We've found 12 Samuel Taylor Coleridge tests

Composers Music Appreciation Romeo And Juliet Samuel Taylor Coleridge Twenty First Century
Chapter 42. Sounding a Nation: Grieg and Orchestral Nationalism – Flashcards 14 terms
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Rosa Sloan
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Developmental Psychology Johann Wolfgang Von Goethe Ralph Waldo Emerson Samuel Taylor Coleridge
Chapter 27/28Humanities 112 Review – Flashcards 10 terms
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Jaxon Craft
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Literature Samuel Taylor Coleridge
Poetry: Poems by Gwendolyn Brooks and Emily Dickinson – Flashcards 15 terms
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Tiffany Hanchett
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Good And Bad Optical Physics Rip Van Winkle Samuel Taylor Coleridge
"An Age of Revolutions in Europe & the Americas" – Flashcards 12 terms
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Henry Lowe
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AP English Language And Composition English/Language Arts 3 (11Th Grade) Literature Percy Bysshe Shelley Samuel Taylor Coleridge
English Literature Unit 7 Test Questions – Flashcards 24 terms
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Margaret Bruce
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Authors Samuel Taylor Coleridge
English Literature Quiz 14 – Flashcards 10 terms
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Brandon Ruffin
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American Literature Eighteenth Century Samuel Taylor Coleridge
English Literature Answers – Flashcards 95 terms
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Viola Marenco
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Death And Life Samuel Taylor Coleridge
English Literature Quiz 16 – Flashcards 9 terms
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William Hopper
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Artists Percy Bysshe Shelley Samuel Taylor Coleridge
character/plot/theme Arthurian legends – Flashcards 29 terms
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Thomas Owen
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Place And Time Samuel Taylor Coleridge
Edgar Allan Poe Poem "The Raven" – Flashcards 24 terms
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Aiden Simmons
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Day After Day Percy Bysshe Shelley Samuel Taylor Coleridge The House
Romantic Period Answers – Flashcards 30 terms
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Sara Edwards
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Percy Bysshe Shelley Realism Samuel Taylor Coleridge
Modern World History Chapter 8 Study Guide – Flashcards 30 terms
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James Hopper
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Which of the following statements describes the relationship of [William Blake and Thomas Gray] to [William Wordsworth and Samuel Taylor Coleridge]?
c. The first pair were Enlightenment authors with romantic characteristsics. The second pair were the first to identify themselves as romantics.
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The literary period which began with the publication of Lyrical Ballads, a collection of poems by William Wordsworth and Samuel Taylor Coleridge, and ended in 1832 with the death of Walter Scott
The collection of poems by William Wordsworth and Samuel Taylor Coleridge that began with Romantic Age
Match the figures of speech used in Samuel Taylor Coleridge’s poems to the lines that contain them.
Alliteration – “A damsel with a dulcimer” Personification – “The Sun came up upon the left, Out of the sea came he!” Repetition – “Below the kirk, below the hill,” Simile – “The Wedding-Guest stood still, And listens like a three years’ child:” Antithesis – “a sunny pleasure dome with caves of ice.”
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Samuel Taylor Coleridge: from Biographia Literaria: Chapters 14 and 17
Ostensibly a literary biography, Biographia Literaria: Or, Biograhical Sketches of My Literary Life and Opinions, is also one of the greatest works of literary criticism. Coleridge begins by discussing his secondary education, particularly in classical poetry, under James Bowyer at Christ’s Hospital Grammar School. From there, he launches a discussion of Wordsworth’s poetry, to which he later returns. Coleridge takes Wordsworth at face value and applies to Wordsworth’s poetry what Wordsworth in his 1800 preface to the Lyrical Ballads claimed to do. Coleridge shows that Wordsworth’s protestations that his craft was the common language of common people was not strictly true, and that his poetry is nonetheless artifice, consciously crafted and not the unreflective, thoughtless speech he said it represented. Still, Coleridge argues that Wordsworth is the finest contemporary poet and an example of poetic genius. He also gives his version of the origin of the Lyrical Ballads of 1798, saying that Wordsworth was to write of natural scenes made extraordinary by his craft, while Coleridge was to write of the supernatural rendered credible by his art. This interpretation is somewhat at odds with Wordsworth’s emphasis in his preface on the volume’s intended singular purpose. Coleridge also proffers his definition of imagination. He distinguishes the “primary,” which he describes as the divine ability to create, the source of all animate power. The “secondary” imagination is the human ability to create through the inventive perception and recollection of images. Last is the “fancy,” which is simply the ability to remember. Coleridge, in addition, discourses at length on philosophy. Beginning with Thomas De Quincey, who was himself later similarly charged, critics have noted, censured, or excused the extensive portions of the Biographia Literaria that correspond to translations of the German philosopher Friedrich Wilhelm Joseph von Schelling. Commentator Thomas McFarland has pointed out that Schelling did not consider his work to have been plagiarized and that in large measure what Coleridge was doing was registering a congruence of his thinking with that of Schelling, before both diverged in opposite directions. Moreover, McFarland notes that Coleridge fully intended to return to the manuscript later to insert his own words for the words of the German, which were at the moment merely holding a place in the text, as it were, for Coleridge’s words. Alas, Coleridge never returned, never substituted, and never completed the work. Thus, it might be described most accurately as an “anatomy,” as critic Northrop Frye defines it, a congeries of digressions, meditations, and reflections, the unity of which may be unclear but the sum of which clearly exceeds its parts.
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