This paper evaluates the critical response to Samuel Coleridge's "Kubla Khan." In the Introduction I outline my critical approach, which attempts to see the relationships between parts of the poem, sources outside the poem and poet himself. In analyzing Coleridge's esthetics, I have come to the conclusion that the poem was the first of a new type of Romantic poem. The central structural principle of this type of poem is the use of illusion and the fragmented form, or the illusion of the fragmented form. Poems that fall within this esthetic frequently use the "vision within a dream" motif as a metaphor for this illusion.

Samuel Taylor Coleridge used theories of evil and creation from Plato, Plotinus and Proclus to refine his definitions of the Trinity and the Absolute and Apostate Wills, and to move beyond the Germanic Naturphilosophie concept of self-hood as achieved by a self-objectification which emphasised differences between the persons of the Trinity rather than their similarities. His use of specific classical Greek concepts allowed him to propose that the Absolute Will�s self-substantiative act established unity and distinction as simultaneous and interrelated equals. From this, Coleridge investigated how identity and relationship rely upon unity and distinction, as he believed that identity is a unified self distinct from others, and that relationship is the unified common ground of many selves. My first chapter explains my methodology in dealing with Coleridge�s problematic relationship with both Greek and German sources, and describes how Coleridge�s philosophical investigations into evil and creation resulted from personal crises oyer his sense of self and sin. I provide an overview of the system Coleridge devised to address these concerns, concentrating upon the aspects which he believed clarified humanity�s status in relation to evil and the divine. I demonstrate how Coleridge accounts for the origin of the Apostate Will, and I explain his view of identity and relationships between the persons of the Trinity, providing a relevant overview that allows me to point out his use of the fundamental Greek concepts that anchor the subsequent chapters on Plato, Plotinus and Proclus. My second chapter examines Coleridge�s statement that Plato had formulated a triune creative principle, a concept critical to Coleridge�s need to unite God to the created universe. After describing the Platonic structure of reality and its divine creative act, I focus on the Platonic triad of Difference, Unity and Being. Plato�s account of these three principles and how they arise from the divine principle activity influences Coleridge�s view of the Trinity, what it contains in terms of distinction and unity, and how the Trinity arises from the superessential Absolute Will. I explain how Coleridge refined his definition of Christ as pleroma by referencing the way that the Form of the Good simultaneously exhibits plurality and identity. My third chapter shows how the Plotinian theory of the One�s will-based self-substantiation influenced Coleridge�s definition of the Absolute Will. I determine that Plotinus�s concept of heterotes (otherness) informs Coleridge�s view of the origin of evil, and I show how his concept of redemption is influenced by Plotinus�s account of noetic contemplation. My fourth chapter explains how Coleridge used the Proclian concept of Bound to develop the actualising quality of the Logos, in relation to Christ as a successful plurality but also in terms of Christ�s role in the redemption. My conclusion surveys all four philosophers to demonstrate how concepts drawn from Plato, Plotinus and Proclus helped Coleridge to define the Absolute Will and the way that its activity is the unity, distinction, identity and relationship of the Trinity. These three distinct yet related systems influenced Coleridge�s view of evil, as well as his understanding of the Absolute Will�s self-creative act, its relation to the Trinity, and the simultaneously fallen and divine status of humanity.

Samuel Taylor Coleridge used theories of evil and creation from Plato, Plotinus and Proclus to refine his definitions of the Trinity and the Absolute and Apostate Wills, and to move beyond the Germanic Naturphilosophie concept of self-hood as achieved by a self-objectification which emphasised differences between the persons of the Trinity rather than their similarities. His use of specific classical Greek concepts allowed him to propose that the Absolute Will�s self-substantiative act established unity and distinction as simultaneous and interrelated equals. From this, Coleridge investigated how identity and relationship rely upon unity and distinction, as he believed that identity is a unified self distinct from others, and that relationship is the unified common ground of many selves. My first chapter explains my methodology in dealing with Coleridge�s problematic relationship with both Greek and German sources, and describes how Coleridge�s philosophical investigations into evil and creation resulted from personal crises oyer his sense of self and sin. I provide an overview of the system Coleridge devised to address these concerns, concentrating upon the aspects which he believed clarified humanity�s status in relation to evil and the divine. I demonstrate how Coleridge accounts for the origin of the Apostate Will, and I explain his view of identity and relationships between the persons of the Trinity, providing a relevant overview that allows me to point out his use of the fundamental Greek concepts that anchor the subsequent chapters on Plato, Plotinus and Proclus. My second chapter examines Coleridge�s statement that Plato had formulated a triune creative principle, a concept critical to Coleridge�s need to unite God to the created universe. After describing the Platonic structure of reality and its divine creative act, I focus on the Platonic triad of Difference, Unity and Being. Plato�s account of these three principles and how they arise from the divine principle activity influences Coleridge�s view of the Trinity, what it contains in terms of distinction and unity, and how the Trinity arises from the superessential Absolute Will. I explain how Coleridge refined his definition of Christ as pleroma by referencing the way that the Form of the Good simultaneously exhibits plurality and identity. My third chapter shows how the Plotinian theory of the One�s will-based self-substantiation influenced Coleridge�s definition of the Absolute Will. I determine that Plotinus�s concept of heterotes (otherness) informs Coleridge�s view of the origin of evil, and I show how his concept of redemption is influenced by Plotinus�s account of noetic contemplation. My fourth chapter explains how Coleridge used the Proclian concept of Bound to develop the actualising quality of the Logos, in relation to Christ as a successful plurality but also in terms of Christ�s role in the redemption. My conclusion surveys all four philosophers to demonstrate how concepts drawn from Plato, Plotinus and Proclus helped Coleridge to define the Absolute Will and the way that its activity is the unity, distinction, identity and relationship of the Trinity. These three distinct yet related systems influenced Coleridge�s view of evil, as well as his understanding of the Absolute Will�s self-creative act, its relation to the Trinity, and the simultaneously fallen and divine status of humanity.