Opus Maximum Research Articles

Sublime Discourse and Romantic Religion in Coleridge’s Aids to Reflection

Previous articleNext article No AccessSublime Discourse and Romantic Religion in Coleridge’s Aids to ReflectionMurray J. EvansMurray J. EvansUniversity of Winnipeg, Winnipeg Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Wordsworth Circle Volume 47, Number 1Winter 2016Romantic Religion Article DOIhttps://doi.org/10.1086/TWC47010027 Views: 28Total views on this site © 2016 by The University of Chicago. All rights reserved.PDF download Crossref reports no articles citing this article.

Luke Savin Herrick Wright Samuel Taylor Coleridge and the Anglican ChurchSamuel Taylor Coleridge and the Anglican Church. Luke Savin Herrick Wright. Notre Dame, IN: University of Notre Dame Press, 2010. Pp. viii+295.

<i>Luke Savin Herrick Wright</i> Samuel Taylor Coleridge and the Anglican Church<i>Samuel Taylor Coleridge and the Anglican Church</i>. Luke Savin Herrick Wright. Notre Dame, IN: University of Notre Dame Press, 2010. Pp. viii+295.

Robert Bellah on the origins of religion. A Critical Review*

This book, as hefty as it is ambitious, represents the opus maximum of the great American sociologist of religion Robert Bellah. The author establishes his quest, from the ‘big Bang’ to Karl Jaspers’ ‘axial age,’ in the middle of the first millennium B.C.E., upon Durkeimian and Weberian principles, and studies in turn the civilizations of Israel, of Greece, of India and of China. Doing this, he ignores Iran, and does not reach up to Christianity and Islam, which appeared later. The failure of the enterprise is at the level of its ambitions. It is an honorable one.

Book Review: Coleridge's Assertion of Religion: Essays on the Opus Maximum, Coleridge, the Bible, and Religion

Book Review: Coleridge's Assertion of Religion: Essays on the Opus Maximum, Coleridge, the Bible, and Religion

Coleridge, the Bible, and Religion

Jeffrey Barbeau, Associate Professor of Theology at Wheaton College, has published a number of studies of Samuel Taylor Coleridge: entries in reference books, journal articles on his hermeneutics and interactions with German idealism, and a collection of essays on the Opus Maximum, an unfinished synthesis of his ideas which was published in 2002 as the final volume of the Collected Works, published by Princeton University Press. The focus of his latest book is Confessions of an Inquiring Spirit, a work that also remained unpublished during Coleridge's lifetime (it first appeared in 1840, edited by his nephew Henry Nelson Coleridge, and is part of Volume 11 of the Princeton series). The Confessions has not received a great deal of critical attention, but Barbeau has devoted an entire monograph to it because of the critical place he believes it occupies in Coleridge's thought. In Barbeau's view, the book ‘establishes Coleridge's religious system and provides a framework for recovering his late writings on Christian doctrine’ (pp. 2, 161). Studying it thus has the potential to revolutionise scholarship, as it can open ‘the whole of Coleridge's literary corpus to fresh and captivating readings’ (p. 169).

Coleridge's Assertion of Religion: Essays on the Opus Maximum – Edited by Jeffrey W. Barbeau

Religious Studies ReviewVolume 34, Issue 2 p. 86-86 Coleridge's Assertion of Religion: Essays on the Opus Maximum – Edited by Jeffrey W. Barbeau Darren C. Marks, Darren C. Marks Huron University College at the University of Western OntarioSearch for more papers by this author Darren C. Marks, Darren C. Marks Huron University College at the University of Western OntarioSearch for more papers by this author First published: 27 May 2008 https://doi.org/10.1111/j.1748-0922.2008.00265_1.xRead the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Volume34, Issue2June 2008Pages 86-86 RelatedInformation

The Collected Works of Samuel Taylor Coleridge Volume XV. Opus Maximum. Samuel Taylor Coleridge, edited by Thomas McFarland with Nicholas Halmi.

Previous articleNext article No AccessThe Collected Works of Samuel Taylor Coleridge Volume XV. Opus Maximum. Samuel Taylor Coleridge, edited by Thomas McFarland with Nicholas Halmi.Larry LockridgeLarry Lockridge Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Wordsworth Circle Volume 33, Number 4Fall 2002 Article DOIhttps://doi.org/10.1086/TWC24044199 Views: 1Total views on this site © 2002 by The University of Chicago. All rights reserved.PDF download Crossref reports no articles citing this article.

Coleridge: Prescience, Tenacity and the Origin of Sociology

how can we love our universal Friend and Almighty Parent whom we have not seen?'2 More than a quarter of a century later, in his Opus Maximum, he asked the same question: 'If ye love not your earthly parent, how can ye love your father in heaven?'3 All that time, from 1795 to 1820 or later, the question had been held in his mind. It was occupying his thoughts in his fledgling, though virtuoso, work of the mid-1790s; and it was occupying his mind as he set forth on what he considered 'the great object ofmy life'4, that object being 'my Opus Maximum on which I chiefly rely for the proof that I have not lived or laboured in vain' (CL, VI, p. 541, January 1826). It is extraordinary that a mental formulation should remain vital in anyone's mind for so long a period of time. It is even more extraordinary, however, that it not only remained in Coleridge's mind for more than a quarter of a century, but that it did not rest there inertly. On the contrary, it permuted and combined under constant reflection to eventuate in the most distinctive and vivid insistence of the entire Opus Maximum. For the apex of that work, and perhaps the most original and powerful insistence in his entire edifice of thought, is Coleridge's derivation of the belief in God from the relationship of mother and child. Few before Coleridge had dwelt so insistently on the meaning of that relationship, but under his intense scrutiny the profoundest of meanings are uncovered to view. The 'first dawnings' of a baby's

The Harvest on the Ground: Coleridge's Marginalia

In March 1820, when he was forty-seven years old, Coleridge wrote a long letter to his young friend Thomas Allsop to thank him for a generous gift of money. Allsop, a London business man twenty years younger than Coleridge, had attended the literary lectures in 1818, had fallen under Coleridge's spell, and was now a close friend. Coleridge now unfolded in some detail the work he had in progress and discussed the prospects of completing what he hoped to do, in the face of ill health, public neglect, and the interruptions forced on him by the need to meet his obligations to his hosts in Highgate and to his scattered family. He had five works in hand, he said: "The Characteristics of Shakespeare's Plays"; a philosophical analysis of the genius and works of Dante, Spenser, Milton, Cervantes, and Calderon, with shorter studies of Chaucer, Ariosto, Donne, and Rabelais; the history of philosophy (the "Philosophical Lectures" delivered between December 1818 and March 1819); letters on the Old and New Testament; and "my GREAT WORK, to the preparation of which more than twenty years of my life have been devoted" — the Opus Maximum — to which (he said) all his other writings, except the poems (and perhaps even those too) were preparatory. Altogether, not including the Opus Maximum, these would make about ten large volumes.