The Eolian Harp: Coleridge's Middle Voice?
Samuel Taylor Coleridge's conversation poem, The Eolian Harp, configures a complex and highly significant relationship between activity and passivity. A merely passive poet, under the influence of natural or divine inspiration, would in Coleridge's view be reduced to a mere automaton. Yet...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
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| Published: |
Oxford University Press
[2020]
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| In: |
Literature and theology
Year: 2020, Volume: 34, Issue: 1, Pages: 101-119 |
| IxTheo Classification: | CD Christianity and Culture VA Philosophy |
| Online Access: |
Presumably Free Access Volltext (Verlag) Volltext (doi) |
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| 520 | |a Samuel Taylor Coleridge's conversation poem, The Eolian Harp, configures a complex and highly significant relationship between activity and passivity. A merely passive poet, under the influence of natural or divine inspiration, would in Coleridge's view be reduced to a mere automaton. Yet the poem is often thought to represent just such a poet. Similarly, it is thought to represent Sara, the speaker's interlocutor, as a surrogate self. I shall argue, instead, that the poem presents the self in a middle voice', at once active and passive, such that inspiration does not efface human agency. I shall also consider the senses in which Sara evinces a middle voice and thus a distinct and substantial subjectivity. The implications of this argument for Coleridge's broader corpus, and for some recent critiques of his aesthetics, will be suggested. | ||
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