Gissing - - pages William Bathe, S. Staff, P. Staff, E. Staff, Lawrence J. Peters, James D.
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A Wren’s Nest
Will Fish Ever Fly? Gissing - - pages. William Bathe, S. Staff, James Bryce - - 63 pages. The edition has triggered a reaction by some commentators unwilling to countenance the introduction into Coleridge's oeuvre of such a significant work and the necessary adjustments to our understanding of his biography that such a discovery must generate. The cumulative and corroborative weight of the evidence, nevertheless, indicates that the work is Coleridge's. The absence of any counter evidence makes the case even stronger.
The internal evidence alone has prompted careful readers to recognize Coleridge's hand. Over verbal echoes from Coleridge's other writings recur within the translated text. Mephistopheles's monologue on the ascent of the Brocken , which deviates from the reliance on blank verse, reveals a mastery of the tetrameters of Christable. During the period of the translation from May, , to September, , Coleridge in his notebooks ponders the meaning of German words and phrases that occur in Goethe's Faust.
Further documentary evidence is found in the letters of the publishers and the contemporary reviews. In the following paragraphs, I shall endeavor to sharpen the debate by refining a few salient examples, first of Coleridge's self-echoing phrases, then of his notebook references, and I conclude with a summary of evidence from external sources. On Sunday, October 28, , Coleridge wrote to James Gillman to let him know that his return from his voyage was eagerly awaited. Coleridge had strolled down to the Custom House on the Thames for news of Gillman's anticipated arrival. Standing on the landing stairs, Coleridge watched a steamer turning on the river and went on to describe the pulsing energy manifest in the swirling mists:.
Letters 6. Coleridge uses here words and phrases that also belonged to Faustus from the German of Goethe published six years earlier by Thomas Boosey. Sources for Goethe's description of the Sign of the Macrocosm have been identified among the copperplate engravings to the works of Jacob Boehme and Johannes Kepler and other pansophic accounts of universal harmony. In Goethe's image, golden buckets, like the paddles of a water-wheel, are seen as scooping up the heavenly powers and forever ascending and descending as the wheel resolves Goethes Faust The English translation provides natural description rather than mechanical and alchemical symbols:.