Samuel Taylor Coleridge (October 21, 1772 - July 25, 1834)
Born: 21st October, 1772
Died: 25th July, 1834
Nationality: English
Profession/Occupation: Poet
Region: England, Highgate
Notable works: "The Rime of the Ancient Mariner", "Christabel", "Biographia Literaria", "Kubla Khan", "Frost at Midnight", "Dejection: An Ode", "Lyrical Ballads", "On the Constitution of the Church and State"

Samuel Taylor Coleridge Facts

Biography

Samuel Taylor Coleridge, (born October 21, 1772, Ottery St. Mary, Devonshire, England--died July 25, 1834, Highgate, near London), English lyrical poet, critic, and philosopher. His Lyrical Ballads, written with William Wordsworth, heralded the English Romantic movement, and his Biographia Literaria (1817) is the most significant work of general literary criticism produced in the English Romantic period.

Early life and works

Coleridge's father was vicar of Ottery and headmaster of the local grammar school. As a child Coleridge was already a prodigious reader, and he immersed himself to the point of morbid fascination in romances and Eastern tales such as The Arabian Nights' Entertainments. In 1781 his father died suddenly, and in the following year Coleridge entered Christ's Hospital in London, where he completed his secondary education. In 1791 he entered Jesus College, Cambridge. At both school and university he continued to read voraciously, particularly in works of imagination and visionary philosophy, and he was remembered by his schoolmates for his eloquence and prodigious memory. In his third year at Cambridge, oppressed by financial difficulties, he went to London and enlisted as a dragoon under the assumed name of Silas Tomkyn Comberbache. Despite his unfitness for the life, he remained until discovered by his friends; he was then bought out by his brothers and restored to Cambridge.

On his return, he was restless. The intellectual and political turmoil surrounding the French Revolution had set in motion intense and urgent discussion concerning the nature of society. Coleridge now conceived the design of circumventing the disastrous violence that had destroyed the idealism of the French Revolution by establishing a small society that should organize itself and educate its children according to better principles than those obtaining in the society around them. A chance meeting with the poet Robert Southey led the two men to plan such a "pantisocracy" and to set up a community by the Susquehanna River in Pennsylvania. To this end Coleridge left Cambridge for good and set up with Southey as a public lecturer in Bristol. In October 1795 he married Sara Fricker, daughter of a local schoolmistress, swayed partly by Southey's suggestion that he was under an obligation to her since she had been refusing the advances of other men.

Shortly afterward, Southey defected from the pantisocratic scheme, leaving Coleridge married to a woman whom he did not really love. In a sense his career never fully recovered from this blow: if there is a makeshift quality about many of its later events, one explanation can be found in his constant need to reconcile his intellectual aspirations with the financial needs of his family. During this period, however, Coleridge's intellect flowered in an extraordinary manner, as he embarked on an investigation of the nature of the human mind, joined by William Wordsworth, with whom he had become acquainted in 1795. Together they entered upon one of the most influential creative periods of English literature. Coleridge's intellectual ebullience and his belief in the existence of a powerful "life consciousness" in all individuals rescued Wordsworth from the depression into which recent events had cast him and made possible the new approach to nature that characterized his contributions to Lyrical Ballads (which was to be published in 1798).

Coleridge, meanwhile, was developing a new, informal mode of poetry in which he could use a conversational tone and rhythm to give unity to a poem. Of these poems, the most successful is "Frost at Midnight," which begins with the description of a silent frosty night in Somerset and proceeds through a meditation on the relationship between the quiet work of frost and the quiet breathing of the sleeping baby at the poet's side, to conclude in a resolve that his child shall be brought up as a "child of nature," so that the sympathies that the poet has come to detect may be reinforced throughout the child's education.

At the climax of the poem, he touches another theme, which lies at the root of his philosophical attitude:

...so shalt thou see and hear

The lovely shapes and sounds intelligible

Of that eternal language, which thy God

Utters, who from eternity doth teach

Himself in all, and all things in himself.

Coleridge's attempts to learn this "language" and trace it through the ancient traditions of mankind also led him during this period to return to the visionary interests of his schooldays: as he ransacked works of comparative religion and mythology, he was exploring the possibility that all religions and mythical traditions, with their general agreement on the unity of God and the immortality of the soul, sprang from a universal life consciousness, which was expressed particularly through the phenomena of human genius.

While these speculations were at their most intense, he retired to a lonely farmhouse near Culbone, Somersetshire, and, according to his own account, composed under the influence of laudanum the mysterious poetic fragment known as "Kubla Khan." The exotic imagery and rhythmic chant of this poem have led many critics to conclude that it should be read as a "meaningless reverie" and enjoyed merely for its vivid and sensuous qualities. An examination of the poem in the light of Coleridge's psychological and mythological interests, however, suggests that it has, after all, a complex structure of meaning and is basically a poem about the nature of human genius. The first two stanzas show the two sides of what Coleridge elsewhere calls "commanding genius": its creative aspirations in time of peace as symbolized in the projected pleasure dome and gardens of the first stanza; and its destructive power in time of turbulence as symbolized in the wailing woman, the destructive fountain, and the voices prophesying war of the second stanza. In the final stanza the poet writes of a state of "absolute genius" in which, if inspired by a visionary "Abyssinian maid," he would become endowed with the creative, divine power of a sun god--an Apollo or Osiris subduing all around him to harmony by the fascination of his spell.

Coleridge was enabled to explore the same range of themes less egotistically in "The Rime of the Ancient Mariner," composed during the autumn and winter of 1797-98. For this, his most famous poem, he drew upon the ballad form. The main narrative tells how a sailor who has committed a crime against the life principle by slaying an albatross suffers from torments, physical and mental, in which the nature of his crime is made known to him. The underlying life power against which he has transgressed is envisaged as a power corresponding to the influx of the sun's energy into all living creatures, thereby binding them together in a joyful communion. By killing the bird that hovered near the ship, the mariner has destroyed one of the links in this process. His own consciousness is consequently affected: the sun, previously glorious, is seen as a bloody sun, and the energies of the deep are seen as corrupt.

All in a hot and copper sky,

The bloody Sun, at noon,

Right up above the mast did stand,

No bigger than the Moon.

. . . . . . . . . . . . . . . . . . . . . . . .

The very deep did rot; O Christ!

That ever this should be!

Yea, slimy things did crawl with legs

Upon the slimy sea.

Only at night do these energies display a sinister beauty.

About, about, in reel and rout

The death-fires danced at night;

The water, like a witch's oils,

Burnt green, and blue and white.

After the death of his shipmates, alone and becalmed, devoid of a sense of movement or even of time passing, the mariner is in a hell created by the absence of any link with life. Eventually, however, a chance sight of water snakes flashing like golden fire in the darkness, answered by an outpouring of love from his heart, reinitiates the creative process: he is given a brief vision of the inner unity of the universe, in which all living things hymn their source in an interchange of harmonies. Restored to his native land, he remains haunted by what he has experienced but is at least delivered from nightmare, able to see the ordinary processes of human life with a new sense of their wonder and mercifulness. These last qualities are reflected in the poem's attractive combination of vividness and sensitivity. The placing of it at the beginning of Lyrical Ballads was evidently intended to provide a context for the sense of wonder in common life that marks many of Wordsworth's contributions. While this volume was going through the press, Coleridge began a complementary poem, a Gothic ballad entitled "Christabel," in which he aimed to show how naked energy might be redeemed through contact with a spirit of innocent love.

Troubled years

Early in 1798 Coleridge had again found himself preoccupied with political issues. The French Revolutionary government had suppressed the states of the Swiss Confederation, and Coleridge expressed his bitterness at this betrayal of the principles of the Revolution in a poem entitled "France: An Ode."

At this time the brothers Josiah and Thomas Wedgwood, who were impressed by Coleridge's intelligence and promise, offered him in 1798 an annuity of GBP150 as a means of subsistence while he pursued his intellectual concerns. He used his new independence to visit Germany with Wordsworth and Wordsworth's sister, Dorothy. While there Coleridge attended lectures on physiology and biblical criticism at Gottingen. He thus became aware of developments in German scholarship that were little-known in England until many years later.

On his return to England, the tensions of his marriage were exacerbated when he fell in love with Sara Hutchinson, the sister of Wordsworth's future wife, at the end of 1799. His devotion to the Wordsworths in general did little to help matters, and for some years afterward Coleridge was troubled by domestic strife, accompanied by the worsening of his health and by his increasing dependence on opium. His main literary achievements during the period included another section of "Christabel." In 1802 Coleridge's domestic unhappiness gave rise to "Dejection: An Ode," originally a longer verse letter sent to Sara Hutchinson in which he lamented the corrosive effect of his intellectual activities when undertaken as a refuge from the lovelessness of his family life. The poem employs the technique of his conversational poems; the sensitive rhythms and phrasing that he had learned to use in them are here masterfully deployed to represent his own depressed state of mind.

Although Coleridge hoped to combine a platonic love for Sara with fidelity to his wife and children and to draw sustenance from the Wordsworth household, his hopes were not realized, and his health deteriorated further. He therefore resolved to spend some time in a warmer climate and, late in 1804, accepted a post in Malta as secretary to the acting governor. Later he spent a long time journeying across Italy, but, despite his hopes, his health did not improve during his time abroad. The time spent in Malta had been a time of personal reappraisal, however. Brought into direct contact with men accustomed to handling affairs of state, he had found himself lacking an equal forcefulness and felt that in consequence he often forfeited the respect of others. On his return to England he resolved to become more manly and decisive. Within a few months he had finally decided to separate from his wife and to live for the time being with the Wordsworths. Southey atoned for his disastrous youthful advice by exercising a general oversight of Coleridge's family for the rest of his days.

Coleridge published a periodical, The Friend, from June 1809 to March 1810 and ceased only when Sara Hutchinson, who had been acting as amanuensis, found the strain of the relationship too much for her and retired to her brother's farm in Wales. Coleridge, resentful that Wordsworth should apparently have encouraged his sister-in-law's withdrawal, resolved shortly afterward to terminate his working relationship with William and Dorothy Wordsworth and to settle in London again.

The period immediately following was the darkest of his life. His disappointment with Wordsworth was followed by anguish when a wounding remark of Wordsworth's was carelessly reported to him. For some time he remained in London, nursing his grievances and producing little. Opium retained its powerful hold on him, and the writings that survive from this period are redolent of unhappiness, with self-dramatization veering toward self-pity.

In spite of this, however, there also appear signs of a slow revival, principally because for the first time Coleridge knew what it was to be a fashionable figure. A course of lectures he delivered during the winter of 1811-12 attracted a large audience; for many years Coleridge had been fascinated by William Shakespeare's achievement, and his psychological interpretations of the chief characters were new and exciting to his contemporaries. During this period, Coleridge's play Osorio, written many years before, was produced at Drury Lane with the title Remorse in January 1813.

Late life and works

In the end, consolation came from an unexpected source. In dejection, unable to produce extended work or break the opium habit, he spent a long period with friends in Wiltshire, where he was introduced to Archbishop Robert Leighton's commentary on the First Letter of Peter. In the writings of this 17th-century divine, he found a combination of tenderness and sanctity that appealed deeply to him and seemed to offer an attitude to life that he himself could fall back on. The discovery marks an important shift of balance in his intellectual attitudes. Christianity, hitherto one point of reference for him, now became his "official" creed. By aligning himself with the Anglican church of the 17th century at its best, he hoped to find a firm point of reference that would both keep him in communication with orthodox Christians of his time (thus giving him the social approval he always needed, even if only from a small group of friends) and enable him to pursue his former intellectual explorations in the hope of reaching a Christian synthesis that might help to revitalize the English church both intellectually and emotionally.

One effect of the adoption of this basis for his intellectual and emotional life was a sense of liberation and an ability to produce large works again. He drew together a collection of his poems (published in 1817 as Sibylline Leaves) and wrote Biographia Literaria (1817), a rambling and discursive but highly stimulating and influential work in which he outlined the evolution of his thought and developed an extended critique of Wordsworth's poems.

For the general reader Biographia Literaria is a misleading volume, since it moves bewilderingly between autobiography, abstruse philosophical discussion, and literary criticism. It has, however, an internal coherence of its own. The book's individual components--first an entertaining account of Coleridge's early life, then an account of the ways in which he became dissatisfied with the associationist theories of David Hartley and other 18th-century philosophers, then a reasoned critique of Wordsworth's poems--are fascinating. Over the whole work hovers Coleridge's veneration for the power of imagination: once this key is grasped, the unity of the work becomes evident.

A new dramatic piece, Zapolya, was also published in 1817. In the same year, Coleridge became associated for a time with the new Encyclopaedia Metropolitana, for which he planned a novel system of organization, outlined in his Prospectus. These were more settled years for Coleridge. Since 1816 he had lived in the house of James Gillman, a surgeon at Highgate, north of London. His election as a fellow of the Royal Society of Literature in 1824 brought him an annuity of GBP105 and a sense of recognition. In 1830 he joined the controversy that had arisen around the issue of Catholic Emancipation by writing his last prose work, On the Constitution of the Church and State. The third edition of Coleridge's Poetical Works appeared in time for him to see it before his final illness and death in 1834.

Evaluation

Coleridge's achievement has been given more widely varying assessments than that of any other English literary artist, though there is broad agreement that his enormous potential was never fully realized in his works. His stature as a poet has never been in doubt; in "Kubla Khan" and "The Rime of the Ancient Mariner" he wrote two of the greatest poems in English literature and perfected a mode of sensuous lyricism that is often echoed by later poets. But he also has a reputation as one of the most important of all English literary critics, largely on the basis of his Biographia Literaria. In Coleridge's view, the essential element of literature was a union of emotion and thought that he described as imagination. He especially stressed poetry's capacity for integrating the universal and the particular, the objective and the subjective, the generic and the individual. The function of criticism for Coleridge was to discern these elements and to lift them into conscious awareness, rather than merely to prescribe or to describe rules or forms.

In all his roles, as poet, social critic, literary critic, theologian, and psychologist, Coleridge expressed a profound concern with elucidating an underlying creative principle that is fundamental to both human beings and the universe as a whole. To Coleridge, imagination is the archetype of this unifying force because it represents the means by which the twin human capacities for intuitive, non-rational understanding and for organizing and discriminating thought concerning the material world are reconciled. It was by means of this sort of reconciliation of opposites that Coleridge attempted, with considerable success, to combine a sense of the universal and ideal with an acute observation of the particular and sensory in his own poetry and in his criticism.

Thomas De Quincey's biography on Samuel Taylor Coleridge appeared in the eighth edition of the Encyclopaedia Britannica (see the Britannica Classic: Samuel Taylor Coleridge).

Top 59 Samuel Taylor Coleridge quotes

Swans sing before they die - 'twere no bad thing should certain persons die before they sing.
Bad
Bad thing
Before
Certain
Die
Persons
Should
Sing
Swans
Thing
Advice is like snow - the softer it falls, the longer it dwells upon, and the deeper it sinks into the mind.
Advice
Deeper
Dwells
Falls
Like
Longer
Mind
Snow
Softer
Sympathy constitutes friendship; but in love there is a sort of antipathy, or opposing passion. Each strives to be the other, and both together make up one whole.
Antipathy
Both
Each
Friendship
Love
Make
Make up
Opposing
Other
Passion
Sort
Sympathy
Together
Up
How like herrings and onions our vices are in the morning after we have committed them.
After
Committed
How
Like
Morning
Onions
Our
Them
Vices
Common sense in an uncommon degree is what the world calls wisdom.
Calls
Common
Degree
Sense
Uncommon
Wisdom
World
A man's as old as he's feeling. A woman as old as she looks.
Feeling
He
Looks
Man
Old
She
Woman
To sentence a man of true genius, to the drudgery of a school is to put a racehorse on a treadmill.
Drudgery
Genius
Man
Put
School
Sentence
Treadmill
True
True genius
The most happy marriage I can picture or imagine to myself would be the union of a deaf man to a blind woman.
Blind
Deaf
Happy
Happy marriage
I can
Imagine
Man
Marriage
Most
Myself
Picture
Union
Woman
Would
The happiness of life is made up of minute fractions - the little, soon forgotten charities of a kiss or a smile, a kind look or heartfelt compliment.
Charities
Compliment
Forgotten
Fraction
Happiness
Heartfelt
Kind
Kiss
Life
Little
Look
Made
Minute
Smile
No mind is thoroughly well organized that is deficient in a sense of humor.
Deficient
Humor
Mind
Organized
Sense
Sense of humor
Thoroughly
Well
He is the best physician who is the most ingenious inspirer of hope.
Best
He
Hope
Ingenious
Most
Physician
Who
In politics, what begins in fear usually ends in failure.
Begins
Ends
Failure
Fear
Politics
Our own heart, and not other men's opinions form our true honor.
Form
Heart
Honor
Men
Opinions
Other
Our
Own
True
If a man could pass through Paradise in a dream, and have a flower presented to him as a pledge that his soul had really been there, and if he found that flower in his hand when he awake - Aye, what then?
Awake
Been
Could
Dream
Flower
Found
Had
Hand
He
Him
His
Man
Paradise
Pass
Every reform, however necessary, will by weak minds be carried to an excess, that itself will need reforming.
Carried
Every
Excess
However
Itself
Minds
Necessary
Need
Reform
Reforming
Weak
Weak minds
Will
A man may devote himself to death and destruction to save a nation; but no nation will devote itself to death and destruction to save mankind.
Death
Destruction
Devote
Himself
Itself
Man
Mankind
May
Nation
Save
Will
All thoughts, all passions, all delights Whatever stirs this mortal frame All are but ministers of Love And feed His sacred flame.
Delights
Feed
Flame
Frame
His
Love
Ministers
Mortal
Passions
Sacred
Thoughts
Whatever
Nothing is so contagious as enthusiasm.
Contagious
Enthusiasm
Nothing
Reviewers are usually people who would have been, poets, historians, biographer, if they could. They have tried their talents at one thing or another and have failed; therefore they turn critic.
Another
Been
Could
Critic
Failed
Historians
One thing
People
Poets
Reviewers
Talents
Therefore
Thing
Tried
And though thou notest from thy safe recess old friends burn dim, like lamps in noisome air love them for what they are; nor love them less, because to thee they are not what they were.
Air
Because
Burn
Dim
Friends
Lamps
Less
Like
Love
Nor
Old
Old friends
Recess
Safe
Friendship is a sheltering tree.
Friendship
Tree
Good and bad men are less than they seem.
Bad
Bad men
Good
Good and bad
Less
Men
Seem
Than
Greatness and goodness are not means, but ends.
Ends
Goodness
Greatness
Means
People of humor are always in some degree people of genius.
Always
Degree
Genius
Humor
People
Some
Plagiarists are always suspicious of being stolen from.
Always
Being
Stolen
Suspicious
I wish our clever young poets would remember my homely definitions of prose and poetry; that is, prose = words in their best order; - poetry = the best words in the best order.
Best
Clever
Definitions
Homely
I wish
Our
Poetry
Poets
Prose
Remember
Wish
Words
Would
Young
That willing suspension of disbelief for the moment, which constitutes poetic faith.
Disbelief
Faith
Moment
Poetic
Suspension
Which
Willing
All sympathy not consistent with acknowledged virtue is but disguised selfishness.
Acknowledged
Consistent
Disguised
Selfishness
Sympathy
Virtue
I have seen great intolerance shown in support of tolerance.
Great
Intolerance
Seen
Shown
Support
Tolerance
What is a epigram? A dwarfish whole. Its body brevity, and wit its soul.
Body
Brevity
Epigram
Soul
Whole
Wit
No one does anything from a single motive.
Anything
Does
Motive
No-one
Single
Works of imagination should be written in very plain language; the more purely imaginative they are the more necessary it is to be plain.
Imagination
Imaginative
Language
More
Necessary
Plain
Purely
Should
Very
Works
Written
A poet ought not to pick nature's pocket. Let him borrow, and so borrow as to repay by the very act of borrowing. Examine nature accurately, but write from recollection, and trust more to the imagination than the memory.
Accurately
Act
Borrow
Borrowing
Examine
Him
Imagination
Memory
More
Nature
Ought
Pick
Pocket
Poet
Talent, lying in the understanding, is often inherited; genius, being the action of reason or imagination, rarely or never.
Action
Being
Genius
Imagination
Inherited
Lying
Never
Often
Rarely
Reason
Talent
Understanding
As I live and am a man, this is an unexaggerated tale - my dreams become the substances of my life.
Am
Become
Dreams
Life
Live
Man
My life
Substances
Tale
To most men experience is like the stern lights of a ship, which illuminate only the track it has passed.
Experience
Illuminate
Lights
Like
Men
Most
Only
Passed
Ship
Stern
Track
Which
General principles... are to the facts as the root and sap of a tree are to its leaves.
Facts
General
Leaves
Principles
Root
Sap
Tree
A mother is a mother still, The holiest thing alive.
Alive
Mother
Still
Thing
Talk of the devil, and his horns appear.
Appear
Devil
His
Horns
Talk
Poetry: the best words in the best order.
Best
Poetry
Words
Love is flower like; Friendship is like a sheltering tree.
Flower
Friendship
Like
Love
Love is
Tree
The principle of the Gothic architecture is infinity made imaginable.
Architecture
Gothic
Imaginable
Infinity
Made
Principle
Intense study of the Bible will keep any writer from being vulgar, in point of style.
Any
Being
Bible
Intense
Keep
Point
Study
Style
Vulgar
Will
Writer
No man was ever yet a great poet, without being at the same time a profound philosopher.
Being
Ever
Great
Man
Philosopher
Poet
Profound
Same
Same time
Time
Without
The love of a mother is the veil of a softer light between the heart and the heavenly Father.
Between
Father
Heart
Heavenly
Heavenly father
Light
Love
Mother
Softer
Veil
Not one man in a thousand has the strength of mind or the goodness of heart to be an atheist.
Atheist
Goodness
Heart
Man
Mind
One-man
Strength
Thousand
A man's desire is for the woman, but the woman's desire is rarely other than for the desire of the man.
Desire
Man
Other
Rarely
Than
Woman
Christianity is not a theory or speculation, but a life; not a philosophy of life, but a life and a living process.
Christianity
Life
Living
Philosophy
Process
Speculation
Theory
Language is the armory of the human mind, and at once contains the trophies of its past and the weapons of its future conquests.
Contains
Future
Human
Human mind
Language
Mind
Once
Past
Trophies
Weapons
Alas! they had been friends in youth; but whispering tongues can poison truth.
Alas
Been
Friends
Had
Poison
Tongues
Truth
Whispering
Youth

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T.S. Eliot, in full Thomas Stearns Eliot, (born September 26, 1888, St. Louis, Missouri, U.S.--died..
Herman Melville
Herman Melville
Herman Melville, (born August 1, 1819, New York City--died September 28, 1891, New York City), American..
Blaise Pascal
Blaise Pascal
Blaise Pascal, (born June 19, 1623, Clermont-Ferrand, France--died August 19, 1662, Paris), French..
Henrik Ibsen
Henrik Ibsen
Henrik Ibsen, in full Henrik Johan Ibsen, (born March 20, 1828, Skien, Norway--died May 23, 1906,..
David Garrick
David Garrick
David Garrick, (born February 19, 1717, Hereford, Herefordshire, England--died January 20, 1779,..
William Faulkner
William Faulkner
William Faulkner, in full William Cuthbert Faulkner, original surname Falkner, (born September..