柯尔律治的文学批评与诗歌创作
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摘要
柯尔律治作为18世纪末19世纪初英国诗坛上著名的浪漫派诗人、诗歌理论家，在西方一直享有很高的声誉，但在中国学术界有关柯氏研究的专论和著作却寥若晨星。这不仅因为柯氏是一位声誉很高而作品却甚少的特殊人物，而且因为他的大部分理论著作迄今尚未翻译过来。这不能不说是一大缺憾。
本文试图从辩证唯物主义和历史唯物主义的立场、观点出发，以历史研究和比较研究相结合的方法，通过分析和归纳，对柯尔律治作整体的研究，对其文学批评和诗学理论进行系统的梳理和明晰的阐释，并努力在当代视野的观照下，发现其历史局限性和现实的意义及价值。
本文除引言和结语外，共分为三个部分，下面就各部分内容予以介绍：
第一部分，对柯氏浪漫主义文艺思想的形成与特色进行了论述。柯氏文艺思想的形成与英国当时的社会政治、文化艺术有直接的关系。法国大革命的激励，工业科技文明的迅猛发展以及德国古典唯心主义哲学从积极方面和消极方面的影响，都成了柯氏文艺思想形成的动因。柯氏文艺思想的特色主要有三点：一是宗教形而上学色彩；二是强调想象与象征；三是崇尚移情论。
第二部分，主要论述了柯氏文学批评的原则及其理论核心。文学批评原则主要有三点，即：关于诗的本体，创作与欣赏以及艺术的本质。这三点之所以成为柯氏批评的原则，是因为他的文学批评理论大都是以这三个方面作为其出发点的。想象力是柯氏浪漫主义诗歌理论的核心。该部分就想象力在文学批评中的地位、它的内涵和特征以及它在创作中的作用和运作过程，进行了较为详细的论述。
第三部分，是对柯氏代表作品的研究、分析。主要就他的名篇《古舟子咏》的价值、艺术特色进行了分析，属个案研究。该诗是以水手的梦以及老水手在昏睡之后似醒非醒的状态中听到两个精灵的对话写成的，各种超自然的情景都在一种亦真亦幻的场景中呈现于读者面前。它寓意于神奇的内容，曾有过《一个诗人的梦幻》的副标题；因为它形象逼真，语言生动，别具匠心的比喻，使人感到真实可信。特别是该诗中意
象的创造，最精彩的便是那些怪橘的类似蒙太奇的意象。梦幻与现实交错，意象、情
景交融，神秘、怪橘、恐怖、朦胧。正因如此，被称为浪漫主义的“宣言书”。此外，
该诗的叙事结构与整体性象征寓意机制，也是最出色的。与此同时，对《忽必烈汗》
的象征手法及橘诡幻变等创作特色也进行了简明分析和论述。
结语部分，以历史的观点，对柯氏文艺思想及创作进行了实事求是的概括，对其
价值与局限性进行了简要论析与说明。特别指出，此前东西方对柯氏的评价标准并不
一样:东方偏重于其政治观点:西方则从其理论本身出发。西方对他有很高的评价，
甚至把他与亚里士多德、朗吉弩斯并提，称誉他为现代语义学的先驱;而东方国家则
对他有着更多的批评，尤其是前苏联，甚至说他的浪漫主义是反动的。对此，我们应
该用辩证的观点认真予以分析。
本文的创新之处主要表现在两个方面:一是以辩证唯物主义和历史唯物主义的观
点，对柯氏文艺思想的梳理与概括。二是对柯氏文艺思想形成的原因及其特色的分析。
As a famous romantic poet and poetry theorist in the end of the eighteenth century to the beginning of the nineteenth century, Samuel Taylor coleridge has been enjoying great prestige in the West. But in China few of his works are known in Chinese academic circles. This is not merely for Coleridge is a particular personage who was very famous but has few works, but also for most of his theoretical works haven't been translated into Chinese. It must be supposed to be great regret.
The thesis tries to make a systematic study and explain in a clear way to Coleridge's literature criticism and poem theory, using the method of combine history research with compare research, from a dialectical materialist and historical materialist point of view and stand. And tries to find out its historical limitations and practical significance from the current field of vision view.
The thesis consists of three parts: the introduction, the main body and the conclusion. The main body can be divided into three parts in all.
In the first part, the form and characteristic of Coleridge's romantic literature ideology is discussed. The form of Coleridge's literature ideology has a directly relationship with the social politics and culture in Britain at that time. The encourage of the Great revolution in France, the quickly development of industry and the influence of the classical idealism philosophy in Germany, all of these have been the most important reasons to form Cloeridge's literature ideology. The characteristic of Coleridge's literature ideology chiefly possesses three points: The first one is the religion metaphysics colour; the second one is emphasizing visualize together with the emblem; the third one is advocating empathic.
In the second part, the principle and theory core of Coleridge's literature criticism is chiefly expounded. The principle of literature criticism chiefly possesses three points: About the verse noumenon, the production and appreciation , the nature of the art. Most of his literature criticism theories are based on these three points. The imaginative power is the core of Coleridge's romantic poetry theory. In this part of thesis, the position of the literature criticism and its connotation and feature and the role in the creation have been expounded in greater detailed.
The third part is standing for research and analysis to Coleridge's work. His famous poem "The Rime of the Ancient Moriner" is mainly discussed. The focus is on the analysis of its value and artistic distinguishing feature, belongs to the case research. This poem is based on an old sailor who heard the conversations between two demons in his dream. All kinds of supernatural scenes present in front of the readers. Its content is so magical that it has possessed the subtitle "The dream of a poet". This poem is well believed because its form is clear and the language is vivid. The most splendid point is the usage of the odd montages imagery. It interleaves dream together with actual, mix imagery and felling together, made the readers feel mysterious, swindle, terror and hazy. As a result, this poem is called the romantical "proclamation book". Moreover, the recouning composition and the wholeness emblem moral mechanism are also the most outstanding. Meanwhile, the emblem technique used in "Kubla Khan" has also
been expounded.
The last part of this thesis is the conclusion. In the conclusion, Coleridge's literature ideology and his creation have been summarized with the history concept, and its value and limitations have also been talked about. Something should be particularly pointed out is that the standard of evaluation to Coleridge is different,in the West and East. The East people particularly lay on political views, and the West people lay on the theory. Because of this, the West people set a high value on him and sing the praises of the pioneer of the contemporary semantics. But in the east, there are even more criticisms to him than praises, especially in former Soviet Union, someone even said that his romant
本文试图从辩证唯物主义和历史唯物主义的立场、观点出发，以历史研究和比较研究相结合的方法，通过分析和归纳，对柯尔律治作整体的研究，对其文学批评和诗学理论进行系统的梳理和明晰的阐释，并努力在当代视野的观照下，发现其历史局限性和现实的意义及价值。
本文除引言和结语外，共分为三个部分，下面就各部分内容予以介绍：
第一部分，对柯氏浪漫主义文艺思想的形成与特色进行了论述。柯氏文艺思想的形成与英国当时的社会政治、文化艺术有直接的关系。法国大革命的激励，工业科技文明的迅猛发展以及德国古典唯心主义哲学从积极方面和消极方面的影响，都成了柯氏文艺思想形成的动因。柯氏文艺思想的特色主要有三点：一是宗教形而上学色彩；二是强调想象与象征；三是崇尚移情论。
第二部分，主要论述了柯氏文学批评的原则及其理论核心。文学批评原则主要有三点，即：关于诗的本体，创作与欣赏以及艺术的本质。这三点之所以成为柯氏批评的原则，是因为他的文学批评理论大都是以这三个方面作为其出发点的。想象力是柯氏浪漫主义诗歌理论的核心。该部分就想象力在文学批评中的地位、它的内涵和特征以及它在创作中的作用和运作过程，进行了较为详细的论述。
第三部分，是对柯氏代表作品的研究、分析。主要就他的名篇《古舟子咏》的价值、艺术特色进行了分析，属个案研究。该诗是以水手的梦以及老水手在昏睡之后似醒非醒的状态中听到两个精灵的对话写成的，各种超自然的情景都在一种亦真亦幻的场景中呈现于读者面前。它寓意于神奇的内容，曾有过《一个诗人的梦幻》的副标题；因为它形象逼真，语言生动，别具匠心的比喻，使人感到真实可信。特别是该诗中意
象的创造，最精彩的便是那些怪橘的类似蒙太奇的意象。梦幻与现实交错，意象、情
景交融，神秘、怪橘、恐怖、朦胧。正因如此，被称为浪漫主义的“宣言书”。此外，
该诗的叙事结构与整体性象征寓意机制，也是最出色的。与此同时，对《忽必烈汗》
的象征手法及橘诡幻变等创作特色也进行了简明分析和论述。
结语部分，以历史的观点，对柯氏文艺思想及创作进行了实事求是的概括，对其
价值与局限性进行了简要论析与说明。特别指出，此前东西方对柯氏的评价标准并不
一样:东方偏重于其政治观点:西方则从其理论本身出发。西方对他有很高的评价，
甚至把他与亚里士多德、朗吉弩斯并提，称誉他为现代语义学的先驱;而东方国家则
对他有着更多的批评，尤其是前苏联，甚至说他的浪漫主义是反动的。对此，我们应
该用辩证的观点认真予以分析。
本文的创新之处主要表现在两个方面:一是以辩证唯物主义和历史唯物主义的观
点，对柯氏文艺思想的梳理与概括。二是对柯氏文艺思想形成的原因及其特色的分析。
As a famous romantic poet and poetry theorist in the end of the eighteenth century to the beginning of the nineteenth century, Samuel Taylor coleridge has been enjoying great prestige in the West. But in China few of his works are known in Chinese academic circles. This is not merely for Coleridge is a particular personage who was very famous but has few works, but also for most of his theoretical works haven't been translated into Chinese. It must be supposed to be great regret.
The thesis tries to make a systematic study and explain in a clear way to Coleridge's literature criticism and poem theory, using the method of combine history research with compare research, from a dialectical materialist and historical materialist point of view and stand. And tries to find out its historical limitations and practical significance from the current field of vision view.
The thesis consists of three parts: the introduction, the main body and the conclusion. The main body can be divided into three parts in all.
In the first part, the form and characteristic of Coleridge's romantic literature ideology is discussed. The form of Coleridge's literature ideology has a directly relationship with the social politics and culture in Britain at that time. The encourage of the Great revolution in France, the quickly development of industry and the influence of the classical idealism philosophy in Germany, all of these have been the most important reasons to form Cloeridge's literature ideology. The characteristic of Coleridge's literature ideology chiefly possesses three points: The first one is the religion metaphysics colour; the second one is emphasizing visualize together with the emblem; the third one is advocating empathic.
In the second part, the principle and theory core of Coleridge's literature criticism is chiefly expounded. The principle of literature criticism chiefly possesses three points: About the verse noumenon, the production and appreciation , the nature of the art. Most of his literature criticism theories are based on these three points. The imaginative power is the core of Coleridge's romantic poetry theory. In this part of thesis, the position of the literature criticism and its connotation and feature and the role in the creation have been expounded in greater detailed.
The third part is standing for research and analysis to Coleridge's work. His famous poem "The Rime of the Ancient Moriner" is mainly discussed. The focus is on the analysis of its value and artistic distinguishing feature, belongs to the case research. This poem is based on an old sailor who heard the conversations between two demons in his dream. All kinds of supernatural scenes present in front of the readers. Its content is so magical that it has possessed the subtitle "The dream of a poet". This poem is well believed because its form is clear and the language is vivid. The most splendid point is the usage of the odd montages imagery. It interleaves dream together with actual, mix imagery and felling together, made the readers feel mysterious, swindle, terror and hazy. As a result, this poem is called the romantical "proclamation book". Moreover, the recouning composition and the wholeness emblem moral mechanism are also the most outstanding. Meanwhile, the emblem technique used in "Kubla Khan" has also
been expounded.
The last part of this thesis is the conclusion. In the conclusion, Coleridge's literature ideology and his creation have been summarized with the history concept, and its value and limitations have also been talked about. Something should be particularly pointed out is that the standard of evaluation to Coleridge is different,in the West and East. The East people particularly lay on political views, and the West people lay on the theory. Because of this, the West people set a high value on him and sing the praises of the pioneer of the contemporary semantics. But in the east, there are even more criticisms to him than praises, especially in former Soviet Union, someone even said that his romant
引文
[1] Barth,J.Robert: The Symbolic Imagination (Princeton:Princeton University Press, 1977),P. 135
[2] Hamilton,Paul: Coleridge's Poetics (London:Basilblackwell, 1983), P.198
[3] James Engell and W.Jackson Bate: Coleridge, Samuel Taylor, Biographic Literariu, ed. (Princeton: Princeton University Press, 1983), vol.Ⅰ, P.301
[4] James Engell and W. Jackson Bate: Coleridge, Samuel Taylor, Biographic Literaria ,ed. (Princeton:Princeton University Press, 1983),vol.Ⅰ,P.273
[5] Trans,R.S Prine Coffin: Saint Augustine, confessions, (New York: Penguin Books, 1964)P258
[6] Katheleen Coburn: The Philosophical Lectures of Samuel Taylor Coleridge, ed. (London, 1949),vol.Ⅱ,P.2456.
[7] Kathleen Coburn: The Notebooks of Samuel Taylor Coleridge, ed. (London, 1949) P95
[8] Trans.Willard R.Trask: Auerback, Erich, Mimesis, (Pinceton:Princeton University Press.1953).P.27.
[9] Barbara E:Coleridge, Friends, ed. Books(London, 1966).P55
[10] James Engell and W.Jackson Bate :Coleridge, Samuel Taylor, Biographic Literaria, ed. (Princeton:Princeton University Press, 1983),vol.Ⅰ.107.
[11] James Engell and W.Jackson Bate :Coleridge, Samuel Taylor, Biographic Literaria ,ed. (Princeton:Princeton University Press, 1983),vol.Ⅰ,P30
[12] James Engell and W.Jackson Bate :Coleridge, Samuel Taylor, Biographic Literaria, ed. (Princeton:Princeton University Press, 1983),vol.P.304.
[13] James Engell and W.Jackson Bate: Coleridge, Samuel Taylor, Biographic Literaria, ed. (Princeton University Press, 1983),vol.Ⅱ,P.54.
[14] 蒋孔阳译：《近代美学史评述》，(上海译文出版社，1980)，P43．
[15] James Engell and W.Jackson Bate :Coleridge, Samuel Taylor, Biographic Literaria, ed. (Princeton: Princeton University Press, 1983),vol.Ⅰ,P.32.
[16] 《古诗选读》上册，金性尧选注，(上海古籍出版社，1984)，P33。
[17] 参看蒋星：《生命哲学与诗歌—浅谈柯尔律治的诗歌理论》，载《外国文学评论》1993年第二期。
[18] 柯尔律治：《文学传记》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P67．
[19] 柯尔律治：《关于莎士比亚和弥尔顿的演讲》，见《英国作家论文学》，汪培基等译，三联书店1985年版。P40．
[20] 柯尔律治：《关于莎士比亚和弥尔顿的演讲》，见《英国作家论文学》，汪培基等译，三联书店1985年版。P40．
[21] 柯尔律治：《关于莎士比亚和弥尔顿的演讲》，见《英国作家论文学》，汪培基等译，三联书店1985年版。P42．
[22] 柯尔律治：《文学传记》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P79．
[23] 柯尔律治：《论诗或艺术》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P98．
[24] 柯尔律治：《论诗或艺术》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P98．
[25] 柯尔律治：《论诗或艺术》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P98．
[26] 柯尔律治：《论诗或艺术》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P97．
[27] 柯尔律治：《文学传记》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P75．
[28] George Watson:S. T.Coleridge, Biographia Literia, ed, Cambridge, 1975.P173-174.
[29] George Watson:S. T.Coleridge, Biographia Literia, ed, Cambridge, 1975.P167.
[30] George Watson:S. T.Coleridge, Biographia Literia, ed, Cambridge, 1975.P.50.
[31] George Watson: S.T.Coleridge, Biographia Literia, ed, Cambridge, 1975.P 167.
[32] 柯尔律治：《文学传记》，见《英国作家论文学》，汪培基等译，三联书店1985年版，P28．
[33] 柯尔律治在坦尼曼的《哲学史》上所做的旁注。
[34] George Watson: S. T.Coleridge, Biographia Literia, ed, Cambridge, 1975.P174
[35] 柯尔律治：《论诗或艺术》，见《十九世纪英国诗人论诗》，刘若端编，人民
文学出版社1984年版，P91．
[36] 柯尔律治：《文学传记》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P76．
[37] 柯尔律治：《文学传记》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P91．
[38] 《柯尔律治的诗》，见《世界名著鉴赏大辞典》，中国书籍出版社，1990年版。P202
[39] 参看《柯尔律治》，见《世界名诗鉴赏词典》，辜正坤主编，北京大学出版社1990年版。P276
[40] 参看吴舜玄：《多重象喻、本体指归》载《陕西师范大学学报》1997年12月第四期。
[41] 王佐良、李赋宁著：《英国文学名篇选注》，北京商务印书馆1983年版，P707．
[42] 王佐良、李赋宁著：《英国文学名篇选注》，北京商务印书馆1983年版，P707．
[43] Arthur symons: Introduction to Everyman, London,1906,P.X ,P67
[44] John Henry Muirhead: Coleridge as Philosopher, London, 1930,P117.
[45] Ivor Armstrong Richards: Coleridge on Imagination, London, 1934,P232.
[46] Sir Herbert Read :Lectures in Criticism, New York,P88.
1. I.A.Richards: Portabe ,Coleridge, Harmondsworth ,1978.
2. Coleridge:Poetical Works, Earnest Hartley Coleridge, Oxford, 1912
3. G.Watsoh: Biographia Literaria, London, 1965
4. T.M.Raysor: Shakespear Criticiam, London,1960
5. Kemo: Coleridge, critic of Society, London, 1959
6. Owen Barfield: What Coleridge Thought ,Middletown own, 1972.
7. Richard: Coleridge on Imagination, London, 1934.
8. Jackson: Method and Imagination in Coleridge's Criticism, London. 1961.
9. R.H. Fogle: The Idea of Criticism, London,1962.
10. J.C.Ferrier: The plagiarisms of S. T. Coleridge, London 1840
11. George Orsini: Coleridge and German Idealiam, London, 1969.
12. Sara Coleridge: Specimens of the Table Talk , London, 1851.
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9．玛里琳·巴特勒著：《浪漫派、叛逆者及反动派---1760-1830年间的英国文学及其背景》，黄梅、陆建德译，辽宁教育出版社、牛津大学出版社1998年版。
10．黄宏熙主编：《英国浪漫主义诗人抒情诗选》，江苏人民出版社1998年版。
[2] Hamilton,Paul: Coleridge's Poetics (London:Basilblackwell, 1983), P.198
[3] James Engell and W.Jackson Bate: Coleridge, Samuel Taylor, Biographic Literariu, ed. (Princeton: Princeton University Press, 1983), vol.Ⅰ, P.301
[4] James Engell and W. Jackson Bate: Coleridge, Samuel Taylor, Biographic Literaria ,ed. (Princeton:Princeton University Press, 1983),vol.Ⅰ,P.273
[5] Trans,R.S Prine Coffin: Saint Augustine, confessions, (New York: Penguin Books, 1964)P258
[6] Katheleen Coburn: The Philosophical Lectures of Samuel Taylor Coleridge, ed. (London, 1949),vol.Ⅱ,P.2456.
[7] Kathleen Coburn: The Notebooks of Samuel Taylor Coleridge, ed. (London, 1949) P95
[8] Trans.Willard R.Trask: Auerback, Erich, Mimesis, (Pinceton:Princeton University Press.1953).P.27.
[9] Barbara E:Coleridge, Friends, ed. Books(London, 1966).P55
[10] James Engell and W.Jackson Bate :Coleridge, Samuel Taylor, Biographic Literaria, ed. (Princeton:Princeton University Press, 1983),vol.Ⅰ.107.
[11] James Engell and W.Jackson Bate :Coleridge, Samuel Taylor, Biographic Literaria ,ed. (Princeton:Princeton University Press, 1983),vol.Ⅰ,P30
[12] James Engell and W.Jackson Bate :Coleridge, Samuel Taylor, Biographic Literaria, ed. (Princeton:Princeton University Press, 1983),vol.P.304.
[13] James Engell and W.Jackson Bate: Coleridge, Samuel Taylor, Biographic Literaria, ed. (Princeton University Press, 1983),vol.Ⅱ,P.54.
[14] 蒋孔阳译：《近代美学史评述》，(上海译文出版社，1980)，P43．
[15] James Engell and W.Jackson Bate :Coleridge, Samuel Taylor, Biographic Literaria, ed. (Princeton: Princeton University Press, 1983),vol.Ⅰ,P.32.
[16] 《古诗选读》上册，金性尧选注，(上海古籍出版社，1984)，P33。
[17] 参看蒋星：《生命哲学与诗歌—浅谈柯尔律治的诗歌理论》，载《外国文学评论》1993年第二期。
[18] 柯尔律治：《文学传记》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P67．
[19] 柯尔律治：《关于莎士比亚和弥尔顿的演讲》，见《英国作家论文学》，汪培基等译，三联书店1985年版。P40．
[20] 柯尔律治：《关于莎士比亚和弥尔顿的演讲》，见《英国作家论文学》，汪培基等译，三联书店1985年版。P40．
[21] 柯尔律治：《关于莎士比亚和弥尔顿的演讲》，见《英国作家论文学》，汪培基等译，三联书店1985年版。P42．
[22] 柯尔律治：《文学传记》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P79．
[23] 柯尔律治：《论诗或艺术》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P98．
[24] 柯尔律治：《论诗或艺术》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P98．
[25] 柯尔律治：《论诗或艺术》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P98．
[26] 柯尔律治：《论诗或艺术》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P97．
[27] 柯尔律治：《文学传记》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P75．
[28] George Watson:S. T.Coleridge, Biographia Literia, ed, Cambridge, 1975.P173-174.
[29] George Watson:S. T.Coleridge, Biographia Literia, ed, Cambridge, 1975.P167.
[30] George Watson:S. T.Coleridge, Biographia Literia, ed, Cambridge, 1975.P.50.
[31] George Watson: S.T.Coleridge, Biographia Literia, ed, Cambridge, 1975.P 167.
[32] 柯尔律治：《文学传记》，见《英国作家论文学》，汪培基等译，三联书店1985年版，P28．
[33] 柯尔律治在坦尼曼的《哲学史》上所做的旁注。
[34] George Watson: S. T.Coleridge, Biographia Literia, ed, Cambridge, 1975.P174
[35] 柯尔律治：《论诗或艺术》，见《十九世纪英国诗人论诗》，刘若端编，人民
文学出版社1984年版，P91．
[36] 柯尔律治：《文学传记》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P76．
[37] 柯尔律治：《文学传记》，见《十九世纪英国诗人论诗》，刘若端编，人民文学出版社1984年版，P91．
[38] 《柯尔律治的诗》，见《世界名著鉴赏大辞典》，中国书籍出版社，1990年版。P202
[39] 参看《柯尔律治》，见《世界名诗鉴赏词典》，辜正坤主编，北京大学出版社1990年版。P276
[40] 参看吴舜玄：《多重象喻、本体指归》载《陕西师范大学学报》1997年12月第四期。
[41] 王佐良、李赋宁著：《英国文学名篇选注》，北京商务印书馆1983年版，P707．
[42] 王佐良、李赋宁著：《英国文学名篇选注》，北京商务印书馆1983年版，P707．
[43] Arthur symons: Introduction to Everyman, London,1906,P.X ,P67
[44] John Henry Muirhead: Coleridge as Philosopher, London, 1930,P117.
[45] Ivor Armstrong Richards: Coleridge on Imagination, London, 1934,P232.
[46] Sir Herbert Read :Lectures in Criticism, New York,P88.
1. I.A.Richards: Portabe ,Coleridge, Harmondsworth ,1978.
2. Coleridge:Poetical Works, Earnest Hartley Coleridge, Oxford, 1912
3. G.Watsoh: Biographia Literaria, London, 1965
4. T.M.Raysor: Shakespear Criticiam, London,1960
5. Kemo: Coleridge, critic of Society, London, 1959
6. Owen Barfield: What Coleridge Thought ,Middletown own, 1972.
7. Richard: Coleridge on Imagination, London, 1934.
8. Jackson: Method and Imagination in Coleridge's Criticism, London. 1961.
9. R.H. Fogle: The Idea of Criticism, London,1962.
10. J.C.Ferrier: The plagiarisms of S. T. Coleridge, London 1840
11. George Orsini: Coleridge and German Idealiam, London, 1969.
12. Sara Coleridge: Specimens of the Table Talk , London, 1851.
1．雷纳·韦勒克著：《近代文学批评史》第二卷，杨自伍译，上海译文出版社，1980年出版。
2．刘若端编：《十九世纪英国诗人论诗》，人民文学出版社，1984年出版。
3．汪培基等译：《英国作家论文学》，三联书店，1985年出版。
4．M．H．艾布拉姆斯著：《镜与灯》，郦稚牛、张照进、童庆生译，北京大学出版社，1989年出版。
5．卫姆塞特，布鲁克斯合著：《西洋文学史》，颜元叔译，中国人民大学出版社，1987年出版。
6．蒋孔阳主编：《十九世纪西方美学名著选》英法美卷，复旦大学出版社，1990年出版。
7．艾弗·埃文斯著：《英国文学简史》，宗齐译，人民文学出版社，1984年版。
8．王佐良著：《英国浪漫主义诗歌史》，人民文学出版社1991年版。
9．玛里琳·巴特勒著：《浪漫派、叛逆者及反动派---1760-1830年间的英国文学及其背景》，黄梅、陆建德译，辽宁教育出版社、牛津大学出版社1998年版。
10．黄宏熙主编：《英国浪漫主义诗人抒情诗选》，江苏人民出版社1998年版。
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