By Victor Gischler
Angel & religion is a ongoing comedian publication sequence from darkish Horse Comics, which maintains on from Angel & religion in addition to Buffy the Vampire Slayer Season 9. The sequence is released below the Season Ten banner.
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Additional info for Angel & Faith Season 10 18
But O! how oft, How oft, at school, with most believing mind, (20–24) 38 Coleridge and the Philosophy of Poetic Form These changes cut deeper than mere cutting. The 1798 version’s selfpronouncing verdict on mind appears, with hindsight, remarkably forgiving. For just as Coleridge excised the ‘living Thing’ from ‘This Lime-Tree Bower My Prison’, so now he suppresses ‘the living spirit in our frame’. A further variant, published in Coleridge’s 1812 Poems speaks in comparatively balanced terms of ‘these wild reliques of our childish Thought’ / That flit about, oft go, and oft return / Not uninvited’,79 a formulation that briefly recalls the relaxed indolence of ‘The Eolian Harp’.
But the recollection of the recollection of the ‘church tower’, along with its music, has a yet stranger effect and temporal structure. ’ (33). But these bells have prophesied precisely nothing. In place of a significant future, they have been seen to give rise to a sense of nothing: a multiplicity that is continually threatening to become senseless, and which forced the recollecting mind back to childhood in the first instance. That flight is, however, the strangest moment yet. For the very recollection of these ‘articulate sounds’, quite aside from what they might portend, is itself what makes them significant.
39–43) It is indeed almost impossible not to hear, like Empson, Coleridge haranguing himself at this stage, in much the same manner as his ‘Dejection: An Ode’ would revise the trope into ‘the dull sobbing draft, that moans and rakes / Upon the strings of this Æolian lute, / Which better far were mute’ (6–8). But, incredibly, he is not: terms like ‘idle’, ‘indolent’, ‘phantasies’, even ‘passive’ (which among all his changes Coleridge never revises out of the text) here positively indicate an Associationism that feels itself keenly at each juncture.