Summary: In addition to suggesting visual art---particularly popular caricatures and handbills, as well as the works of Hogarth---as an influence upon Coleridge's accommodation of the grotesque as a rhetorical mode of self-reflection, I also regard such self-othering as a vital link to a nascent transnational politics that Coleridge articulates in his translation of Schiller's Wallenstein. Recently published in the collection Transnational England: Home and Abroad 1780--1860, my fourth chapter argues for Coleridge's translation of Schiller's drama-cycle as a mediation upon cultural exchange between sovereign nation-states in early Napoleonic Europe. in its struggle to preserve the "otherness" of foreign text while at the same time rendering it legible to a domestic audience, Coleridge's translation both dramatizes the historical moment of a contemporary Europe under duress from hegemonizing forces and lays the foundation for his own political-cum-spiritual percept of the mutually constitutive "I" and "Thou." (Abstract shortened by UMI.)