Not es

Preface

1. Unpublished preface to Opening of the Field ; quoted by Michael Davidson, The San Francisco Renaissance: Poetics and Community at Mid-Century (Cambridge: Cambridge University Press 1989 ), 127.

2. Mapped by George Whalley in his magisterial contribution to “Romantic” and Its Cognates: The European History of a Word ed. Hans Eichner (Toronto: University of Toronto Press, 1972), 157–262.

Introduction

1 . For Heaney in the Dublin Sunday Independent (Dublin) January 26, 1975, see Denis Sampson, Young John McGahern: Becoming a Novelist (Oxford: Oxford University Press, 2012), xi. For James Joyce, see Finnegans Wake (London: Faber and Faber, 3rd ed. reprinted 1968), 215: 23.

2 . Notably, J. R. de J. Jackson, Method and Imagination in Coleridge’s Criticism (London: Routledge and Kegan Paul, 1969), esp. 109–21; D. M. MacKinnon, “Coleridge and Kant” in Coleridge’s Variety: Bicentenary Studies ed. John Beer (London: Macmillan, 1974 ); and S. V. Pradhan, Philocrisy and Its Implications: Essays on Coleridge (1999) (reprinted New Delhi: Allied Publishers, 2000), esp. 10–40 ( chapter 2 ).

3 . For John Donne, see “The Triple Foole” in The Elegies and the Songs and Sonnets ed. Helen Gardner (Oxford: Clarendon Press, 1965), 52. For Coleridge’s relish of Donne’s provocative disharmonies, see CM , 2:216, 217, 221, etc.

4 . Coleridge’s translation here originally appeared in the context of a sensi-tive discussion of Homer’s sound effects, written in a notebook in the last months of his life ( CN 5:6855), where he claims it dates from as early as 1795–96.

5 . Re. his general widespread popularity, in balance with the exalted posi-tion he held among the group of poets and critics I describe in the next chapter, I mention here that my great-uncle Oscar, aged nine ca. 1907, earned ten shillings from his father for learning the whole “Ancient Mariner” by heart and reciting it con brio .

6 . “The Descent” from The Desert Music (1954) in The Collected Poems of William Carlos Williams ed. A. Walton Litz and Christopher MacGowan (2 vols. New York: New Directions, 1986–88), 2: 246.

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1 Making a Poet

1 . Ludwig Wittgenstein, Philosophische Untersuchungen / Philosophical Investigations (1950) ed. and trans. G. E. M. Anscombe (Oxford: Basil Blackwell, 3rd ed. 1967), 103 a (Part I, #309).

2 . They were published as a footnote in his Memorials of a Tour on the Continent (1822): see William Wordsworth, The Poetical Works of William Wordsworth: Volume III ed. E. de Selincourt and Helen Derbishire (2nd ed. Oxford: Clarendon Press, 1954), 3:472.

3 . In Walter E. Houghton, Victorian Frame of Mind, 1830–1870 (New Haven, CT: Yale University Press for Wellesley College, 1957).

4 . In an ALs to Ernest Hartley Coleridge (April 10, 1895) at the Harry Ransom Humanities Research Center, University of Texas at Austin. In fact, he used the Latin phrase, Ostensus non datus .

5 . Full publication details of these and all other such items not included in the bibliography are supplied by the three volumes of Samuel Taylor: An Annotated Bibliography of Criticism and Scholarship ed. Haven, Crawford et al . ( 1976 –96). Vols. II and III contain corrections and additions to the previous volume(s), and there is a link to an online supplement at The Friends of Coleridge website (www.friendsofcoleridge.com).

6 . See Nathan Drake, “On the Poetry of the Ages of Elizabeth and the Charleses, and of the present Reign” in his Literary Hours, or Sketches Critical and Narrative (Sudbury, Suffolk: Printed by J. Birkitt, 1798), 456, and see also 389. Not listed in the Haven-Crawford bibliographies.

7 . For an example of an auditor who heard “Christabel” recited five years before it was published, and was at once struck by the superiority of the original over its already familiar imitations, see Henry Crabb Robinson, Henry Crabb Robinson on Books and Their Writers ed. Edith J. Morley (3 vols. London: J. M. Dent, 1938), 1:47–48.

8 . I use the title of the later, revised version throughout, but here and else-where it is important that the first reviewers of the poem—and its first admirers, like the young Hazlitt—encountered the poem as that more provocative thing, the “Ancyent Marinere.”

9 . Unsigned in The Times May 20, 1816; reprinted in Coleridge: The Critical Heritage ed. J. R. de J. Jackson (2 vols. London: Routledge, 1970–91), 2:246–51 at 247. For Lamb’s earlier, private response to Southey’s and Wordsworth’s remarks on the “Ancient Mariner,” see his letters of November 8, 1798 and January 30, 1801: The Letters of Charles and Mary Lamb, 1796–1817 ed. Edwin W. Marrs (3 vols. Ithaca, NY: Cornell University Press, 1975–78), 1:142–43 and 266, respectively. Lockhart called Coleridge “a greater Quack still” than Hunt in 1817: “On the Cockney School of Poetry, No.1” Blackwood’s Edinburgh Magazine 2 (October 1817 ), 38–41 at 40.

10 . The Westminster Review piece is reprinted in Critical Heritage ed. Jackson, 1:525–56, who attributes it to John Bowring. Walter E. Houghton et al., Wellesley Index of Victorian Periodicals , 1824–1900 (5 vols. Toronto, ON: University of Toronto Press, 1966–89), 3:569, argue against Bowring in favor of William Johnson Fox. The unsigned protest appeared in The Athenaeum No.116 (January 16, 1830), 17–18.

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11 . Specifically “Christabel” in The Athenaeum July 1828, collected in his Essays and Tales ed. J. C. Hare (2 vols. London: John W. Parker, 1848), 1:101–10. He astounded Charles Greville ten years later by comparing “Kubla Khan” with “Lycidas” “for harmony of versification”: see Charles Greville, The Greville Memoirs (Second Part) : A Journal of the Reign of Queen Victoria from 1837 to 1852 (3 vols. London: Longmans, Green, 1885), 1:109 (July 1, 1838).

12 . Ralph Waldo Emerson, Complete Works: Centenary Edition , (12 vols. Boston: Houghton Mifflin, 1903–04), 7:203.

13 . S. C. Hall (ed.), The Book of Gems: The Modern Poets and Artists of Great Britain (London: Whittaker, 1838), 50–59. Two volumes covering earlier periods of poetry began to appear in 1836. All three volumes were reprinted in 1842 and were reissued as a uniform set by Bell and Daldy in 1866.

14 . ALs to Derwent Coleridge from [10 Chester Place?], Sunday 18 January [1852] at Humanities Research Center, Austin, TX [Grantz no. 92]. Bradford Mudge, Sara Coleridge, A Victorian Daughter: Her Life and Essays (New Haven, CT: Yale University Press, 1989), 172–75 comments on how Sara’s attitudes to Coleridge’s poetry affected her editing, but appears unaware that Derwent inserted a version of the introduction Sara disapproved of into the final, 1870 Moxon edition.

15 . As examples, see F. Campbell (ed.), Beauties of the British Poets; with Notices, Biographical and Critical (2 vols. London: Richard Edwards, 1824), 1:174–75, 293–96 and 2:77–79, 225–97; the anonymously edited Gems from British Poets (4 vols. London: Robert Tyas, 1838–39), 2:137–48; and William Odell Elwell (ed.), The British Lyre: or, Selections from the English Poets ( 1854 ) (3rd ed. Brunswick, Germany: George Westermann, 1857), 62, 94, 250, 267–70, 302.

16 . The 1867 edition is rare and perhaps the print-run was small. It com-prises xxvi + 358 pp., omits the frontispiece, and all text is placed within a single-rule frame.

17 . As did another acquaintance from earlier times—Alaric A. Watts in his The Laurel and Lyre: Fugitive Poetry of the Nineteenth Century (London: Frederick Warne, 1867 )—although without the picture and under the title “Genevieve,” as well as in preference to any of the poems by Coleridge he published in albums between 1828 and 1832.

18 . Writing to Ernest Hartley Coleridge, June 5, 1903: Algernon Charles Swinburne, Swinburne Letters ed. Cecil Y. Lang (6 vols. New Haven, CT: Yale University Press, 1959–62), 6:168–69 at 169.

19 . Richard Garnett, Coleridge (London: George Bell, 1904), 92. 20 . For F. J. A. Hort, see his contribution “Coleridge” to Cambridge Essays,

Contributed by Members of the University (London: John W. Parker and Son, 1856 ), 308–09; for de Vere, see Wilfrid Ward, Aubrey de Vere: A Memoir Based on His Unpublished Diaries and Correspondence (London: Longmans, Green, 1904), 393.

21 . Harold G. Merriam, Edward Moxon: Publisher of Poets (New York: Columbia University Press, 1939), 194. Coleridge’s nephew, Edward, who taught at Eton, was among those who lent his voice to the out-cry against Poems and Ballads . The outcry alarmed the publisher no less because Edward Moxon (died 1858) had been dragged through the

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courts for publishing blasphemous material by Shelley. Swinburne’s side of the story appears in Swinburne Letters ed. Lang, 1:171–72, 175–77, 180–81, 220–21; 2:113–14, etc.

22 . His father, Peter George Patmore, secretary of the Surrey Institution and friend of Hazlitt, described Coleridge in his pseudonymous Letters on Englandby Victoire, Count de Soligny (2 vols. London: Henry Colburn, 1823 ), 2:78 as “Perhaps . . . the first genius of his day in this country; and yet, to prove that he is so, he has done—almost nothing.”

23 . Dennis Taylor, Hardy’s Metres and Victorian Prosody (Oxford: Clarendon Press, 1988), 49. As others have noted, Hopkins and Ernest Hartley Coleridge had been schoolfriends at Highgate in 1858–60, corresponded during following years when they exchanged views on poetry, and over-lapped for a year as undergraduates at Balliol.

24 . Swinburne to F. W. H. Myers, October 11, 1891: Uncollected Letters of Algernon Charles Swinburne ed. Terry L. Myers (3 vols. London: Pickering and Chatto, 2005), 3:30.

25 . The selection was made on the advice of Thomas Sturge Moore and was influenced by the fact that the publishers’ friend Charles Ricketts pub-lished a separate edition of the “Ancient Mariner” five years before.

26 . George’s Select Poems of Samuel Taylor Coleridge appeared in 1902. He had already made several similarly comprehensive selections from Wordsworth and was to edit a separate annotated edition of the Ancient Mariner in 1904. Thompson’s comment appeared anonymously in The Academy and Literature (London) 65:1639 (October 3, 1903 ), 322–24 at 323; reprinted in his Literary Criticisms by Francis Thompson, Newly Discovered and Collected ed. Terence Connolly (New York: E. P. Dutton, 1948), 117–22.

27 . J. W. Mackail, Life of William Morris (2 vols. London: Longmans, Green, 1899), 2:310. The volume finally included 13 poems and was the last of the series of reprints of modern poetry issued from the Kelmscott Press. Swinburne’s aside to Ernest Hartley Coleridge may be true—“Poor Morris was about as well qualified to judge of poetry as any one of his workmen. I can hardly believe that he really admired S. T. C.” ( Swinburne Letters ed. Lang, 6:168–69 at 169)—but they are together on the prin-ciple of selection here.

28 . W. Macneile Dixon and H. J. C. Grierson (eds.), English Parnassus: An Anthology of Longer Poems (Oxford: Clarendon Press, 1909), 735–37.

29 . It is worth noting that Rossetti’s A Sea-Spell (painted 1875–77) was originally intended to illustrate the lines “A damsel with a dulcimer | In a vision once I saw”: Dante Gabriel Rossetti: His Family-Letters with a Memoir ed. W. M. Rossetti, (2 vols. London: Elvey, 1895), 1:363.

30 . John Campbell Shairp, “Poetic Style in Modern English Poetry,” in Aspects of Poetry: Being Lectures Delivered at Oxford (Oxford: Clarendon Press, 1881), 144; Arthur Symons (ed.), Poems of Coleridge (London: Methuen, 1905 ), xxxviii (reprinted in his Romantic Movement in English Poetry [London: Archibald Constable, 1909], 140).

31 . Quoted from a letter by Rossetti to Hall Caine, July 27, 1880, in which an early version of his sonnet to Coleridge (“His Soul fared forth”) exag-gerates the relative shortness of Coleridge’s supposed creative period:

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Dear Mr. Rossetti: The Letters of Dante Gabriel Rossetti and Hall Caine, 1878–1881 ed. Vivien Allen (Sheffield: Sheffield Academic Press, 2000), 137–39 at 137. For the version subsequently published in 1881 (“Six years, from sixty saved!”), see The Works of Dante Gabriel Rossetti ed. W. M. Rossetti, 231.

32 . See W. M. Rossetti, diary entry for April 25, 1868, in Rossetti Papers, 1862 to 1870 (London: Sands, 1903), 305 for Swinburne. An entry by William for April 6, 1870 makes clear that he worked on his edition from this time with Moxon’s assistance even while Derwent Coleridge’s 1870 edition, also from Moxon, was just appearing. If Derwent knew, this might explain why he took the opportunity to have his say in a lengthy introductory essay before the family copyright expired. An undated reis-sue from another printer appeared under the Moxon imprint (which was under the control of Ward Lock from 1871 to 1877) as late as 1877–78, when Edward Moxon’s son Arthur renewed the family interest in the new premises at Paternoster Row.

33 . The first was by H. D. Traill (1884), in the English Men of Letters series. Neither biography could compete with Thomas Ashe’s extensive introduc-tion to his edition of Poetical Works (2 vols. London, 1885), nor indeed with Alois Brandl’s Samuel Taylor Coleridge und die englische Romantik (Berlin, 1886), or the English edition by Lady Eastlake (1887). I should add that the unsatisfactory character of Caine’s Life was quickly noticed.

34 . As John Hollander remarks in “Romantic Verse Form and the Metrical Contract” in his Vision and Resonance: Two Senses of Poetic Form (New York: Oxford University Press, 1975), 187.

35 . The correspondence took place in May 1886: see Swinburne’s Uncollected Letters ed. Myers, 2:407 and Letters ed. Lang, 4:141–42 for both sides. The manuscript appears to have been Dorothy Wordsworth’s transcript of her brother’s beginning to The Three Graves (described in PW 2:464): both James Dykes Campbell and EHC thought it was STC’s, and EHC’s letter to Swinburne (which contains no suggestions of any doubts as to its authorship) appears to be fishing for Swinburne’s impressions.

36 . ALs dated March 28, 1903 in Swinburne Letters ed. Lang, 6:167–68 at 168, and see also Earl Leslie Griggs, “Swinburne on Coleridge,” Modern Philology 30( 1932 ). The inscribed copy of EHC’s facsimile that Swinburne gave his sister is described by Cecil Bagot, “Coleridge’s Christabel,” Morning Post (London) July ( 1934 ), and see Uncollected Letters ed. Myers, 3:284.

37 . I should mention that the other great Coleridge scholar of the time, James Dykes Campbell (1838–1895), was similarly involved in literary politics: he was a good friend of Pater and Browning, assisted the career of the young Symons, and promoted the poetry of Thomas Lovell Beddoes. The way in which the circumstances, personal connections, and literary tastes of the two men affected their contributions to Coleridge studies is a topic worth pondering.

38 . “Coleridge” in Appreciations with an Essay on Style (London: Macmillan, 1889), 74—this from the part of the essay first published in 1865.

39 . While the introduction to Symons’s 1905 selection of poems was reprinted in his Romantic Movement in English Poetry , 123–47 (the most space devoted

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to any author other than Byron), his sparky notes to the poems were not. Though they cover less than 20 pages, they are worth looking up.

40 . Lytton Strachey, “Coleridge’s Biographia Literaria ” in The Spectator 100 (March 7, 1908 ).

41 . Comprehensively plotted by Matthew Gibson, Yeats, Coleridge and the Romantic Sage (Basingstoke, Hants: Macmillan, 2000 ). Yeats’s own cop-ies, published by Bell in 1875 and 1876, respectively, were both from the library of Coventry Patmore. Yeats’s later understanding was influ-enced by Charpentier’s Coleridge, The Sublime Somnambulist trans. M. V. Nugent (London: Constable, 1929 ), which in turn suggests connections between the “Ancient Mariner” and Val é ry’s po é sie pure (137), and the Thursday evenings at Highgate and Mallarm é’ s Tuesday receptions at the Rue de Rome (312), among other things.

42 . See Edward Dowden, “Coleridge as a Poet,” Fortnightly Review (1889), 342–66; reprinted in his New Studies in Literature (London: Kegan Paul, 1895), 313–54. Also, his very full selection, Poems of Coleridge , published by T. C. and S. C. Jack, Edinburgh 1906 , which was reissued by Caxton Publishing, London, at several later dates (up to 1927 and perhaps later).

43 . “Why Coleridge?” New Republic (September 13, 1939) 163–64. The essay is a review of the two 1938 biographies: by E. K. Chambers and Lawrence Hanson.

44 . Which of course he was, but he also wrote “The Song of the Mad Prince” (in Peacock Pie 1913), a poem that has been compared to “Christabel” in its rhythmic movement by Henry Charles Duffin (p.18) and is the subject of a brilliant reading by John Danby in his Approach to Poetry (London: William Heinemann, 1940), 86–92.

45 . H. A. Treble (ed.), in his anthology of English Romantic Poems (London: W. and R. Chambers [1923]), 27. Treble’s selection, which begins with the “Ancient Mariner,” is designed to illustrate how “the lyric subjectiv-ity superceded to the narrative objectivity”(5) in the course of the nine-teenth century.

46 . In Norman Fruman, Coleridge, the Damaged Archangel (New York: George Braziller, 1971 ; London: Allen and Unwin, 1972).

47 . Many New Critics were, of course, well aware of the issues involved and struggled with the interpretation of Coleridge on which their practice rested. A particularly good example is provided by Allen Tate in his “Literature as Knowledge” ( 1941 ), The Man of Letters in the Modern World: Selected Essays, 1928–1955 (New York: Meridian Books; London: Thames and Hudson, 1955).

48 . Published by Lawrence and Bullen, London, p.[xiii], with later edi-tions from Routledge. For prompt American acquiescence, see Andrew George (ed.), Select Poems of Samuel Taylor Coleridge (1902), who quotes Garnett’s words in his Preface (p.vi).

49 . Perhaps J. Dover Wilson was the last to include it—along with the famous three—in a general twentieth-century anthology: The Poetry of the Age of Wordsworth: Volume I. An Anthology of the Five Major Poets (Cambridge: Cambridge University Press, 1927 ), 117–20. This is also the place to mention that the selection by Gertrude Flower in her selection, Poetical

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Works of Coleridge, Poe and Rossetti; Containing only those Poems which Time has Proven Immortal ( 1910 ), opens with “Kubla Khan” and that her conjunction of the three poets is a good deal more illuminating than the format might suggest.

50 . Louise Pound, Coleridge’s ‘The Rime of the Ancient Mariner’ and Other Poems (Philadelphia: J. B. Lippincott, 1920 ), 68. Despite the conven-tional packaging and biographical-critical surround, Pound’s choice of 16 poems is unusually original. Four come from the Stowey period and 12 from subsequent years; she passes over all the early personal and political poems, as well as all the meditative poems in blank verse, and includes several later metrical experiments.

51 . The even more widely circulated textbook by Brooks and Warren, Understanding Poetry (1938), was forced to vary the choice and thus to offer the “Ancient Mariner” only.

52 . Kenneth Burke, Master Poems of the English Language ed. Oscar Williams (New York: Trident Press, 1966), 439–64; reprinted as “ ‘Kubla Khan,’ Proto-Surrealist Poem” in Burke’s Language as Symbolic Action: Essays on Life, Literature, and Method (Berkeley, CA: University of California Press, 1966 ), 201–22. The single most extensive discussion “Kubla Khan” received in the century before The Road to Xanadu was by Charles D. Stewart in his Essays on the Spot (Boston, MA: Houghton Mifflin, 1910 ), 105–89, which was an extraordinary affirmation of its importance at the time.

53 . Stephen Potter, The Muse in Chains: A Study in Education (London: Jonathan Cape, 1937 ) 65 and passim.

54 . Richards renewed his advocacy ten years later in a lecture printed as Coleridge’s Minor Poems: A Lecture . . . Delivered in Honor of the Fortieth Anniversary of Professor Edmund L. Freeman at Montana State University on April 8, 1960 (Missoula, MT: Montana State University, 1960), which I take as recognition of what I suggest. The word Minor in his lecture-title signals a continuing, limiting reservation.

55 . Harold Bloom’s Introduction in fact repeats his essay, “Coleridge: The Anxiety of Influence,” which appeared the same year in New Perspectives on Coleridge and Wordsworth: Selected Papers from the English Institute ed. Geoffrey Hartman (New York: Columbia University Press, 1972), to which he added four pages at the beginning.

56 . Gregory Leadbetter, Coleridge and the Daemonic Imagination (New York: Palgrave Macmillan, 2011 ), 4 etc. finds he can give qualified approval, but what Hughes has to say about Coleridge’s prosody is altogether misleading.

57 . This in essence was Aubrey de Vere’s point when he urged Sara Coleridge to omit the first hundred pages of juvenile poems inserted into the first editions of Poetical Works edited by Henry Nelson Coleridge: see Ward, Aubrey de Vere: A Memoir , 265. Sara’s correspondence with her brother, Derwent, in the months before she died (in MS at HRC Austin) shows them both much occupied with such matters while they prepared the first Moxon edition (1852).

58 . Anon, “The Magic and Craft of Coleridge,” Times Literary Supplement (November 28, 1912 ), 538A; reprinted in The Living Age [aka Littell’s Living Age ] (New York) 276 ( 1913 ), 54.

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2 A Poet Making

1 . Geoffrey Hill, “Citations I” in A Treatise of Civil Power (London: Penguin Books, 2007), 2.

2 . William Hazlitt, “Mr. Wordsworth” in The Spirit of the Age: or Contemporary Portraits (London: Henry Colburn, 1825), 235–36; The Complete Works of William Hazlitt ed. P. P. Howe (21 vols. London: J. M. Dent and Sons, 1930–34), 11:88.

3 . Preface to the second edition of Poems (1797): PW 1:1233. 4 . References to the project are conveniently gathered in OM ccxxix–xxxv. 5 . The quoted phrases and the burden of the following sentence are from

pp. iv–vi of Meynell’s pithy introduction to her 1905 selection for The Wallet Library; reprinted in The Wares of Autolycus: Selected Literary Essays of Alice Meynell ed. P. M. Fraser (London: Oxford University Press, 1965), 154–57. They draw on her 1897 essay in the Pall Mall Gazette .

6 . A generous remark at the time, when he was the better-known poet and had more to lose by the generally unfavorable reception of Lyrical Ballads , as H. W. Garrod emphasizes in his lecture “Coleridge” in The Profession of Poetry and Other Lectures (Oxford: Clarendon Press, 1929), 66–67.

7 . Lamb’s defense appears in letters to Southey (November 8, 1798) and Wordsworth (January 30, 1801): The Letters of Charles and Mary Lamb, 1796–1817 ed. Edwin W. Marrs (3 vols. Ithaca, NY: Cornell University Press, 1975–78), 1:142 and 266. For protests against the tide of twentieth-century criticism on behalf of this category of feel-ing, see John F. Danby, The Simple Wordsworth: Studies in the Poems 1797–1807 (London: Routledge and Kegan Paul, 1960 ), and Norman Fruman, “Romanticism and the Decay of the Affections,” in Aspects du Romantisme Anglais: M é langes Offerts a Jacques Blondel ed. Bernadette Bertrandias et al. (Clermont: Universit é de Clermont II, UER Lettres et Sciences Humaines, Centre du Romantisme Anglais, 1980 ).

8 . Printed for the first time in SW&F 2:1419–53: page references are inserted within brackets following quotations in the text.

9 . Prose Works of William Wordsworth ed. W. J. B. Owen and Jane Worthington Smyser (3 vols. Oxford: Clarendon Press, 1974), 1:128.

10 . Coleridge’s rewriting of the events of his radical years at Bristol and Stowey is well known. Less so is the degree of self-fashioning involved as he looked back over his earlier years, but see Justin Shepherd, “ ‘Where first I sprang to light’: Coleridge’s Autobiographical Reflections 1797–98,” The Coleridge Bulletin N.S. No.35 (Summer 2010 ), and Graham Davidson “Coleridge in Devon,” in English Romantic Writers and the West Country ed. Nicholas Roe (Basingstoke, Hants: Palgrave Macmillan, 2010 ). A striking example is suggested by the episode of a night spent on the banks of the Otter following a quarrel with his brother Frank: in Coleridge’s version in CL 1:352–53, and repeated in CN 5:6675 f90, and James Gillman, Life of Samuel Taylor Coleridge (London: William Pickering, 1838), 11. An alternative version was recorded by Joseph Cottle ( Early Recollections; Chiefly Relating to Samuel Taylor Coleridge, During his Long Residence in Bristol [2 vols. London: Longman, Rees, 1837],

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1:240–43) and comes from an independent witness who was Coleridge’s childhood neighbor and playmate: probably the Martha Vicary who mar-ried John Moor at Ottery, November 16, 1788, and afterwards moved to Bristol. She remembered the three or four-year-old “Sammy” wandering away to the river to try out a new fishing line that his sister, Ann, helped him construct, and how he was discovered and brought home by a wag-goner. It contains no hint of a preceding quarrel, and one might observe that what appear to be allusions to the same episode in Coleridge’s poetry are correspondingly benign ( Osorio III i 60–73 and 289 “Letter” lines 208–15 at PW 3:99 and 1:686); see also CL 2:669. Cottle is not a reliable witness but he had no reason to invent trivial circum-stantial details. He omitted the anecdote in his more focused abbreviated account (compare Reminiscences of Samuel Taylor Coleridge and Robert Southey [London: Houlston and Stoneman, 1847], 137–38), like others he considered less relevant to his main theme. I comment on the complicated beginnings of STC’s myth about himself involving Frank and his other brothers in my Coleridge’s Father: Absent Man, Guardian Spirit (Nether Stowey, Som: The Friends of Coleridge, forthcoming), para 10.7.7.

11 . J. S. Hill pointed out that the last phrase here is borrowed from Milton’s preface to The Reason of Church Government (John Beer, Coleridge’s Play of Mind [Oxford: Oxford University Press, 2010], 154n). Milton is sig-nificant because he prompted a good deal of Coleridge’s thinking about music and poetry.

12 . Edward Bostetter, “Coleridge’s Manuscript Essay on the Passions,” Journal of the History of Ideas 31( 1970 ), 108.

13 . For the scientists and doctors, see Trevor H. Levere, Poetry Realized in Nature: Samuel Taylor Coleridge and Early Nineteenth-Century Science (Cambridge: Cambridge University Press, 1981 ); for the larger, philo-sophical-theological conundrum, McFarland’s Introduction to OM is a masterly summary.

14 . Described by Annik Hillger, Not Needing All the Words: Michael Ondaatje’s Literature of Silence (Montreal, CA: McGill-Queen’s University Press, 2006), 59–68 ( chapter 3 ).

15 . Gray describes Helen being carried off from Troy “with fond reluctance, yielding modesty, | And oft reverted eye, as if she knew not | Whether she feared or wished to be pursued” (Roger Lonsdale, Poems of Gray, Collins, Goldsmith [London: Longmans, 1969], 43). Lonsdale points to the parallel with Paradise Lost IV 310–11: “Yielded with coy submission, modest pride, | And sweet reluctant amorous delay.”

16 . I refer of course to E. M. Butler’s classic study, The Tyranny of Greece over Germany (Cambridge: Cambridge University Press, 1935 ).

17 . I use this shorter, alternative title throughout the present volume to make referencing simpler.

18 . Autumn Journal (1939) IX in Louis MacNeice, Collected Poems ed. Peter McDonald (London: Faber and Faber, 2007), 120.

19 . Editorial translation of a line from Milton’s first Latin elegy on Charles Diodati ( Complete Shorter Poems ed. John Cary [London: Longman, 4th impression with corrections 1981], 20), which in part derives from Ovid

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Metamorphoses IV 330, quoted in “On the Passions” ( SW&F 2:1438. where it is untraced; and see also SW&F 2:1227).

20 . Gilpin H. George, The Strategy of Joy: An Essay on the Poetry of Samuel Taylor Coleridge (Salzburg, Austria: Institut f ü r Englische Sprache und Literatur Universit ä t Salzburg, 1972): a somewhat diagrammatic but bal-anced survey.

21 . Marshall Suther, The Dark Night of Samuel Taylor Coleridge (New York: Columbia University Press, 1960 ), 119. His Visions of Xanadu from the same publisher ( 1965 ) follows a similar approach.

22 . Described by Derwent Coleridge in the “Memoir of Hartley Coleridge” attached to his edition of Poems of Hartley Coleridge (2 vols. London: Edward Moxon, 1851 ), 1: xxxvi–xl. Derwent’s description of Hartley’s childhood (see also pp.xl–xliii, l–lii), as well as many other characteristics, curiously recall their father’s.

23 . Collected in The Last Essays of Elia (1833): see The Works of Charles and Mary Lamb ed. E. V. Lucas (6 vols. London: Methuen, 1912), 2:212–15 at 214.

24 . Anguished though this poem is, it contains a conventional dimension that is often missed. It should be read against the prayer Coleridge recited as a child that left him “half-awake & half-asleep, my body diseased & fevered by my imagination, seen armies of ugly Things bursting in upon me, & these four angels keeping them off” ( CL 1:348), the popular title of which is the Black Paternoster. The full text is supplied by Walter de la Mare (ed.), Behold, this Dreamer! (London: Faber and Faber, 1939), 226; and see also 230–31 for Charles Lamb’s similar recollections of night ter-rors as a child (from his Elian essay, “Witches, and Other Night-Fears,” in Works ed. Lucas, 2:74–80).

25 . Discussion of Coleridge’s notebook musings—some of the most impor-tant contained in commentary on family relationships in Old Testament stories—and to the mother-child relationship that plays an important part in the argument of Opus Maximum can be found in my Coleridge’s Father , chapter 2 .

26 . Kathleen Coburn, “Reflections in a Coleridge Mirror: Some Images in His Poems” in From Sensibility to Romanticism: Essays Presented to Frederick A. Pottle ed. Frederick W. Hilles and Harold Bloom (New York: Oxford University Press, 1965).

27 . For Smerdon’s career in the Indian Army, see the references given in my Coleridge’s Father , para 7.3.8n. The frenzy-fever of the poem title might allude to the Smerdon’s loss of control when he abandoned his duties: the OED gives the first meaning of frenzy as “mental derangement, delirium, temporary insanity,” which was the reason given for Coleridge’s discharge from the army.

28 . The points Coleridge claimed to have contributed to Smerdon’s paper for the Exeter Literary Society (discussed in my Coleridge’s Father , paras 11.2.1, 11.3.3, etc.) are curiously relevant to his style in this poem. See BL 1:19–20 on the artificial styles of Darwin and Gray (esp. Gray’s per-sonification and rhymes “dearly purchased”) contra the natural manner of Collins and Shakespeare—which exactly follows the contrast of styles in the present poem.

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29 . In M. H. Abrams, The Correspondent Breeze: Essays on English Romanticism ed. Jack Stillinger (New York: Norton, 1984), 76–108 ( chapter 4 ).

30 . Ben Jonson ed. C. H. Herford and Percy and Evelyn Simpson (11 vols. Oxford: Oxford University Press, 1925–52), 8:242–47.

31 . See the young John Sterling’s splendid description of Coleridge gazing down upon the world from Highgate, with his “great and circular mind” (“London” in The Athen æ um 1829; Essays and Tales ed. J. C. Hare [2 vols London: John W. Parker, 1848], 2:3–14 at 9).

32 . For instance, Martin Bidney, “The Structure of Epiphanic Imagery in Ten Coleridge Lyrics,” Studies in Romanticism 22 (1983).

33 . There are exceptions: for example, Max F. Schulz, The Poetic Voices of Coleridge: A Study of His Desire for Spontaneity and Passion for Order (Detroit, MI: Wayne State University Press, 1963 ), 82; and Cooke, “The Manipulation of Space in Coleridge’s Poetry” in New Perspectives on Wordsworth and Coleridge: Selected Papers from the English Institute ed. Geoffrey H. Hartman (New York: Columbia University Press, 1972), 180–83.

34 . Lonsdale makes the comment on Collins’s modification in his edition of Poems of Gray, Collins, Goldsmith , 413–14.

35 . Or perhaps, even so, not quite. The last line echoes Terence’s well-known line, “homo sum nihil a me alienum puto” ( The Self-Tormentor I iii), the schoolboy staleness of the reference contributing to the disharmony of the joke.

36 . James Vigus, Platonic Coleridge (London: Legenda, 2009 ), is very good—surely definitive—on Coleridge’s ambivalent feelings

37 . “Aire and Angels,” in Elegies and Songs and Sonnets ed. Helen Gardner (Oxford: Clarendon Press, 1965), 75–76 at 75.

38 . Life Supports: New and Collected Poems (San Francisco, CA: North Point Press, 1981), 211. For other poems by Bronk containing similarly explicit statements of this theme, see “The Ignorant Lust after Knowledge” and “Ontology Offers a Hindrance To Humanism” ( Life Supports, 136, 184). Reflections on these poems by Henry Weinfield in his Music of Thought in the Poetry of George Oppen and William Bronk (Iowa City: University of Iowa Press, 2009 ) are particularly helpful in bridging the gap between Coleridge’s time and the secular present.

3 Matters of Style

1 . The Structure of Poetry (London: Routledge and Kegan Paul, 1951), 93. 2 . Wordsworth to Coleridge’s nephew, John Duke Coleridge: “Personal

Reminiscences, 1836” in Christopher Wordsworth, Memoirs of William Wordsworth (2 vols. London: Edward Moxon, 1851), 2:306; Sara Coleridge to Mary Morris in Memoir and Letters of Sara Coleridge [ed. Edith Coleridge] (2 vols. London: Henry S. King, 1873), 1:308 (June 10, 1844).

3 . To his brother Derwent in 1821: Letters of Hartley Coleridge ed. Grace Evelyn Griggs and Earl Leslie Griggs (London: Oxford University Press, 1937), 66.

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4 . Derek Attridge quotes a strikingly clear statement of this understanding by Ramus (Pierre de la Ram é e) in his Well-Weighed Syllables: Elizabethan Verse in Classical Metres (Cambridge: Cambridge University Press, 1974 ), 80–81.

5 . Poems of John Keats ed. Jack Stillinger (Cambridge, MA: Harvard University Press, 1978), 503.

6 . The readings by Alan C. Purves, Verse Technique of Samuel Taylor Coleridge (PhD dissertation Columbia University NY, submitted 1960), are particularly persuasive: here see 27–40 and Appendixes.

7 . The transition to the new accentualism is charted by Paul Fussell Jr., Theory of Prosody in Eighteenth-Century England (New London: Connecticut College, 1954 ).

8 . The point lies at the heart of the argument made by Audrey Elizabeth McKim, “ ‘An Epicure in Sound’ ”: Coleridge on the Scansion of Verse,” English Studies in Canada (Edmonton, AB) 18 ( 1992 ), 287–300 at 293 (and I echo her words here). See also her dissertation, An Epicure in Sound: Coleridge’s Theory and Practice of Versification (PhD dissertation, York University Toronto, submitted May 1990). McKim’s understanding of how Coleridge’s allegiance to the two traditions of prosody was differ-ently weighted is, I feel, particularly valuable.

9 . See for example his conventional scansion of Samson Agonistes lines 80–150 in October 1807 ( CN 2:3180) and of part of “The Knight’s Tomb” ( 303 )—of all poems!—in October 1824 ( CL 5:381).

10 . Prospectus for the school at Ottery attached to John Coleridge’s Miscellaneous Dissertations on Judges XVII and XVIII (London: for the Author, 1768 ), 273–75 at 275. John Coleridge cites Foster’s “learned Treatise” (2nd ed. 1763 ) in his A Critical Latin Grammar; etc . (London: for the Author, 1772 ), 36 and 161; for his son on the same topic, also citing Foster, see SW&F 1:50–57 and the references there to articles by George Whalley and C. I. Patterson.

11 . For commentary on this circuitous line of interconnected reading and writing, in which poetry merged with politics, see Ernest Bernhardt-Kabisch, “ ‘When Klopstock England Defied’: Coleridge, Southey, and the German/English Hexameter,” Comparative Literature 55 No. 2 (Spring 2003); Joseph Patrick Phelan, “Radical Metre: The English Hexameter in Clough’s Bothie of Toper-na-Fuosich ,” Review of English Studies N.S. 50 ( 1999 ); and John David Hall, “Popular Prosody: Spectacle and the Politics of Victorian Versification,” Nineteenth-Century Literature 62 ( 2007 ).

12 . See my Coleridge’s Father: Absent Man, Guardian Spirit (Nether Stowey, Som: The Friends of Coleridge, forthcoming), paras. 12.1.7 and 12.3.2 for Coleridge and his father on Psalms and singing at Ottery. The matter clearly connects with Coleridge’s particular interest in Pindar as rhapsode and metrist, for which see CM 2:89 and note, TT 2:12.

13 . Thelwall the accentualist is given his due by Omond, English Metrists, Being a Sketch of English Prosodical Criticism from Elizabethan Times to the Present Day (Oxford: Clarendon Press, 1921 ), 125–28. The radical connection of the same prosodical cause bears on the figures with asses’

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ears in James Gillray’s 1798 cartoon, New Morality , who wave papers labeled “Coleridge Dactylic” and “Southey Sapphics.”

14 . Where it was discovered by Coventry Patmore and absorbed into his groundbreaking essay: see Coventry Patmore’s “Essay on English Metrical Law”: A Critical Edition with a Commentary ed. Mary Roth (Washington, DC: The Catholic University of America Press, 1961 ), 56–57 passim.

15 . Fussell, Attridge, and others regard this application of Latin terminol-ogy to English scansion as one of Coleridge’s primary contributions, although it should be noted that the most impressive examples were not published until long after his death. Others—Edmund Gosse in his article on Swinburne in Encyclop æ dia Britannica 11th ed. (21 vols. Cambridge: Cambridge University Press, 1911), 26: 235A-B, and Stanley Leathes in his Rhythm in English Poetry (London: William Heinemann, 1935 ), 133–43—praise Swinburne for doing exactly the same thing. Even though most of Coleridge’s exer-cises on the subject were unpublished, his practice evidently encouraged Swinburne to return to the quantitative prosody he learnt at Eton with new understanding.

16 . Purves repeatedly insists on this point with particular reference to the blank verse poems: see Verse Technique , 6, 41–42, 68–69, etc. Similarly, “Lines Written at Elbingerode” ( 200 ) is often taken as a confident asser-tion of Coleridge’s nascent transcendentalism, yet that position took another 10 years to secure—as for example, “Dejection: An Ode” ( 293 ) and “To William Wordsworth” ( 401 ) make evident.

17 . A study that is valuable not least for its survey of the music available to be heard by the authors discussed is Erland Anderson’s Harmonious Madness: A Study of Musical Metaphors in the Poetry of Coleridge, Shelley and Keats (Salzburg, Austria: Institut f ü r Englische Sprache und Literatur Universit ä t Salzburg, 1975 ).

18 . See for example the several excellent essays by David Masson listed in the Bibliography.

19 . Michael John Kooy provides an admirably succinct summary of Coleridge’s debt to Schiller for this concept in his study, Coleridge, Schiller and Aesthetic Education (Basingstoke, Hants: Palgrave, 1988 ), 86–88. Schiller’s persuasive formulation of the ideal interrelation between emotion and will—and its working out in drama—buttressed Coleridge’s understanding of the proper relation between rhythm and meter as “gentle and unnoticed,” “ laxis effertur habenis [carried on with slackened reins]” ( BL 2:16).

20 . Published Philadelphia, 1930. The author was the brother of Alice D. Snyder, who made a number of permanent contributions to Coleridge scholarship.

21 . In Poems of the Past and the Present (1901); The Complete Poems of Thomas Hardy ed. James Gibson, (London: Macmillan, 1976), 115–16 at 116.

22 . For instance, Christopher Grose, “The Lydian Airs of ‘L’Allegro’ and ‘Il Penseroso,’ ” Journal of English and Germanic Philology 83 (1984).

23 . Clement Carlyon, Early Years and Late Reflections (4 vols. London: Whittaker, 1836 –58), 1:138. Carlyon gives line 3 as “Tu whit!—Tu whoo!”

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and indents lines 3–5 (Coleridge only indented line 3 in the sole manu-script in his hand).

24 . “An Epicure in Sound” (1990), 151; and also see her article, “ ‘Not, Properly Speaking, Irregular’ ”: The Metre of ‘Christabel,’ ” The Wordsworth Circle 24 No. 2 (Spring 1993), 77.

25 . The Prelude, 1798–1799 ed. Stephen Parrish (Ithaca, NY: Cornell University Press, 1977 ), 44; and see 10–11, 112–13, etc.

26 . “Ode on a Grecian Urn” in Poems ed. Stillinger, 372–73 at 372. 27 . John Danby, Approach to Poetry (London: William Heinemann, 1940),

13–14. 28 . Peter Wexler appears to have introduced the word into English discus-

sion in his “On the Grammetrics of the Classical Alexandrine” ( 1964 ); see also his “Distich and Sentence in Corneille and Racine” in Essays on Style and Language ed. Roger Fowler (London: Routledge and Kegan Paul, 1966 ). The discussion has been advanced into English-language contexts by Richard Cureton and Donald Wesling, in particular (see Bibliography).

29 . Janet Ruth Heller, “Enjambment as a Metrical Force in Romantic Conversation Poems,” Poetics (Amsterdam) 6 1977). Enid Hamer, The Metres of English Poetry (London: Methuen, 1930 ), 129–30 touches on how differently Wordsworth and Coleridge use parenthesis in blank verse.

30 . “The Dying Swan” line 5 in Poems of Tennyson ed. Christopher Ricks (2nd ed. 3 vols. London: Longmans, 1987), 1:253–55 at 253.

31 . The situation, imagery, and rhythmic intensity of the first epiphanic moment is close to the nearly contemporaneous “To the Nightingale” ( 112 ), but the latter is simple celebration and does not attempt that more ambitious thing: to move forward from the same and consider. (I quickly add that “The Nightingale” is equally complicated in other ways.)

32 . “The Comic Syntax of ‘Tristram Shandy,’ ” in Studies in Criticism and Aesthetics, 1669–1800: Essays in Honor of Samuel Holt Monk ed. Howard Anderson and John S. Shea (Minneapolis: University of Minnesota Press, 1967 ).

33 . See the references given at PW 1:cxii note. 34 . The poems in question became individually popular in selections from

the 1980s onwards. Thinking about them as a separate group can be reck-oned to begin with George McLean Harper, “Coleridge’s Conversation Poems” in his Spirit of Delight (New York: Henry Holt, 1928); reprinted in English Romantic Poets: Modern Essays in Criticism ed. M. H. Abrams (New York: Oxford University Press, 1960 ), 144–57. As I intimated in Chapter 1 , various additions to Harper’s grouping have been made, including for example, “Fears in Solitude” ( 175 ) and “To William Wordsworth” ( 401 ), and even rhymed poems like “Letter to [Sara]” ( 289 ) and “The Garden of Boccaccio” ( 652 ).

35 . The Latin phrase is translated and discussed in the editorial commentary of PW 1:260–61, 469.

36 . For Milton, see CN 2:3180; for Byron and Tennyson, see TT 1:61 and 367–68; for W. Jackson Bate in the next sentence, see his Coleridge (New York: Macmillan, 1968 ), 44.

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37 . Most comprehensively by Ada L. F. Snell, “The Meter of ‘Christabel,’ ” in The Fred Newton Scott Anniversary Papers ed. C. Thorpe and C. E. Whitmore (Chicago: The University of Chicago Press, 1929).

38 . For mapping and statistical evidence of the examples I cite, see Purves, Verse Technique , 116–56 ( chapter 5 ); Heller in Poetics ( 1977 ); and McKim, “An Epicure in Sound” ( 1990 ), 105–33 ( chapter 4 ).

39 . See Coleridge’s own criticism of parts of the poem as “f lat & pros-ish,” the versification as having “too much of the rhyme or couplet cadence,” and the metaphor of friendship “ hunted down ” ( CL 1:334). For Browning, see his Preface to Strafford (1837). Later in the century, this element put Coleridge more in favor with admirers of Browning than of Tennyson.

40 . Theodore Watts-Dunton, Poetry and the Renascence of Wonder (London: Herbert Jenkins, 1916), 15. Charles Tomlinson’s poem, “The Chances of Rhyme” in The Way of a World (London: Oxford University Press, 1969), provides another demonstration of what can be done.

41 . See Geoffrey Grigson on Hardy: “his forms, in spite of his study of Barnes, have an intricate tight roughness like a clump of brambles” (“William Barnes, 1800–1886” in The Mint: A Miscellany of Literature, Art and Criticism ed. Geoffrey Grigson (London: Routledge and Sons, 1946), 92–93; and reprinted in his Harp of Aeolus and Other Essays on Art, Literature and Nature (London: Routledge, 1948), 116.

42 . These last words are quoted from George Oppen’s poem, “If It All Went Up In Smoke” in Primitive (Santa Barbara, CA: Black Sparrow Press, 1978 ), 18; New Collected Poems ed. Michael Davidson (New York: New Directions, 2002 ), 274.

43 . “Imagination and Speculation in Coleridge’s Conversation Poems,” Journal of English and Germanic Philology 64 ( 1965 ), 692.

44 . A rare and somewhat neglected example of the first kind is Max F. Schulz, The Poetic Voices of Coleridge: A Study of His Desire for Spontaneity and Passion for Order (Detroit, MI: Wayne State University Press, 1963 ). Examples of the second kind are legion.

45 . For example, from David Perkins in “How the Romantics Recited Poetry,” Studies in English Literature (Houston, TX) 31 (1991).

46 . “My First Acquaintance with Poets” (1823) in The Complete Works of William Hazlitt ed. P. P. Howe (21 vols. London: J. M. Dent and Sons, 1930–34), 17:118; Collier in Lects 1808–1819 2:476.

47 . “Reflections on ‘Vers Libre’ ” (1917) in To Criticize the Critic and Other Writings (New York: Farrar, Straus and Giroux, 1965), 183–89 at 187.

48 . I use the word “covenant” advisedly, but see Robert J. Barth, Coleridge and Christian Doctrine (Cambridge, MA: Harvard University Press, 1969 ), 180–81 and notes for references and another interpretation. What is not in doubt is that Coleridge’s commitment to marriage was more than legalistic. Eric Griffiths, The Printed Voice of Victorian Poetry (Oxford: Clarendon Press, 1989 ), 238–40 meditates on the relation between met-rical law and marriage law in, for example, Coventry Patmore.

49 . James Sutherland, The Medium of Poetry (London: The Hogarth Press, 1934), 79–80; and cited by D. W. Harding, Words into Rhythm: English

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Speech Rhythm in Verse and Prose (Cambridge: Cambridge University Press, 1976 ), 97.

50 . “Essay on Coleridge” prefixed to Christabel and the Lyrical and Imaginative Poems of S. T. Coleridge (London: Sampson Low; New York: Scribner, Welford, 1869), viii.

51 . Keats, “Ode on a Grecian Urn”; Poems ed. Stillinger, 372. 52 . “Long-legged Fly” in Last Poems (1939); Yeats’s Poems ed. A. Norman

Jeffares with an Appendix by Warwick Gould (3rd ed. Basingstoke, Hants: Palgrave Macmillan, 1996), 463.

53 . See “ Lyrical Ballads”, and Other Poems, 1797–1800 ed. James Butler and Karen Green (Ithaca, NY: Cornell University Press, 1992), 139–41, where it is dated between October 6, and late November/early December 1798. The lines were first written out in DC MS 19, for which see Prelude, 1798–1799 ed. Parrish, 86–87, here called Prelude MS JJ—the same Prelude notebook as the passage referred to in my note 25 above. Of course, when Coleridge wrote the lines in “Christabel,” the jolly non-sensical owlets of Wordsworth’s “The Idiot Boy” were ringing in his ears: “ ‘The cocks did crow to-whoo, to-whoo’ ” ( Poetical Works of William Wordsworth Volume II ed. E. de Selincourt—2nd ed. 1951—[Oxford: Clarendon Press, 1952], 2:80).

54 . Lilith, first wife of Adam and important in traditions of a double fall, is traditionally identified with the “owls” of the King James translation of Isaiah (34:13–15) The Vulgate and several old translations render the same Hebrew word, lilit or lilith , as “lamia”; and the Authorised Standard Version and several modern versions as “night monster”; hence her identification with a succubus. It is quite possible that Coleridge’s subtle explication for Carlyon and company centered on this esoteric dimension of the owl rather than—or as well as—on sound matters. Lilith was supernaturally seductive and malevolent, and could also take on a form that was hairy (Isaiah says “satyr” = ?dog- or mastiff-like and see line 252n in PW 1:491 for Geraldine’s bosom and side as “lean and old and foul of Hue”). D. G. Rossetti’s painting Lady Lilith (1868) might well connect with his advertised interest in Coleridge’s poem and the way both painting and poem were understood within PRB circles.

55 . The lines were still ringing in his ears when he dictated the Biographia ( BL 2:103, 106), that is, coming up to the time Christabel was eventually published.

56 . For Hazlitt, see the unsigned review in The Examiner (June 2, 1816) in Complete Works ed. Howe, 19:32–34 at 34; Critical Heritage ed. R. de J. Jackson (2 vols. London: Routledge, 1970–91), 1: 205–09, which has also been attributed to Henry Crabb Robinson. I have reversed the order of Hazlitt’s sentences. For Lamb (reported by Fanny Imlay) see Edward Dowden, Life of Percy Bysshe Shelley (2 vols. London: Kegan Paul, Trench, 1886 ), 2:41. Compare also Lamb’s letter to William Wordsworth, April 26, 1816, in Letters ed. Marrs, 3:215—although, on other occasions, Lamb’s opinion was more favorable. For Sewell, see her The Field of Nonsense (London: Chatto and Windus, 1952 ), 194.

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57 . The poems are (and I have changed the titles to conform to those given in PW ) 214 “The Devil’s Thoughts,” 158 iii “On a Ruined House in a Romantic Country,” 234 var “The Lethargist and Madman,” and 615 “Verses in the Margin of Martin Luther.” Auden is quoted from his Introduction to The Oxford Book of Light Verse (1938), and Wallace Stevens from his “Notes Towards a Supreme Fiction” in Transport to Summer (1947) [ Collected Poetry and Prose (New York: The Library of America, 1997), 331].

58 . Epigraph to his Responsibilities volume (1914), followed by the closing lines of the penultimate poem in the same collection, “A Coat”: Yeats’s Poems ed. A. Norman Jeffares with an Appendix by Warwick Gould (3rd ed. Basingstoke, Hants.: Palgrave Macmillan, 1996), 196, 230.

59 . The changes are registered in, respectively, PW 2:669–78; PW 1:1333–34; and PW 2:513–14 line 104.

60 . Quoted in Michael O’Neill’s obituary, The Guardian July 25, 2006. 61 . “Source and Allusion in Some Poems of Coleridge,” Studies in Philology

60 ( 1963 ), 76, 77. 62 . References to Coleridge’s possible sources are given in my Coleridge’s

Father at paras. 1.6.3 and 1.6.6. 63 . I mean, it would be normal to acknowledge the indebtedness straight-

forwardly, as Jane Austen does when she alludes to the fire-at-twilight passage and borrows a phrase from it in Book III, chapter 5 / chapter 41 of Emma (1816).

64 . Edwin Guest, A History of English Rhythms (2 vols. London: William Pickering, 1838), 2:249.

65 . And failed to complete the antistrophe even so. Guest, History of English Rhythms , 2:263 suggests a reason: “Coleridge’s rhythm in the three first lines of his Antistrophe, agrees so ill with his subject, as barely to escape the charge of burlesque.”

66 . Discussed in my Coleridge’s Father , “Afterword.” 67 . H. J. C. Grierson, Lyrical Poetry from Blake to Hardy (London: The

Hogarth Press, 1928 ), 39; and see PW 1:1197 on “effusions.” Dowden makes a point not unlike Grierson’s in his essay “Coleridge as a Poet,” Fortnightly Review (September 1, 1889), 353–53; reprinted in his New Studies in Literature (London: Kegan Paul, 1895), 331–32.

68 . McKim, “An Epicure in Sound” ( 1990 ), 194–212 is instructive on the way Coleridge’s particular disaffection with the conventional sonnet is linked to his use of “unobtrusive” rhyme and experimentation with the Spenserian stanza. “Fancy in Nubibus” ( 540 ) is analyzed as a sonnet written as a single unit of interlinked sound in the section “The Evolution of Hope, Love, and Joy” in Chapter 5 later.

69 . “How Poets See” (1939) in his The Common Asphodel: Essays on Poets and Poetry, 1922–1949 (London: Hamish Hamilton, 1949), 295–306 at 298. The following quotation and paraphrase is from pp.300–02.

70 . Arthur Symons, in the Introduction to his edition of the Poems of Coleridge (1905), xliii, went so far as to assert that “the first personal merit which appears in his almost wholly valueless early work is a sense

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of colour” (also in his Romantic Movement in English Poetry [London: Archibald Constable, 1909], 143).

71 . Coleridge (London: George Bell, 1904), 74–75. The Wordsworth quotation at the close of the next sentence comes from his letter to Sara Hutchinson when she failed to see the point of “Resolution and Independence”: Letters of William and Dorothy Wordsworth: The Early Years ed. Ernest de Selincourt and Shaver (2nd ed. Oxford: Clarendon Press, 1967 ), 366–67 (June 14, 1802).

72 . For the “pause of silence” in Coleridge, see “The Nightingale” line 77 ( PW 1:519). For the same phrase in Wordsworth, see “ ‘There was a Boy’ ” lines 16–17 ( Poetical Works ed. Selincourt 2:206). Anderson, Harmonious Madness , 139–40 describes the phrase in Coleridge as a riddle; Beckett likens holes in language to the pauses in Beethoven’s Seventh Symphony in a letter to Axel Kaun ( Letters of Samuel Beckett, Volume I: 1929–1940 ed. Martha Dow Fehsenfeld and Lois More Overbeck [Cambridge: Cambridge University Press, 2009 ], 512–21).

73 . Katherine M. Wilson, The Real Rhythm in English Poetry (Aberdeen: The University Press, 1929 ), 14–15. The passage she analyzes is “Christabel” lines 160–63.

74 . Introduction to Poems of Coleridge , xlii (also Romantic Movement in English Poetry , 143).

75 . Meynell drew attention to other poets’ interest in Coleridge’s lidless in her piece on Beddoes in The Second Person Singular and Other Essays (London: Humphrey Milford [for] Oxford University Press 1921 ), 75–81 at 79, and I have added further instances. The band whose vocalist chose to be known as Sauron is Decapitated .

76 . I refer to the only print version, A Concordance to the Poetry of Samuel Taylor Coleridge ed. Eugenia Logan (Saint Mary of the Woods, IN: pri-vately printed, 1940 ), 823–30. The listing is based on Ernest Hartley Coleridge’s edition; the Bollingen edition has significantly increased the number of words to be taken into account.

77 . John Jones, The Egotistical Sublime: A History of Wordsworth’s Imagination (London: Chatto and Windus, 1960 ), 204–05.

4 Root and Branch

1 . “Among School Children” in The Tower (London: Macmillan, 1928), 55–60 at 60; Yeats’s Poems ed. A. Norman Jeffares, with an Appendix by Warwick Gould (3rd ed. Basingstoke, Hants.: Palgrave Macmillan, 1996), 325.

2 . For Coleridge’s awareness of the allegorical aspects of trees and his com-parison of himself with Wordsworth in terms of one tree rotten at the core and and the other robust and sound, see PW 1:823 note.

3 . First published in 1950 and widely circulated in The New American Poetry, 1945–1960 ed. Donald Allen (New York: Grove Press, 1960 ), 2–8; Collected Poems of Charles Olson: Excluding the “Maximus” Poems ed. George F. Butterick (Berkeley: University of California Press, 1987 ), 86–93.

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4 . Verse Technique of Samuel Taylor Coleridge (PhD dissertation, Columbia University NY, submitted 1960), 6, 41–42, 68–69.

5 . “An Epicure in Sound”: Coleridge’s Theory and Practice of Versification (PhD dissertation York University Toronto, submitted May 1990), 224–27. The customary view of a radical break is expressed by, for example, John Livingston Lowes, The Road to Xanadu : A Study in the Ways of the Imagination (1927) (rev. ed. Boston and New York: Houghton Miff lin, 1930), 597–99. It derives from the failure to real-ize how the extension of ballad style evolves from and is intimately connected with Coleridge’s experiments with stress rhythms and a shifting point of view in his “conversational” blank verse poems over the previous several years.

6 . “On Dryden and Pope” in Lectures on the English Poets (1818); Complete Works of William Hazlitt ed. P. P. Howe, (21 vols. London: J. M. Dent and Sons, 1930–34), 5:73.

7 . Details and references are given in the headnote to the Reading Text of the poem in PW 1:365–68.

8 . The conclusion of Hort’s remarks on Coleridge and the supernatural in Cambridge Essays , Contributed by Members of the University (London: John W. Parker and Son, 1856), 308. In the following sentence, Stokes is quoted from his Coleridge, Language and the Sublime: From Transcendence to Finitude (Basingstoke, Hants: Palgrave Macmillan, 2011), 86.

9 . Sigurd B. Hustvedt, Ballad Books and Ballad Men: Raids and Rescues in Britain, America, and the Scandinavian North since 1800 (Cambridge, MA: Harvard University Press, 1930), 99.

10 . Katherine M. Wilson, Sound and Meaning in English Poetry (London: Jonathan Cape, 1930), 299–345; and see 252 for the quotation in the third sentence of the present paragraph. Among earlier discussions that remain useful are Cecil C. Seronsy, “Dual Patterning in ‘The Rime of the Ancient Mariner,’ ” Notes and Queries 201 No. 3 (November 1956 ) and Chandler, “Structure and Symbol in ‘The Rime of the Ancient Mariner’ ” Modern Language Quarterly 26, No. 3 ( 1965 ).

11 . For both Macaulay and Derwent Coleridge, see the latter’s “Introductory Essay” to Poems of Samuel Taylor Coleridge; With an Appendix ed. Derwent and Sara Coleridge (new and enlarged ed., with a brief life of the author. London: E. Moxon and Son, 1870 ), xl–xli. However, the only selection among the more than hundred I have examined that pres-ents the 1798 version by itself alone is James Fenton’s Faber Poet-to-Poet selection Samuel Taylor Coleridge (London: Faber and Faber, 2006 ), where it concludes the volume.

12 . Matthew Gregory Lewis, The Monk: A Romance (3 vols. London: J. Bell, 1796), 3:65. Coleridge reviewed the novel severely in the Critical Review N.S.19 (1796[for 1797]): see SW&F 1:57–65.

13 . To Southey, November 8, 1798: The Letters of Charles and Mary Lamb, 1796–1817 ed. Edwin W. Marrs (3 vols. Ithaca, NY: Cornell University Press, 1975–78), 1:142.

14 . Compare the Hermit of the Wood in “Ancient Mariner” Part VII and PW 1:413n. The slight limitation of their better nature reveals, in both

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instances, a benign Spinozism that, from Coleridge’s standpoint, only waits to be redeemed.

15 . The connection between “Christabel” and “Conversation Poems,” which are often assumed to be simply companionable, is important. Silence, which is only broken by the creek of a dissonant Crow (which might be reckoned to emblematize the author), is an important theme of “This Lime-tree Bower” ( 156 )—a poem that Michael Cooke points out is less positive, more vulnerable, than it is often presumed to be (“The Manipulation of Space in Coleridge’s Poetry”). Paul Magnuson’s admo-nition is likewise apropos: “Coleridge begins these Conversation Poems in a calm, but it is not the calm of plenitude, a quiet repose when the heart listens. The calm is more often a threatening stasis, something to be overcome by an act of faith and the imagination”: “The Dead Calm of the Conversation Poems” in his Coleridge’s Nightmare Poetry (Charlottesville: University Press of Virginia, 1974 ), 37.

16 . In this respect, Brennan O’Donnell’s essay “The ‘Invention’ of a Meter” (2001) is an important advance on the earlier commentaries by Snell, Purves, McKim, and others cited in Chapter 3 earlier.

17 . To be found in marked-up copies of Christabel (1816), belonging to Thomas Middleton, Derwent Coleridge, and the Ramsgate Circulating Library: see PW 1:1330–34 and 2:655–62.

18 . Derwent Coleridge in his Introductory Essay to Poems ( 1870 ), xliii. The lines in question are 60–65, which first appeared in the version published in Poetical Works (1828): see PW 2:628.

19 . The situations described, if developed within a storyline, would surely have foundered. Whatever Coleridge said at various times about com-pleting the narrative of “Christabel” (see PW 1:478–79), perhaps the only way to manage to do so in three parts was demonstrated in Martin Tupper’s sequel, Geraldine A Sequel to Coleridge’s Christabel: with Other Poems (London: Joseph Rickerby, 1838 ), 3–52. Tupper’s sympathy with Coleridge’s project is apparent, even though his lack of poetic talent pre-vented him from working it through.

20 . Published in the Morning Post December 21, 1799. PW 2:793–807 supplies a record of how “Love” developed through its manuscript and printed versions.

21 . North British Review (May 1848), 43–72 at 56 specifically. Patmore is identified as author by Houghton et al., Wellesley Index to Victorian Periodicals, 1824–1900 (5 vols. Toronto, ON: University of Toronto Press, 1966–89), 1:671.

22 . “Coleridge’s Supernaturalism” Spectator (February 14, 1891), 249–50 at 250A; collected in the same author’s Excursions in Criticism; Being Some Prose Recreations of a Rhymer (London: Elkin Mathews and John Lane; New York: Macmillan, 1893), 97–103 at 101–02. Watson claims the authority of Charles Lamb to reinforce his statement: it is possible that Lamb took away a transcript of Part I only, when he visited Coleridge at Grasmere in 1800 ( Letters ed. Marrs, 1:200, 216), and he certainly regret-ted the publication of the two parts together in 1816 (Edward Dowden, Life of Percy Bysshe Shelley [2 vols. London: Kegan Paul, Trench, 1886],

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1:41). Again, Watson might have suspected or even known Lamb was the author of the anonymous review in The Times ( Critical Heritage ed. Jackson [2 vols. London: Routledge and Kegan Paul, 1970–91], 2:246–51) which is devoted exclusively to Part I in terms similar to Watson’s.

23 . Pater included only Part I by itself in his selection for Ward’s English Poets: Selections with Critical Introductions . . . Vol. IV: Wordsworth to Dobell ed. Thomas Humphry Ward (London: Macmillan, 1880). I have found only three other selections that do the same—Quiller-Couch’s Clarendon Press Select English Classics volume (1908), Dorothy-Wellesley’s Britain in Pictures volume ( 1942 ), and Geoffrey Grigson’s Grey Walls Crown Classics volume ( 1951 ) although these three later selections are restricted and the decision to omit could simply ref lect exigencies of space.

24 . I quote from 272 “The Night-Scene” lines 52–56, a published extract from Coleridge’s aborted play, The Triumph of Life in PW 3:955–91 at 987. Compare PW 3:135 and 1306 for the same image in the plays, Osorio and Remorse , along with CL 1:350–51, where Coleridge quotes the lines in a letter to Thelwall of October 1797 with reference to his being attracted to “the Brahman Creed & say[ing] . . . it is better to sleep than to wake.”

25 . For information concerning the route and circumstances, see my “King Kubla’s Folly” Times Literary Supplement (August 1, 2008 ).

26 . The argument was set out most elaborately by Elisabeth Schneider, Coleridge, Opium and “Kubla Khan” (Chicago: The University of Chicago Press, 1953 ), 153–237 ( chapter 4 ), and is updated by for example Tim Fulford, “Coleridge and the Oriental Tale,” in The Arabian Nights in Historical Context ed. Saree Makdisi and Felicity Nussbaum (Oxford: Oxford University Press, 2008 ) 213–34 ( c hapter 9 ) at 227–30, esp.

27 . The previous shift, between paragraphs 1 and 2, being a sudden, dizzy-ing shift of focus.

28 . Purves, Verse Technique ( 1960 ), 110–17 goes into detail. 29 . Reuven Tsur, The Road to Kubla Khan: A Cognitive Approach (Jerusalem:

Israel Science Publishers, 1987 ), 80; also 85, 86, 91 in particular. The same author’s How Do the Sound Patterns Know They are Expressive?: The Poetic Mode of Speech Perception (Jerusalem: Israel Science Publishers, 1987) is also germane. The failure to consider such questions—with the result that no distinction is drawn between the effect of Coleridge’s means here and elsewhere—seems to me to limit the otherwise excel-lent analysis by Schneider, Coleridge, Opium and “Kubla Khan,” 238–88 ( chapter 5 ).

30 . McKim, “An Epicure in Sound” ( 1990 ), 227–29 comments perceptively on the changes.

31 . “Essay on Coleridge” in Christabel and the Lyrical and Imaginative Poems of S. T. Coleridge (London: Sampson Low; New York: Scribner, Welford, 1869), xii.

32 . The lecture was given to the undergraduate Critical Society at Oxford, in, I think, Trinity Term 1960. I don’t know if his remarks were ever published.

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33 . The Poems of Samuel Taylor Coleridge ( 1884 ), 21–23 esp. Swinburne’s selection opens with “Christabel,” “Kubla Khan,” and the “Ancient Mariner” (in that order), Skipsey’s with the “Mariner,” “Christabel,” and “Kubla Khan”; and so their subtly modified selections continue. The Canterbury Poets series was produced to appear in monthly volumes, costing a shilling, consciously so as to to put them “within reach of every reader, however humble in circumstance” (page [ii]).

34 . Transactions of the Royal Society of Canada (June 1964 ), 162, 177. 35 . See the items by Hubert ( 1985 ), Woof et al. (1997, 2006), Klesse ( 2001 ),

and Soubigou ( 2007 ) in the Bibliography. 36 . Details are provided by Crawford and Crawford Annotated Bibliography

of Criticism and Research , Volume III: Part II, 1791–1993 (New York: G. K. Hall, 1996), 3:661ff. (Part II.10. “Other Art”).

37 . Soubigou’s words in his “ The Ancient Mariner through Gustave Dor é’ s Illustrations” in The Reception of S. T. Coleridge in Europe ed. Elinor Shaffer and Edoardo Zuccato (London: Continuum, 2007), 63, etc. Hubert “ The Ancient Mariner’s Graphic Voyage Through Mimesis and Metaphor” in The Yearbook of English Studies: Anglo-French Literary Relations Special Number (London) ed. C. J. Rawson 15 (1985), 80–81 notes Dor é’ s predeliction for the weirdly fantastic in Rabelais’s giants, Dante’s harrowing punishments, and Perrault’s ogres, as well as for large-scale landscapes and crowded townscapes.

38 . For examples of these last, see respectively the versions by Hunt Emerson ( 1989 ) and Nick Hayes ( 2011 ).

39 . As recorded by William Scott, Memoir of David Scott RSA: Containing His Journal in Italy, Notes on Art and Other Papers (Edinburgh: Adam and Charles Black, 1850), 204–05.

40 . Coleridge was less kind when talking to Henry Nelson Coleridge (see TT 1:273–74), but his disappointment appears to have centered on the Mariner’s visage (which was strikingly aged, in contrast to his body).

41 . Masson’s illustrated edition was unfortunately omitted from the two Wordsworth Trust exhibitions and from the published records of the same edited by Robert Woof and others ( 1997 , 2006 ). It has an addi-tional interest in that it prompted Antonin Artaud to address a letter of protest to the translator, afterwards published as Coleridge le tra î tre (Paris: G.L.M., 1949 ): see Jonathan Pollock, “Opium and the Occult: Antonin Artaud and Samuel Taylor Coleridge,” Revue de litt é rature com-par é e No.300 ( 2001 ).

42 . I borrow Sewell’s parenthetical descriptions of the French poems in rela-tion to Coleridge’s in her Structure of Poetry (London: Routledge and Kegan Paul, 1951), 177.

43 . The opening sentences of his preface to Listening: An Introduction to the Perception of Auditory Events (Cambridge: MIT Press, 1989 ), [xi].

44 . My largest criticism of the Jones-Douglas Cleverdon production has less to do with the engravings than the distracting choice of types: the highly idiosyncratic Arrighi for the body of the text, together with the miniscule eighteenth-century Norstedt for the glosses, together make for a volume that is disconcerting to read. Bruce Rogers’ design for Oxford University

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Press ( 1930 ) sets the standard (though he failed in his attempt to have them print the text on sea-green paper).

45 . Apropos my recommendation of Bruce Roger’s Mariner in the previ-ous note, I strongly recommend readers to consult the elegant little Christabel from The Eragny Press (1904). The chiaroscuro frontispiece looks more like a homely Norman peasant than the usual versions of the protagonist, but why not? The text is laid out on the pages with perfect tact.

46 . Quoted by Sara Coleridge, Memoir and Letters of Sara Coleridge [ed. Edith Coleridge] (2 vols. London: Henry S. King, 1873), 2:275. For Fox’s comments on “Love” in his anonymous review of Poetical Works 1829, see Critical Heritage ed. Jackson, 1:540, 548 (where the author is wrongly given as John Bowring). Similar comments were made by Lady Beaumont, Francis Jeffrey, and J. G. Lockhart, among many others at the time.

47 . Recorded and published on CD-ROM by Blue Chopsticks in 2005, 2007, and 2011 respectively. Frolic Architecture has also been published in a limited edition containing photograms by James Welling (New York: The Greenfell Press 2010 ): a model of how a text made up of extraordinarily complex and interwoven voices can find a visual counterpart.

48 . Stillinger, “Wordsworth, Coleridge, and the Shaggy Dog: The Novelty of Lyrical Ballads (1798),” The Wordsworth Circle (2000); and for example, Richard E. Brantley, Wordsworth’s “Natural Methodism” (New Haven, CT: Yale University Press, 1975 ).

49 . Keats, “On First Looking into Chapman’s Homer”; Poems of John Keats ed. Stillinger (Cambridge, MA: Harvard University Press, 1978), 64. The quotation came to mind by accident—or was perhaps prompted by thoughts of Stillinger and his essay—but it happens that the New England Keats was a strong background influence on the secular spirit of American Modernism that helped define Coleridge’s twentieth-century reputation.

5 Translucent Mechanics

1 . Edward Dorn, Gunslinger: Book II (Los Angeles, CA: Black Sparrow Press, 1969), 25.

2 . “Are Coleridge’s Plays Worth the Candle?” The Coleridge Bulletin N.S. No. 29 (Summer 2007). An amount of what I say below takes for granted what I said there, particularly concerning the workings of metadrama in Zapolya .

3 . [Allsop,] Letters, Conversations, and Recollections (2 vols. London: Edward Moxon 1836 ), 1: 194–96 at 196.

4 . The passage was a favorite of Coleridge’s and he recycled it in various contexts: see p. 225 , note 24.

5 . Wilson G. Knight, The Starlit Dome: Studies in the Poetry of Vision (1941) (2nd ed. London: Methuen, 1959), 160–78.

6 . Hazlitt, for instance, asserted that some such “common sense” expla-nation was necessary to make sense of both parts of the poem, citing Psalms 118:22: “ ‘It is the keystone that makes up the arch’ ” ( Complete

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Works of William Hazlitt ed. P. P. Howe (21 vols. London: J. M. Dent and Sons, 1930–34), 19: 33). Coventry Patmore appears to have been the person (“as if he had reason to know it for certain”: W. M. Rossetti, diary entry for January 16, 1868 in Rossetti Papers , 296) who passed on the explanation to D. G. Rossetti, thereby to keep it alive through the 1890s. Andrew Lang was still worrying Ernest Hartley Coleridge with the suggestion in letters to him in 1907 . Common sense may be said to be an ingredient of Walter Scott’s supernaturalism (as well as Wordsworth’s: see The English Parnassus: An Anthology of Longer Poems ed. Dixon and Grierson [Oxford: Clarendon Press, 1909], 736), but it is the glory of Coleridge’s version to transcend it.

7 . Leadbetter offers a particularly good reading of the passage in Osorio /the poem in Lyrical Ballads in his Coleridge and the Daemonic Imagination (New York: Palgrave Macmillan, 2011), 66–68. This is only one of many provocative readings his book contains, all of which are enlightening and not all of of which I agree with wholly. The online review by Anthony John Harding in Review 19 strikes me as very fair.

8 . Occasions such as this tempt one to interpret the double-epiphany struc-ture as a typological advance: as if from the Old Testament to the New, the Ten Commandments to the Sermon on the Mount. Some such sug-gestion is sometimes undoubtedly present but never more than elusively. The elusiveness of the suggestion is typical of Coleridge’s deployment of intrinsically simple images and structures, over and over in subtly differ-ent ways as discussed in earlier chapters; his particular reluctance to allow matters of belief to enter his verse overtly until his final years is discussed later in the first section of Chapter 7 .

9 . Coleridge and the Daemonic Imagination , 57. 10 . The Starlit Dome , 174. 11 . The title of Coleridge’s attempt at self-exculpation in Morning Post

October 21, 1802 ( EOT 1: 367–73), part-reprinted in 1809 and 1818 ( Friend 2: 144–46 and 1: 221–23).

12 . Acknowledged in a footnote reference to Madame Roland in the closing paragraph in early collected versions: see PW 1:234–35n.

13 . Verse Technique , 130–39, and see his comparative statistical chart on 147. 14 . And it recalls the possibility I suggested in the section “The Harp of

Quantock” in Chapter 4 , that “Christabel” Part II could indeed have been written to prove witchery is a cruder, fundamentally changed thing by daylight.

15 . Shepherd’s essay “ Fears in Solitude : Private Places and Public Faces,” The Coleridge Bulletin N.S. No. 32 (Summer 2008 ) explores this disjunction between public and private voices, and makes a number of additional relevant points. However, I would argue that, like others, he misses the point of why Coleridge returns to repeat an old argument wholly in terms of style. The poem makes a literary statement of the same kind as the (part-mocking, part-parodic) project of Lyrical Ballads , which was incu-bating at the time it was written.

16 . Coleridge’s usage here predates the first occurrence of the word cited in the Oxford English Dictionary by a decade. In the context of the

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group of poems discussed here, “Fears in Solitude” is notable for draw-ing on the most recent examples of political cant (e.g., “Benefit Club,” “phraseman”).

17 . The problem of attribution of these in every way anonymous poems is brought out by the different position they are given in the Collected Coleridge volumes of EOT and PW edited respectively by David Erdman and myself. Erdman was far more willing to admit poems that, as I under-stood, could have been written by several persons whose political views happened to coincide with Coleridge’s.

18 . SW&F 2: 1419–53 at 1452. Otherwise unascribed references in the fol-lowing paragraph are to page numbers in this same essay discussed in the section “On the Passions” in Chapter 2 earlier.

19 . Harry Clarke’s illustration of these lines in the “Mariner” is surely the supreme achievement of his series. The surviving drawings have only been reproduced once in their entirety—in the special edition of Nicola Gordon Bowe’s monograph (1983)—and deserve to be better known.

20 . The Letters of Charles and Mary Lamb, 1796–1817 ed. Edwin W. Marrs (3 vols. Ithaca, NY: Cornell University Press, 1975–78) 3: 187–88.

21 . Brennan O’Donnell, “The ‘Invention’ of a Meter: ‘Christabel’ Meter as Fact and Fiction,” Journal of English and Germanic Philology 100 (October 2001 ), 524 cites SW&F 1: 441 in support of the particular influence of Spenser’s February eclogue.

22 . John Beer, Coleridge’s Play of Mind (Oxford: Oxford University Press, 2010), 39–52 ( chapter 4 ), has some particularly insightful remarks on the irrational prejudice that compromises this poem. A similar prejudice against the influence of Roman Catholicism, after visiting Malta and Sicily, upset the balance sought in some poems written in the 1820s.

23 . So subtle that Robert Graves misread it as a poem written on behalf of “unregenerate aberrancy, or deliquency,” and on such grounds judged it “one of his best poems” ( Common Asphodel : Essays on Poets and Poetry, 1922–1949 [London: Hamish Hamilton, 1949], 243). This is like the notice of the “Ancient Mariner” that appeared in the Naval Chronicle in September-October 1799 ( Critical Heritage ed. Jackson [2 vols. London: Routledge, 1970–91], 2:241–42), which took the poem as an opportunity to deplore the “too prevailing” predeliction for believ-ing in supernatural agency among sailors as “the Weed of a religious Mind.”

24 . [Allsop,] Letters, Conversations, and Recollections , 1: 91. 25 . He calculated that five-sixths of the poems written after 1807—the

date of the lines “To William Wordsworth”—were deliberately included by Coleridge in his last collected edition ( 1834 ): “ ‘Late Autumn’s Amaranth’: Coleridge’s Late Poems,” Transactions of the Royal Society of Canada (Ottawa, ON) 2: 4 (June 1964), section 2, 165. The proportion of earlier poems thus collected is considerably less.

26 . And I discuss it at length in “Coleridge’s Love : ‘All he can manage, more than he could’ ” in Coleridge’s Visionary Languages: Essays in Honour of J. B. Beer ed. Tim Fulford and Morton D. Paley (Woodbridge, Suffolk: D. S. Brewer, 1993 ), 49–66; also in Coleridge’s Father: Absent Man,

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Guardian Spirit (Nether Stowey, Som: The Friends of Coleridge, forth-coming), 2.6.7

27 . In a lecture in the Poetry Present series given at the University of Chicago, April 14, 2009. Cf. Coleridge’s “Couplet Addressed to the Mind’s Ear” ( 573 ).

28 . Introduction to The Poems of Coleridge , with illustrations by Gerald Metcalfe (London: John Lane, [ 1907 ]), vi. In the following sentences concerning “Lewti,” I take for granted my preliminary reading of the poem in “The Intersection of Rhythmic and Cultural Meaning in Coleridge’s ‘Lewti,’ ” Romanticism 2 No. 2 (1997).

29 . Compare “S. T. C.” ( 693 ) for a poem completed towards the end of this process but begun at the earlier time, which uses these terms drawn from the “Ancient Mariner.”

30 . Leigh Hunt and Lee S. Adams, (eds.), The Book of the Sonnet (2 vols. in 1. Boston, MA: Roberts Bros., 1867 ), 1: 217fn.

31 . George M. Ridenour “Source and Allusion in Some Poems of Coleridge,” Studies in Philology 60 ( 1963 ), 76–79 specifically.

32 . Letter dated January 22, 1825; Collected Letters of Thomas and Jane Welsh Carlyle ed. Charles Richard Sanders, Kenneth J. Fielding et al. (39 vols to date. Durham, NC: Duke University Press, 1970 –), 3: 259–63 at 261.

33 . The action of mirroring repeats the process of growing consciousness of self in the infant. See OM cxxxii–iii; and also “The infant loving and exulting over its own form and features in the looking glass, as over that of another, is a symbol of the soul in its best and highest states” ( OM 197 fn).

34 . George Herbert, “Employment I” in The Works of George Herbert (1941) ed. F. E. Hutchinson (Oxford: Clarendon Press, corrected reprint 1959), 57. See also Herbert’s “Praise I” in Works , 61

35 . “The Marriage of Heaven and Hell,” Plate 4; The Complete Writings of William Blake (1957) ed. Geoffrey Keynes (London: Oxford University Press, revised ed. 1966), 149.

36 . Katherine M. Wilson, Real Rhythm in English Poetry in English Poetry (Aberdeen: The University Press, 1929), 19, whose chapter-length dis-cussion of the kinaesthetic dimension of rhythm holds its value in spite of subsequent research; Derek Attridge, The Rhythms of English Poetry (London: Longman, 1982 ), 59–144 (chapters 3 and 4) brings the dis-cussion up to date. References to lack of health, etc. are given in the the headnote to “Christabel” in PW 1:478.

37 . And referred to earlier in the section “Voice, Music, and Nonsense” in Chapter 3 . Oppen’s poem was first collected in Seascape: Needle’s Eye (Freemont, MI: The Sumac Press, 1972 ), 28–29; reprinted in New Collected Poems ed. Michael Davidson (New York: New Directions, 2002), 227–28.

38 . The title was (he says) Ane Newe, Trewe, and very Auncyent Historia of the Prophet, Merlin, of his marveylouse Childehoode, &c, &c . No copy has been traced but it is, presumably, one of the many derivatives of Thomas Heywood’s Life of Merlin, sirnamed Ambrosius (London 1641).

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Or Coleridge might be aggrandizing Cardanus Rider’s British Merlin almanac: a perennual mine of information and misinformation that sold plentifully at country fairs—in the 1780s costing ninepence—and could have encouraged a small boy’s interest in astronomy and the influence of the heavens.

39 . I recur to this point several times in “The Later Poetry” in The Cambridge Companion to Coleridge ed. Lucy Newlyn (Cambridge: Cambridge University Press, 2002 ).

6 “So viel Anfang war noch nie”

1 . Cantos of Ezra Pound (New York: New Directions, 4th printing 1973 ), 324 (Canto 59).

2 . Believe it or not, the familiar phrase appears to come from a poem by Seamus Heaney, “Song” in Field Work (London: Faber and Faber, 1979 ), 56; Opened Ground: Poems, 1966–1996 (London: Faber and Faber, 1998 ), 181. It now appears as the title of more than half a dozen books by other authors.

3 . Kelvin Everest, Coleridge’s Secret Ministry: The Context of the Conversation Poems (Hassocks, Sussex: The Harvester Press, 1979 ), 23.

4 . Examples of changed dates that alter the meaning of the poems to which they are appended are “The Sigh” ( 75 ), “With a Poem on the French Revolution” ( 81 ), “Fire, Famine, and Slaughter” ( 167 ) and “France: An Ode” ( 174 ): see PW 1:civ–cv.

5 . A chart showing the development of the several successive versions is provided in PW 2:1201. A number of modern editions follow Ernest Hartley Coleridge in privileging the 1834 edition supervised by Henry Nelson Coleridge, where the poem is printed in three parts. I print the additional lines as a separate, though closely related entity—“Album Verses: ‘Dewdrops are the Gems of Morning’ ” ( 593 )—this being the way Coleridge himself appeared to think of them on at least ten occasions after 1825.

6 . “ ‘The Ancient Mariner’,” Pall Mall Gazette (September 22 1897), 3; reprinted in The Wares of Autolycus: Selected Literary Essays of Alice Meynell ed. P. M. Fraser (London: Oxford University Press, 1965), 67–70 at 68—a judgment one has to take seriously from such a percep-tive reader. The two further quotations from Meynell’s review cited in the present chapter can be found on the same page of Fraser’s edition.

7 . Launched as the “Marjory” on the Clyde in 1814, it was relaunched on the Thames named “The Thames” in 1815. It replaced “The Old Margate Hoy,” whose demise is celebrated in Lamb’s essay of the same name ( The Works of Charles and Mary Lamb ed. E. V. Lucas (6 vols. London: Methuen, 1912), 2: 201–08) and where one finds a different view of the “trim skiffs.”

8 . Poems of Samuel Taylor Coleridge; With an Appendix ed. Derwent and Sara Coleridge (New and enlarged ed., with a brief life of the author. London: E. Moxon and Son, 1870), xlvii. Coleridge might have gone to live with

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Derwent and his new bride in 1828, but the move was decided against in deference to the Gillmans’ feelings. An undercurrent of resistance to the Gillmans, which often erupted in downright annoyance caused by revela-tions in James Gillman’s volume of biography and Anne Gillman’s later hagiographical memorializing, threads the relationship between the two families. Alan Vardy, Constructing Coleridge: The Posthumous Life of the Author (Basingstoke, Hants: Palgrave Macmillan, 2010 ), touches on this matter.

9 . See PW 2:1194–1207. The presentation is cramped, and I am afraid the details can only be extricated with the expenditure of considerable patience.

10 . The lines quoted here are drawn from a 13-line version written in an album in 1832. The same lines as they appear variatim as part of “Youth and Age” in the edition of 1834 drew Meynell’s most emphatic disap-proval (“loathing . . . The image is too squalid for poetry, or prose, or thought”).

11 . Under the title “Resolution and Independence” in Poetical Works of William Wordsworth: Volume II ed. E. de Selincourt (2nd ed. Oxford: Clarendon Press, 1952), 2: 235–40: cf. stanza 2 (p. 235) in particular.

12 . See CN 5:6675 f89 v , where Coleridge reflects on his possible inheri-tance of “the commencing decay of musculo-arterial Power” of an aging father.

13 . From Songs of Experience in Complete Writings of William Blake (1957) ed. Geoffrey Keynes (London: Oxford University Press, revised ed. 1966, 213; see also Songs of Innocence and of Experience ed. Andrew Lincoln (Princeton, NJ: The William Blake Trust/Princeton University Press, 1991 ), plate 40.

14 . The Tempest I ii 401. 15 . Phrase from a manuscript letter by Davy in the collections of the Royal

Institution, quoted by E. L. Griggs at CL 2:1103 n. 16 . Indeed, back to Coleridge’s Christ Hospital’s nurse’s daughter, Jenny

Edwards: see the connections between the sonnet “Genevieve” ( 17 ), “Lewti: or, The Circassian Love-chant” ( 172 ), and the poem also known as “Love” ( 253 ). Genevieve is a formalized expansion of Jenny.

17 . There is an exact coincidence with the rhymes of Milton’s hymn, “On the Morning of Christ’s Nativity,” in lines 44–51 ( PW 1:681), and elaborate and curious developments of the same throughout the whole. Consider the way in which the a-rhyme of the opening line of the last paragraph (“Choice!”) is anticipated with increasing frequency in the last half of the poem, but is not completed here (in “rejoice!”) until ten lines later, only for the pair of rhymes to be reiterated in the final lines ( PW 1:690–91). Also compare “Mercury Descending” ( 349 ) for a metrical experiment based on the same poem by Milton.

18 . Interview with John Haffenden, collected in his Viewpoints: Poets in Conversation with John Haffenden (London: Faber and Faber, 1981 ), 114–29 at 118.

19 . See the important letter on marriage in CL 5:152–58 (esp.153 on “ Soul -mates”).

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20 . I am afraid I cannot accept Anya Taylor’s argument that the principal obstacles to divorce were material (legal difficulties and expenses), but her discussion in Erotic Coleridge: Women, Love, and the Law against Divorce (Basingstoke, Hants: Palgrave Macmillan, 2005 ) deserves much more recognition than it has received.

21 . “The Island of Statues” (1885) I i 155 in Variorum Poems ed. Peter Allt and Russell K. Alspach (3rd corrected printing 1966), 651.

22 . The amendment of parentheses in the two poems is entertainingly discussed by John Lennard in his But I Digress: The Exploitation of Parentheses in English Printed Verse (Oxford: Clarendon Press, 1991 ), 127–36 esp.

23 . There are various helpful commentaries, but the reader is advised to con-sult one based on the full record contained in PW 2:884–97. My refer-ences in the the previous paragraph are to the Sibylline Leaves (1817) version of the poem, given as Reading Text in PW 1:695–702.

24 . Robert Browning, “Andrea del Sarto” in Men and Women (1855). 25 . What I have tried to say was said by others long before Coleridge was

born: in these last two sentences, by Philip Sidney in An Apologie for Poetrie (1595) and by Shakespeare’s characters, Polonius ( Hamlet II i 66) and Edgar ( King Lear V iii 324).

26 . References are given in the editorial headnote to “To a Comic Author” ( 560 )— PW 1:967–68—and see also “Imitated from Aristophanes” ( 541 ).

27 . Approach to Poetry , 14. 28 . How this happened, and Klopstock’s central role in the development,

is set out with admirable clarity by Walter Bennett, German Verse in Classical Metres (The Hague, The Netherlands: Mouton, 1963 ). The book is an essential companion to the Coleridge poems under discus-sion here.

29 . I write from Coleridge’s point of view, and it should be noted that Wordsworth had a second lengthy meeting with the champion of a modi-fied Greek metric at which Coleridge was not present before he retired to Goslar to write the blank-verse poems for which he became famous. His discussions of versification with Klopstock, which were conducted in French, were much more extensive than Coleridge’s, and he left a much more complete record of them. References are provided by Reed, Wordsworth: The Chronology of the Early Years 1770–1799 (Cambridge, MA: Harvard University Press, 1967 ), 250–52; and see also Prose Works of William Wordsworth ed. W. J. B. Owen and Jane Worthington Smyser (3 vols. Oxford: Clarendon Press, 1974), 1: 89–98.

30 . The parody attack on Southey’s poetry and politics by Canning, Frere, and others began in the first number of The Anti-Jacobin; or, Weekly Examiner (November 20, 1797), continued in the second, and Coleridge joins Southey in the fifth number via his contribution to “The Soldier’s Wife” ( 106 ). So the assault on improper trochaic substitution and its unsound Germanic connection continued. Gillray’s cartoon, published separately on August 1, 1798, assumes a knowledge of this background (and see section “Meter and Rhythm” in Chapter 3 earlier).

31 . English Rhythms , 2: 270–71.

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32 . Ibid., 2: 262–63. 33 . I owe the Horace reference and the Cowley quotation to A. S. P.

Woodhouse’s essay, “The Poetry of Collins Reconsidered” in From Sensibility to Romanticism: Essays Presented to Frederick A. Pottle ed. Frederick W. Hilles and Harold Bloom (New York: Oxford University Press, 1965 ), 118, 134.

34 . Annotated with great care and understanding by Joyce Crick in her notes and appendix to the German texts contained in PW 3. Her lecture essay, “Something on William Shakespeare occasioned by Wallenstein, ” The Coleridge Bulletin N.S. No. 29 (Summer 2007 ), should be added to the list of discussions.

35 . Elisabeth Schneider, Coleridge, Opium, and Kubla Khan ,” 272–73, etc. is an articulate proponent of the connection in rhyme between “Lycidas” and “Kubla Khan.” Milton’s dependence on Italian sources in “Lycidas” is described by F. T. Prince in Italian Element in Milton’s Verse (Oxford: Clarendon Press, 1954 ), 84–88.

36 . “An Epicure in Sound” Coleridge’s Theory and Practice of Versification (PhD dissertation York University Toronto, submitted May 1990), 74–76. On pp. 71–74, McKim plausibly suggests a similar explana-tion for Coleridge’s dislike of the metric of Tennyson’s early volumes, Poems by Two Brothers (1827) and Poems, Chiefly Lyrical (1832) in TT 1:367–68.

37 . I am among those who regard the authorship of the 1821 translation of Faustus as not certainly by Coleridge, even if not certainly not by Coleridge, contrary to the Oxford University Press edition (2007). See my “ Faustus on the Table at Highgate,” The Wordsworth Circle 43 No. 3 (Summer 2012), 119–27.

38 . De Quincey raised the matter in the first instalment of his five-part essay, “Samuel Taylor Coleridge, by The English Opium Eater,” in Tait’s Edinburgh Magazine (September 1834 ), 509–20 at 510–12 specifically ( The Collected Writings of Thomas De Quincey ed. David Masson [14 vols. Edinburgh: Adam and Charles Black, 1889–90], 2: 142–48). James Ferrier expanded it into a full-scale assault in Blackwood’s Edinburgh Magazine 47 (March 1840 ), 289–99; and Sara Coleridge and J. C. Hare articulated the most coherent arguments in Coleridge’s defense.

39 . “Coleridge and Opium-Eating” in Works ed. Masson, 5: 190–95. 40 . See PW 1:1196 for Coleridge on effusions and the section “Complications

of Allusion and Other Ways and Means” in Chapter 3 earlier for Grierson’s extension of the term to Coleridge’s handling of form altogether.

41 . Published as “Coleridge’s New Poetry,” Publications of the British Academy 94 ( 1997 ).

42 . John Forster, Walter Savage Landor: A Biography (2 vols. London: Chapman and Hall, 1869 ), 2: 450–51.

43 . See poem 84.�1 in the online supplement to PW 2 at www.friendsofcoleridge.com/CPWHome.htm

44 . Letters of Charles and Mary Lamb ed. Edwin Marrs (3 vols. Ithaca, NY: Cornell University Press, 1975–78), 3: 61.

45 . Works ed. Lucas, 2: 281–86.

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46 . The syllabus is appended to John Coleridge’s Miscellaneous Dissertations on Judges XVII and XVIII (London: for the Author, 1768 ), 273–75; the specimen translation contained in the same author’s Critical Latin Grammar etc . (London: for the Author, 1772 ), 129–30 is as follows (compare the version in the Loeb ed. Martial: Epigrams, with an English Translation ed. and trans. Walter C. A. Ker [Loeb Classical Library, (2 vols. London: Heinemann 1919 –20), 1: 70–71]):

You laugh, C æ cilian , when I sicus use For Figs, and bid me rather sicos chuse. Friend, for your Sake, altho’ I should dispense With Use of proper Language or good Sense, For Figs of Trees I’ll sicus use in Speech, And sicos for Male Figs upon your Breech.

47 . A useful collection to set alongside Coleridge’s efforts is British War Poetry in the Age of Romanticism, 1793–1815 ed. Betty T. Bennett (New York: Garland, 1976 ). For longer political satires attributed to him by David Erdman, see EOT and the X-items in PW 2.

48 . “Spring” in Poems of Gerard Manley Hopkins ed. W. H. Gardner and N. H. Mackenzie (Oxford: Oxford University Press, 4th ed. reprinted with corrections 1970), 67. He makes the same point in “Inversnaid” and “The Starlight Night” ( Poems , 89 and 66–67).

49 . In Jonson’s great folio collection, The Workes (1616), which included sec-tions entitled “The Forrest” and “The Under-Wood.”

50 . Sharp criticism shines with a lift and sparkle matched by few modern poets: Lorine Niedecker’s Mother Goose rhymes come to mind, with their deceptive simplicity and subtle depth of concern. See New Goose ( 1946 ); much expanded in Collected Works ed. Jenny Penberthy (Berkeley, CA: University of California Press, 2002 ).

51 . The issue of whether some of Coleridge’s extended prose notes are poetry or prose poems is not relevant here, although Paul Merchant for one has made them into poems that, if Coleridge was living now, he might rec-ognize as such. See Paul Merchant’s Some Business of Affinity (Hereford: Five Seasons Press, 2006 ), 120–33, 162–74.

52 . References to further instances and dicussions of this motif are given in Crawford and Crawford, Annotated Bibliography of Criticism and Scholarship . Volume II: 1900–1939, with additional entries for 1795–1899 (Boston, MA: G. K. Hall, 1983), 3: C6354.

53 . For Herrick, see for example, “That liquefaction of her clothes” (from “Upon Julia’s Clothes” in Hesperides (1648), 307–8.

54 . “Introduction” to Coleridge: Selections from the Poets: Coleridge (London: Longmans, Green, 1898 ), xxxix.

55 . Arthur Machen, Hieroglyphics (London: Grant Richards, 1902 ), 39.

7 Readerly Reflections

1 . Explanatory note to “Partington Ridge” in The Heads of the Town up to the Aether (San Francisco, CA: The Auerhahn Society, 1962 ), 32; Collected

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Poetry of Jack Spicer ed. Peter Gizzi and Kevin Killian (Middletown, CT: Wesleyan University Press, 2008), 268.

2 . Poems of Gray, Collins, Goldsmith (London: Longmans, 1969), 161; and see also Complete Poems of Thomas Gray: English, Latin, and Greek ed. H. W. Starr and J. R. Hendrickson (Oxford: Clarendon Press, 1966 ), 205.

3 . See also PW 1:116, 281, 305, etc. 4 . Poems by John Moultrie [ed. Derwent Coleridge] (2 vols. New Edition

London: Macmillan, 1876 ), 1: lxxviifn. 5 . Thomas McFarland gave the classic statement of this background in his

Coleridge and the Pantheist Tradition ( 1969 ). Subsequent monographs on Coleridge adjust details but see in addition David Bell, Spinoza in Germany from 1670 to the Age of Goethe (London: Institute of Germanic Studies, University of London, 1984 ) and G é rard Vall é e et al. (ed. and trans.), The Spinoza Conversations between Lessing and Jacobi: Texts with Excerpts from the Ensuing Controversy (Lanham, MD: University Press of America, 1988 ).

6 . Letters, Conversations, and Recollections , 1: 89. Allsop became an inti-mate friend of Coleridge during the 1820s (he was possibly connected to Mrs. Gillman through an uncle who was also born Harding), but he was of a different ilk from most others who made the pilgrimage to Highgate. His youthful enthusiasms encouraged Coleridge to speak out freely on a number of matters that embarrassed conservative members of the family like Henry Nelson Coleridge; and John Moultrie’s sonnet “To the Anonymous Editor of Coleridge’s Letters and Conversations” in Poems (London: William Pickering, 1837 ), 55, is a strong protest on behalf of those engaged on building an image of Coleridge’s respect-ability. With this in mind, and in view of developments later in the nine-teenth century, it is worth noting that Allsop was a particular friend of Swinburne, whose letters affirm a coincidence in their radical political views.

7 . Whalley provides a concise explanation of the tetradic process and its relation to Coleridge’s reading in Boehme and his trinitarian thinking in CM 1:563n. David Newsome also has particularly helpful comments on this logic in his Two Classes of Men: Platonism and English Romantic Thought (London: John Murray, 1974 ), 100–10 (Appendix C).

8 . Coleridge describes the Greek tragedians as statuesque/statuary as opposed to the Shakespearean picturesque in Lects 1808–1819 , 1: 348–49. And see CN 4:4794 on pantheism as opposed to polytheism as higher and lower forms of the same subjugation of conscience to the patterns of amoral nature, the latter being more sensual and selfish. Lects 1818–1819 , 1: 130 describe the cruelty and brutality, selfishness and sensuality, of polytheism, as opposed to the feelings of devotion and awe, fragments of true religious feeling, in pantheism.

9 . On the debt to Boehme here, see Ridenour, “Source and Allusion in Some Poems of Coleridge,” Studies in Philology 60 ( 1963 ), 87–94; also CN 3:4073.

10 . In Edward Kessler’s Coleridge’s Metaphors of Being (Princeton, NJ: Princeton University Press, 1979).

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11 . The Prelude, or Growth of a Poet’s Mind ed. Ernest de Selincourt rev. Helen Derbishire (2nd ed. Oxford: Clarendon Press, 1959), 208 (1805–06 v ersion: VI 540–42).

12 . Meynell (ed.), Samuel Taylor Coleridge: Poems (London: Blackie and Son [1905], iv; introduction reprinted in The Wares of Autolycus: Selected Literary Essays of Alice Meynell ed. ([1905]) (and in The Wares of Autolycus ed. P. M. Fraser [London: Oxford Unversity Press, 1965], 155); Anon, “The Magic and Craft of Coleridge” [review of Poetical Works ed. E. H. Coleridge].” Times Literary Supplement No. 568 (November 28, 1912 ), 538A.

13 . A phrase recorded from his conversation by Lawrence Harvey, Samuel Beckett: Poet and Critic (Princeton, NJ: Princeton University Press, 1970 ), 249. The themes of absence and failure (= Coleridge’s Fear?) run through the second volume of his Letters, 1941–1956 ed. Craig et al. (Cambridge: Cambridge University Press, 2011 ), as well as contempora-neous and subsequent interviews.

14 . I have in mind Jean Piaget, The Child’s Conception of the World trans. Joan and Andrew Tomlinson (London: Kegan Paul, 1929 ), chapter 4 , where such incidents mark an important stage of child development; and Carlo Sini, Images of Truth: From Sign to Symbol trans. Massimo Verdicchio (Atlantic Highlands, NJ: Humanities Press, 1993 ), chapter 18 , who applies the perception to sign relations.

15 . See John Danby, S. T. Coleridge: Anima Naturaliter Christiana (Shorne, Kent: Burning Glass Publications [ 1951 ]), 29. Also George Ridenour, The Style of “Don Juan” (New Haven, CT: Yale University Press, 1960 ), 95, where he comments on “Dejection” that “The theist Coleridge is lamenting a fall from grace (he, unlike the Lady, whose imaginative vision is unimpaired, is no longer ‘guided from above’), so that the fallen world of ‘Reality’s dark dream’ exists for him simply as fallen. It is no longer molded and illuminated by the sacramental power of imagination.”

16 . See Louis Martz’s classic study, The Poetry of Meditation: A Study in English Religious Literature of the Seventeenth Century (New Haven, CT: Yale University Press, 1954).

17 . Properly titled “Of the Last Verses in the Book” and beginning one stanza ahead of the second stanza that I quote (see Poems . . . Written upon Several Occasions —London: Francis Saunders, 1693 —298–99). Curiously, the anonymous editor of Gems from British Poets (1839) included two poems entitled “Youth and Age”: the first (3: 185–86) is by Patrick Knox and based upon Job 7: 16 and the second (4: 172–73) is Waller’s poem.

18 . See Henry Crabb Robinson on Books and Their Writers ed. Edith J. Morley (3 vols. London: J. M. Dent, 1938), 1: 108 (August 20, 1812) and R. C. Trench to F. D. Maurice, 27 Mar 1833, in Richard [Chevenix] Trench, Letters and Memorials [ed. M. Trench] (2 vols. London: Kegan Paul, 1888 ), 1: 135. Both men held strong religious opinions, albeit of diverse kinds, that probably made them more sensitive to whatever Coleridge withheld.

19 . See Vigus, Platonic Coleridge (London: Legenda, 2009), 93–165 (chapters 4 and 5).

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20 . In later years, he could not bear any reference to the book to be made in his presence: see Georgina Battiscombe, John Keble: A Study in Limitations (London: Constable, 1963 ), 113–16.

21 . Susan Wolfson’s phrase in her essay, “A Lesson in Romanticism: Gendering the Soul,” in Lessons of Romanticism: A Critical Companion ed. Thomas Pfau and Robert F. Gleckner (Durham, NC: Duke University Press, 1998 ), 359.

22 . [John Rickards Mozley], “ The Poems of Samuel Taylor Coleridge ed. Derwent and Sara Coleridge. A New Edition. London, 1854 ,” Quarterly Review (July 1868), 81. See Houghton et al., Wellesley Index of Victorian Periodicals 1824–1900 (5 vols. Toronto, ON: University of Toronto Press, 1966–89), 1: 750 for attribution.

23 . “Imagination and the Poets” in her Thought and Imagination in Art and Life (London: George Allen and Unwin, 1936 ), 64.

24 . Imagination and Fancy: or, Selections from the English Poets; etc. (London: Smith, Elder, 1844 ), 10.

25 . Company (1980) in Company, Ill Seen Ill Said, Worstward Ho, Stirrings Still ed. Dirk Van Hulle (London: Faber and Faber, 2009 ), 81.

26 . A nice example is Dale Smith’s Susquehanna: Speculative Historical Commentary and Lyric (Buffalo, NY: Punch Press, 2008 ). Paul Muldoon’s Madoc: A Mystery (London: Faber and Faber, 1990 ) ventures into the same territory but uses it as a convenience on which to weave his special brand of tease.

27 . For Eliot, see his The Idea of a Christian Society (London: Faber and Faber, 1939 ); for a contrary application of Coleridge’s ideas, see D. L. Munby, The Idea of a Secular Society and Its Significance for Christians (London: Oxford University Press for the University of Durham, 1963 ).

28 . Saintsbury, A History of English Prosody from the Twelfth Century to the Present Day (3 vols. London: Macmillan, 1906 ); Omond, English Metrists, Being a Sketch of English Prosodical Criticism from Elizabethan Times to the Present Day (Oxford: Clarendon Press, 1921 ).

29 . English Ode from Milton to Keats (New York: Columbia University Press, 1940 ), 227. For the subsequent quotations, see English Ode , 50 and 243. For evidence that Shuster’s understanding was representative and enduring, see Abram’s much cited essay, “Wordsworth and Coleridge on Diction and Figures,” first published in English Institute Essays 1952 ed. Downer (1954), 171–201; collected in Abrams’s The Correspondent Breeze: Essays on English Romanticism ed. Jack Stillinger (New York: Norton, 1984 ), 3–24 ( chapter 1 ). And for a contemporaneous com-plaint over the small interest taken in metrical matters, see Karl Shapiro, “English Prosody and Modern Poetry,” ELH: A Journal of English Literary History 14 ( 1947 ).

30 . Snell in the Fred Newton Scott Anniversary Papers ed. C. Thorpe and C. E. Whitmore (Chicago: The University of Chicago Press, 1929 ), 96, and McKim in “Not, Properly Speaking, Irregular”: The Metre of ‘Christabel,’ ” The Wordsworth Circle 24 No. 2 (Spring 1993 ). In fairness to McKim, her position is that the poem can be viewed as one or the other, turn and turn about. My argument is that Coleridge did not intend

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one reading to exclude the other, but the two to exist together simultane-ously in a particular way.

31 . Donald Wesling’s summing-up in his Scissors of Meter: Grammetrics and Reading (Ann Arbor: The University of Michigan Press, 1996 ), 13.

32 . I remark that it could also be confirmed—albeit circuitously—with refer-ence to his ideas on “poetic faith” as the “ willing suspension of disbelief” ( BL 2:6: my italics). He approved the artificial elocution of Kemble and Siddons in tragedy, in preference to the more natural style of Edmund Kean which was approved by Hazlitt for its “gusto.”

33 . For a representative statement of the 1790s as the turning point that eventually delivered twentieth-century open-field forms of verse, see the early chapters of Wesling’s The New Poetries: Poetic Form since Wordsworth and Coleridge (Lewisburg, PA: Bucknell University Press, 1985 ).

34 . See for example his experiments with new systems of diacritical marks to extend the measurement of syllable lengths and degrees of relative stress beyond the conventional macron and breve in CN 1:373, 3: 3305, 4: 4844. McKim, “ ‘An Epicure in Sound’: Coleridge on the Scansion of Verse,” English Studies in Canada (Edmonton, AB) 18 ( 1992 ), 296–97 provides further examples and commentary.

35 . “Britten and his String Quartet” in The Listener (May 27, 1943 ), 641. 36 . Encyclop æ dia Britannica (11th ed. 1911), 235B. 37 . For Symons, see Poems of Coleridge (London: Methuen, 1905 ), xxxvii, and

Romantic Movement in English Poetry (London: Archibald Constable, 1909), 140; for Yeats, see for example, “Certain Noble Plays of Japan” (1916) in Early Essays ed. George Bornstein and Richard J. Finneran (New York: Scribner, 2007 ), 164.

38 . The theme runs the length of her study, The Structure of Poetry , and becomes explicit in chapter 18 (Conclusion). Margery Sabin, English Romanticism and the French Tradition (Cambridge, MA: Harvard University Press, 1976 ), provides an alternative framework.

39 . Stevens, “Sunday Morning” in his Harmonium (1923); Collected Poetry and Prose (New York: The Library of America, 1997 ), 53–56 at 53.

40 . In his Dedication to Derwent Coleridge of The Kingdom of Christ; or, Hints to a Quaker (2nd ed. 1842 ), 1: viii–x; and see also page xv on Coleridge’s “natural experimental method.”

41 . “Coleridge, Baudelaire, and Modernist Poetics” in The Correspondent Breeze ed. Stillinger, 109–44 at 144. Abrams’s essay rehearses the story I have compressed into one paragraph in proper detail. Its original publica-tion in Immanente Ä sthetik, ä sthetische Reflexion: Lyrik als Paradigma der Moderne ed. Iser (Munich: Fink, 1966), 113–38 is accompanied by interesting comment and discussion on pp. 419–28, which is well worth consulting. I should only add that Abrams’s influential construction of a Romantic “theodicy of the private life” in his Natural Supernaturalism (1971), 95 etc. fits Wordsworth better than Coleridge.

42 . His word and italicized in his foreword to the third, Midland Book edi-tion of Coleridge on Imagination (Bloomington, IN: Indiana University Press, 1960), xi.

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43 . See Donald Davie’s remark on the “emphatically muscle-bound” move-ment of Hopkins’s verse in a review of Tomlinson’s Seeing is Believing (1959); collected in his Poet in the Imaginary Museum: Essays of Two Decades ed. Alpert (Manchester: Carcarnet, 1977 ), 66–71 at 70.

44 . In Poems and Shorter Writings ed. Richard Ellmann et al. (London: Faber and Faber, 1991), 157–200.

45 . James Joyce, A Portrait of the Artist as a Young Man: Text, Criticism, Notes ed. Chester G. Anderson (New York: The Viking Press, 1968), 212–13, and for the quotation in the following sentence see 115.

46 . Stevens from Harmonium (1923) in Collected Poetry and Prose ( 1997 ), 60–61; Montague from “Home Again, Part 5” in The Rough Field (Dublin: The Dolmen Press, 1972 ), 13–14; New Collected Poems (Oldcastle, Co. Meath: The Gallery Press, 2012 ), 30–31.

47 . Jill Muller explains in her Gerard Manley Hopkins and Victorian Catholicism: A Heart in Hiding (New York: Routledge, 2003) 97–98. As it happens, the author of the undergraduate manual Joyce drew upon in the Portrait —John Rickaby S. J. (see his General Metaphysics — 1890 —149)—was brother of Joseph Rickaby S. J., a contemporary and friend of Hopkins at St. Bueno’s.

48 . Yeats, in his Introduction to The Oxford Book of Modern Verse 1892–1935 (Oxford: Clarendon Press, 1936 ), xvi; Later Essays ed. William H. O’Donnell (New York: Charles Scribner’s Sons, 1994), 188. Yeats’s preferences are at odds with another strain of f in-de-si è cle aestheticism associated with Keats: see the address by Wilde given in 1882 quoted by George Ford, Keats and the Victorians: A Study of His Influence and Rise to Fame, 1821–1895 (New Haven, CT: Yale University Press, 1944 ), 104.

49 . “The Circus Animals Desertion” in Last Poems (1939); Yeats’s Poems ed. A. Norman Jeffares with an Appendix by Warwick Gould (3rd ed. Basingstoke, Hants.: Palgrave Macmillan, 1996), 472.

50 . Coleridge copied the Latin phrase, from Statius Thebiad IV 425, into his notebook: CN 1:1179.

51 . The English Muse: A Sketch (London: G. Bell and Sons, 1933), 316–17. 52 . The English Poetic Mind (Oxford: Clarendon Press, 1932 ), 173. 53 . I necessarily have had little to say of the wider circle of Coleridge’s influ-

ence, but the past as another country is too large to encompass. The Reception of S. T. Coleridge in Europe ed. Shaffer and Zuccato (London: Continuum, 2007) contains much of interest, not least concerning par-ticular problems of translation.

54 . Collected Poems of Stevie Smith (London: Allen Lane, 1975), 385–86. 55 . See the conspectus by Alexandra Harris, Romantic Moderns: English

Writers, Artists and the Imagination from Virginia Woolf to John Piper (London: Thames and Hudson, 2010 ), in which Duncan Grant—illustrator of the Ancient Mariner —is a representative figure. Harris’s coverage of neo-Romantic poets needs to be supplemented by, for exam-ple, the contributors to New Apocalypse: An Anthology of Criticism, Poems and Stories ed. J. F. Hendry (London: Fortune Press, [ 1940 ]) and New British Poets ed. Kenneth Rexroth ([Norfolk, CT]: New Directions,

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1949 ) and better described by Andrew Crozier “Styles of the Self” in A Paradise Lost ed. David Mellor (London: Lund Humphries, 1987), 113–16.

56 . Grigson’s perfunctory selection of Coleridge’s poems for the Grey Walls Crown Classics series (1951) is particularly disappointing following his inspired use of Coleridge’s notebooks in his anthology, The Romantics ( 1942 ). For Read, see, for example, his Coleridge as Critic (London: Faber and Faber, 1949 ).

57 . See “National Self-Depreciation,” Times Literary Supplement (August 29, 1918), 397–98 at 397; and “Alarm of an Invasion,” New York Times (August 4, 1940 ) Section 4: Review of the Week 8c—both anonymous.

58 . Coleridge (London: George Bell, 1904), 72. 59 . Paul Val é ry: The Mind in the Mirror (Cambridge: Bowes and Bowes,

1952), 15. 60 . Hartman, Free Verse: An Essay on Prosody (Princeton, NJ: Princeton

University Press, 1980 ), 89. 61 . BL 1:24, although here I more closely follow Wordsworth’s formula-

tion, who twice acknowledges Coleridge for the thought: see his letter to Lady Beaumont, May 21, 1807, in Letters of William and Dorothy Wordsworth: The Middle Years 1806–1820 ed. Ernest de Selincourt rev. Mary Moorman and Alan G. Hill (2nd ed. 2 vols. Oxford: Clarendon Press, 1969 –70), 2: 150 and his Essay, Supplementary to the Preface (to Poems 1815) in Prose Works ed. Owen and Smyser (3 vols. Oxford: Clarendon Press, 1974), 3: 80.

62 . The analysis by Peter Carafiol, Transcendent Reason: James Marsh and the Forms of Romantic Thought (Tallahassee, FL: University Presses of Florida, 1982 ), is particularly illuminating on the connection between the early modifications made in Coleridge’s religious ideas and his legacy in twentieth-century (especially American) critical thinking.

63 . Lucifer in Harness: American Meter, Metaphor, and Diction (Princeton, NJ: Princeton University Press, 1973 ), 11, etc.

64 . By Stanley Edgar Hyman in The Armed Vision: A Study in the Methods of Modern Literary Criticism (New York: Knopf, 1948 ), 11. The eleva-tion, it must be said, was probably prompted by a mischievous desire to provoke the Chicago Aristotelians (Richard McKeon, Elder Olson and others) who were ascendent at the time.

65 . This last being the title of Robert Creeley’s review of three titles by Charles Olson, included in his Collected Essays of Robert Creeley (Berkeley, CA: University of California Press, 1989), 130–34. Creeley and Olson, honest men and scholars both, denied they knew what the principle meant.

66 . “Reflections on Vers Libre” (1917) in his To Criticize the Critic and Other Writings (New York: Farrar, Straus and Giroux, 1965), 183.

67 . Coleridge’s historical position has been described many times over: for example, by Bernard Reardon, From Coleridge to Gore: A Century of Religious Thought in Britain (London: Longman, 1971 ) and David Thompson, Cambridge Theology in the Nineteenth Century (Aldershot, Hants.: Ashgate, 2008 ). Coleridge was anticipated in his views on

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biblical criticism by his father, John Coleridge, as I describe in my Coleridge’s Father .

68 . One could argue, for example, that the New Poetry of the twentieth cen-tury is better able to catch transitive features of contemporary life on the wing and still to leave them alive, as well as better able to encompass top-ics favored by the late Romantic “lyric I.” An amusing, if modest, exam-ple, is provided by Olena Kalytiak Davis, “The Lyric ‘I’ Drives to Pick up Her Children from School: A Poem in the Postconfessional Mode,” Fence Magazine ( 2005 ) available online at www.poetryfoundation.org/bio/olena-kalytiak-davis accessed March 2, 2011.

69 . In essays entitled “Myths, Metres, Rhythms” and “The Snake in the Oak” in his Winter Pollen: Occasional Prose ed. Scammell (London: Faber and Faber, 1994 ), 310–72 and 373–465: a reading he attempted to compound in his introduction to A Choice of Coleridge’s Verse (1996).

70 . The story is less well known than the American one but has been told sev-eral times. A full and sympathetic account is given by Peter Barry, Poetry Wars: British Poetry of the 1970s and the Battle of Earls Court (Cambridge: Salt, 2006 ). Anglo-American links are conveniently documented in Pattison and Roberts (eds.), Certain Prose of “The English Intelligencer” (Cambridge: Mountain, 2012 ), xii–xxiv.

71 . A summary and quotations from the the rare items in which Weaver’s and Howe’s comments appear are supplied by Perloff, “From ‘Suprematism’ to Language Game: The Blue and The Brown Books of Ian Hamilton Finlay” in The Present Order: Writings on the Work of Ian Hamilton Finlay ed. Caitlin Murray and Tim Johnson (Marfa, TX: Marfa Book Co., 2010 ), 91–93.

72 . Edmund Hardy, “Collage Capital: An Interview with Giles Goodland” in Intercapillary Space www.intercapillaryspace.org/2006/11/collage-capital-interview-with-giles.html ; accessed Oct 15, 2011.

73 . I mean, alternative in the same way as organic food is and preferred by some people.

74 . “Station Island,” Part XII of Station Island ( 1984 ), 92; but quoted here from the revised version in Opened Ground: Poems, 1966–1996 (London: Faber and Faber, 1998), 267.

75 . Prynne’s discursive commentaries on poems by Shakespeare, Herbert, Wordsworth, and others are an instructive exercise in how he would have us read older poems in terms of such units of attention.

76 . “Traveling Theory” in his The World, The Text, and the Critic (Cambridge, MA: Harvard University Press, 1983 ), 226–47 ( chapter 10 ).

77 . The Scriptural Character of the English Church Considered in a Series of Sermons (London: John W. Parker, 1839 ), viii–ix.

Bibl iogr a ph y

This bibliography does not include works by S. T. Coleridge, which are listed under Abbreviations and References.

Abrams , M. H . (ed). English Romantic Poets: Modern Essays in Criticism (New York: Oxford University Press, 1960 ).

———. “Coleridge, Baudelaire, and Modernist Poetics” in Immanente Ä sthetik, ä sthetische Reflexion: Lyrik als Paradigma der Moderne ed. W. Iser (Munich: Fink, 1966 ), 113–38, 419–28.

———. Natural Supernaturalism: Tradition and Revolution in Romantic Literature (New York: Norton, 1971 ).

———. The Correspondent Breeze: Essays on English Romanticism ed. Jack Stillinger (New York: Norton, 1984 ).

Allen , Donald M . (ed). The New American Poetry, 1945–1960 (New York: Grove Press, 1960 ).

[ Allsop , Thomas .] Letters, Conversations, and Recollections (2 vols. London: Edward Moxon, 1836 ).

Altick , Richard D . The English Common Reader: A Social History of the Mass Reading Public, 1800–1900 (Chicago: University of Chicago Press, 1957 ).

Altieri , Charles . Enlarging the Temple: New Directions in American Poetry dur-ing the 1960s (Lewisberg, PA: Bucknell University Press; London: Associated University Presses, 1979 ).

Anderson , Erland. Harmonious Madness: A Study of Musical Metaphors in the Poetry of Coleridge, Shelley and Keats (Salzburg, Austria: Institut f ü r Englische Sprache und Literatur Universit ä t Salzburg, 1975 ).

Anon (ed.). Gems from British Poets (4 vols. London: Robert Tyas, 1838 –39). ———. “The Magic and Craft of Coleridge [review of Poetical Works ed.

E. H. Coleridge]” Times Literary Supplement No. 568 (November 28, 1912), 537–38; reprinted in The Living Age [aka Littell’s Living Age ] (New York) 276 ( 1913 ), 50–54.

———. “National Self-Depreciation.” Times Literary Supplement No. 867 (August 29, 1918 ), 397–98.

———. “Alarm of an Invasion.” New York Times (August 4, 1940 ) Part 4: Review of the Week, 8c.

Anti-Jacobin : see George Canning. Artaud , Antonin . Suppl é ment aux lettres de Rodez, suivi de Coleridge le tra î tre

(Paris: G.L.M., 1949 ). Attridge , Derek . Well-Weighed Syllables: Elizabethan Verse in Classical Metres

(Cambridge: Cambridge University Press, 1974 ).

B i b l i o g r a p h y244

——— . The Rhythms of English Poetry (London: Longman, 1982 ). Bagot , Cecil V . “Coleridge’s Christabel.” Morning Post (London) July 27, 1934 ,

10ef. Barbeau , Jeffrey W . Coleridge, The Bible, and Religion (Basingstoke, Hants:

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Abrams, Meyer H. 34 , 57 , 193 , 238n29 , 239n41

Aders, Mrs. Elizabeth 64 , 187 Aeschylus 37 , 147 , 170 Akenside, Mark 136 , 164 , 170 Alexander, William 27 Allen, Robert (“Bob”) 50 Allsop, Thomas 22 , 181 , 236n6 Anderson, Erland 217n17 , 222n72 Apuleius, Lucius 188 Aquinas, St. Thomas 194–5 Ariosto, Ludivico 169 Aristophanes 164 Aristotle 198 Arnold, Matthew/Arnoldian 22 ,

25 , 178 Arnold, Thomas 21 Artaud, Antonin 226n41 Ashe, Thomas 30 , 106 , 209n33 Attridge, Derek 216n4 , 217n15 ,

230n36 Auden, Wystan Hugh 84–5 Austen, Jane 221n63 Ayres, Philip 174

Bacchus/Bacchic 72 , 84 Balzac, Honor é de 113 Barbauld, Mrs. Anna Laetitia 22 Barnes, William 112 , 219n41 Barry, Peter 242n70 Barth, J. Robert 219n48 Bate, W. Jackson 77 Baudelaire, Charles 25 , 116 , 193 ,

239n41 Beatles, The 34 Beaumont, Lord and Lady 150 , 227n46 Beckett, Samuel x , 183 , 187–8 , 201

illustrated version of Still 119 “matrix of surds” 120 popularity of Godot and Endgame 111

relation between his writing and philosophy 183 , 237n13

on silences in Beethoven 93 Beddoes, Dr. Thomas 48 Beddoes, Thomas Lovell 94 , 209n37 Beer, John 38 , 229n22 Bennett, Betty T. 235n47 Bennett, Hannaford 28 Bennett, Walter 233n28 Berengarius of Tours

see “The Last Words of Berengarius” under Coleridge, S. T.: (D) TITLES

Berkeley, Lennox 192 Berlin, Sven 116 Berlioz, Hector 37 Bernhardt-Kabisch, Ernest 166 ,

216n11 Bewick, Thomas 92 Bidney, Martin 215n32 Blackmur, Richard P. 110 Blake, William 34 , 83 , 120 , 148 , 191

“The Fly” 158 Bloom, Harold 34 , 36 , 211n55 Blunden, Edmund 196 Boccaccio, Giovanni

see “The Garden of Boccaccio” under Coleridge, S. T.: (D) TITLES

Boehme (or Behmen), Jakob 88 , 120 , 182 , 236n7

Bohn, Henry George 23 , 30 Bostetter, Edward E. 47 Boulger, James D. 80 Bowles, William 19 , 90–1 , 164 Bowring, John 206n10 , 227n46 Boyer, James 179 Boyle, Nicholas 37 Brandl, Alois 209n33 Brantley, Richard E. 227n48

Inde x

I n d e x270

Brent sisters (Charlotte Brent and Mrs. Morgan n é e Mary Brent) 64

Bridges, Robert 26 , 166 Britten, Benjamin 192 Brockway, Harry 117–18 Bronk, William 64 , 144 , 215n38 Bront ë , Charlotte 111 Bront ë family 52 Brooke, Stopford 28 , 31 Brooks, Cleanth 36 , 211n51 Browning, Robert 22 , 70 , 78 , 163 ,

192 , 209n37 Brun, Friederike 171 Bunting, Basil 40 , 201 Bunyan, John 114 B ü rger, Gottfried August 169 Burke, Edmund 70 , 100 Burke, Kenneth 32 , 36 , 57 , 71 Burns, Robert 187 Burroughs, William 198 Butler, Eliza M. 213n16 Butterfield, William 114 Byron, George Lord 30

and contemporaries 20 , 25 , 115 , 132 , 138 , 174 , 187 , 196 , 209–10n39

metrics 77 , 169–70 , 190–1 Bysshe, Edward 166

Caine, Hall 29 , 209n33 Cairns, David 37 Calder, Alexander 114 Campbell, James Dykes xi , 24 , 209n35 ,

209n37 Canning, George 233n30 Carafiol, Peter 241n62 Carlyle, John 147 Carlyle, Thomas 147 Carlyon, Clement 72–3 , 220n54 Catullus, Gaius Valerius 117 Cervantes, Miguel de 188 Chambers, Edmund K. 33 , 210n43 Chandler, Alice 223n10 Charpentier, John 210n41 Chatterton, Thomas 9 , 81 , 150 Chaucer, Geoffrey 68 , 191 “Che” Guevara 115 Chicago Aristotelians 241n64 Clare, John 52 Clarke, Harry 114 , 229n19

Clough, Arthur Hugh 166 , 216n11 Coburn, Kathleen x–xi , 32 , 33 ,

39–40 , 55 Coffey, Brian 174 , 201–2 Coleridge, Alwyne

(great-great-grandson) 30 Coleridge, Ann (sister) 212–13n10 Coleridge, Derwent (son) 22 , 27 , 65–6 ,

146 , 164 , 231–2n8 1870 edition of Coleridge’s Poems 23 ,

24 , 207n14 , 209n32 , 211n57 arrangement of sermons 203 date of “Youth and Age” 153 his father as poet-philosopher 181 preference for 1798 “Ancient

Mariner” 101–2 Coleridge, Edward (nephew) 207–8n21 Coleridge, Ernest Hartley/EHC

(grandson) xi , 29–30 , 143 1895 editions of notebooks and

letters 24 , 30 1907 facsimile of “Christabel” 29 ,

209n36 1912 edition of C’s Poetical

Works 24 , 30 , 31 , 38 , 39 , 172 , 183 , 222n76 , 231n5

acquaintance with Hopkins 208n23 friendship with Swinburne 29–30 ,

209n35 Coleridge, Frank (brother) 212–13n10 Coleridge, Geoffrey Duke

(3rd Baron) 32 Coleridge, George (brother)

see “To the Rev. George Coleridge” under Coleridge, S. T.: (D) TITLES

Coleridge, Hartley (son) 59 , 146 , 149 , 170 , 214n22

alternative world of Ejuxria 52 three kinds of metre 67–8

Coleridge, Henry Nelson (nephew/son-in-law) 19 , 22–3 , 65 , 172 , 211n57 , 226n40 , 231n5 , 236n6

Coleridge, John (father) 5 , 6 , 45 , 55 , 85 , 88 , 127 , 183–4 , 232n12

biblical criticism 242n67 Classical prosody 69 , 216n10 Psalms at Ottery 70 translation of Martial 174 , 235n46

I n d e x 271

Coleridge, Samuel Taylor (A) CONTEXTS: aims as poet 17 , 42–3

advantages of amateur status 181 as ontological fl oater 84–5 self-restriction as enabling 187–8 compare also William Wordsworth

in main index biography

Biographia Literaria a poor introduction to Coleridge’s poetry 6–7 , 32 , 44 , 90–1 , 189–90

career misinterpreted as failure 15–16 , 23 , 29

life of the poet separate from the poet’s life 16 , 41–4

pebbles of poetry as pearls of biography 35

see below personal myth and reputation

controversy surrounding indecency of “Christabel” 21 ,

104–5 , 227–8n6 personal and political position

15–16 , 19–21 , 132–3 supposed plagiarism 22 , 25 , 34 , 171 theological speculation 22

editions Bollingen 2–3 , 7 , 8–9 , 33–4 , 37–8 ,

97 , 172 early family (published by Pickering

and Moxon) 22–3 , 24 , 172 , 209n32

E. H. Coleridge (published by Oxford) 24 , 29–30 , 31 , 38 , 172 , 208n23

illustrated and fi ne press 4 , 27–8 , 113–20 , 226n37

three notable selections see Fenton, Swinburne and

Symons in main index versioning 38–9

“epicure in sound” 67 experiment

how success is measured 6–8 , 9–11 , 188–9

musical sense of composition 11 as renewing of initiative 11 ,

111–12

the “famous three” 4 , 97–8 , 111–13

see also “Christabel,” “Kubla Khan” and “Rime of the Ancient Mariner” separately under (D) TITLES

ideas his mature philosophy in a

nutshell 181–2 not an intellectual poet 182–3 only two poems contain abstruse

musings? 181–2 poet-philosopher versus philosophic

poet 7 , 180–1 Imagination 6–7 , 32 , 189

a poet of the Affections, not of Imagination 42

“later poems” elements date from 1795

onwards 4–5 , 98–9 , 147 poem “Love” taken to mark a

turning point 142–3 sustained by greater

self-knowledge 113 thematically continuous with poems

of 1790s 99–100 , 186 transcendence of personality 12 ,

142 , 144–5 , 145–6 variety of formal expression 152–3 ,

174–6 lyre distinguished from harp 90 , 179

desultory and intellectual breezes 58 , 143 , 180

see structure | two-fold epiphanic moments under (B) POIESIS

meditation boundaries of 42–3 , 150 poetry as musam meditari 11 Romantic 4 seventeenth-century tradition

of 182 , 184 music

and beginnings of prosody 47 , 70–1

music of words as music of their meanings 74–5 , 101 , 151

“setting the affections in right tune” 45–6

see also melismatic effects under (B) POIESIS

I n d e x272

Coleridge, Samuel Taylor—Continued “New School” of poetry 1798 15 ,

19–20 , 189–90 as “arbitrator” between old and

new 191 despite infl uence, founded no

school 20 , 196 parallels with “New Poetry” of

1960 198–9 proprioception and poetics of

“the seim anew” 202–3 Open Form poetics 199 , 202 originality as a return to origins x ,

4 , 192 personal myth

adjusted in later life see Age above

female fi gure at heart of see “Elpomene” under (C)

THEMATIC CONCERNS formation during 1790s 5–6 , 45–6 ,

48–53 , 212–13n10 rehearsed in a private space

(“mental theater”) 17 , 43 reticence not prudery 47–8 traditional elements 188–9 see also biography | life of the

poet separate above pleasure

primary aim of poetry 6 unreserved (“blind”) 145–6

poetry meter and rhythm conjoined in the

ideal style 190–1 never abandoned by 180 “of the spiritual senses”

(Meynell) 60 , 83 , 183–4 use of compared to thought 180–1

radical as a return to roots 12–13 , 70 reputation, phases of 18–19

biography dogging interpretation of poetry 35–7 , 41

connections with Modernism 192–3

emergence of the famous three 20–9 , 35–7 , 113–14

height of celebrity in mid-twentieth century 32–4

pillar of educational syllabus 18–19 , 30–4 , 36–7 , 196

poets’ poet at close of nineteenth century 18 , 25–30

rise and fall of the poem “Love” 20–1 , 23–4 , 24–5 , 27 , 28–9 , 132

see also individual commentators listed in main index

revolution as the recovery of true beginnings 191

patience a dimension of enquiry 193 route back to Coleridge through

New Poetry of 1960s 40 , 198–201

taste properly created by poet, not audience 197

see also experiment above rewards of writing 41–2 , 180 , 182–3 ,

185–6 , 187–8 see also aims as a poet above

variety of kinds of writing 1 Coleridge, Samuel Taylor

(B) POIESIS: adaptation and reworking of other

authors 164 , 170–1 allusion and inter-textuality 88–9 ,

148 cross-references within own

corpus 61 , 133–5 , 153 infl exion of primary meaning 72

ballads ballad stanza 74 eighteenth-century and German

ballads 9 , 100–1 , 101–2 later writing in ballad style more

spare 91 romancing of ballad in

“Ancient Mariner” and “Christabel” 99 , 100–1 , 109

shifts in narrative point of view 79 , 100–1

blank verse eighteenth-century theory and

practice 68 , 134 , 190 German debate over blank verse and

hexameters 165–6 , 168–9 inert quality of early public

poems 41–2 , 73 , 136 , 180 modifi cation following “Eolian

Harp” 10 , 57–8 , 69 , 73–4 , 75–6

I n d e x 273

signifi cance of experiments 77–8 , 202–3

see also theater below burlesque, parody and part-parody

beginnings of “Ancient Mariner” 100 , 101–2

an enabling position to assume 61–2 , 77 , 90

parody of a sort intended in “Christabel” Part II

see supernatural under (C) THEMATIC CONCERNS

parody straight 138–9 self-parody 57 , 61–2 , 77 , 139 , 175

coinages unobtrusive in verse compared to

prose 94–5 use of negative prefi xes different

from Wordsworth’s 95 comic poems to be taken

seriously 172 composition

fi nger-exercises and loosening of constraint 63 , 64–5 , 175

more often in head (oral) before copied down 107

on paper: example of “Youth and Age” 153–5

conventional categories of poetry relation to 90–1 see also effusions, epigrams, ode,

sonnets below “conversation/conversational”

as stylistic agency, not a literary category 76–7

see also Horace in main index descriptive method

choice of station 92 emblematising of fi gures 48–9 evanescence and shimmer 93–4 focal length 75–6 handling of colour 92 , 221–2n70 how different in notebooks 93 of the seen unseen and the heard

unheard 83–5 , 92–3 see also mental ear/mind’s eye below

diction critical difference from

Wordsworth 191 few unusual words 47 , 88

lexis subordinate to praxis 189–90 plain words repeated gather

signifi cance 47 , 101 see also imagery below

effusions 91 , 171–2 , 172–3 enjambment and medial

line-breaks 73–4 , 78 epigrams, epigraphs and

epitaphs 173–4 epiphany 88–9 , 92–3 , 195

different from Joyce’s symbolist concept of 194–5

two-fold movement 58–61 , 130–1 , 142–3 , 159–60 , 228n8

see also lyre and harp under (A) CONTEXTS , and dream | vision within dream under (C) THEMATIC CONCERNS

footnotes, headnotes and glosses as means of qualifi cation and/

or obfuscation 88–9 , 137 , 151–2

relation to “contained” features of style 81

form/genre see conventional categories above

fragments and euphrasy 176–8 “grammetrics” at the intersection of

grammar and rhythm 74–5 , 80–1

humour 172–4 imagery

largely traditional 46–7 return to the same compared to

Manet 8 special resonance in:

averted/reverted eyes 49 , 54 blindness 49 , 80 , 146 , 149 , 182 fountains 47 , 147 , 154 , 167 harp/lyre 90 , 179 “mazy” 51–2 , 61 , 62 , 157

see also cold speck and pang under (C) THEMATIC CONCERNS

luminosity of dreams 177 melismatic effects of sound 180

cause of anxiety 71–2 passion ordered and heightened

by means of control 85 , 142–3 , 180

I n d e x274

Coleridge, Samuel Taylor—Continued mental ear/mind’s eye 68 , 143 , 165 ,

199 , 202–3 Ramus on “hearing” Classical

scansion 216n4 mesode 58 , 60

see also epiphany | two-fold movement above

more designed in “Kubla Khan” than in “Ancient Mariner” 109

negative prefixes and coinages 94–5 “lidless” 94

nonsense 84–5 , 174–5 ode

Pindaric structure modifi ed 57–8 Pindaric structure of “Kubla

Khan” 108 poems so entitled often burlesque

or self-consciously public 90 , 108 , 134 , 135 , 158–9 , 162–4

see also Pindar in main index parenthesis embodying “thought

growing” 73–4 , 75 parody

see burlesque above pitch 70–1 , 75–6 , 77–8 , 99 , 167 , 192 point of view

framing devices 89 , 119 , 134–5 , 137 , 142–3 , 148–9

removal outside scene of writing (“Work without Hope”) 147–8

shifts and reversals 56–61 , 79 see also descriptive method above

prosody and the workings of style background and infl uences 66–7 ,

69–70 “Christabel” preface most infl uential

when misunderstood 26–7 , 69–70 , 89 , 190–1

Classical metrics as base 68–9 , 77 , 90 , 188

Hopkins compared 194–5 how foundations built upon

anew 70 , 77–8 , 191–2 ideal of more balanced

adjustment 6 , 7–8 , 70 , 190–1 , 217n19

physical dimension 71 , 148 uncertainty of early

experiments 68–9

see also blank verse, pitch and point of view above, and John Coleridge, Klopstock and Thelwall in main index

punctuation and typography 69 , 76 , 140–1 , 147 , 149 , 182

relative lack of specific allusion in “Christabel” Part I 104

revision and rewriting 10 , 85–6 by counterpoint

see “Christabel” and “The Ballad of the Dark Ladi è ” under (D) TITLES

for different audience in “Dejection: An Ode” 158–9

incomplete in “Ancient Mariner” 102 , 102–3 , 111–2

reduced rewriting in later years 141–2

see also editions | versioning under (A) CONTEXTS

rhyme central place of 73–4 , 79–80 used to extend experiments in

blank-verse 86 , 90–1 , 99 , 156

sonnets 74 , 90–1 structural features

architectonic balance of late poems 149

incompleteness 58 , 80 , 143–4 , 151–2

incompleteness accepted 158 , 161–2

twin-epiphany structure modifi ed 60

see also epiphany, mesode and ode above

style, some aspects of ideal of wholeness 11–12 impersonal “surface quality” 12 supernatural dimension 177–8

supplement see footnotes etc. above

theater largest number of blank verse lines

written for theater 82 practical constraints 123–4 quality of verse differs in

Zapolya 129

I n d e x 275

relatively conventional blank verse written for theater 124 , 169

romancing the drama 126–32 stage-situation creates a shared act

of self-consciousness 124 translation

of Classical authors 164 , 170 interest in German experiments in

Classical meters 165–9 Wallenstein as much an education

in Shakespeare 169 verse

see poetry under (A) CONTEXTS voice (actual)

exclamatory when preaching 163–4 mobility of 39 oral composition 138 own reading practice 17 , 82

voice (ideal) elusive 12 , 84 expressing a self deeper than

personality 17 , 75 , 81 transparent utterance of the

phantom self 83 weightless style heard with “mental

ears” 80 , 143 , 202 Coleridge, Samuel Taylor

(C) THEMATIC CONCERNS: Absence 7 , 50 , 59

changing conceptions of 5 , 160–1 , 184 , 193

different projections of 64–5 , 146–50 , 174

ground of conscience 63 see also “Absence ; A Poem” and

“Absence: An Ode” under (D) TITLES

Affection-Love diffi culty of maintaining

balance 29 , 186 moral dimension 64 present-day likelihood of

misunderstanding 187 see also reputation | rise and fall of

the poem “Love” under (A) CONTEXTS

Age (following Childhood, Youth and Manhood)

allegorical fi gure of last decades 7 , 152

and loneliness 155–6 , 185 remembered Hope in Age 154 see also “Youth and Age” under

(D) TITLES Anger

Anger and Rage opposite to Fear 46 , 136–7

changing expression in political poems 133–4 , 135–6 , 138–9 , 140–1

occasional loss of control and direction 137–8 , 139

Arabian Nights 6 , 47 , 88–9 , 127 “cold speck” 150 conditional moods of achievement

(“What If?” “Could I?” etc.) 60 , 103 , 107 , 108 , 132 , 135–6 , 143–4 , 147 , 150 , 158 , 159–60

see also epiphany | two-fold movement under (B) POIESIS

Dejection as absence of Joy ( Sans-Joy ) 46 ,

159 , 161 dream

as loss of self 6 , 84–5 , 89 , 106–7 poem “must be a waking

dream” 6 , 132 , 142–3 as temptation and evasion 45–6 ,

56 , 61–2 , 127 “A Vision in a Dream” 54–5 ,

59–60 , 87–8 , 108 , 130 , 142 , 143–4

“Elpizomene, the best-beloved” 64 embodiments of

see Mrs. Aders, Brent sisters, Jenny Edwards, Mary Evans, Mrs. Gillman and Sara Hutchinson in main index

negative defi nition of see William Bronk in main index

traditional dimensions of 186–7 , 188

Fear, Pity and their corollaries 136–7 “Black Paternoster” 214n24 habitual starting-point in verse 45 ,

55 , 81 , 136 identifi cation with Berengarius 139 “Joy’s brother, Fear” (Yeats) 162 see also weakness and self-doubt below

I n d e x276

Coleridge, Samuel Taylor—Continued Hope, Love and Joy 48–53 , 63

as Desiderium and Sehnsucht 46 , 175–6

evolution of thoughts concerning 140–1

I / Thou and the mirror of consciousness 17–18 , 54–5 , 150 , 230n33

mirroring and self-defi nition 56–7 , 80–1 , 124 , 130

see also lyre | desultory and intellectual breezes below and imagery averted/reverted eyes, blindness under (B) POIESIS

Joy as benediction

see e.g. “Letter to [Sara Hutchinson]” under (D) TITLES

as continuously evolving inspiration 193

denied see Dejection above

imagery of fl ying, of lightness of being 129–30 , 153

vicariously attained see e.g. “This Lime-tree Bower”

under ( D) TITLES “pang” 46 , 51–2 , 150

see also “The Pang More Sharp than All” under (D) TITLES

pantheism as temptation and threat 181 , 193 , 195

background of tohu bohu and “matrix of surds” 120

blindness of intellectual pantheism in “Limbo” 181–2

how different from polytheism 236n8

saved by Grace 223–4n14 see above lyre and harp | intellectual

breeze, and imagery | blindness under (B) POIESIS

Passions/Affections/Feelings 44–5 cause not in things but thoughts of

things 44 connected with the body 45 , 48 ,

148 , 180

dominant theme of Lyrical Ballads 1798 44

“Life below Mind” 45 , 136 physical basis of style 7 , 25 , 42 ,

43–4 , 70–1 politics becoming satire

change of attitude refl ected in changing technique 133

cutting to the core 137 demotic come-all-ye 138 encapsulation 174 marked by prejudice 137–8 , 139 parody 138 ridicule 138–9 compare blank verse | inert quality

of early public poems under (B) POIESIS

reconciliation of opposites completed by act of faith 157 ,

237n15 ideal union 65 , 165 , 176 , 177–8 ,

189 , 193 opposites not contraries 12–13 ,

236n7 precariously achieved 10 , 154–5 see also prosody, volition and

will below supernatural

differently interpreted in two Parts of “Christabel” 28 , 59 , 105

French understanding of 114 moral dimension absent from

late nineteenth-century Faery 18 , 26

Scott’s and Wordsworth’s common-sense understanding of 20 , 28 , 100 , 227n6

volition and the will connections with poetry 79–80 , 192 distinguished from restraint 6 , 7–8 ,

10 , 105 , 180 ideal of the harmonious sch ö ne

Seele 71 moral-emotional wobble 70 ,

154 , 184 weakness and self-doubt 120–1 ,

222n2 humility protected by reticence 184 potential for misunderstanding

139 , 185

I n d e x 277

see also burlesque | self-parody under (B) POIESIS

Coleridge, Samuel Taylor (D) TITLES: “Absence: An Ode” ( 39 ) 54 “Absence: A Poem” ( 60 ) 45–6 , 49 ,

54 , 61–2 , 68 see also Absence under (C)

THEMATIC CONCERNS “A Christmas Carol” ( 260 ) 135 “Adaptation of Hagedorn”

( 352 ) 86–7 , 88 “Alice du Cl ó s” ( 655 ) 45 , 49 , 61 ,

156–7 “Anna and Harland” ( 19 ) 46 , 55 “The Ballad of the Dark

Ladi è ” ( 182 ) 102–3 , 105–6 , 134 , 144

“The Bridge Street Committee” ( 589 ) 138

“Christabel” ( 176 ) 2 , 4 , 9–10 , 17 , 87 , 91 , 175 , 206n7

accidental centerpiece of revolution in English metrics 26–7 , 40 , 69 , 117 , 190–1 , 194

changing status and presentation 20–30 , 36 , 106 , 111 , 226n33 , 227n45 , 241n56

charge of obscenity 21 , 104–5 connections with other poems

by Coleridge 16 , 88–9 , 98 , 98–9 , 102–6 , 107 , 109 , 112 , 224n15

continuation of narrative beyond Part 2 (a misleading thought)? 71 , 85 , 165 , 175 , 224n19

the furthest reach of Coleridge’s technical experimentation 67 , 73–4 , 93 , 99 , 104–5 , 107 , 110 , 165 , 166–7 , 168–9 , 187 , 192 , 201 , 202

how metre differs from Wordsworth’s White Doe of Rylstone 78 , 189

moral ambiguity and Coleridge’s understanding of pantheism 48 , 110

obliquity of Preface 69 , 89 , 104 , 190 opening lines 72–3 , 83–4 , 93

pictorial illustration disappointing but instructive 113 , 115 , 118

relation between the two parts 59 , 105–6 , 107–8 , 228n14

relation to plays see “Osorio” and “Zapolya” below

rhyme in 79 , 169 supernatural in 105 , 195 see also controversy surrounding

under (A) CONTEXTS, and prosody under (B) POIESIS

“The Complaint of Ninathoma” ( 51 ) 54–5

“Dejection: An Ode” ( 293 ) 162–3 see also Dejection under (C)

THEMATIC CONCERNS “The Delinquent Travellers”

( 599 ) 138 , 229n23 “The Devil’s Thoughts” ( 214 ) 138 “Dewdrops are the Gems of Morning”

( 593 ) 154–6 , 184–5 Diadest è ( 492.X2 ) 126–8 “Domestic Peace”

see “The Fall of Robespierre” below “Duty Surviving Self-love” ( 627 ) 91 ,

155–6 “English Duodecasyllables”

( 186 ) 167 “English Hexameters” ( 185 ) 165–6 ,

167 , 182 “The Eolian Harp” ( 115 ) 92 , 95 , 104

breakthrough achievement 56–7 , 61 , 63 , 68–9 , 73

footnotes as braking devices 89 later poems advance upon 156–7 ,

158 a meditative, not conversational,

poem 61–2 , 76–7 , 181 melismatic enchantment 71–2 , 73 ,

101 , 127 , 176 , 180 as metrical experiment 68–9 , 78 , 99 paradigmatic structure 56–8 ,

133 , 180 parentheses, punctuation and shifts

of perspective 75–6 , 79 revisions 10 , 58 , 68–9 , 72 see also lyre distinguished from harp

under (A) CONTEXTS and blank verse under (B) POIESIS

I n d e x278

Coleridge, Samuel Taylor—Continued The Fall of Robespierre ( 76.X1 ) 19 ,

124 , 134 , 135 , 136 , 157 “Fancy in Nubibus” ( 540 ) 2 , 10–11 ,

74 , 145–6 , 221n68 “Fears in Solitude” ( 175 ) 16 , 58–9 ,

92 , 133–4 , 196 , 228n15 see also Fear and Rage under (C)

THEMATIC CONCERNS “Fire, Famine, and Slaughter”

( 167 ) 137–8 , 231n4 “First Advent of Love” ( 574 ) 11 , 50 ,

146–7 “France: An Ode” ( 174 ) 2 , 135 , 137 ,

141 , 163 , 209 , 231n4 “Frost at Midnight” ( 171 ) 2

footnote in 88–9 grammar and metrics in 78 overtaken by ventriloquism? 81–2 relation to other poems by

Coleridge 6 , 12 , 16 , 78 , 92 , 109 , 159 , 171

see also silence and structure below silence in 72 , 103 structure 6 , 46 , 57–8 , 59 theme of surrogacy 60

“The Garden of Boccaccio” ( 652 ) 10 , 23

“Alice du Cl ó s” as accompaniment 61 , 156

habitual starting-point 46 , 159 importance of rhyme 156 , 218n34 moral ambiguity muted 51–2 , 64 ,

156–7 paradigmatic situation 61 , 92 , 116 a poem of Age 52 , 157 , 162 see also imagery | “mazy” under

(B) POIESIS “Glycine’s Song from Zapolya ”

( 517 ) 27 , 130–1 , 132 , 154 “Hymn before Sun-rise” ( 301 ) 23 ,

25 , 156 , 163 , 171 , 179 “Imitated from Ossian” ( 55 ) 53–5 ,

80–1 , 170 “The Improvisatore” ( 623 ) 50 , 51 ,

157 , 186 “Kubla Khan” ( 178 ) 2 , 6 , 16 , 33 ,

38 , 195 , 198 allusion/range of reference 104 ,

109

changing status and presentation 23 , 27–9 , 36 , 39 , 110 , 207n11 , 210–11n49 , 211n52

coherence/structure 45–6 , 59–60 , 107–8 , 109 , 118–19 , 158 , 167

Coleridge’s apologetic unease concerning 10 , 109–10

dating 107 , 110 interpretation 51 , 84 , 89–90 ,

97–8 , 132 language/words 85 , 88 , 94 , 109 pictorial illustration as a challenge

113 , 118–19 , 120 preface 108 , 109–10 , 111 prosody and rhyme 98–9 , 109 ,

234n35 relation to other poems by

Coleridge 4 , 16 , 99 , 107–9 , 111–12 , 141–2 , 152

“A Vision in a Dream” see dream under (C)

THEMATIC CONCERNS see also “Glycine’s Song” and

“Zapolya” below “The Last Words of Berengarius”

( 625 ) composition and collage structure

81 , 139–41 , 149 complexity of feeling 139 , 141 ,

148 “Letter to [Sara Hutchinson]”

( 289 ) 39 , 218n34 biographical situation not a unique

moment of crisis 46 , 63 , 158–9 , 161–2 , 175

letter as a literary form, not private communication 36 , 158–9

rewriting 109 , 159 , 162–3 sophistication of metrics and

rhyme 79–80 , 160–1 , 232n17

as statement of intention 60 , 160–2 structural movement 60–1 , 159–60 surrogate action and narrative

technique in 80–1 , 159 see also “Elpomene, the

best-beloved” under (C) “Lewti” ( 172 ) 43 , 47–8 , 59 , 134 ,

143–4 , 158 “Limbo” ( 478 ) 49 , 56 , 181–2

I n d e x 279

“Lines to a Friend, Who Died of a Frenzy Fever” ( 85 ) 55–6

“Love” ( 253 ) 59–60 , 132 early popularity 20–9 loss of popularity 29 , 36 , 119 , 132 in relation to idea of Love 10 ,

45 , 144 structure and relation to other

poems 60 , 81 , 142–3 as subject of illustration 113 ,

118 , 119 use of allusion in 148

“Ne Plus Ultra” ( 479 ) 181–2 “The Nightingale” ( 180 ) 23

associations of oriental luxury 47 , 59 , 98–9 , 127

as Conversation/Conversational Poem 76–7

conditional attainment: positives from negatives 92–3 , 95 , 107 , 158

shadowed meanings 51 , 59 , 71–2 , 73 , 136

structural and stylistic features 59 , 78 , 104

see also epiphany | two-fold movement under (B) POIESIS

“Ode on the Departing Year” ( 142 ) 19

as political ode 90 , 134 , 135 borrowed and coined words in 88 ,

94–5 Osorio / Remorse ( 146.X1/502.X2

and X3 ) awareness of stage conditions 82 ,

123–4 comparisons with other

plays 126–8 , 130–1 , 142 rewriting 85 , 125 , 128 themes and connection with

“Christabel” 125–6 “The Pang More Sharp than All”

( 412 ) 50 , 149–50 see also “pang” under (C)

THEMATIC CONCERNS “Phantom” ( 347 ) 50 , 112 , 144–5 ,

186–7 The Piccolomini/The Death of

Wallenstein ( 262.X1/263.X1 ) 23 , 129 , 164 , 169–70

“The Raven” ( 145 ) 137 , 165 “Recollections of Love” ( 354 ) 23 ,

88 , 176 among happiest experiments 11 ,

50 , 112–13 its particular interest 86–8 , 145 ,

156 , 170–1 “Reflections on Having Left a Place

of Retirement” ( 129 ) 58–9 , 76–7 , 78 , 133–4

“The Rime of the Ancient Mariner” ( 161 ) 4 , 132 , 176 , 187 , 198–9

accidental beginnings 100 , 102 , 108 , 111 , 112

allusion in 104 , 109 ballad form modifi ed 74 , 79 ,

99 , 165 blamed for not repeating its

success 16 , 38 , 97–8 central vision 160 connections with other poems and

plays 59–61 , 73 , 109 , 112 , 124 , 125 , 134 , 136 , 142

contemporary reactions to 20 , 21 , 23 , 44 , 206n9

as educational text 27 , 36–7 emergence as his most “important”

poem 24–5 , 26 , 27–8 , 33 , 36 gloss 81 , 89 , 104–5 , 137 his most representative

poem? 24–5 , 28 , 111 as magnet for illustrators 4 , 28 ,

113–8 , 119–20 narrative structure 59–61 , 101 ,

108 , 142 parodic dimension 100 , 102 in relation to “Christabel” 28 , 59 ,

73 , 99 , 103–6 , 107–8 , 109 revisions and versions of 39 , 85 ,

101–2 , 102–3 sound of 98 , 103–4 syntax 83 , 101 , 103–4 unresolved tensions 9–10 , 16 , 89 ,

102 , 105–6 vocabulary relatively small 101 see also ballads and burlesque

under (B) POIESIS , and s upernatural under (C) THEMATIC CONCERNS

I n d e x280

Coleridge, Samuel Taylor—Continued “Sancti Dominici Pallium”

( 620 ) 139 , 140 “The Story of the Mad Ox”

( 177 ) 134–5 , 136–7 , 166 “This Lime-tree Bower my Prison”

( 156 ) blank verse 73–4 , 78 , 116 footnotes and unease 89 grammar /grammetrics 78 narrative technique 80–1 opening situation 46 , 72 , 224n15 self-effacing humour as form of

hesitancy 62 , 92 structural pattern compared 57–60 ,

116–17 , 159 “Time, Real and Imaginary”

( 388 ) 49 , 53 , 129–30 , 153 , 189

“To a Cataract” ( 258 ) 90 , 167–8 “To the Autumnal Moon” ( 61 ) 143 “To the Rev. George Coleridge”

( 150 ) 78 “To William Wordsworth” ( 401 ) 61–2 ,

75 , 160 , 218n34 , 229n25 “Translations of Homer Iliad I 34, 49”

( 118 ) 10–11 The Triumph of Loyalty ( 271.X1 ) 126–7 “Work without Hope” ( 606 ) 91 , 95 ,

97 , 112 , 147 , 156 , 171 “Youth and Age” ( 592 ) 2 , 185 ,

237n17 composition, evaluation,

comparison 152–8 a Victorian favourite 25 , 113 ,

153 , 158 see also “Dewdrops are the Gems of

Morning” above Zapolya ( 517.X1 ) 97 , 157

advance in experimental means 129–31

features 128–9 much-underrated 4 , 123 , 128 signifi cance 131–2 , 135–6 , 142 see also “Glycine’s Song” above, and

theatre under (B) POIESIS Coleridge, Sara (daughter) 67

attitude towards Coleridge’s poetry 23 , 207n14

editorial labours 22 , 211n57 , 234n38

Coleridge Mrs. Sarah Fricker (wife) 15 , 63 , 75–6 , 92

Collier, John Payne 82 Collins, William (poet) 9 , 58 , 60 ,

214n28 Collins, William (correspondent) 98 Colmer, John 18 Conrad, Joseph 33 , 186 Cooke, Michael G. 215n33 , 224n15 Cottle, Joseph 22 , 212–13n10 Cowley, Abraham 168 , 234n33 Cowper, William 81 , 88–9 , 171 Crashaw, Richard 125 , 182 Crawford, Walter, and Ann M. 206n5 ,

206n6 , 226n36 , 235n52 Creeley, Robert 241n65 Crick, Joyce 234n34 Crozier, Andrew 241n55 Cureton, Richard D. 218n28

Danby, John F. 74 , 79 , 165 , 210n44 , 212n7 , 237n15

Dante Alighieri 113 , 143 , 148 , 186 , 226n37

Darwin, Erasmus 48 , 136 , 214n28 Davidson, Graham 212n10 Davie, Donald 240n43 Davis, Olena Kalytiak 242n68 Davy, Humphry 160 Dawe, George 20 , 174 de la Mare, Walter 33 , 195 , 210n44 ,

214n24 de Man, Paul 34 De Quincey, Thomas 20 , 21 , 171 ,

234n38 Derrida, Jacques 34 Descartes, Ren é 183 de Vere, Aubrey 18 , 26 , 211n57 Dickens, Charles/Dickensian 28 Dickey, James 199 Diodati, Charles 213–14n19 Dionysius 51 Dixon, William Macneile 28 , 228n6 Donne, John 10 , 63 , 69 , 70 , 170 , 175 ,

206n3 Doolittle, Hilda (HD) 201 Dor é , Gustave 4 , 28 , 113–16 , 117 , 118 ,

226n37 Dorn, Edward 3 , 123 , 137 , 199 Dowden, Edward 31 , 210n42 , 221n67

I n d e x 281

Drake, Nathan 19 Dryden, John 33 , 194 Duffin, Henry Charles 210n44 Duncan, Robert x , 3 , 40 , 199 , 201 Duns Scotus 194

Edgar, Pelham 27 Edwards, Jenny (Coleridge’s nurse’s

daughter) 50 , 179 , 232n16 Eliot, Thomas Stearns 33 , 82 , 94 , 110 ,

188–9 , 197 , 200 Ellis, Frederick Startridge 27 Elton, Oliver 195–6 É luard, Paul 116 Emerson, Hunt 226n38 Emerson, Ralph Waldo 23 Empson, William 36 Erdman, David V. 174 , 229n17 ,

235n47 Euclid 85 Evans family 50 Evans, Mary 50 , 52 , 63 , 128 , 150 , 160 ,

186 Everest, Kelvin 151

Fenton, James his select edition of Coleridge’s

poems 36 , 39 , 177 , 223n11 Ferrier, James 22 , 171 , 234n38 Finlay, Ian Hamilton 40 , 201 , 202 FitzGerald, Edward 114 Flower, Gertrude 210–11n49 Ford, George H. 240n48 Forster, Edward Morgan 195 Foster, John (biographer) 172 Foster, John (metrist) 69 , 216n10 Fox, William Johnson 119 , 206n10 Frere, John Hookham 164 , 233n30 Frost, Robert 33 , 41 Fruman, Norman 34 , 171 , 212n7 Frye, Northrop 34 Fulford, Tim 225n26 Fuller, Thomas 141 , 174 Fussell, Edwin 198 Fussell, Paul, Jr. 168 , 190 , 216n7 ,

217n15

Gardner, Martin 114 Garnett, Richard ix , 26 , 28 , 30 , 31 , 35 ,

92–3 , 197 , 210n48

Garrick, David 114 Garrod, Heathcote W. 212n6 Geneva School 34 George, Andrew 27 , 31 , 208n26 ,

210n48 Gessner, Salomon 165 Geulincx, Arnold 183 Gibson, Matthew 210n41 Gillman, Mrs. Anne 64 , 145 , 148 ,

153 , 186 , 232n8 , 236n6 Gillman, James 22 , 232n8 Gillray, James 166 , 216–17n13 ,

233n30 Gilpin, George H. 51 , 52 Goethe, Johann Wolfgang von 37 ,

165 , 167 , 234n37 Goodland, Giles 201 Gosse, Edmund 192 , 217n15 Grant, Duncan 114 , 240n55 Graves, Robert 92 , 229n23 Gray, Thomas 49 , 104 , 179 , 213n15 ,

214n28 Green, John Henry 44 Greville, Charles 207n11 Grierson, Herbert J. C. 28 , 91 ,

228n6 , 234n40 Griffiths, Bill 201 Griffiths, Eric 219n48 Griggs, Earl Leslie 31 , 33 , 40 , 209n36 Grigson, Geoffrey 196 , 219n41 ,

225n23 , 241n56 Grose, Christopher 217n22 Grubbs, David 119–20 Guest, Edwin 23–4 , 89 , 167–8 ,

221n65 Guyon (Guion), Madame 125

Hagedorn, Friedrich von 86 , 88 , 171 Hall, John David 216n11 Hall, Samuel Carter 23 , 207n13 Halsey, Alan 201 Hamer, Enid 218n29 Handel, Stephen 116 Harding, Anthony John 228n7 Harding, Denys W. 219–20n49 Hardy, Thomas 70 , 72 , 80 , 192 ,

219n41 Hare, Julius Charles 21 , 234n38 Harper, George McLean 218n34 Harris, Alexandra 240n55

I n d e x282

Hartley, David 188 Hartman, Charles O. 197 Hartman, Geoffrey 34 Harvey, Lawrence E. 237n13 Haughton, Hugh 84–5 Haven, Richard D. 206n5 , 206n6 Hayes, Nick 226n38 Hayter, Stanley William 119–20 Hazlitt, William 21 , 82 , 99 , 239n32

admiration for Lyrical Ballads 19–20 , 44

on “Christabel” 21 , 25 , 103 , 227–8n6

disappointment with later Coleridge 20 , 23 , 132 , 148 , 181

on “Kubla Khan” 84 HD

see Hilda Doolittle Healy, Randolph 201–2 Heaney, Seamus 4 , 33 , 41 , 83 , 202 ,

231n2 Hegel, Georg Wilhelm Friedrich/

Hegelian 32 , 57–8 , 70 Heidegger, Martin/Heideggerian 182 Heller, Janet Ruth 218n29 , 219n38 Hemans, Felicia 19 Hemingway, Ernest 33 Hendry, James Findlay 240–1n55 Herbert, George 148 , 171 , 182 , 184 ,

242n75 Hermann, Johann Gottfried Jakob 69 Herrick, Robert 177 Heywood, Thomas Hill, Geoffrey 41 Hill, J. S. 213n11 H ö lderlin, Johann Christian

Friedrich 175 , 182 Hollander, John 190 , 209n34 Holmes, Richard 16–17 , 177 Homer/Homeric 11 , 145–6 , 168 ,

205n4 Hood, Thomas 174 Hopkins, Gerard Manley 26 , 176 ,

194–5 , 203 , 208n23 , 240n47 Horace (Quintus Horatius Flaccus)/

Horatian 9 , 77 , 90 , 91 , 168 , 234n33

Horsley, Samuel 69 Hort, Fenton J. A. 26 , 100 (quoted) ,

233n8

Houghton, Walter E. 18 , 206n10 , 224n21 , 238n22

House, Humphry 33 Howe, Susan x , 13 , 119–20 , 201–2 Hubert, Ren é e Riese 226n35 , 226n37 Hughes, Ted 36 , 200–1 , 211n56 Hulme, Thomas E. 195 Hunt, Leigh 24 , 29 , 145 , 187 , 206n9 Hustvedt, Sigurd B. 101 Hutchinson, George 145 Hutchinson, Mary 63 Hutchinson, Sara (Asra) 36 , 39 , 46 ,

52 , 63–4 , 86–7 , 144 , 145 , 149 , 150 , 157 , 158 , 159 , 160 , 161 , 177 , 184 , 186 , 193 , 222n71

see also “Letter to [Sara Hutchinson]” under Coleridge, S. T.: (D) TITLES

Hyman, Stanley Edgar 241n64

Ingleby, Clement M. 24

Jackson, James R.de J. (“Robin”) 205n2 , 206n10 , 220n56 , 227n46 , 229n23

James, Henry 185 Jarrell, Randall 33 , 199 Jeffrey, Francis 227n46 Johnson, Ronald 199 , 202 Jones, David 114 , 118 , 226n44 Jones, John 95 Jonson, Ben 57 , 170 , 176 Joyce, James 4 , 195 , 240n47 Joyce, Mary 52 Joyce, Trevor 202

Kafka, Franz 32 Kant, Immanuel/Kantian 34 , 44 , 71 ,

165 , 205n2 Kean, Edmund 82 , 239n32 Keats, John 20 , 25 , 29 , 47–8 , 57 , 73 ,

91 , 94 , 104 , 115 , 189 , 196 , 227n49 , 240n48

Keble, John 186 , 238n20 Kemble, John Philip 82 , 239n32 Kermode, Frank 193 Kerouac, Jack 199 Kessler, Edward 182 Kierkegaard, S ö ren Aabye 32

I n d e x 283

Klesse, Antje 226n35 Klopstock, Friedrich Gottlieb 69 , 165 ,

167 , 169 , 233n29 Knight, G. Wilson 129 , 131–2 Knox, Patrick 237n17 Kooy, Michael John 217n19

Lamb, Charles 22 , 52 , 84 , 137 , 164 , 173 “Christabel” Part 1 105 , 224–5n22 night terrors 214n24 Old Margate Hoy and “Youth and

Age” 231n7 in “This Lime-tree Bower” 59 , 159 understanding and defence of

Coleridge 20 , 21 , 44 , 102 , 174 , 185

Lamb, Mary 173 Landon, Letitia 19 Landor, Walter Savage 172 , 174 Lang, Andrew 26 , 30 , 177–8 , 228n6 Langhorne, John 172 Langland, William 203 Larkin, Philip 33 , 161 , 191 Leadbetter, Gregory 57 , 131 , 211n56 ,

228n7 Leathes, Stanley 217n15 Leavis, Frank R./Leavisite 32–3 Lee, Francis 88 Legouis, É mile 32 Leibniz, Gottfried Wilhelm 183 Lennard, John 233n22 Levi-Strauss, Claude 34 Lewis, Matthew Gregory (“Monk”) 102 Lhote, Andr é 115 , 116 Lilith 84 , 220n54 Lincoln, Abraham 41 Lockhart, John Gibson 21 , 206n9 ,

227n46 Logan, Eugenia 222n76 Longfellow, Henry Wadsworth 71 Lonsdale, Roger 213n15 , 215n34 Lowell, Robert 33 Lowenstein, Tom 201 Lowes, John Livingston 31 , 104 , 109 ,

198 , 211n52 , 223n5 Lyttleton, George 50

MacGreevy, Thomas 83 , 201 Machen, Arthur 178 MacKinnon, Donald M. 206n2

Mackintosh, James 137 , 164 , 173 MacNeice, Louis 50 Macpherson, James (Ossian) 53 , 54 , 55 ,

80 , 81 , 168 , 170 Magnuson, Paul A. 224n15 Mallarm é , St é phane 26 , 67 , 116 , 193 ,

210n41 Manet, É douard 8 Mann, Thomas 120 Martial (Marcus Valerius

Martialis) 174 , 235n46 Martz, Louis L. 237n16 Marvell, Andrew 1–2 , 10–11 , 97 Masson, Andr é 115 , 116 , 226n41 Masson, David 217n18 Matthiae, August Heinrich 69 Matthisson, Friedrich von 165 ,

167 , 170 Maurice, Frederick Denison 193 McFarland, Thomas 213n13 , 236n5 McGahern, John 4 McGann, Jerome J. 38 McKeon, Richard 241n64 McKim, Audrey Elizabeth ix , 98–9 ,

169–70 , 216n8 , 219n38 , 221n68 , 224n16 , 225n30 , 234n36 , 238–9n30 , 239n34

on “Christabel” 73 , 93 , 190 , 238–9n30

Melville, Herman 111 , 201 Merchant, Paul 201 , 235n51 Merlin 150 , 230–1n38 Meynell, Alice 43 , 153 , 158 , 183 ,

212n5 , 222n75 , 232n10 Middleton, Thomas Fanshawe 90–1 ,

224n17 Millais, John Everett 24–5 Miller, J. Hillis 34 Mills, Billy 201–2 Milton, John 9 , 70 , 81 , 104 , 110 , 113 ,

207n11 , 213n15 , 213–14n19 allusions to 49 , 51 , 72 , 88 , 193 ,

213n11 indebtedness to Milton’s rhyming and

prosody 69 , 77 , 169 , 216n9 , 232n17 , 234n35

Moir, David M. (“Delta”) 23 The Mona Lisa (by Leonardo da

Vinci) 115 Montague, John 195

I n d e x284

Moor (or More), Mrs. [Martha Vicary?] 212–13n10

Moore, George 194 Moore, Thomas 186–7 Moore, Thomas Sturge 208n25 Morgan, John James 185

see also Brent sisters Morris, William 26 , 27 , 118 , 208n27 Moultrie, John 236n6 Moxon, Arthur 209n32 Moxon, Edward 23 , 24 , 26 , 29 , 172 ,

207n14 , 207–8n21 , 209n32 , 211n57

Mozley, John Rickards 187 , 238n22 Muldoon, Paul 238n26 Muller, Jill 240n47 Munby, Denys L. 238n27 Murray, John 22–3 , 190–1

Nabokov, Vladimir 185 Nerval, G é rard de 193 Nesbitt, Fanny 61–2 , 63 Newsome, David 236n7 Newton, Isaac 88 Niedecker, Lorine 201 , 235n50 Nietzsche, Friedrich Wilhelm/

Nietzschean 195 Nixon, Eliza 187 Novalis (Friedrich Ludwig von

Hardenberg) 120

O’Donnell, Brennan 224n16 , 229n21 O’Hara, Frank 40 Oken, Lorenz 48 Oldenburg, Henry 88 Olson, Charles 40 , 98 , 199 , 201 ,

202 , 241n65 Olson, Elder 241n64 Omond, Thomas Stewart 26 , 189 , 190 ,

216–17n13 Ondaatje, Michael 48 Oppen, George 13 , 83 , 149 , 201 Orpheus/Orphic 83 , 84 , 90 Ossian

see James Macpherson Ovid (Publius Ovidius Naso) 61 , 157 ,

168 , 213–14n19

Palgrave, Francis 25 , 28 Palmer, Samuel 142

Parsons, Clere 83 , 201 Pater, Walter 25–6 , 28 , 30 , 33 , 106 ,

209n37 , 209n38 , 225n23 Patmore, Coventry 26 , 28 , 71 , 106 ,

186 , 210n41 , 217n14 , 219n48 , 227–8n6

Patmore, Peter George 208n22 Paton, William 28 Pattison, Neil et al 242n70 Payne, J. Bertrand 26 Peake, Mervyn 114 Perkins, David 219n45 Perloff, Marjorie 242n71 Petrarch, Francesco 19 , 186 Piaget, Jean 237n14 Picasso, Pablo 37 Pickering, William 22–3 , 24 Pindar/Pindaric 9 , 57–8 , 90 , 108 , 152 ,

167–8 , 179 , 216n12 Piper, John 196 Pirie, David 36 Plato/Platonist 63 , 72 Poe, Edgar Allan 32 , 113 , 210–11n49 Pog á ny, Willy 114 Poole, Thomas 45 , 172–3 Porson, Richard 138 Potter, Stephen 31 , 36 Pound, Ezra 82 , 151 , 177 , 197 , 199 Pound, Louise 36 , 211n50 Pradhan, S. V. 205n2 Prassinos, Mario 115 Pre-Raphaelite Brotherhood (PRB) 26 ,

28 , 220n54 Prince, Frank T. 234n35 Procktor, Patrick 116 Prynne, Jeremy H. x , 143 , 201 , 202–3 ,

242n75 Pugin, Augustus 114 Pulci, Luigi 169 Purser, John Thibaut 36 Purves, Alan C. ix , 98–9 , 134 , 216n6 ,

217n16 , 219n38 , 224n16 , 225n28

Quarles, Francis 148 Quiller-Couch, Arthur T. 28 , 225n23

Ramus, Peter (Pierre de la Ram é e) 216n4

Ransom, John Crowe 33

I n d e x 285

Read, Herbert 196 Reardon, Bernard M. G. 241–2n67 Redding, Cyrus 23 Reeves, James 18–19 Rexroth, Kenneth 240–1n55 Reynolds, John Hamilton 174 Rhys, Ernest 26 , 28 , 31 Richards, Ivor Armstrong 33–4

on Coleridge’s later poems 36 , 211n54

pivotal position as twentieth-century critic 19 , 32–3 , 194 , 196 , 197

Richardson, John 37 Rickaby, John 240n47 Rickaby, Joseph 240n47 Ricketts, Charles 118 , 208n25 Ridenour, George M. 39 , 88 , 89 , 146 ,

236n9 , 237n15 Rider, Cardanus 230–1n38 Ridler, Anne 184 Rimbaud, Arthur 25 , 67 , 116 , 193 Robespierre, Maximilien de

see The Fall of Robespierre under Coleridge, S. T.: (D) TITLES

Robinson, Henry Crabb 206n7 , 220n56 , 237n18

Robinson, Mary 19 Robson, Wallace W. 1–2 , 97 Rogers, Bruce 226–7n44 Roland, Madame 89 , 228n12 Rossetti, Christina 84 , 174 Rossetti, Dante Gabriel ix , 26 , 29 , 31 ,

94 , 210–11n49 , 227–8n6 on C as the Turner of poets 94 his painting, A Sea-Spell 208n29 his painting, Lady Lilith 220n54 his drawing of C’s “Love” 28 his sonnet to Coleridge 29 ,

208–9n31 Rossetti, William Michael 227–8n6

his edition of Coleridge’s poems 29 , 209n32

Sabin, Margery 239n38 Said, Edward W. 203 Saintsbury, George 26 , 28 , 30–1 , 189 Sampson, George 31 Sauron 94 , 222n75 Say, Samuel 68 , 69 , 166

Schelling, Friedrich Wilhelm Joseph 165 , 195

Schiller, Johann Christoph Friedrich 23 , 46 , 69 , 71 , 164 , 165 , 168 , 169 , 217n19

Schneider, Elisabeth 225n26 , 225n29 , 234n35

Schopenhauer, Arthur 183 Schulz, Max F. 215n33 , 219n44 Scott, David 28 , 113 , 115–16 Scott, Walter 20 , 28 , 89 , 100 , 190–1 ,

196 , 228n6 Scully, Maurice 202 Seronsy, Cecil C. 223n10 Sewell, Elizabeth ix , 67 , 84 , 193 , 197 ,

226n42 Shaffer, Elinor 226n37 Shairp, John 28–9 Shakespeare, William/

Shakespearean 19 , 30 , 31 , 114 , 129 , 130 , 146 , 166 , 172 , 214n28 , 233n25 , 234n34 , 236n8 , 242n75

quoted 83 , 158 , 164 , 197 Shapiro, Karl 238n29 Shawcross, John 31 Shelley, Percy Bysshe 20 , 25 , 29 ,

94 , 115 , 138 , 187 , 196 , 207–8n21

Shepherd, Justin 117 , 212n10 , 228n15 Sheridan, Richard Brinsley 124 , 126 Sheridan, Thomas 69 Shuster, George N. 189–90 , 238n29 Siddons, Sarah 82 , 239n32 Sidney, Philip 146 , 164 , 233n25 Sini, Carlo 237n14 Skelton, John/Skeltoniad

see James Mackintosh Skipsey, Joseph 28 , 39 , 111 , 226n33 Smart, Christopher 68 Smerdon, Edmund 55–6 , 57 , 214n27 ,

214n28 see also “Lines to a Friend, Who Died

of a Frenzy Fever” under Coleridge, S. T.: (D) TITLES

Smith, Dale 238n26 Smith, Stevie 196 Snell, Ada L. F. 190 , 219n37 , 224n16 Snyder, Alice D. 217n20 Snyder, Edward D. 71–2

I n d e x286

Soligny, Victoire de see Peter George Patmore

Soubigou, Gilles 114 , 226n35 , 226n37 Spenser, Edmund/Spenserians 82 , 187

Coleridge’s occasional distancing from 57 , 149–50

mental worlds compared 41–2 , 52 , 129

model of style 9 , 69–70 , 74 , 91 , 137 , 169 , 221n68

Spicer, Jack 179 , 199 Spinoza, Baruch/Spinozism 195 ,

223–4n14 , 236n5 Squires, Geoffrey 201–2 Stange, G. Robert 36–7 Statius, Publius Papinius 195 , 240n50 Steele, Joshua 69 , 70 Steffens, Heinrich 48 Sterling, John 22 , 207n11 , 215n31 Sterne, Laurence 76 , 79 Stevens, Wallace 41 , 84–5 , 110 ,

181 , 195 Stevenson, Robert Louis 28 Stewart, Charles D. 211n52 Stillinger, Jack 120 , 227n49 Stokes, Christopher 100 Stolberg, Friedrich Leopold 90 ,

167–8 , 170 Stothard, Thomas 118 Strachey, Lytton 31 Suther, Marshall 52 Sutherland, James 39 , 83 Swinburne, Algernon Charles ix , 25 ,

31 , 39 , 40 , 83 , 194 , 199 , 207–8n21 , 208n27 , 236n6

admiration for C’s poems, “Christabel” in p articular 26–7 , 28 , 29–30 , 110 , 111 , 209n36

his selection of C’s poems and its influence 26–7 , 29

part of movement towards prosodic liberalism 26 , 106 , 192 , 217n15

see also Ernest Hartley Coleridge Symons, Arthur ix , 29 , 30 , 31 , 39 ,

192–3 , 209n37 on colour in Coleridge 94 , 221–2n70 notes to his 1905 selection

209–10n39

Tate, Allen 33 , 210n47 Taylor, Anya 233n20 Taylor, Dennis 26 Taylor, Jeremy 188 William Taylor (of Norwich) 166 , 168 Tennyson, Alfred Lord 22 , 71 , 75 ,

77 , 94 , 106 , 113 , 219n39 , 234n36

Terence (Publius Terentius Afer) 215n35

Teresa of Avila, St. 87 , 125 Thelwall, John 70 , 216–7n13 , 225n24 Thomas, Edward 196 Thompson, David M. 241n67 Thompson, Francis 27 Tolkien, J. R. R. 94 Tomlinson, Charles 219n40 , 240n43 Tooke, Andrew 48 Traill, Henry Duff 209n33 Treble, Henry A. 210n45 Trench, Richard Chenevix 185 , 237n18 Trickett, Rachel 198 Tsur, Reuven 109 Tupper, Martin Farquhar 224n19 Turner, J. M. W. 94

Val é ry, Paul 197 , 210n41 Vallon, Annette 32 , 160–1 Vardy, Alan 231–2n8 Verlaine, Paul 25 Victoire, Count de Soligny

see Peter George Patmore Vigus, James 215n36 , 237n19 Virgil (Publius Virgilius Maro) 170 Voillet-le-Dec, Eug è ne Emmanuel 114 Voss, Johann Heinrich 69 , 168

Waller, Edmund 185 Walsh, Catherine 201–2 , 203 Ward, Thomas Humphry 25 , 225n23 Warren, Robert Penn 36 , 211n51 Watson, William 26 , 39 , 106 ,

224–5n22 Watt, Ian 76 Watts, Alaric A. 207n17 Watts, Caroline M. 28 Watts-Dunton, Theodore 25–6 , 30 , 80 Weaver, Mike 201 Weinfield, Henry 215n38 Wellek, Ren é 34

I n d e x 287

Wellesley, Dorothy 225n23 Welling, James 227n47 Wesling, Donald 191 , 218n28 , 239n31 ,

239n33 Westcott, Brooke Foss 200 Wexler, Peter J. 218n28 Whalley, George xi , 48 , 113 , 141–2 ,

205n2 , 236n7 Whitman, Walt 40 , 191 , 198 Wieland, Christoph Martin 165 Wilde, Oscar 240n48 Williams, Charles 195–6 Williams, Jonathan 176 Williams, William Carlos 13 , 199 , 202 Willmott, Robert Aris 24–5 Wilson, J. Dover 210n49 Wilson, Katharine M. ix , 93 , 101 , 187 ,

230n36 Wilson, Raymond 18–19 Winkelmann, Johann Joachim 49 Wittgenstein, Ludwig 15 Wolfson, Susan J. 186 , 238n21 Woodhouse, Arthur S. P. 234n33 Woof, Robert 226n35 , 226n41 Woolf, Virginia 196 Wordsworth, Dorothy 63 , 125 , 209n35 Wordsworth, Jonathan 85 Wordsworth, Mary 63 Wordsworth, William 20 , 22 , 29 , 32 ,

34 , 37 , 43 , 63 , 115 , 124 , 131 , 159 , 160–1 , 163 , 165 , 167 , 170 , 194 , 198 , 222n2 , 241n61 , 242n75

aims as poet different from Coleridge 7–8 , 17 , 41–2 , 44 , 101 , 120 , 174 , 180 , 181 , 182 , 197

aspects of friendship with Coleridge 100 , 138 , 206n9

aspects of style compared with Coleridge’s 75 , 78 , 81 , 83 , 85–6 , 91 , 92 , 95 , 218n2

on Coleridge as poet 16 , 67 , 77 , 181 Coleridge’s indebtedness to 59 ,

60 , 79 , 103 , 125 , 136 , 155–6 , 160

contemporary estimates of the two poets 21–3 , 25 , 187

as experimental poet 19–20 , 195–6

indebtedness to Coleridge 57 “spots of time” 73 , 83–4 , 93 ,

222n72 theoretical differences from 5–7 ,

8 , 30 , 100 , 169 , 183 , 185 , 189–90 , 191 , 228n6 , 233n29 , 239n41

see also “To William Wordsworth” under Coleridge, S. T.: (D) TITLES

Yeats, William Butler 32 , 85 , 97–8 , 195

coincidence of views 7 , 82 , 162 , 185 , 199

influenced by Coleridge 18 , 31 , 83 , 210n41

transition from Nineties to Modernism 26 , 192–3 , 240n48

Zuccato, Edoardo 226n37 Zukofsky, Celia and Louis 117