Books with author Samuel Taylor 1772-1834 Coleridge

Why buy our paperbacks? Most Popular Gift Edition - One of it's kind Printed in USA on High Quality Paper Expedited shipping Standard Font size of 10 for all books 30 Days Money Back Guarantee Fulfilled by Amazon Unabridged (100% Original content) BEWARE OF LOW-QUALITY SELLERS Don't buy cheap paperbacks just to save a few dollars. Most of them use low-quality papers & binding. Their pages fall off easily. Some of them even use very small font size of 6 or less to increase their profit margin. It makes their books completely unreadable. About The Rime Of The Ancient Mariner The Rime of the Ancient Mariner (originally The Rime of the Ancyent Marinere) is the longest major poem by the English poet Samuel Taylor Coleridge, written in 1797–98 and published in 1798 in the first edition of Lyrical Ballads. Modern editions use a revised version printed in 1817 that featured a gloss. Along with other poems in Lyrical Ballads, it was a signal shift to modern poetry and the beginning of British Romantic literature.

This anthology is a thorough introduction to classic literature for those who have not yet experienced these literary masterworks. For those who have known and loved these works in the past, this is an invitation to reunite with old friends in a fresh new format. From Shakespeare s finesse to Oscar Wilde s wit, this unique collection brings together works as diverse and influential as The Pilgrim s Progress and Othello. As an anthology that invites readers to immerse themselves in the masterpieces of the literary giants, it is must-have addition to any library.

The Rime of the Ancient Mariner is the longest major poem by the English poet Samuel Taylor Coleridge, written in 1797–98 and published in 1798 in the first edition of Lyrical Ballads. Along with other poems in Lyrical Ballads, it is often considered a signal shift to modern poetry and the beginning of British Romantic literature. The Rime of the Ancient Mariner relates the experiences of a sailor who has returned from a long sea voyage. The mariner stops a man who is on the way to a wedding ceremony and begins to narrate a story.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The Rime Of The Ancient Mariner is a hauntingly beautiful work, acclaimed both for the lyrical quality of its language and for the ghostly atmosphere it evokes. Samuel Taylor Coleridge's masterpiece related the tale of a sailor who shoots a lucky albatross and is condemned to wander the sea in search of redemption, burdened with guilt over his deed and the resulting deaths of his shipmates.

The work was originally intended as a mere preface to a collected volume of his poems, explaining and justifying his own style and practice in poetry. The work grew to a literary autobiography, including, together with many facts concerning his education and studies and his early literary adventures, an extended criticism of William Wordsworth's theory of poetry as given in the preface to the Lyrical Ballads (a work on which Coleridge collaborated), and a statement of Coleridge's philosophical views. In the first part of the work Coleridge is mainly concerned with showing the evolution of his philosophic creed. At first an adherent of the associational psychology of David Hartley, he came to discard this mechanical system for the belief that the mind is not a passive but an active agency in the apprehension of reality. The author believed in the "self-sufficing power of absolute Genius" and distinguished between genius and talent as between "an egg and an egg-shell". The discussion involves his definition of the imagination or “esemplastic power,” the faculty by which the soul perceives the spiritual unity of the universe, as distinguished from the fancy or merely associative function. The book has numerous essays on philosophy. In particular, it discusses and engages the philosophy of Immanuel Kant, Johann Gottlieb Fichte, and Friedrich Wilhelm Joseph von Schelling. Being fluent in German, Coleridge was one of the first major English literary figures to translate and discuss Schelling, in particular. The later chapters of the book deal with the nature of poetry and with the question of diction raised by Wordsworth. While maintaining a general agreement with Wordsworth's point of view, Coleridge elaborately refutes his principle that the language of poetry should be one taken with due exceptions from the mouths of men in real life, and that there can be no essential difference between the language of prose and of metrical composition. A critique on the qualities of Wordsworth's poetry concludes the volume. The book contains Coleridge's celebrated and vexed distinction between “imagination” and “fancy”. Chapter XIV is the origin of the famous critical concept of a “willing suspension of disbelief”.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.