Quotations and Literary Allusions spoken by Willy Wonka in the 1971 film, Willy Wonka and the Chocolate Factory<br /> by Thomas M. Brodhead<br /> https://bmt-systems.com/score/wonka.htm
Archived copy: https://web.archive.org/web/20200111135336/https://bmt-systems.com/score/wonka.htm
a uh willing suspension of disbelief as uh Coleridge called it
Was Coleridge the original source of the idea of suspension of disbelief?
Coleridge was such a renowned marginaliac that his friends would actually lend their books to him so that he could scribble in the margins. Studs Turkel expected the books he loaned to friends to come back with additional marks made by friendly fingers.
Samuel Taylor Coleridge, who’scredited with the first use of the term marginalia, in 1819, coined the term as literarycriticism and to spark public dialogue.6
6 Coleridge, S. T. (1819). Character of Sir Thomas Brown as a writer.Blackwood’s Magazine 6(32), 197.
The fresh one, she told me afterward, felt a little lonely by comparison: she missed the meta-conversation running in the margins, the sense of another consciousness co-filtering D.F.W.’s words, the footnotes to the footnotes to the footnotes to the footnotes.
There is definitely an art to writing interesting marginalia however. Perhaps something that requires practice?
Sam Anderson's would be intriguing I'm sure. Dick Macksey's marvelous. Anderson provides the example of people wanting books from [[Samuel Taylor Coleridge]] earlier in the piece.
I can only contrast this with some of the crazy minutiae an pedantry I've seen on Hypothes.is which makes me think that it's surely an art form.
I suspect some of it is that I'm missing the personal context with a particular person---a sense of continuity. Things get even worse when it's a piece annotated by a class which can create a cacophony of annotations. I see far too many "me too" annotations floating around in the margins that don't add anything to the conversation. (Hopefully I'm not guilty of this sin myself, but really, even my public annotations are a conversation between me and a piece and are only for my own benefit.)
Here is our captain, and he will not allow you to perish on the open sea
Along with reference to Coleridge's "Rime of the Ancient Manner," Victor's hopeless plight reminds us somewhat of William Cowper's (1731-1800) "The Castaway" (1799). Victor, however, does not perish "each alone," but instead in the company of his new friend Walton. The Creature, by contrast, will choose to perish alone.
laudanum
A tincture of opium, laudanum was popular among some English writers of the Romantic period including, most notably, Samuel Taylor Coleridge and Thomas de Quincey, whose Confessions of an English Opium Eater specifically related his experiences with and addiction to the drug.
I shall kill no albatross,
This expression is a reference to Samuel Taylor Coleridge's poem "Rime of the Ancient Mariner," in which the Mariner inexplicably slays an albatross. The allusion may imply that Walton will play the role of Coleridge's Wedding Guest instead: he will listen to Victor's long, obsessive story that will ultimately be a confession of guilt, like the Ancient Mariner' tale. Since the poem was not published until September 1798, this reference also places the "17--" date of these letters as the summer of 1799. On the poem's role in the novel, see Beth Lau, "The Rime of the Ancient Mariner and Frankenstein," in Samuel Taylor Coleridge and the Sciences of Life, ed. Nicholas Roe (Oxford: Oxford University Press, 2001): 207-23.
or if I should come back to you as worn and woful as the “Ancient Mariner?” You will smile at my allusion; but I will disclose a secret. I have often attributed my attachment to, my passionate enthusiasm for, the dangerous mysteries of the ocean, to that production of the most imaginative of modern poets. There is something at work in my soul, which I do not understand. I am practically industrious—pains-taking;—a workman to execute with perseverance and labour:—but besides this, there is a love for the marvellous, a belief in the marvellous, intertwined in all my projects, which hurries me out of the common pathways of men, even to the wild sea and unvisited regions I am about to explore. But to return to dearer considerations.
In this addition to the 1831 edition, Shelley explicitly refers to her poetic source, Samuel Taylor Coleridge's "The Rime of the Ancient Mariner." Walton muses wistfully on the "dangerous mysteries" of the ocean, proposing their similarity to poetry like Coleridge's, and citing them as the root of his own profound yearnings for the dangerous and sublime discoveries of exploration.
1819 that Samuel Taylor Coleridge first used the term “marginalia,” from the Latin marginalis (or “in the margin”), when, as a literary critic, he wrote about another author’s work for Blackwood’s Magazine.
Battered and mouldy, the castellated forecastle seemed some ancient turret, long ago taken by assault, and then left to decay. Toward the stern, two high-raised quarter galleries–the balustrades here and there covered with dry, tindery sea-moss–opening out from the unoccupied state-cabin,
Captain Delano's initial descriptions of the San Dominick, the initial descriptions of those on board, the ship's stasis in an extended calm (allegedly returning north from a voyage in the extreme southern region of the ocean -- near the South Pole), the alleged death of crew and passengers from lack of water, and the "strange fowl" accompanying the ship, are all reminiscent of passages in Coleridge's Rime of the Ancient Mariner )(1798) - especially Parts 2-4. Rime was first published a year before the setting of Benito Cereno.
Around 1809, Samuel Taylor Coleridge rejected “he” as the generic pronoun (“in order to avoid particularising man or woman, or in order to express either sex indifferently”, he wrote in his notebooks), settling on “it” as an ideal, neutral solution
Coleridge uses "it" for neutral singular