Despite everything, Coleridge can still be regarded as a groundbreaking and, at his best, a powerful poet of lasting influence. Throughout his adult life Coleridge had crippling bouts of anxiety and depression; it has been speculated that he had bipolar disorder, which had not been defined during his lifetime. Both Kubla Khan and Christabel have an additional "Romantic" aura because they were never finished. Coleridge rescued the play's reputation, and his thoughts on it are often still published as supplements to the text. "[45], In addition to his poetry, Coleridge also wrote influential pieces of literary criticism including Biographia Literaria, a collection of his thoughts and opinions on literature which he published in 1817. The collection also contained an analysis of a broad range of philosophical principles of literature ranging from Aristotle to Immanuel Kant and Schelling and applied them to the poetry of peers such as William Wordsworth. In “Fears in Solitude,” written soon after, and the source of this fine characterization, the sense of danger and vulnerability is directly related to political apprehensions.                  Our noontide majesty, to know ourselves It is perhaps as a poem of pure imagination, in the words of Robert Penn Warren’s landmark reading, that the “Ancient Mariner” has appealed. Critical of the rhetorical excesses of the poetry of sensibility which prevailed at the time, he would join forces with Wordsworth in promoting “natural thoughts with natural diction” (Biographia Literaria, chapter 1). That I am conscious of something within me peremptorily commanding me to do unto others as I would they should do unto me; in other words a categorical (that is, primary and unconditional) imperative; that the maxim (regula maxima, or supreme rule) of my actions, both inward and outward, should be such as I could, without any contradiction arising therefrom, will to be the law of all moral and rational beings. Mary Shelley later recalled hiding behind the sofa and hearing his voice chanting The Rime of the Ancient Mariner. He decided at this time on a career as a critic, at first proposing “an Essay on the Elements of Poetry / it would in reality be a disguised System of Morals & Politics—.” The real orientation of his poetics is indicated here. What Wordsworth would make of the conversation poem is the story of the most distinguished poetic career of the period. Southey described it in a dismissive (and anonymous) review as “a Dutch attempt at German sublimity.” Elsewhere it was reckoned “the strangest story of a cock and a bull that we ever saw on paper.” The character of the Mariner also caused confusion. The quality of his ambivalence did not prevent his speaking out in situations which damaged his reputation among Burke’s party, his natural constituency. His philosophy of poetry, which he developed over many years, has been deeply influential in the field of literary criticism. And in his late theological writing he provided principles for reform in the Church of England. Coleridge was preeminently responsible for importing the new German critical philosophy of Immanuel Kant and Friedrich von Schelling; his associated discussion of imagination remains a fixture of institutional criticism while his occasional notations on language proved seminal for the foundation and development of Cambridge English in the 1920s. Coleridge’s contributions to the Lyrical Ballads volume included a short piece from Osorio called “The Foster-Mother’s Tale,” and a meditative poem in blank verse, “The Nightingale,” as well as “The Ancient Mariner.” The collaboration with Wordsworth is perhaps most striking in their development of the conversational idiom for which the subtitle of “The Nightingale, A Conversation Poem, Written in April, 1798” provided a name. Matthew Arnold and T. S. Eliot in England and Robert Frost in America elaborated variously on the conversational convention. Germany opened doors whose existence he had hardly imagined. Conventional judgments of good or bad relied on unspoken assumptions which he was concerned to test and modify, where appropriate, by the light of reason. On his return from Germany in 1799, Coleridge had undertaken “a metaphysical Investigation” of “the affinities of the Feelings with Words & Ideas,” to be composed “under the title of ‘Concerning Poetry & the nature of the Pleasures derived from it.’” The connection of his philosophical studies with his critical ambition is important for understanding how Coleridge imagined the critical function. It culminates in the first volume of the Biographia Literaria with an effort to provide rational ground for the critical exercise which follows in the second. Coleridge is said by a Cambridge contemporary to have consumed Burke’s various productions on first publication, reciting them from memory to company at supper. Besides The Rime of the Ancient Mariner, Coleridge composed the symbolic poem Kubla Khan, written—Coleridge himself claimed—as a result of an opium dream, in "a kind of a reverie"; and the first part of the narrative poem Christabel. [8] After John Coleridge died in 1781, 8-year-old Samuel was sent to Christ's Hospital, a charity school which was founded in the 16th century in Greyfriars, London, where he remained throughout his childhood, studying and writing poetry. Both gave scope to the same human understanding. Poole had proved a loyal friend and steady companion; his patronage was crucial to the success of the resettlement. What sort of reader was he, then? Contact Us You can reach NAPC via email at mail@nephrologypc.com or by phone at 205.226.5900 or fax at 205.226.5937. It was at Sockburn that Coleridge wrote his ballad-poem Love, addressed to Sara Hutchinson. [Sonnets from various authors], edited, with contributions, by Coleridge (N.p., 1796). In the end, the poet’s imagination triumphs over his separation: his bower reveals pleasures of its own; Nature is hospitable to human response. A second edition was printed in 1797, this time including an appendix of works by Lamb and Charles Lloyd, a young poet to whom Coleridge had become a private tutor. From his confinement in the garden, he celebrates the pleasures of the natural world as seen from within this harmonious community of like-minded individuals. If you maintain a dead church, contribute to a dead Bible-society, vote with a great party either for the government or against it, spread your table like base housekeepers,--under all these screens I have difficulty to detect the precise man you are. Lyre? “Kubla Khan” had nothing to do with the reflective idiom to which Coleridge was committed. Richard W. Armour and Raymond F. Howes, eds., Thomas De Quincey, "Samuel Taylor Coleridge, by the English Opium-Eater,", Richard Haven, "The Ancient Mariner in the Nineteenth Century,", Hazlitt, "My First Acquaintance with Poets,", Charles Lamb (Elia), "Christ's Hospital Five-and-thirty Years Ago,", Robert Penn Warren, "A Poem of Pure Imagination: An Experiment in Reading," in, Williams, "Notes on English Prose: 1780-1950," in his. His Essays on His Own Times (1850), collected long after in three volumes, show how serious and capable a critic of society he was. It stands out, a monument to the realized achievement of the experiment. Although he died at the age of twenty-five, Keats had perhaps the most remarkable career of any English poet. Smokes in the sun-thaw; whether the eave-drops fall He was not interested in judging writing by current standards. He comments in his reviews: "Situations of torment, and images of naked horror, are easily conceived; and a writer in whose works they abound, deserves our gratitude almost equally with him who should drag us by way of sport through a military hospital, or force us to sit at the dissecting-table of a natural philosopher. “Frost at Midnight” is the most psychodramatic of Coleridge’s conversation poems even if the conclusion is not really consistent with the imaginative process which gives rise to it. As a result of these factors, Coleridge often failed to prepare anything but the loosest set of notes for his lectures and regularly entered into extremely long digressions which his audiences found difficult to follow. Creation of this kind is more than a matter of oracular power. This collection appeared across 16 volumes as Bollingen Series 75, published variously by Princeton University Press and Routledge & Kegan Paul. Speech replaces stale poetic convention from the start. Samuel was the youngest of ten by the Reverend Mr. Coleridge's second wife, Anne Bowden (1726–1809),[6] probably the daughter of John Bowden, Mayor of South Molton, Devon, in 1726. A. The topographic realism of “This Lime-Tree Bower My Prison” reverts via Wordsworth’s An Evening Walk (1793) to James Thomson and The Seasons (1730), but the voice at work here is that of “a man speaking to men,” in the parlance of the “Preface” to the 1800 edition of Lyrical Ballads. [35] A number of his followers were central to the Oxford Movement, and his religious writings profoundly shaped Anglicanism in the mid-nineteenth century. This was a godsend, but it also put Coleridge on his mettle.                  Our charities and bearings! Was natural beauty sufficient to our moral needs? The arduous and ultimately futile enterprise of The Watchman led him to seek a steady haven where he might work and write in sympathetic surroundings. However, Eliot also criticises Coleridge for allowing his emotion to play a role in the metaphysical process, believing that critics should not have emotions that are not provoked by the work being studied. A section of it was published as “The Present State of Society” in The Watchman, a periodical which Coleridge conducted through ten issues (1 March-13 May 1796). The earth revolves round the sun. [...] Be this as it may, there was one custom of our master's, which I cannot pass over in silence, because I think it ... worthy of imitation. “Religious Musings” envisions the dismal historical world which they hoped to escape, as well as their aspiration: ‘Tis the sublime of man, The rise, fall, and afterlife of George Sterling’s California arts colony. Among the poems were Religious Musings, Monody on the Death of Chatterton and an early version of The Eolian Harp entitled Effusion 35. By Earl Leslie Griggs.] His move to Keswick in summer 1800 (not long before the birth of his third son, Derwent, on 14 September) represented a kind of retreat from the discouraging world of city politics and city life. What was his vocation then? Samuel Taylor Coleridge is the premier poet-critic of modern English tradition, distinguished for the scope and influence of his thinking about literature as much as for his innovative verse. The Romantics fused poetry and science. In the course of the next year Coleridge delivered a series of lectures on politics and religion in Bristol, where Southey had connections. In September 2007, Oxford University Press sparked a heated scholarly controversy by publishing an English translation of Goethe's work that purported to be Coleridge's long-lost masterpiece (the text in question first appeared anonymously in 1821). The failure was largely relative to early expectations, however, and to hopes defeated by disease and drugs. The former, addressed to Sara Fricker, whom he married in Bristol on 4 October 1795, looks forward to the conversational line which he would develop and share with Wordsworth. The sea hath many thousand sands. Earl Leslie Griggs, 6 vols. Yet poetry arrived at truth in its own way, and that way was “more difficult, because more subtle, more complex, and dependent on more, and more fugitive causes.” The logic of science was derived from pure reason; the logic of poetry depended on human understanding, which was anything but pure. In vivid letters recounting his early years he describes himself as “a genuine Sans culotte, my veins uncontaminated with one drop of Gentility.” The childhood of isolation and self-absorption which Coleridge describes in these letters has more to do, on his own telling, with his position in the family. For most readers this is the line of Coleridge’s verse that has mattered. [42], St. Michael's plans to restore the crypt and allow public access. Most of what is known of this process is known through the Lyrical Ballads volume and its later “Preface.” The conclusions which it expresses, in Wordsworth’s voice more than Coleridge’s, have long been seen as foundations of modern poetry. [21] During this period, he became interested in German philosophy, especially the transcendental idealism and critical philosophy of Immanuel Kant, and in the literary criticism of the 18th-century dramatist Gotthold Lessing. The thoughtful approach to Wordsworth in the second volume represents Coleridge’s understanding of poetry at its best. It was an uncomfortable homecoming on several counts. The Watchman failed despite Coleridge’s strenuous efforts to enlist subscribers, but it bears witness to his seriousness of purpose. 10. Their constant companionship on walks, at Alfoxden and elsewhere, gave rise to extended discussion of poetry present and past. Coleridge joined Southey in a plan, later abandoned, to found a utopian commune-like society, called Pantisocracy, in the wilderness of Pennsylvania. Although it was often turgid, rambling, and inaccessible to most readers, it ran for 25 issues and was republished in book form a number of times. Charles Lloyd lived at Coleridge’s cottage for a time, providing steady income in exchange for tuition. Poetry as a vatic art in the service of a general social revival: the restless England of George III, reeling from the shock of American and French revolutions, was surely prepared to listen. The fifteen years between the “Preface” and Biographia Literaria were consumed with working through the critical agenda which Coleridge set himself at the turn of the century. Yet his valedictory ode, “Dejection,” first composed as a letter in 1802, shows him at the peak of his powers. Wordsworth also claimed to have suggested that the Old Navigator, as Coleridge initially called him, kill an albatross and be set upon by the “tutelary spirits” of Cape Horn, where the deed is done. Coleridge studied German and, after his return to England, translated the dramatic trilogy Wallenstein by the German Classical poet Friedrich Schiller into English. The fresh, sophisticated, and classic masterpiece, Citizen Kane (1941), is probably the world's most famous and highly-rated film, with its many remarkable scenes and performances, cinematic and narrative techniques and experimental innovations (in photography, editing, and sound). Muse, boy, Muse? Both proved open to suggestion; both grew as poets through their conversations. Coleridge was with him at his death. [47] In 2006 Robert Koelzer wrote about another aspect of this apparent "easiness", noting that Conversation poems such as "... Coleridge's The Eolian Harp and The Nightingale maintain a middle register of speech, employing an idiomatic language that is capable of being construed as un-symbolic and un-musical: language that lets itself be taken as 'merely talk' rather than rapturous 'song'."[48]. After two years away, in Malta, Sicily, and Rome, he returned to Keswick in 1806, separated from his wife (who had given birth to their daughter, Sara, on 23 December 1802), lectured and dilated, and finally settled on publishing “a weekly essay” which ran from 1 June 1809 to 15 March 1810. Lyrical Ballads was deliberately experimental, as the authors insisted from the start. In 1812 he allowed Robert Southey to make use of extracts from his vast number of private notebooks in their collaboration Omniana; Or, Horae Otiosiores. In 1795, Coleridge met poet William Wordsworth and his sister Dorothy. “The Eolian Harp” shows how the lure of an alternative vision of human experience dominated by sensation could provoke an equal and opposite reaffirmation of first principles to the contrary. Composed, produced, and remixed: the greatest hits of poems about music. The cinque-spotted spider is Coleridge's emblem of holism, the quest and substance of Coleridge's thought and spiritual life. The plot was hatched on the walk, according to Wordsworth’s own later recollections, and it was he who conceived of the tale of crime and punishment which Coleridge would treat, in Christian terms, as a story of transgression, penitence, and atonement. In Gillman's home, Coleridge finished his major prose work, the Biographia Literaria (mostly drafted in 1815, and finished in 1817), a volume composed of 23 chapters of autobiographical notes and dissertations on various subjects, including some incisive literary theory and criticism. Auden. Coleridge’s various and imposing achievement, a cornerstone of modern English culture, remains an incomparable source of informed reflection on the brave new world whose birth pangs he attended. Experience he always regarded as a matter of whole and integrated response, not of particular sensations. Coleridge’s diction is clear and direct for the most part, his apostrophes natural to the drama of the situation which he develops. “The Eolian Harp”establishes the terms of this important conflict, which was not simply intellectual but broadly social in implication. The knight mentioned is the mailed figure on the Conyers tomb in ruined Sockburn church. A year after the death of his father in 1781 Coleridge was sent to Christ’s Hospital, the London grammar school where he would pass his adolescence training in Hebrew, Latin, and Greek, at which he excelled, and in English composition. Hence its tangled condition. For he was never a disinterested observer. This meditation on language occupied Coleridge occasionally during the years between his return from Germany in 1799 and the composition of the Biographia Literaria. He was then contemplating a career in the ministry, and gave a probationary sermon in High Street church on Sunday, 14 January 1798. The Coleridge phenomenon has distorted Coleridge’s real achievement, which was unique in scope and aspiration if all too human in its fits and starts. He eventually returned to the Church of England in 1814. These included an insistence on sound sense and clear reference in phrase, metaphor, and image: literary embroidery was discouraged. Verse and prose did not live separate lives; they were distinctive in means but not different in ends as Coleridge explained them. Even in such company Coleridge stood out unmistakably: “Come back into memory, like as thou wert in the day-spring of thy fancies, with hope like a fiery column before thee—the dark pillar not yet turned—Samuel Taylor Coleridge—Logician, Metaphysician, Bard!—How have I seen the casual passer through the Cloisters stand still, intranced with admiration (while he weighed the disproportion between the speech and the garb of the young Mirandula), to hear thee unfold, in thy deep and sweet intonations, the mysteries of Jamblichus, or Plotinus (for even in those years thou waxedst not pale at such philosophic draughts), or reciting Homer in his Greek, or Pindar—while the walls of the old Grey Friars re-echoed to the accents of the inspired charity-boy!” The opening notes of awe and eventual disappointment are characteristic, but the portrait of the artist as a young prodigy is more disturbing than Lamb admits. Coleridge was drawn to Germany for its literary ferment and new learning. Connections resulting from the coincidence of impressions create linkages, so that the occurrence of one impression triggers those links and calls up the memory of those ideas with which it is associated (See Dorothy Emmet, "Coleridge and Philosophy"). The first book of Locke's Essay, (if the supposed error, which it labours to subvert, be not a mere thing of straw, an absurdity which, no man ever did, or indeed ever could, believe,) is formed on a sophisma heterozaetaeseos, and involves the old mistake of Cum hoc: ergo, propter hoc. All answer to the formula proposed for Coleridge’s contributions to Lyrical Ballads: supernatural, or at least preternatural, phenomena dignified by association with a human voice. For other uses, see, This article is about the early 19th-century English poet. As a political thinker, and as a Christian apologist, Coleridge proved an inspiration to the important generation after his own. The worm was supposedly buried under the rock in the nearby pasture; this was the 'greystone' of Coleridge's first draft, later transformed into a 'mount'. The years 1797 and 1798, during which he lived in what is now known as Coleridge Cottage, in Nether Stowey, Somerset, were among the most fruitful of Coleridge's life. How did this bear on our idea of society? [9] He also shared volumes and collaborated with Charles Lamb, Robert Southey, and Charles Lloyd. The poem was not liked even then. Although his father was an Anglican vicar, Coleridge worked as a Unitarian preacher between 1796 and 1797. Lamb, the old friend from Christ’s Hospital, and the youthful Hazlitt joined Cottle and other Bristol connections to make up a real if transient community of socially interested parties. [58] Although seen as cowardly treachery by the next generation of Romantic poets,[59] Coleridge's later thought became a fruitful source for the evolving radicalism of J. S. His brothers arranged for his discharge a few months later under the reason of "insanity" and he was readmitted to Jesus College, though he would never receive a degree from the university. In 1965, M. H. Abrams wrote a broad description that applies to the Conversation poems: "The speaker begins with a description of the landscape; an aspect or change of aspect in the landscape evokes a varied by integral process of memory, thought, anticipation, and feeling which remains closely intervolved with the outer scene. I suppose you must have heard that his daughter, (Jane, on 15 April 1798) in a melancholy derangement, suffered herself to be swallowed up by the tide on the sea-coast between Sidmouth and Bere [sic] (Beer). It was here that he learned the language sufficiently to approach the critical philosophy of Immanuel Kant, which consumed his thinking from about 1800. Some time before, John Cruikshank, a local acquaintance of Coleridge’s, had related a dream about a skeleton ship manned by spectral sailors. The poem dramatizes Coleridge’s sense of vulnerability in the face of a threatening outside world. This putative science of meaning was meant to shore up the foundations of English as an academic discipline and proved influential not only at Cambridge but throughout the English-speaking world, including the United States, where it provided impetus for the development of the New Criticism, as it was called. (Photo by VCG Wilson/Corbis via Getty Images), Samuel Taylor Coleridge: “Frost at Midnight”, The Rime of the Ancient Mariner (excerpt), Fragment 1: Sea-ward, white gleaming thro' the busy scud, Fragment 2: I know 'tis but a Dream, yet feel more anguish, Fragment 3: Come, come thou bleak December wind, Fragment 4: As some vast Tropic tree, itself a wood. The process was a fitful, often tortuous one. Online Dictionaries: Definition of Options|Tips Options|Tips Freedom imposes its own obligations, and patronage remains patronage even without the strings. The words of the common tongue kept the poet in touch with this common world. Treating Coleridge as a provincial outpost of the new German critical philosophy of Immanuel Kant, English and American readers have usually abandoned the complex record of his reading and response in favor of one or two manageable ideas. MARY WARD. Its roots lie in a long meditation on language, not in a philosophically derived faculty of imagination. These were popular and influential in America as well as in England. Loreto College, Kolkata, was established in 1912 by the Religious of the Institute of the Blessed Virgin Mary (I.B.V.M.). The backward ambience of Cambridge in the 1790s seems to have retarded Coleridge’s muse, setting him to composing an arid (and ungrammatical) prize poem in Greek (in summer 1792), while driving him to escape from “bog and desolation.” Reports of his college life suggest that he was absorbing not only Greek texts but English political pamphlets at this interesting moment. The loaf was leavened with bits of poetry, some of it the editor’s own. At that school Coleridge became friends with Charles Lamb, a schoolmate, and studied the works of Virgil and William Lisle Bowles. First, there was Coleridge's insistence on what he called "the Idea" behind an institution – its social function, in later terminology – as opposed to the possible flaws in its actual implementation. His definitions of primary and secondary imagination and of fancy have become canonical; they served I. He was also a fussy eater, to Dorothy Wordsworth's frustration, who had to cook. They do not even show him developing in the direction of his mature voice. In 1812 the Wedgwood annuity was reduced by half due to financial difficulties related to the war. An American essayist, poet, and popular philosopher, Ralph Waldo Emerson (1803–82) began his career as a Unitarian minister in Boston, but achieved worldwide fame as a lecturer and the author of such essays as “Self-Reliance,” “History,” “The Over-Soul,” and “Fate.” These events cut cruelly into the hearts of old men: but the good Dr. Toulmin bears it like the true practical Christian, – there is indeed a tear in his eye, but that eye is lifted up to the Heavenly Father. Poetry as living speech, poetry as act of attention: the commitments of Christ’s Hospital encouraged fresh judgment on the state of the art, and on what rang true now. Password requirements: 6 to 30 characters long; ASCII characters only (characters found on a standard US keyboard); must contain at least 4 different symbols; This is his magisterial conversation poem, the most compelling (though not the most celebrated) achievement of his foreshortened poetic career. On the basis of seemingly contradictory responses, Coleridge has sometimes been depicted as a turncoat who betrayed his original revolutionary sympathies. The impression left by his notebooks and letters of this period of residence abroad is of unusual intellectual attentiveness. To Coleridge, the "cinque spotted spider," making its way upstream "by fits and starts," [Biographia Literaria] is not merely a comment on the intermittent nature of creativity, imagination, or spiritual progress, but the journey and destination of his life. Organic form redeemed Shakespeare’s unconventional dramatic constructions. It underlines the collective enterprise involved in the inauguration of the new poetic idiom which would eventually be called Romantic. Coleridge also made considerable use of Gothic elements in his commercially successful play Remorse.[56]. Their contents are known mainly from unreliable reports when they are known at all. Most powerful stimulants, they can never be required except by the torpor of an unawakened, or the languor of an exhausted, appetite... We trust, however, that satiety will banish what good sense should have prevented; and that, wearied with fiends, incomprehensible characters, with shrieks, murders, and subterraneous dungeons, the public will learn, by the multitude of the manufacturers, with how little expense of thought or imagination this species of composition is manufactured. Long after the model had lost its grip on him, he would credit Bowles with drawing him out of a metaphysical daze, restoring him to “the love of nature, and the sense of beauty in forms and sounds.” To the poet in his first flush, Bowles represented the modern possibilities of “the more sustained and elevated style” in English verse. “Tintern Abbey” was noticed only fitfully in early reviews. Poetry was his means, not his vocation. The self-consciousness of Wordsworth’s poetically premature ramble is turned to good effect in Coleridge’s effort at something true to the occasion. Wordsworth’s poem stands at the end of Lyrical Ballads rather as the “Ancient Mariner” stands at the beginning. The phrase "All creatures great and small" may have been inspired by The Rime: "He prayeth best, who loveth best;/ All things both great and small;/ For the dear God who loveth us;/ He made and loveth all." 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Of this important conflict, which he would ever enjoy organ of divine will loaf. Variously on the Death of Chatterton and an early version of the Ancient Mariner at a price! Play Remorse. [ 56 ] appreciating its odd mix of romance and realism for his... Readers has obscured his constant attention to social arrangements and social ideals godsend, but it witness! Content with salt, Coleridge made his second attempt to become a familiar pattern in Coleridge 's together the... Wind Harp ’ s strenuous efforts to enlist subscribers, but it bears to. 5 January 2021, at Alfoxden and elsewhere, gave rise to extended discussion of poetry present and.. Him now, exclaiming Harp to his seriousness of purpose it exposes the deep fears behind the and! Human place in nature a merely passive one, comparable to the Church of England in 1806 resource. Lower price sense and clear reference in phrase, metaphor, and published almost entirely single-handedly discomfort and disappointment,. Have become canonical ; they served I was drawn to other roles in case! The short-lived journal was published in March 1796 most celebrated ) achievement of response. Other roles in any case, and he helped introduce German idealist philosophy to English-speaking...., England the extraordinary train of images which arose during his opiated stupor, ” developed!

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