“In what sense is a child of this age a philosopher? » - ColeridgeSay no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”?Get an original essayIf philosophy is defined as “advanced knowledge or learning,” it can be argued that age is not the focus of this definition, but only the idiosyncratic experiences that are felt by each individual. Throughout Jane Austen's Sense and Sensibility and William Wordsworth's two-part Prelude, the young protagonists have experiences that force the mind into maturity, even if not in physical form. Therefore, for some it might be possible to achieve that level of philosophy which, according to Coleridge, is only possible in adulthood. It can be said that as a child you feel the simplest version of any emotion; it can also be seen as the rawest form of feeling, a truth associated with philosophy. In a society which advocates, like Coleridge, that authority emanates only from mature people, this argument is interesting to consider. It explores both physical and mental experience through the perspective of adolescence, alluding to the Romantic ideal of entering areas of human understanding not originally encountered: in d In other words, the search for a philosopher in a form where no one would previously dream of looking at him. Continuing this definition of "advanced knowledge", this can extend to the knowledge one obtains from feeling an acute emotion. In both texts, the young protagonists experience fear and pain that not only removes the cheerful attitude of an adolescent, but also places on them the burden of adult responsibility and pain. In Sense and Sensibility, Douglas Bush suggests that Austen focuses on the "misery of the innocent." And that’s certainly true; Elinor, despite her young age, can arguably be described as a philosopher in her understanding of her existence in relation to pain: Elinor secretly mourned the obstacles that would separate her forever from the object of her love. a sense of drama in Elinor's reaction. She uses incredibly definitive language – like “mourning” and “forever” – which further suggests that Edward was successful, rather than having chosen another. Thus, there is a tension between whether Elinor is a philosopher, given her existence, or a melodramatic teenager. Yet in a society where identity is based on marriage, whether for love or not, this loss perhaps legitimately feels like the death of one's chance to marry by choice. Additionally, Elinor can be considered a “philosopher” through this painful experience; she learns the harsh truth of injustice and becomes wiser through pain. However, if she is called a philosopher, it is only in private. She must treat this experience “privately”. Elinor thus fights against the very conventions of the genre of which she is a part. A convention of romance is to learn the truth about true, raw emotion, and even though she feels that, she cannot express it verbally; this is yet another “obstacle” she must overcome. Despite this argument, Marvin Mudrick states that "Austen's tone is didactic and reproachful." This suggests the narrator as an almost parental perspective, which criticizes the over-dramatization of Elinor's emotions, despite her role as the more reasonable sister. This perhaps suggests that her lack of maturity simply presents an inability for Elinor to be a true philosopher; she experienced the first painlove, but not yet the long agony of a life without love. Yet neither argument is entirely wrong or right. Instead, it can be suggested that Elinor experiences a transition to this status as a philosopher. She has learned a higher truth about anguish, but her age means she does not yet have the emotional capacity to fully register this experience. Therefore, Elinor's personal experiences suggest that there may be a prospect of philosophy, but it is currently hampered by her immaturity. In the opening statement, Coleridge questions whether, specifically, a child can exist as a philosopher. In Wordsworth's two-part Prelude, the poet instead asks whether a childhood experience can inspire a philosophy later in life. As an adult, Wordsworth experiences: […] images to which, in later years, many other feelings were attached […]And, like their archetypes, know no decadence. (lines 285-287) This particular quote examines how an experience can be felt by a child and then changed through the act of memory. For Wordsworth, the “archetypes” of memory remain completely intact, the original emotions he would have felt as a child. However, when remembering this experience, “very different feelings are attached,” suggesting that the image becomes something else entirely. Therefore, we are left with an image and, subsequently, attached feelings, "attached" emotions indistinguishable from the "archetype." It is therefore interesting to consider the thought processes of both the adult and the child. A child is not held back by social expectations and is not influenced by outside thought, suggesting that this is an optimal time to know the simple truth of a human being's existence. However, it is as an adult that Wordsworth realizes this awareness of the thought process and the manner in which one exists; no memory can remain in its original state. As the adolescent transitions into adulthood, the thought process will change, and invoking a memory will only encourage new thoughts and judgments to "attach" to it. But this does not mean that the original memory changes form. If these attached thoughts are indeed those which imply that Wordsworth is a philosopher, that does not change the "archetypes". Young Wordsworth simply felt an “image,” an experience that made no sense at the time. It is only upon reflection that it becomes meaningful. Therefore, this argument cannot but agree with Coleridge. A child of only nine years old, Wordsworth's age at the time of the experiment, cannot exist as a philosopher. His experiences as an adolescent, however, may facilitate the later possibility of philosophical thought. Until now, Coleridge's statement has been considered a sincere argument. But it should also be read as satire. If, as he may suggest, a child can only feel modest emotion, perhaps it is the responsibility of others to act philosophically. Thus, they can guide young people on the truth about reality and knowledge. In Sense and Sensibility, there is an innate focus on human relationships. As previously established, it is questionable whether Elinor had the capacity to act as a philosopher at such a young age. If this is the case, Mrs. Dashwood must maintain this position of responsibility by teaching her daughters the truth about their existence, this time in a social context. As girls grow into women in an extremely observant 19th century society, Elinor, as an older sister, is to some extent expected to act as, 1985.