By Christopher Stokes (auth.)
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Extra info for Coleridge, Language and the Sublime: From Transcendence to Finitude
300). When considering, specifically, the appropriation of the poetic by oratory, Philemon claims that ‘the Skilful only can extract Medicines from Poisons’ (p. 276). This is an objection left unresolved by Eubulus’s answers. The discussion ends in a rather unsatisfactory way: Eubulus refers to Quintilian, in a citation appealing to the figure of the teacher, who is to instruct and tame the ardour of the young orator. As such, the mighty dangers which attend the sublime are simply policed by Longinus and Coleridge’s Effusions 27 invoking authority: Quintilian, a great teacher of oratory, discoursing about the teaching of oratory.
As explained previously, sublime utterance is self-authorising, both in the sense of compelling assent rather than submitting to judgement, and in being authenticated through its own origin in genius. However, in ‘France: An Ode’ the origin of the poetry in the individual’s exceptional subjectivity becomes a matter of anxiety. 26–7). Notably, the ‘gratulation’ of his songs of liberty is not con-gratulation. 36). Thus far, he conforms to Longinian values. A partition or limiting of voice – ‘ne’er, O Liberty!
37–8) Even when their paths do meet, her voice seems simultaneously present and distant: With her I list the warblings of the grove; And seems in each low wind her voice to float, Lone-whispering Pity in each soothing note! 34–6) Once again ‘soothing’, despite its etymology, has a hint of dissimulation about it. 54). This desire for a reified simulacrum once again reverses the ethos of the preface: instead of poetry acting as the expression of an emotive moment, the speaker submits his emotions to the consoling stasis of poetry.
Coleridge, Language and the Sublime: From Transcendence to Finitude by Christopher Stokes (auth.)