“In what sense is a child of that age a philosopher?” - Coleridge Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original EssayIf philosophy is defined as “advanced knowledge or learning,” it can be argued that age is not central to this definition, but the peculiar experiences that are felt by each individual. In both Jane Austen's Sense and Sensibility and William Wordsworth's The Two-Part Prelude, young protagonists encounter experiences that force maturity in the mind, if not in physical form. Therefore, for some, it may be possible to reach this level of philosophy that Coleridge seems to imply is only possible in adulthood. You probably feel the simplest version of any emotion as a child; this can also be seen as the rawest form of feeling, a truth associated with philosophy. In a society that holds, in line with Coleridge, that authority derives only from mature people, this topic is interesting to consider. It explores physical and mental experience through an adolescent perspective, alluding to the Romantic ideal of entering realms of human understanding that were not originally encountered: in other words, seeking a philosopher in a form in which no one before would have thought of watch. In pursuing this definition of “advanced knowledge,” this can extend to knowledge that is gained by experiencing an acute emotion. In both texts the young protagonists experience a fear and pain that not only takes away the carefree attitude of the adolescent, but places on them the weight of adult responsibility and pain. In Sense and Sensibility, Douglas Bush suggests that Austen focuses on a "misery for the innocent". And this is certainly true; Elinor, despite her young age, can undoubtedly be described as a philosopher in her understanding of her existence in relation to pain: Elinor cried in secret for the obstacles that were to separate her forever from the object of her love. There is, undeniably, a sense of drama in Elinor's reaction. He uses incredibly definitive language – like “mourning” and “forever” – that suggests more that Edward is dead, rather than that he has chosen someone else. Therefore, there is a tension between whether Elinor is a philosopher, considering her existence, or a melodramatic teenager. Yet, in a society where identity is based on marriage, for love or not, perhaps this loss legitimately feels like the death of her ability to marry by choice. Furthermore, Elinor can be considered a “philosopher” through this painful experience; she learns the harsh truth of injustice and grows wiser through the pain. However, if she is labeled a philosopher, it is only in private. He must process this experience in “private”. Elinor therefore fights against the very conventions of the genre she is part of. A convention of Romanticism is learning the truth of real, raw emotion, and while he feels it, he cannot express it verbally; this is yet another "obstacle" he must overcome. Despite this argument, Marvin Mudrick states that "Austen's tone is didactic and reproachful". This suggests an almost parental perspective to the narrator, who criticizes the over-dramatization of Elinor's emotions, despite her role as a more reasonable sister. This perhaps suggests that her lack of maturity simply represents an inability for Elinor to be a true philosopher; he has experienced the initial sting of love, but not yet the prolonged agony of a loveless life. However, neither argument is entirely wrong or right. It can instead be suggested thatElinor is experiencing a transition towards this status as a philosopher. He has learned a higher truth about heartache, but his age means he does not yet have the emotional capacity to fully register the experience. Therefore, Elinor's personal experiences indicate that perhaps there is a prospect of philosophy, but it is currently hindered by her immaturity. In the opening statement, Coleridge asks whether, specifically, a child can exist as a philosopher. In Wordsworth's two-part Prelude, the poet instead considers whether a childhood experience can inspire a philosophy in later life. As an adult, Wordsworth experiences:[…] images, to which in later years, many other feelings were linked […]And, like their archetypes, they know no decay. (lines 285-287) This particular quote examines how an experience can be experienced by a child and then be altered through the act of memory. For Wordsworth, the 'archetypes' of memory, the original emotions he would have felt as a child, remain completely intact. Yet, in the act of remembering this experience, "many other feelings were attached," suggesting that the image becomes something else. Therefore, we are left with an image and, subsequently, some attached feelings, the 'attached' emotions indistinguishable from the 'archetype'. It is therefore interesting to consider the thought processes of both adults and children. A child is not held back by social expectations and is not influenced by external thinking, suggesting that this is an optimal time to learn the simple truth of human existence. However, it is as an adult that Wordsworth realizes this awareness of the process of thinking and how one exists; no memory can remain in its original state. As the adolescent transitions into maturity, the thought process will change, and invoking a memory will only encourage new thoughts and judgments to "stick" to it. But this does not mean that the original memory changes shape. If these attached thoughts are indeed ones that imply that Wordsworth is a philosopher, this does not change the "archetypes". The young Wordsworth simply felt an "image", an experience, which had no meaning at the time. It is only upon reflection that it becomes significant. Therefore, this argument cannot but agree with Coleridge. A child of only nine years old, Wordsworth's age at the time of the experience, cannot exist as a philosopher. The experiences one has as an adolescent, however, can facilitate later possibilities for philosophical thinking. So far Coleridge's statement has been regarded as a sincere argument. However, it must also be read as satire. If, as he might suggest, a child can experience only modest emotions, perhaps it is the responsibility of others to act as philosophers. They can thus act as an orientation for young people on the truth of 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 so, Mrs. Dashwood must maintain this position of responsibility in teaching her daughters the truth of their existence, this time in a social context. As girls become women in an extremely careful nineteenth-century society, there is a certain expectation on Elinor, as the older sister, to act as the perfect wife. Near the beginning of the novel, Mrs. Dashwood considers this act of sacrifice in considering another's happiness: “We will miss him; but he will be happy. (p.15) This emphasis on “she” suggests an authority in language and her superior knowledge of social standing. This, despite the pronoun belonging to Elinor, also implies that Mrs. Dashwood is more informed about how her daughter will feel than she is, 1985.