Samuel Taylor Coleridge

Samuel Taylor Coleridge (born October 21, 1772, Ottery St. Mary, Devonshire, England—died July 25, 1834, Highgate, near London) was an English lyrical poet, critic, and philosopher. His Lyrical Ballads, written with William Wordsworth, heralded the English Romantic movement, and his Biographia Literaria (1817) is the most significant work of general literary criticism produced in the English Romantic period.

Early life and works

Coleridge’s father was vicar of Ottery and headmaster of the local grammar school. As a child Coleridge was already a prodigious reader, and he immersed himself to the point of morbid fascination in romances and Eastern tales such as The Arabian Nights’ Entertainments. In 1781 his father died suddenly, and in the following year Coleridge entered Christ’s Hospital in London, where he completed his secondary education. In 1791 he entered Jesus College, Cambridge. At both school and university he continued to read voraciously, particularly in works of imagination and visionary philosophy, and he was remembered by his schoolmates for his eloquence and prodigious memory. In his third year at Cambridge, oppressed by financial difficulties, he went to London and enlisted as a dragoon under the assumed name of Silas Tomkyn Comberbache. Despite his unfitness for the life, he remained until discovered by his friends; he was then bought out by his brothers and restored to Cambridge.

On his return, he was restless. The intellectual and political turmoil surrounding the French Revolution had set in motion intense and urgent discussion concerning the nature of society. Coleridge now conceived the design of circumventing the disastrous violence that had destroyed the idealism of the French Revolution by establishing a small society that should organize itself and educate its children according to better principles than those obtaining in the society around them. A chance meeting with the poet Robert Southey led the two men to plan such a “pantisocracy” and to set up a community by the Susquehanna River in Pennsylvania. To this end Coleridge left Cambridge for good and set up with Southey as a public lecturer in Bristol. In October 1795 he married Sara Fricker, daughter of a local schoolmistress, swayed partly by Southey’s suggestion that he was under an obligation to her since she had been refusing the advances of other men.

Shortly afterward, Southey defected from the pantisocratic scheme, leaving Coleridge married to a woman whom he did not really love. In a sense his career never fully recovered from this blow: if there is a makeshift quality about many of its later events, one explanation can be found in his constant need to reconcile his intellectual aspirations with the financial needs of his family. During this period, however, Coleridge’s intellect flowered in an extraordinary manner, as he embarked on an investigation of the nature of the human mind, joined by William Wordsworth, with whom he had become acquainted in 1795. Together they entered upon one of the most influential creative periods of English literature. Coleridge’s intellectual ebullience and his belief in the existence of a powerful “life consciousness” in all individuals rescued Wordsworth from the depression into which recent events had cast him and made possible the new approach to nature that characterized his contributions to Lyrical Ballads (which was to be published in 1798).

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Poetry: First Lines

Coleridge, meanwhile, was developing a new, informal mode of poetry in which he could use a conversational tone and rhythm to give unity to a poem. Of these poems, the most successful is “Frost at Midnight,” which begins with the description of a silent frosty night in Somerset and proceeds through a meditation on the relationship between the quiet work of frost and the quiet breathing of the sleeping baby at the poet’s side, to conclude in a resolve that his child shall be brought up as a “child of nature,” so that the sympathies that the poet has come to detect may be reinforced throughout the child’s education.

At the climax of the poem, he touches another theme, which lies at the root of his philosophical attitude:

…so shalt thou see and hear

The lovely shapes and sounds intelligible

Of that eternal language, which thy God

Utters, who from eternity doth teach

Himself in all, and all things in himself.

Coleridge’s attempts to learn this “language” and trace it through the ancient traditions of mankind also led him during this period to return to the visionary interests of his schooldays: as he ransacked works of comparative religion and mythology, he was exploring the possibility that all religions and mythical traditions, with their general agreement on the unity of God and the immortality of the soul, sprang from a universal life consciousness, which was expressed particularly through the phenomena of human genius.

While these speculations were at their most intense, he retired to a lonely farmhouse near Culbone, Somersetshire, and, according to his own account, composed under the influence of laudanum the mysterious poetic fragment known as “Kubla Khan.” The exotic imagery and rhythmic chant of this poem have led many critics to conclude that it should be read as a “meaningless reverie” and enjoyed merely for its vivid and sensuous qualities. An examination of the poem in the light of Coleridge’s psychological and mythological interests, however, suggests that it has, after all, a complex structure of meaning and is basically a poem about the nature of human genius. The first two stanzas show the two sides of what Coleridge elsewhere calls “commanding genius”: its creative aspirations in time of peace as symbolized in the projected pleasure dome and gardens of the first stanza; and its destructive power in time of turbulence as symbolized in the wailing woman, the destructive fountain, and the voices prophesying war of the second stanza. In the final stanza the poet writes of a state of “absolute genius” in which, if inspired by a visionary “Abyssinian maid,” he would become endowed with the creative, divine power of a sun god—an Apollo or Osiris subduing all around him to harmony by the fascination of his spell.

Coleridge was enabled to explore the same range of themes less egotistically in “The Rime of the Ancient Mariner,” composed during the autumn and winter of 1797–98. For this, his most famous poem, he drew upon the ballad form. The main narrative tells how a sailor who has committed a crime against the life principle by slaying an albatross suffers from torments, physical and mental, in which the nature of his crime is made known to him. The underlying life power against which he has transgressed is envisaged as a power corresponding to the influx of the sun’s energy into all living creatures, thereby binding them together in a joyful communion. By killing the bird that hovered near the ship, the mariner has destroyed one of the links in this process. His own consciousness is consequently affected: the sun, previously glorious, is seen as a bloody sun, and the energies of the deep are seen as corrupt.

All in a hot and copper sky,

The bloody Sun, at noon,

Right up above the mast did stand,

No bigger than the Moon.

. . . . . . . . . . . . . . . . . . . . . . . .

The very deep did rot; O Christ!

That ever this should be!

Yea, slimy things did crawl with legs

Upon the slimy sea.

Only at night do these energies display a sinister beauty.

About, about, in reel and rout

The death-fires danced at night;

The water, like a witch’s oils,

Burnt green, and blue and white.

After the death of his shipmates, alone and becalmed, devoid of a sense of movement or even of time passing, the mariner is in a hell created by the absence of any link with life. Eventually, however, a chance sight of water snakes flashing like golden fire in the darkness, answered by an outpouring of love from his heart, reinitiates the creative process: he is given a brief vision of the inner unity of the universe, in which all living things hymn their source in an interchange of harmonies. Restored to his native land, he remains haunted by what he has experienced but is at least delivered from nightmare, able to see the ordinary processes of human life with a new sense of their wonder and mercifulness. These last qualities are reflected in the poem’s attractive combination of vividness and sensitivity. The placing of it at the beginning of Lyrical Ballads was evidently intended to provide a context for the sense of wonder in common life that marks many of Wordsworth’s contributions. While this volume was going through the press, Coleridge began a complementary poem, a Gothic ballad entitled “Christabel,” in which he aimed to show how naked energy might be redeemed through contact with a spirit of innocent love.