, even of collusion with the national enemy. Walking home from Bristol, Coleridge heard himself described as a "vile Jacobin villain." The spy sent by the government found nothing much to report against him, but there was open mistrust of his motives and way of life. Such testimony provides incidental evidence of social pressures which Coleridge expressed in "Frost at Midnight"in an intensely personal way.
"Frost at Midnight" is the most psychodramatic of Coleridge's conversation poems even if the conclusion is not really consistent with the imaginative process which gives rise to it. For it exposes the deep fears behind the passion for Nature conceived in this way, as an intentional agent and life companion. "Religious meanings in the forms of nature" practically defines the idea as Coleridge understood it. In "Fears in Solitude," written soon after, and the source of this fine characterization, the sense of danger and vulnerability is directly related to political apprehensions. "Fears in Solitude" shows Coleridge trying to associate the scenery around Nether Stowey with feelings for his country without giving way to the government which he despised. It is an uncertain performance, rambling and disjointed, yet interesting as a portrait of political conviction under pressure.
Despite the difficulties, this was a time of rare promise for the young writer. Wordsworth's presence was catalytic. It was through the Lyrical Ballads volume that Coleridge's voices, conversational and "romantic," were developed and rationalized. Dorothy Wordsworth's journal of 1798 shows how collaborative were all of their undertakings of this formative moment. Yet their auspicious beginning was to prove the beginning of the end of Coleridge's poetic powers. While Wordsworth would carry on with the experiment for some ten years after that spring in the Quantocks, his companion in the art was all but finished with it. Reasons for the divergence are bound to be conjectures after the fact, but two at least remain worth considering. The collaboration turned out to be a struggle for poetic primacy, and Wordsworth's personal domination eventually meant loss of conviction—and loss of face—for his troubled colleague. There was room for only one strong voice of this kind. Coleridge was drawn to other roles in any case, and to other causes. Poetry was his means, not his vocation.
What was his vocation then? He is usually described as a man of letters—as the prototype of the modern writer who lives from his earnings as journalist, book reviewer, and jack of all literary trades. Coleridge was provided, quite unexpectedly, a life annuity of 150 pounds sterling by Josiah and Thomas Wedgwood, heirs to the pottery and friends of reliable standing. There were no strings attached. The point was to free him of the routine material difficulties which were already closing in on him from all sides. This was a godsend, but it also put Coleridge on his mettle. For he was now faced with the imperative to choose and define a vocation for himself. Freedom imposes its own obligations, and patronage remains patronage even without the strings. The imminent departure of the Wordsworths, whose one-year lease at Alfoxden was not renewed in June 1798 due to local doubts about their character, precipitated a personal crisis of sorts. The upshot was an extended residence in Germany, separation from family and friends in Nether Stowey, and a change of direction.
Coleridge was drawn to Germany for its literary ferment and new learning. His residence of some months at the university in Göttingen exposed him to the earlier Germanic languages and literatures and also to the new scriptural criticism which would change the face of modern theology. He read Friedrich Gottlieb Klopstock and Gotthold Ephraim Lessing rather than Johann Wolfgang von Goethe; enlightenment thinking—not Sturm und Drang—was the object lesson. Germany opened doors whose existence he had hardly imagined. It was here that he learned the language sufficiently to approach the critical philosophy of Immanuel Kant, which consumed his thinking from about 1800. Göttingen supplied a working idea of language which he would turn to his own uses on his return. And it involved him in historical inquiries—on the origin of the free farming class, for example—which he communicated to his correspondents at home. The impression left by his notebooks and letters of this period of residence abroad is of unusual intellectual attentiveness.
The intellectual turn is what distinguishes Coleridge from others, including his friends William Hazlitt and Lamb, whose activity as writers in the period was more clearly in the native grain. His example was followed by De Quincey and Carlyle with differing emphases; "men of letters" would appear less apt to their cases than "literary intellectuals," with the stress on fresh thinking. Literature, or "polite literature" as Coleridge sometimes called it, included the prose essay for all of them. Verse and prose did not live separate lives; they were distinctive in means but not different in ends as Coleridge explained them. Both gave scope to the same human understanding.
Coleridge rejoined his family in Nether Stowey in midsummer 1799, some time after having returned from Germany. It was an uncomfortable homecoming on several counts. Wordsworth was soon on his way to Dove Cottage at Grasmere in the remote north country, and Coleridge was not far behind. There was trouble with Southey and a difficult leave taking from Thomas Poole. On his way north he tarried in London as political correspondent for the Morning Post, writing a brilliant piece on Pitt, the prime minister, showing what his own convictions counted for. For readers interested only in the poetry, such topical work is bound to seem tedious; yet it represents the heart of Coleridge's commitment in the period when he was writing his best verse. His Essays on His Own Times (1850), collected long after in three volumes, show how serious and capable a critic of society he was. The promotion of his most personal and individualistic work by later readers has obscured his constant attention to social arrangements and social ideals.
His move to Keswick in summer 1800 (not long before the birth of his third son, Derwent, on 14 September) represented a kind of retreat from the discouraging world of city politics and city life. The Wedgwood annuity made it feasible, Wordsworth's presence nearby practically inevitable. Lyrical Ballads was to be republished in a new edition; Christabel was still unfinished, and here he added the second part, with its altered landscape reflecting the scenery of Langdale Pike and "Borodale." It was a critical time in his professional transition. Wordsworth's rejection of the still unfinished poem contributed to Coleridge's sense of personal incapacity. He came to feel that he was not a poet; not a great poet, at least not like Wordsworth. Yet his valedictory ode, "Dejection," first composed as a letter in 1802, shows him at the peak of his powers. Writing in the shadow of Wordsworth's "Intimations" ode, Coleridge here cultivated a more colloquial delivery while remaining true to his own muse. This is his magisterial conversation poem, the most compelling (though not the most celebrated) achievement of his foreshortened poetic career.
Coleridge was now on his own as never before, unsettled, constantly ill, searching for a way through his difficulties. He decided at this time on a career as a critic, at first proposing "an Essay on the Elements of Poetry / it would in reality be a disguised System of Morals & Politics—." The real orientation of his poetics is indicated here. It was refined but not fundamentally altered by subsequent reflection and formulation. By 1804 he was calling the same project "On the Sources of Poetic Pleasure—in which without using the words bad or good, I simply endeavor to detect the causes & sources of the Pleasures, which different styles &c have given in different ages, & then determining their comparative Worth, Permanency, & Compatibility with the noble parts of our nature to establish in the utmost depths, to which I can delve, the characteristics of Good & Bad Poetry—& the intimate connection of Taste & Morals.—" The lectures delivered at the Royal Institution in 1808 on "The Principles of Poetry" apparently fleshed out this program, beginning from Shakespeare and concluding "On Modern Poetry." They were the first of several lecture series conducted by Coleridge in the years 1808-1814. Their contents are known mainly from unreliable reports when they are known at all.
The lectures of 1811-1812 on Shakespeare were influential in the general revival of interest in the Elizabethan drama. Dr. Johnson's 1765 preface to his edition of Shakespeare's works had defended him as the poet of nature who held up a mirror to life and manners. Against this mimetic emphasis Coleridge lay stress on Shakespeare's expressive language and the psychological acumen associated with it: "In the plays of Shakespeare, every man sees himself, without knowing that he does so." A more important legacy of the lectures on Shakespeare is the idea of organicism, which has deep roots in his earlier critical reflection. In lecture notes on Shakespeare, Coleridge evokes organic form in terms which mimic the contemporary German critic August Wilhelm Schlegel. The form of Shakespeare's dramas grew out of his characters and ideas, on Coleridge's telling; the old dramatic conventions did not impede the conception. The structural variety of his plays—the seeming irregularities of The Tempest, in particular—arose from expressive requirements. Organic form redeemed Shakespeare's unconventional dramatic constructions.
The importance of the organic metaphor and idea for later thinking about poetry can hardly be exaggerated. The sense of the work of art as an organism, self-germinating and self-enclosed, pervades modern writing and modern criticism. Coleridge's elaboration on the idea of imagination in this period owes something to the distinction of mechanic and organic form as well. His definitions of primary and secondary imagination and of fancy have become canonical; they served I. A. Richards, notably, as a theoretical basis of the "semasiology" which he proposed in 1935. This putative science of meaning was meant to shore up the foundations of English as an academic discipline and proved influential not only at Cambridge but throughout the English-speaking world, including the United States, where it provided impetus for the development of the New Criticism, as it was called. Treating Coleridge as a provincial outpost of the new German critical philosophy of Immanuel Kant, English and American readers have usually abandoned the complex record of his reading and response in favor of one or two manageable ideas. The result has been general misapprehension about his orientation and commitments. Coleridge does not make sense as a model of aesthetic reading despite the efforts of Richards and others to bend him to this purpose.
What sort of reader was he, then? Moral and political, certainly, but something more. On his return from Germany in 1799, Coleridge had undertaken "a metaphysical Investigation" of "the affinities of the Feelings with Words & Ideas," to be composed "under the title of 'Concerning Poetry & the nature of the Pleasures derived from it.'" The connection of his philosophical studies with his critical ambition is important for understanding how Coleridge imagined the critical function. He was not interested in judging writing by current standards. Conventional judgments of good or bad relied on unspoken assumptions which he was concerned to test and modify, where appropriate, by the light of reason. Adjudicating taste is the usual purview of the "man of letters." Coleridge was trying for something more philosophical, of larger scope and bearing: "acting the arbitrator between the old School & the New School to lay down some plain, & perspicuous, tho' not superficial Canons of Criticism respecting poetry."
In the wake of the republication of Lyrical Ballads in early 1801 (with '1800' on the title page), Coleridge's critical project became a protracted effort to come to terms with Wordsworth's radical claims in the "Preface" for a poetry composed "in the real language of men." This was the "New School" of "natural thoughts in natural diction": Coleridge's own school despite his differences with Wordsworth. His effort to make the case for the new verse in the teeth of pitched hostility on the part of reviewers culminated in his Biographia Literaria (1817), where the "Old School" is treated anecdotally in the opening chapters on the way to the triumph of Wordsworth's voice. The fifteen years between the "Preface" and Biographia Literaria were consumed with working through the critical agenda which Coleridge set himself at the turn of the century. The process was a fitful, often tortuous one. The metaphysical investigation assumed a life of its own, waylaid by deep plunges into Kant and Schelling, among others. It culminates in the first volume of the Biographia Literaria with an effort to provide rational ground for the critical exercise which follows in the second. His definition of imagination remains an important part of his poetic legacy, nevertheless, since it underwrites the development of a symbolist aesthetic still associated with his name though at odds with his enduring commitments.
The thoughtful approach to Wordsworth in the second volume represents Coleridge's understanding of poetry at its best. His account of the Lyrical Ballads project challenges some of Wordsworth's claims in the "Preface" to the second edition in a way which distinguishes the effective from the peculiar in his verse. Readers have often taken Coleridge's theoretic pronouncements about imagination as constituting his poetics, while the account of Wordsworth's verse shows him applying more conventional standards in new and thoughtful ways. This discussion of the new school in English poetry includes a detailed treatment of the question of poetic language as raised by Wordsworth, and it is Coleridge's response to his positions in the Lyrical Ballads "Preface" that makes up the real centerpiece of the argument. The defense of poetic diction in particular is important for understanding his idea of poetry. Its roots lie in a long meditation on language, not in a philosophically derived faculty of imagination.
This meditation on language occupied Coleridge occasionally during the years between his return from Germany in 1799 and the composition of the Biographia Literaria. Among projects which he undertook during these long years of opium addiction, physical disability, and aimless wandering, The Friend (1809) stands out for its originality and influence. After two years away, in Malta, Sicily, and Rome, he returned to Keswick in 1806, separated from his wife (who had given birth to their daughter, Sara, on 23 December 1802), lectured and dilated, and finally settled on publishing "a weekly essay" which ran from 1 June 1809 to 15 March 1810. The publication rose and fell by subscriptions, relying on Coleridge's name and reputation, and finally collapsed under the weight of his private difficulties. Eclectic in approach, broadly literary in style, its various essays remain worth considering for what they indicate of the evolution of letters in the period. The Friend established a high discursive tone which was influential among Coleridge's inheritors, including Carlyle and Emerson, for whom it was counted among his most valuable works.
In 1812 the Wedgwood annuity was reduced by half due to financial difficulties related to the war. Coleridge continued to wander, staying with friends all over the kingdom and occasionally with his family in Keswick. In 1816 he published Christabel with "Kubla Khan" and "The Pains of Sleep" in a single volume; the next year his collected verse, Sibylline Leaves, appeared. He moved into the house of Dr. James Gillman, a physician in Highgate, now a north London village, trying to cure or at least to treat his opium problem. Here he would pass the remainder of his life, writing only occasional verse while preparing philosophical lectures (delivered in 1818), revising the text of The Friend for publication as a book, and collating the moral and theological aphorisms which appeared as Aids to Reflection (1825). These were popular and influential in America as well as in England. Coleridge published a meditation on political inspiration in The Stateman's Manual (1816) among other tracts on subjects theological and political. On the Constitution of Church and State appeared in 1830; Confessions of an Inquiring Spirit posthumously in 1840. He planned a comprehensive philosophical synthesis which he was unable to realize, conjuring with a system which lived only in his constantly working mind. The most finished text from among his philosophical papers was published in 1848 as Hints towards the Formation of a more Comprehensive Theory of Life. The reconstruction of his abortive synthesis is in progress.
Coleridge died in 1834 after years of personal discomfort and disappointment. A legend in his time, he came to be seen by friends and contemporaries as the genius who failed. The failure was largely relative to early expectations, however, and to hopes defeated by disease and drugs. Despite everything, Coleridge can still be regarded as a groundbreaking and, at his best, a powerful poet of lasting influence. His idea of poetry remains the standard by which others in the English sphere are tried. As a political thinker, and as a Christian apologist, Coleridge proved an inspiration to the important generation after his own. Recent publication of his private notebooks has provided further evidence of the constant ferment and vitality of his inquiring spirit.
- The Fall of Robespierre. An Historic Drama, act 1 by Coleridge, acts 2 and 3 by Robert Southey (Cambridge: Printed by Benjamin Flower for W. H. Lunn and J. & J. Merrill, sold by J. March, Norwich, 1794).
- A Moral and Political Lecture, delivered at Bristol (Bristol: Printed by George Routh, 1795).
- Conciones ad Populum, or Addresses to the People (Bristol, 1795).
- The Plot Discovered; or an Address to the People, against Ministerial Treason (Bristol, 1795).
- The Watchman: A Periodical Publication, in Prose and Verse, nos. 1-10 (Bristol: Published by the author and by Parsons, London, 1 March-13 May 1796).
- Poems on Various Subjects, by Coleridge, with four sonnets by Charles Lamb and part of another by Southey (London: C. G. & J. Robinsons/Bristol: J. Cottle, 1796); revised and enlarged as Poems,with poems by Lamb and Charles Lloyd (Bristol: Printed by N. Biggs for J. Cottle and Robinsons, London, 1797; third edition with deletions, London: Printed by N. Biggs for T. N. Longman & O. Rees, 1803).
- Fears in Solitude, Written in 1798 during the alarm of an invasion. To which are added, FRANCE, AN ODE; and FROST AT MIDNIGHT (London: Printed for J. Johnson, 1798).
- Lyrical Ballads, with a few Other Poems, by Coleridge and William Wordsworth (Bristol: Printed by Biggs & Cottle for T. N. Longman, London, 1798; London: Printed for J. & A. Arch, 1798; enlarged edition, 2 volumes, London: Printed for T. N. Longman & O. Rees, by Biggs & Co., Bristol, 1800; Philadelphia: Printed & sold by James Humphreys, 1802).
- The Friend: A Literary, Moral, and Political Weekly Paper, 27 parts, plus one supernumerary (Penrith: Printed & published by J. Brown and sold by Longman & Co., and Clement, London, 1 June 1809-15 March 1810); republished as The Friend; A Series of Essays (London: Printed for Gale & Curtis, 1812); new edition, with added material (3 volumes, London: Rest Fenner, 1818: 1 volume, Burlington, Vt.: Chauncey Goodrich, 1831).
- Remorse, A Tragedy, in Five Acts (London: Printed for W. Pople, 1813; New York: D. Longworth, 1813).
- Christabel: Kubla Khan, a Vision; The Pains of Sleep (London: Printed for John Murray, 1816; Boston: Published by Wells & Lilly, sold by Van Winkle & Wiley, New York, and M. Carey, Philadelphia, 1816).
- The Statesman's Manual; or the Bible the Best Guide to Political Skill and Foresight: A Lay Sermon (London: Printed for Gale & Fenner, 1816; Burlington, Vt.: Chauncey Goodrich, 1832).
- Sibylline Leaves: A Collection of Poems (London: Rest Fenner, 1817); republished in part as Selections from the Sybilline Leaves of S. T. Coleridge (Boston: True & Greene, 1827).
- Biographia Literaria; or, Biographical Sketches of my Literary Life and Opinions, 2 volumes (London: Rest Fenner, 1817; New York: Published by Kirk & Mercein, 1817).
- Zapolya: A Christmas Tale (London: Rest Fenner, 1817).
- Aids to Reflection in the Formation of a Manly Character on the Several Grounds of Prudence, Morality, and Religion: Illustrated by Select Passages from our Elder Divines, especially Archbishop Leighton (London: Printed for Taylor & Hessey, 1825; Burlington, Vt.: Chauncey Goodrich, 1829).
- The Poetical Works of S. T. Coleridge, 3 volumes (London: Pickering, 1828).
- The Devil's Walk; A Poem. By Professor Parson [pseud.]. Edited with a biographical memoir and notes by H. W. Montagu [pseud.], by Coleridge and Southey (London: Marsh & Miller/Edinburgh: Constable, 1830).
- On the Constitution of Church and State (London: Hurst, Chance, 1830).
- Specimens of the Table Talk of the late Samuel Taylor Coleridge, 2 volumes, edited by Henry Nelson Coleridge (London: John Murray, 1835; New York: Harper & Brothers, 1835).
- The Literary Remains in Prose and Verse of Samuel Taylor Coleridge, 4 volumes, edited by Henry Nelson Coleridge (London: Pickering, 1836-1839).
- Confessions of an Inquiring Spirit, edited by Henry Nelson Coleridge (London: Pickering, 1840; Boston: Munroe, 1841).
- Hints towards the Formation of a more Comprehensive Theory of Life, edited by Seth B. Watson (London: Churchill, 1848; Philadelphia: Lea & Blanchard, 1848).
- Essays on His Own Times; forming a second series of "The Friend,"3 volumes, edited by Sara Coleridge (London: Pickering, 1850).
- Seven Lectures upon Shakespeare and Milton, by the late S. T. Coleridge [corrupt text], edited by J. Payne Collier (London: Chapman & Hall, 1856).
- Biographia Literaria, 2 volumes, edited by J. Shawcross (Oxford: Clarendon Press, 1907).
- The Complete Poetical Works of Samuel Taylor Coleridge, 2 volumes, edited by Ernest Hartley Coleridge (Oxford: Clarendon Press, 1912).
- The Philosophical Lectures of Samuel Taylor Coleridge, edited by Kathleen Coburn (London & New York: Pilot Press, 1949; New York: Philosophical Library, 1949).
- The Notebooks of Samuel Taylor Coleridge, edited by Coburn, 3 volumes to date (New York: Pantheon, 1957- ).
- The Collected Works of Samuel Taylor Coleridge, general editor Coburn, 13 volumes to date (Princeton: Princeton University Press, 1969- ; London: Routledge & Kegan Paul, 1969- ).
- Samuel Taylor Coleridge, The Oxford Authors, edited by H. J. Jackson (Oxford & New York: Oxford University Press, 1985).
- [Sonnets from various authors], edited, with contributions, by Coleridge (N.p., 1796).
- The Letters of Samuel Taylor Coleridge, 2 volumes, edited by Ernest Hartley Coleridge (London: Heinemann, 1895; Boston & New York: Houghton, Mifflin, 1895).
- Unpublished Letters of Samuel Taylor Coleridge, 2 volumes, edited by Earl Leslie Griggs (London: Constable, 1932; New Haven: Yale University Press, 1933).
- Collected Letters of Samuel Taylor Coleridge, 6 volumes, edited by Griggs (Oxford: Clarendon Press, 1956-1973).
- Samuel Taylor Coleridge: Selected Letters, edited by H. J. Jackson (Oxford: Clarendon Press, 1987).
Further Readings
- Thomas J. Wise, A Bibliography of the Writings in Prose and Verse of Samuel Taylor Coleridge, 2 volumes (London: Bibliographical Society, 1913).
- Wise, Coleridgeiana, Being a Supplement to the Bibliography of Coleridge (London: Bibliographical Society, 1919).
- Richard & Josephine Haven and Maurianne Adams, Samuel Taylor Coleridge: An Annotated Bibliography of Criticism and Scholarship,volume 1: 1793-1899 (Boston: G. K. Hall, 1976).
- Jefferson D. Caskey and Melinda M. Stapper, Samuel Taylor Coleridge: A Selective Bibliography of Criticism, 1935-1977 (Westport, Conn.: Greenwood, 1978).
- Mary Lee Taylor Milton, The Poetry of Samuel Taylor Coleridge: An Annotated Bibliography of Criticism, 1935-1970 (New York: Garland, 1981).
- Thomas Allsop, Letters, Conversations, and Recollections of Samuel Taylor Coleridge, 2 volumes (London: Moxon, 1836; New York: Harper, 1836).
- Joseph Cottle, Early Recollections, chiefly relating to the late Samuel Taylor Coleridge, during his long residence at Bristol, 2 volumes (London: Longman, Rees/Hamilton, Adams, 1837); revised, with additional materials, as Reminiscences of Samuel Taylor Coleridge and Robert Southey (London: Houlston & Stoneman, 1847; New York: Wiley & Putnam, 1848).
- James Gillman, The Life of Samuel Taylor Coleridge, volume one [no more published] (London: Pickering, 1838).
- Henry Nelson Coleridge and Sara Coleridge, "Biographical Supplement" to Biographia Literaria, second edition (London: Pickering, 1847; New York: Putnam, 1848).
- H. D. Traill, Coleridge, English Men of Letters (London: Macmillan, 1884; New York: Harper, 1884).
- James Dykes Campbell, Samuel Taylor Coleridge: a Narrative of the Events of his Life (London & New York: Macmillan, 1894).
- E. K. Chambers, Samuel Taylor Coleridge: A Biographical Study(Oxford: Clarendon Press, 1938).
- Lawrence Hanson, The Life of Samuel Taylor Coleridge: The Early Years(London: Allen & Unwin, 1938; New York: Oxford University Press, 1939).
- Walter Jackson Bate, Coleridge, Masters of World Literature (New York: Macmillan, 1968; London: Weidenfeld & Nicolson, 1969).
- Berta Lawrence, Coleridge and Wordsworth in Somerset (Newton Abbot: David & Charles, 1970).
- John Cornwell, Coleridge: Poet and Revolutionary, 1772-1804 (London: Allen Lane, 1973).
- Oswald Doughty, Perturbed Spirit: The Life & Personality of Samuel Taylor Coleridge (Rutherford, Madison & Teaneck, N. J.: Farleigh Dickinson University Press, 1981).
- Richard Holmes, Coleridge: Early Visions (London: Hodder & Stoughton, 1989).
- M. H. Abrams, Natural Supernaturalism: Tradition and Revolution in Romantic Literature (New York: Norton, 1971).
- Richard W. Armour and Raymond F. Howes, eds., Coleridge the Talker: A Series of Contemporary Descriptions and Comments (Ithaca: Cornell University Press/London: Humphrey Milford, Oxford University Press, 1940).
- Owen Barfield, What Coleridge Thought (Middletown, Conn.: Wesleyan University Press, 1971).
- J. Robert Barth, S.J., The Symbolic Imagination: Coleridge and the Romantic Tradition (Princeton: Princeton University Press, 1977).
- J. B. Beer, Coleridge's Poetic Intelligence (London & Basingstoke: Macmillan, 1977).
- Beer, "The Languages of Kubla Khan," in Coleridge's Imagination,edited by Richard Gravil, Lucy Newlyn, and Nicholas Roe (Cambridge: Cambridge University Press, 1985), pp. 218-262.
- Beer, ed., Coleridge's Variety: Bicentenary Studies (London & Basingstoke: Macmillan, 1974).
- Jerome Christensen, Coleridge's Blessed Machine of Language (Ithaca: Cornell University Press, 1981).
- John Colmer, Coleridge: Critic of Society (Oxford: Clarendon Press, 1959).
- Thomas De Quincey, "Samuel Taylor Coleridge, by the English Opium-Eater," Tait's Edinburgh Magazine, new series 1 (September 1834): 509-520; (October 1834): 588-596; (November 1834): 685-690; new series 2 (January 1835): 2-10; republished in Recollections of the Lakes and the Lake Poets, edited by David Wright (Harmondsworth: Penguin, 1970), pp. 33-111.
- James Engell, The Creative Imagination, Enlightenment to Romanticism(Cambridge, Mass.: Harvard University Press, 1981).
- Norman Fruman, Coleridge, the Damaged Archangel (New York: Braziller, 1971).
- A. C. Goodson, "Kubla's Construct," Studies in Romanticism, 18 (Fall 1979): 405-425.
- Goodson, Verbal Imagination: Coleridge and the Language of Modern Criticism (New York & Oxford: Oxford University Press, 1988).
- Anthony John Harding, Coleridge and the Inspired Word (Kingston & Montreal: McGill-Queen's University Press, 1985).
- Richard Haven, "The Ancient Mariner in the Nineteenth Century,"Studies in Romanticism, 11 (Fall 1972): 360-374.
- William Hazlitt, "Mr. Coleridge," in The Spirit of the Age: or Contemporary Portraits (London: Colburn, 1825).
- Hazlitt, "My First Acquaintance with Poets," Liberal, 3 (April 1823): 23-46.
- Humphry House, Coleridge: The Clark Lectures (London: Hart-Davis, 1953).
- Charles Lamb (Elia), "Christ's Hospital Five-and-thirty Years Ago,"London Magazine [Baldwin's], 2 (November 1820): 483-490.
- John Livingston Lowes, The Road to Xanadu: A Study in the Ways of the Imagination (Boston & New York: Houghton Mifflin, 1927).
- Paul Magnuson, Coleridge and Wordsworth: A Lyrical Dialogue(Princeton: Princeton University Press, 1988).
- Emerson Marks, Coleridge on the Language of Verse (Princeton: Princeton University Press, 1981).
- Thomas McFarland, Coleridge and the Pantheist Tradition (Oxford: Clarendon Press, 1969).
- McFarland, Originality and Imagination (Baltimore & London: Johns Hopkins University Press, 1985).
- McFarland, Romanticism and the Forms of Ruin: Wordsworth, Coleridge, and the Modalities of Fragmentation (Princeton: Princeton University Press, 1981).
- John Stuart Mill, "Coleridge," London and Westminster Review, 33 (1840): 257-302.
- John T. Miller, Jr., Ideology and Enlightenment: The Political and Social Thought of Samuel Taylor Coleridge (New York & London: Garland, 1987).
- Reeve Parker, Coleridge's Meditative Art (Ithaca: Cornell University Press, 1975).
- Walter Pater, "Coleridge," in his Appreciations (London & New York: Macmillan, 1889).
- I. A. Richards, Coleridge on Imagination (New York: Harcourt, Brace, 1935).
- Nicolas Roe, Wordsworth and Coleridge: The Radical Years (Oxford & New York: Oxford University Press, 1987).
- Eleanor Shafer, "Kubla Khan" and the Fall of Jerusalem: the Mythological School in Biblical Criticism and Secular Literature 1770-1880(Cambridge: Cambridge University Press, 1975).
- Robert Penn Warren, "A Poem of Pure Imagination: An Experiment in Reading," in The Rime of the Ancient Mariner (New York: Reynal & Hitchcock, 1946), pp. 61-148.
- Raymond Williams, Culture and Society: 1780-1950 (London: Chatto & Windus, 1958), pp. 30-86.
- Williams, "Notes on English Prose: 1780-1950," in his Writing in Society(London: Verso, 1984), pp. 67-118.
- Carl Woodring, Politics in the Poetry of Coleridge (Madison: University of Wisconsin Press, 1961).
- Ian Wylie, Young Coleridge and the Philosophers of Nature (Oxford: Oxford University Press, 1988).
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Samuel Taylor Coleridge
Poet Details
Poems By Samuel Taylor Coleridge
- Christabel
- Constancy to an Ideal Object
- Dejection: An Ode
- Desire
- The Eolian Harp
- Epitaph
- Fragment 1: Sea-ward, white gleaming thro' the busy scud
- Fragment 10: The Three Sorts of Friends
- Fragment 2: I know 'tis but a Dream, yet feel more anguish
- Fragment 3: Come, come thou bleak December wind
- Fragment 4: As some vast Tropic tree, itself a wood
- Fragment 5: Whom should I choose for my Judge?
- Fragment 6: The Moon, how definite its orb!
- Fragment 7: When Hope but made Tranquillity be felt
- Fragment 9: The Netherlands
- France: An Ode
- Frost at Midnight
- The Good, Great Man
- Hymn before Sun-rise, in the Vale of Chamouni
- Inscription for a Fountain on a Heath
- The Knight's Tomb
- Kubla Khan
- Love
- Love's Apparition and Evanishment: An Allegoric Romance
- On Donne's Poetry
- The Pains of Sleep
- The Rime of the Ancient Mariner (text of 1834)
- Something Childish, but Very Natural
- Sonnet: On Receiving a Letter Informing Me of the Birth of a Son
- This Lime-tree Bower my Prison
- To Asra
- Work without Hope
- Youth and Age
Articles by Samuel Taylor Coleridge
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Samuel Taylor Coleridge is the premier poet-critic of modern English tradition, distinguished for the scope and influence of his thinking about literature as much as for his innovative verse. Active in the wake of the French Revolution as a dissenting pamphleteer and lay preacher, he inspired a brilliant generation of writers and attracted the patronage of progressive men of the rising middle class. As William Wordsworth's collaborator and constant companion in the formative period of their careers as poets, Coleridge participated in the sea change in English verse associated with Lyrical Ballads (1798). His poems of this period, speculative, meditative, and strangely oracular, put off early readers but survived the doubts of Wordsworth and Robert Southey to become recognized classics of the romantic idiom.
Coleridge renounced poetic vocation in his thirtieth year and set out to define and defend the art as a practicing critic. His promotion of Wordsworth's verse, a...


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|60 Plus Milfs
Older bitch wants her men to cum on her breast
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|More granny movies:
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subset: commoncrawl


text:
I would love to have all of that information contained in one spot but most of the people in the tracking thread only post their commission numbers and not the colors and options.
Send me your Gmail e-mail if you have one and I will add you to the spreadsheet permissions so that you can edit mine as well. Maybe, hopefully, we can find out what kind of cars all of the other people on your list have.


text:
How confident are you?
I personally have fairly low confidence.
I don't take many chances and don't finish things that may be difficult. I want to do things but ultimately I feel it will a waste of time.
There are a lot of people I would like to blame for it. My mother. My teachers. My wife. Is it really that hard to be a little supportive?
I suppose there are tons of people with the resolve to be confident of themselves without any outside support.
I'm not one of them, so ultimately me sucking is on me.


text:
Hello there,
I am planning to do the Cambridge Delta via distance learning and I would like to confirm a couple of details about the only two course providers that seem to do it - Bell http://www.bellenglish.com/Courses/77035/Online-Delta-/2013-02-18/ and International House http://thedistancedelta.com/.
From what I can see, there are a few differences: for Module 2, the IH course involves a compulsory 2-week "Orientation course", available in various locations, whereas Bell's doesn't; the IH orientation course includes 10 hours of peer observation, but the Bell course apparently has no requirement for peer observation in any module; IH Local Tutors are not compensated for their support, but Bell pay Local Tutors and will even put you in touch with one if they are nearby.
Each of these differences makes me favour the Bell course (the fact that it is more expensive than IH's is not an issue for me). Has anyone else who has researched the two courses confirm that these differences are true, or have I not understood or missed something? Has anybody done the Delta via distance learning - if so, did you have a positive experience with it or do you have any advice? Finally, do Delta courses usually differ so much in content from provider to provider (not just distance ones)?
Thank you in advance for any comments!


text:
By Joe Brewin
Arsène Wenger believes Arsenal must maintain their focus following their recent "blip" against Wigan to ensure they finish in third place.
Wenger's side hold a five-point advantage over Tottenham and Newcastle but have played a game more after Monday's disappointing defeat at Emirates Stadium.
But, with only third place guaranteeing a place in next season's Champions League group stages, Wenger has called for focus ahead of Arsenal's final four matches of the campaign.
"We had a little blip twice I believe for mental reasons," he told Arsenal Player. "Maybe subconsciously we thought, 'Ok, maybe that would be a little bit easier' and if you do not keep a clean sheet against these teams then you put yourself in trouble.
"You give any team in the world a two-goal advantage and it is difficult. Many times we have come back but not always.
"I don't know [how many more wins we need], we just want to win the next one. I believe our target is just that. We have to think that we have been on a great run, we have a fantastic opportunity but we also just need to focus on the next game and win it.
"Only the third place guarantees you to be in the Champions League anyway."
Watch the full interview with the boss on Arsenal Player now.Copyright 2017 The Arsenal Football Club plc. Permission to use quotations from this article is granted subject to appropriate credit being given to www.arsenal.com as the source


text:
a place for zinesters - writers and readers
Current Resident Zine - this shows all three issues. This is a zine of house fictions. I collect old vintage photos of houses and then write the stories I hear when I hold them.
Views: 59
Other Zine covers
Location: Portland, OR


text:
I know that I've jumped from wanting to do one costume to another, but we've finally committed ourselves to our first costumes. It was quite hard to talk my dad into this from the beginning, though. "I don't want a face character." "I want a helmet." "I don't want to be another white stormtrooper." Sheesh! I couldn't even convince him to do any clone comanders until Rex. Cap'n Rex really clicked with dad.
So I just wanted to ask some people who actually know what they're doing if I'm getting stuff from good sellers.
I'm looking at the armor from oscs. I've read a lot of good reviews on those guys. That and their armor looks really nice
Helmet- imperialsurplus.com
Body suit- I was considering UnderArmour's heatgear stuff. Being in Arizona, I figure that would be a good choice.
We're going to make the kama and pauldron ourselves.
Rangefinder- can I buy a Fett RF? Does it look the same? I want the rangefinder to go up and down (I'll get something from hyperdyne) too.
Dunno where to get boots or weapons from, though.
We'll be buying the helmet soon, and hopefully get some painting going next!
Thanks, all!


text: JP, I looked at the original picture and tried to enlarge it. I don't recall much about the larvae when I looked at it, but the enlarged picture looked like it was round on one end and the head was pointed. I do remember watching this hideous little things and they put their pointed heads up like they were looking around. Eeeks!!! I am serious, still thinking about how these creeps looked around freaks me out!!! I don't think they had eyes, but they sure looked like they were looking around. If I encounter them again I will take a better close up. Freaky little freaks!!! Beautiful, most wonderful day, lovin' and livin' our greatest of lives. Cindi


text:
What To Wear Under Your Prom Dress
What better way than to kick off your dream prom than with a fairytale-inspired gown? A princess gown in girly pink or dreamy blue will make you feel like the prettiest girl at prom. With so much going on in a look like this, keep the rest of your jewelry and makeup super minimal like Elle Fanning, Carrie Washington, and Jennifer Lawrence's looks.
Stand out in a sea of sequins and black dresses in an electric tone! Bright yellow looks amaze on all skin tones, especially darker complexions!
7 Tips For Wearing Pants To Prom


text:
Ladies finalise preparations for tour opener
Laura Harvey's team trained at the Nishigaoka Stadium on Tuesday evening in preparation for Wednesday's INAC Kobe clash at Tokyo's 57,000-capacity National Stadium.
Laura Harvey and Jayne Ludlow joined with their opposite numbers to speak to a throng of Japanese media ahead of the session. Scroll down the page for Laura's pre-match comments.
on INAC Kobe…
We're really happy to be here and want to say congratulations to INAC Kobe on their first league championship this year. We hope to have a good competition with them and a good game. We will try and raise as much as possible for the tsunami and earthquake relief effort. We hope that we can make the game enjoyable and we look forward to it.
on Arsenal's approach to the game...
In terms of how we would like to play, it's about being able to adapt to playing against a team from a different continent and how they play, which is something that we haven't been able to do before. We've never played on this side of the world before. So to play against a team from Asia and obviously with the level of players that INAC Kobe has - it'll be interesting to be able to pitch ourselves against that.
on their style of play…
We have our own style of football. We try to play in as similar way to the [Arsenal] men's team and to play football as attractive as possible. We want to stay faithful to the style of football we play. We feel attacking is a strength of ours. But we are also quite dominant defensively. We don't like to concede goals if possible, so we will be trying to show what we've got in both areas and try not to play any differently to how we would if we were back home in England.
on support from the men's team…
Obviously Mr Wenger worked out in Japan prior to joining Arsenal and he wished us good luck before we came out here. I believe Faye White learned some Japanese from Ryo back in London too and, although he's new to the Club, he's been very supportive of this tour too.
Jayne Ludlow added: "Kunichiwa. I'd just like to say on behalf of all the players, we couldn't wait to come over here and play some of the best players in the world. We're really looking forward to testing ourselves against some of the best players in the world."
Related Stories
v Arsenal Ladies
Harvey: 'I think it was a huge success'
Laura on the Ladies' showcase fixture against INAC Kobe


text:
The best way to add time is to use the AutoSum button on the Home tab. You can also add a unit of time, such as 1½ hours, to a time of day, such as 10:00 a.m., by using the TIME function.
Other videos in this course
This video is part of a training course called Add or subtract time.


text: Synchronized with the launch of Apple's iPhone 4 at WWDC 2010, an FCC filing has been publicised which makes some interesting reading if you want to try and figure out some of Apple's plans for global smart phone domination. It also makes Apple's iPhone 4 the first device in the world to be released, and sport 5 frequency bands. The new … Read More


text:
|SVT Performance (2002-2004) The place to chat about any 2.0L SVT DOHC Zetec engine performance, tuning and exhaust related upgrades.
|Topic Review (Newest First)
|Any luck on the purchase? Love to hear how it turned out for ya.
|do. it.
just bought my SVT 1 month ago. had a few minor problems. fixed the simple issues myself ($110 - ish) no big deal. and just slapped on a supercharger. not cheap. but not needed either lol just a fun addition. its a fun car. and mines a tad faster now! i would recommended it. and that black svt focus you listed looks like it was taken care of very well. awesome condition for the age. and low miles. got mine with 80,000. looks like a good deal to me.
i would try my best to haggle the deal down though. always room to play with the price!
New SVT owner here! I purchased the car with 120k on it which means I will be dumping money into it soon. Hopefully I can reach 200K or get close it it.
The seats are great compared to the Escort I was driving before. The car is relativity slow but it brakes and handles well.
I would never pay more than 5 thousand for one unless it's been really taken care of and you don't need to do anything.
Timing belt and the clutch are the big PITA repair items on these cars. Try revving it up and dropping the clutch before you buy it. If does not lock the wheels up then they better take $700 off the sales price.
Good luck.
|XxFocus SVTxX
|i bought the exact same car but red interior and trust me i love the car mine had 125k on it and it needed some engine work because the timing belt snapped but i would make sure it was changed too idk if he ever had his changed but it broke at 124,900.
|Wow, great reply.
I bought mine when it was 2yrs old with about 13k mi on it. Since then there has been plenty of stuff that has required fixing or replacing, but it has never left me on the side of the road, and that's the kind of reliability that matters.
Like others have mentioned, be absolutely certain that you know the condition of the timing belt. These are interference engines, so if that breaks then it will cause very serious damage to the motor.
If the car was driven 'spiritedly', then you may have to replace things like the wheel bearings, tie rods, O2 sensors, and possibly the clutch, if it hasn't already been done.
Other performance / service notes would include:
-The rear brake pads on these cars are small...really small...really really freakin' small. expect to have to change them. At least it's an easy process.
-The Intake Manifold Runner Cable (IMRC) Control Module is prone to needing service or replacement due to cheap nickel plating on the contact points. there's a DIY repair tutorial on this site though. Easy enough to perform if you're careful.
-The OEM Clutch and Flywheel design was substandard and subsequently the design was changed post-production. If the clutch has not already been replaced, you will also have to buy a flywheel when you do replace it. Even still, this is an excellent opportunity for performance upgrades.
-The OEM motor mounts (3) were made from old grape jello that was left in the fridge for too long in the Ford engineering facility and feel like crap when you really get on it. poly replacements suggested.
-The OEM tune on the engine is notorious for creating 'surges' when maintaining speed and bogging a bit on take off. this is a combination of issues (largely F/A, VVT and IMRC related from what I can gather) that are easily taken care of with a tune. Most people on this site will suggest getting one from Tom from Focus-Power (1turbofocus on this forum) which will cost you about $400 ($300 for the flash hardware, + $100 for the tune itself), which comes with free updates as you modify your engine for as long as it remains NA.
Other than that, it's the usual service items that tend to be either regular maintenance, or car-specific wear and tear.
|Ever since buying mine, it's never broken down on me. I even drove it from Portland, OR to Santa Barbara, CA when I first got it. runs strong and gets 28 mpgs to and from work including warm up
|I bought my svt like 6 months ago and it wasent taken care of till I got it. It needed some work right off the bat but I got it all fixed up and haven't had any problems with mine. Been very reliable car and realy fun to drive.
I got my SVT in March, it had a lot of issues already waiting to be fixed, but I knew if I didn't get it then some 'non focus guy' would, and he'd just drive it to it's sad end at junkyard, I took decision to take the car as it is and save it from misery.
Now, few months later I need to admit that I love this car, even tho it costs me a lot of time and money to get it restored, or maybe that's because of it :) and don't forget great handling and a pure pleasure to drive.
In my case it is a money pit, but I already see that in most cases of SVTs they become money pits due to lack of maintenance, and/or because their owners do drive em much harder than regular Focus. If you put SVT and regular ZX3 side by side, and drive them same way, they will be equally reliable.
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|Topic Review (Newest First)
My thing on any mod, does it REALLY add to the look, the over all look? Personally, this is me personally, I don't think shaving handles on any pre-1950 car adds a damn thing to the looks. They are boxy, covered in all kinds of lines going every direction, the over all look isn't improved one bit. Take a 50 Ford or Chevy, whole different ball game. Shaved handles and frenched lights, you are shaving off the ONLY things that aren't flowing with the rest of the lines of the car. And on a 69 Camaro, DON'T GET IT sorry, it isn't a custom, it makes no sense what so ever to me.
On the 30's cars, the handles are one of the very cool features like the lights hanging out, like the vertical windshield, like the running boards, they ADD to the cars character they don't take away from it.
Just my opinion.
re: door poppers
Here is a little help along the door popper thing.
I put some cool ones in before I had the solenoids installed. I installed the door seals and checked that the doors opened easily and the seals really sealed.
Then Installing the solenoids I found that the 30# ones I thought would easily actuate the latches didn't do anything. The seals and poppers caused too much friction in the latches. I did everything I could to make things smooth but no luck at all. I finally got some 60# monsters that do work however they are noisy to say the least and just barely open the doors. I had to remove the poppers as they put too much load on the latches. The seals were more than enough and I used very soft "D" shaped seals. I have very narrow edges on the doors so only 3/8 seals really work.
After 4 years and a lot of miles I still have to push in on the door while operating the FOB to get the lateches to release. I had a problem with the first set of 60# solenoids sticking and not operating at all. It turned out that there were some oversized washers installed on the rods that caught onthe inside edge of the solenoid. Pure luck allowed me to fish a wire in and grab the interior handle twice before I figured out what was wrong.
I've been locked out of the car at least a half a dozen times. Each time it gets more frustrating. I have to leave a window open an inch or so to provide working room for a wire. I have to keep a wire in the trunk for this. Yes I do have an emergency cable to open the doors but trying to crawl under the car to get at it when it is pouring rain and pitch dark out id not fun.
In the end look around....do you see any American cars that come from the factory with shaved door handles??? It really is a safety device. Should you be incapacitated from a crash, how does someone get the door open to help you??? Break the glass is the only option. A suicide door is even worse with a mechanical latch pin. Think about it.
I won't put shaved handles on again.
I have these poppers, there the ****. Bronze bushings and really nice looking.
Here's a better link to the vender
Got in to it a little today.I got the window in there for a test fit. Got it in the track on a few test strips of felt channel. I may be able to make it work but wow it's gonna take some time. I am having one hell of a time getting the u channel down in the door and in place without bending it all up. I was going to use the one with the little chrome beads but skaruuuu that. I am going with solid black. May need to cut a couple of 4 inch round access holes in the fiberglass. Plus looks like I may be missing a few parts form the SPW kit...geeze. Going to have to put the door poppers in there too while I'm at it. Don't have them yet, any suggestions on which one to buy?
Your last paragraph says it all.
I also would weld nuts on the latches as it will be nearly impossible to get a wrench up in there without cutting an ugly hole.
I TIG welded nuts on mine the very first time I took them out. there are 3 flat head hes socket screws that hold each latch on. You may also find that hooking up the 'down' or actuating rod will help installing the latches. I did this before instaqlling the PW. I made small right angle bellcranks mounted on 1/4-20 screws and tucked the actuating rods in close to the inside of the door. These come off at the bellcrank to install the PW.
good luck on a tough project.
Wait untill you get to the wipers!!!!
Post some photos, opening up the hole that the channels go into a little big while still leaving it small enough for the window frame to cover it may make all the difference in the world.
Forgive me for my ignorance I don't know these bodies at all, never worked on one in my life. But if it is your typical fiberglass body around the windows opening on the inside is a bit smaller than it was originally on the steel car. It's only understandable that it would be, the fiberglass is thicker than the metal right off the bat, then the body maker let's a little more fiberglass hang off on the edges and wham you have a tighter hole for the glass and channel to go thru and being it was VERY tight when it was steel, it is REALLY tight now and the glass can't even fit thru.
Like I said, I have not done this particular project, but just looking at it like any other problem of the kind my first question of my self is, "How was it installed at the factory". In 1934 how did they install the door glass in one of these bodies? They stuck it down thru the hole from the inside that's how. So what is different about this Outlaw body that is preventing this? THAT is what I would be looking at.
Now, being chopped makes a HUGE difference in installing the door glass, and even with a stock steel body some modifying to the whole could even be needed, so with the extra challenges of a "new" fiberglass body I can only imagine. But if the hole can be modified in some way to get that window in, and that modification is covered by the inside window frame, what the hay?
Also, putting the glass in on most of these old cars is a challenge, it is a friggin puzzle that has to be figured out, with the channel, without the channel, with the door latch installed, without it, it can be a crazy bare even with a stone stock car. I assume we are talking one piece windows, sticking them straight down is probably out, most often they need to be stuck into the door face down then after it's in the door rock it down in the back into position sticking the front lower corner and upper rear corner into the channel.
Like I said, I don't know these bodies but just thought I would toss out there some general ideas that may be of help.
|You may have to open the inner door panels up some to get glass in. I have SPW in my Willys and it was a real trick to get them in and out. The best way I found was to unbolt the front and rear window channels and assemble them as you reinstall the mechanics. It's not easy. I'd hate to have to fix broken glass. it would be at least an all day job.
|Can you cut the inner assembly where it will be hidden by door panels, install then weld the pieces back into place?
|34 Chevy sedan..
You did not say which Outlaw body you have but on my 34 I took the window and window mechanisms completely out of the doors when I painted the car. Now going back together was not easy but it was accomplished. On my 34 the window mechanisms were bolted to a portion of the inner door panel that was removable by taking out about a dozen screws.
Moving this to General Rodding Tech.
installing power windows %^$#@%&^*
ok...so I got this Outlaw Performance body and frame. It's an older car late 90s but never put together or on the road. I got a specialty PW kit that came with the car but were not installed...yep thats right.. now I got to try to get them in the doors ///ain't gonna happen. Called Outlaw, seems my best bet is to remove the door skins to get em in..... Damn I picked a bad time to stop drinking.
Any ideas? Thinking about a drag car strap to let em up and down...
Not anything towards Outlaw Performance! They have been great trying to help me. The windows are normally installed before the door goes together. AGAIN NOT Outlaw Performance's fault... LOVE their bodies! Like I said this is an old car and 4 owners, hard to tell what has been done to it over the years. Harry ..the tech guy at OP is the best!!
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Linda Lock
In addition to her hands-on demonstrations of Cottage Paint at the Junk Bonanza April 18-20, Canadian painter and refurbisher Linda Lock is teaching a CP master class Monday, April 22, at Hirshfield's Plaster Center in downtown Minneapolis!
Click HERE for the link to the details…Read more about this very talented painter in the Q & A featured on the Junk Bonanza blog.
Thanks to Drew Beninati of the Plaster Center for this fantastic giveaway.
More about Cottage Paint at Hirshfield's.
Best of luck to everyone!


text:
So I've been pouring over the old threads and I am torn on this issue. Having never seen either set of armor in person I am having a hard time judging which is better. I am looking to do my armor as cheaply as possible and fabricate as much as I can within reason.
I watched an armor tutorial a fellow Denter made (was it Seeker I think?) and it was a great tutorial but I don't have a master to use to shape the armor and it seems like the trash can armor looks just fine.
What are the cons of trash can armor compared to sintra? I imagine that in the end sintra produces better armor but I can't really see a difference in the photos on the forum here.
Thanks for the help!


text:
Click for "Microbes After Hours" videos
Georg Kohler and Cesar Milstein physically fuse mouse lymphocytes with neoplastic mouse plasma cells to yield hybrid cells called hybridomas that can produce specific antibodies and survive indefinitely in tissue culture. This approach offers a limitless supply of monoclonal antibodies. Monoclonal antibodies permit the generation of diagnostic tests that are highly specific. They also function as probes to study cell function. With Jerne, Kohler and Milstein are awarded the Nobel Prize in Medicine or Physiology in 1984.


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Manchester Airport is used by both low-cost carriers and major airlines such as Air France, British Airways, Delta and Emirates. All these operate a wide variety of routes from this airport; the busiest of which include Heathrow, Dubai, Orlando and Copenhagen.
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text:
Hi guys.
I was wondering if anyone had a source for english translations of Atthakatha and the Subcommentaries. Both for purchase or if any free online ebooks exist even better!
This could be a great topic as I am sure many people visiting this section would love to review the source material before posting comments/questions.
with lots of metta friends