The Life of Samuel Taylor Coleridge Part 5

The foot of Quantock was to Coleridge a memorable spot; here his studies were serious and deep; protected by one of the kindest of friends, and stimulated by the society also of a brother poet, whose lays seemed to have inspired his song, and also to have chimed in with it; for although it has been shewn that his poetic genius first dawned in his 16th year, yet after he left College, and during his residence at this place, [18]

it seemed suddenly to have arrived at poetic manhood, and to have reached this developement as early as his 25th year. In his more serious studies he had greatly advanced, and had already planned and stored up much for his future life. It will often be repeated, but not too often for a society so full of sciolists and disbelievers,--men who are so self-satisfied as not to require teaching,--that Coleridge never was an idle man; and that, if nothing else remained, the progress he made in intellectual acquirements during his residence at Stowey and his short stay in Germany, might be instanced. Before he quitted this country to embark in fresh studies we have his own statement:

"I became convinced, that religion, as both the corner-stone and the key-stone of morality, must have a 'moral' origin; so far, at least, that the evidence of its doctrines could not, like the truths of abstract science, be 'wholly' independent of the will.

It was therefore to be expected, that its 'fundamental' truth would be such as MIGHT be denied, though only by the fool, and even by the fool from madness of 'heart' alone!

The question then concerning our faith in the existence of a G.o.d, not only as the ground of the universe by his essence, but by his wisdom and holy will as its maker and judge, appeared to stand thus: the sciential reason, the objects of wit are purely theoretical, remains neutral, as long as its name and semblance are not usurped by the opponents of the doctrine; but it 'then' becomes an effective ally by exposing the false show of demonstration, or by evincing the equal demonstrability of the contrary from premises equally logical. The 'understanding', meantime suggests, the a.n.a.logy of 'experience'

facilitates, the belief. Nature excites and recalls it, as by a perpetual revelation. Our feelings almost necessitate it; and the law of conscience peremptorily commands it. The arguments that all apply to, are in its favor; and there is nothing against it, but its own sublimity.

It could not be intellectually more evident without becoming morally less effective; without counteracting its own end by sacrificing the 'life' of faith to the cold mechanism of a worthless, because compulsory a.s.sent. The belief of a G.o.d and a future state (if a pa.s.sive acquiescence may be flattered with the name of 'belief') does not, indeed, always beget a good heart; but a good heart so naturally begets the belief, that the very few exceptions must be regarded as strange anomalies from strange and unfortunate circ.u.mstances.

From these premises I proceeded to draw the following conclusions,--first, that having once fully admitted the existence of an infinite yet self-conscious Creator, we are not allowed to ground the irrationality of any other article of faith on arguments which would equally prove 'that' to be irrational, which we had allowed to be 'real'. Secondly, that whatever is deducible from the admission of a 'self-comprehending' and 'creative' spirit, may be legitimately used in proof of the 'possibility' of any further mystery concerning the Divine Nature.

"Possibilitatem mysteriorum (Trinitatis, &c.) contra insultus infidelium et hereticorum a contradictionibus vindico; haud quidem veritatem, quae revelatione sola stabiliri possit;" says Leibnitz, in a letter to his duke. He then adds the following just and important remark. "In vain will tradition or texts of Scripture be adduced in support of a doctrine, 'donec clava impossibilitatis et contradictionis e manibus horum Herculum extorta fuerit.' For the heretic will still reply, that texts, the literal sense of which is not so much above as directly against all reason, must be understood figuratively, as Herod is a Fox, &c.

These principles," says he, "I held philosophically, while in respect of revealed religion, I remained a zealous Unitarian. I considered the idea of a Trinity a fair scholastic inference from the being of G.o.d, as a creative intelligence; and that it was therefore ent.i.tled to the rank of an esoteric doctrine of natural religion: but seeing in the same no practical or moral bearing, I confined it to the schools of philosophy. The admission of the Logos, as hypostasized (i.e. neither a mere attribute nor a personification), in no respect removed my doubts concerning the incarnation and the redemption by the cross; which I could neither reconcile in 'reason' with the impa.s.siveness of the Divine Being, nor in my moral feelings with the sacred distinction between things and persons, the vicarious payment of a debt and the vicarious expiation of guilt.

A more thorough revolution in my philosophic principles, and a deeper insight into my own heart were yet wanting. Nevertheless, I cannot doubt, that the difference of my metaphysical notions from those of Unitarians in general 'contributed' to my final re-conversion to the 'whole truth' in 'Christ;' even as according to his own confession the books of certain Platonic philosophers (Libri quorundam Platonicorum) commenced the rescue of St. Augustine's faith from the same error, aggravated by the far darker accompaniment of the Manichean heresy."

Perhaps it is right also to state, that no small share of his final reconversion was attributable to that zeal and powerful genius, and to his great desire that others should become sharers in his own acquirements, which he was so desirous to communicate. During his residence at the foot of Quantock, his thoughts and studies were not only directed to an enquiry into the great truths of religion, but, while he stayed at Stowey, he was in the habit of preaching often at the Unitarian Chapel at Taunton, and was greatly respected by all the better and educated cla.s.ses in the neighbourhood.

He spoke of Stowey with warmth and affection to the latest hours of his life. Here, as before mentioned, dwelt his friend Mr. Thomas Poole--the friend (justly so termed) to whom he alludes in his beautiful dedicatory poem to his brother the Rev. George Coleridge, and in which, when referring to himself, he says,

"To me the Eternal Wisdom hath dispensed A different fortune and more different mind-- Me from the spot where first I sprang to light Too soon transplanted, ere my soul had fix'd Its first domestic loves; and hence through life Chasing chance-started friends.h.i.+ps. A brief while Some have preserved me from life's pelting ills; But, like a tree with leaves of feeble stem, If the clouds lasted, and a sudden breeze Ruffled the boughs, they on my head at once Dropp'd the collected shower; and some most false, False and fair foliaged as the Manchineel, Have tempted me to slumber in their shade E'en mid the storm; then breathing subtlest damps, Mix'd their own venom with the rain from Heaven, That I woke poison'd! But, all praise to Him Who gives us all things, more have yielded me _Permanent shelter_; and beside one friend, [19]

Beneath the impervious covert of one oak, I've raised a lowly shed, and know the names Of husband and of father; not unhearing Of that divine and nightly-whispering voice, Which from my _childhood to maturer years_ Spake to me of predestinated wreaths, Bright with no fading colours!"

These beautiful and affecting lines to his brother are dated May 26th, 1797, Nether Stowey, Somerset. In his will, dated Highgate, July 2nd, 1830, he again refers to this friend, and directs his executor to present a plain gold mourning ring to Thomas Poole, Esq., of Nether Stowey.

"The Dedicatory Poem to my 'Juvenile Poems,' and my 'Fears in Solitude,'[20] render it unnecessary to say more than what I then, in my early manhood, thought and felt, I now, a gray-headed man, still think and feel."

In this volume, dedicated to his brother, are to be found several poems in early youth and upwards, none of later date than 1796.

The "Ode," he says, "on the Departing Year, was written on the 24th, 25th, and 26th of December, 1796, and published separately on the last day of that year. 'The Religious Musings' were written as early as Christmas 1794."

He then was about to enter his 23rd year. The preface to this volume is a key to his opinions and feelings at that time, and which the foregoing part of this memoir is also intended to ill.u.s.trate.

"Compositions resembling those of the present volume are not unfrequently condemned for their querulous egotism. But egotism is to be condemned only when it offends against time and place, as in a history or epic poem. To censure it in a monody or sonnet is almost as absurd as to dislike a circle for being round. Why then write sonnets or monodies? Because they give me pleasure when, perhaps, nothing else could. After the more violent emotions of sorrow, the mind demands amus.e.m.e.nt, and can find it in employment alone; but full of its late sufferings, it can endure no employment not in some measure connected with them. Forcibly to turn away our attention to general subjects is a painful and most often an unavailing effort.

'But O! how grateful to a wounded heart The tale of misery to impart From others' eyes bid artless sorrows flow, And raise esteem upon the base of woe.'

(Shaw.)

The communicativeness of our nature leads us to describe our own sorrows; in the endeavour to describe them, intellectual activity is exerted; and from intellectual activity there results a pleasure, which is gradually a.s.sociated, and mingles as a corrective, with the painful subject of the description. 'True,' (it may be answered) 'but how are the PUBLIC interested in your sorrows or your description'?'

We are for ever attributing personal unities to imaginary aggregates.--What is the PUBLIC, but a term for a number of scattered individuals? Of whom as many will be interested in these sorrows, as have experienced the same or similar.

'Holy be the lay Which mourning soothes the mourner on his way.'

If I could judge of others by myself, I should not hesitate to affirm, that the most interesting pa.s.sages in our most interesting poems are those in which the author developes his own feelings. The sweet voice of Cona [21] never sounds so sweetly, as when it speaks of itself; and I should almost suspect that man of an unkindly heart, who could read the opening of the third book of 'Paradise Lost' without peculiar emotion. By a law of nature, he, who labours under a strong feeling, is impelled to seek for sympathy; but a poet's feelings are all strong.--Quicquid amat valde amat.--Akenside therefore speaks with philosophical accuracy when he cla.s.ses love and poetry as producing the same effects:

'Love and the wish of poets when their tongue Would teach to others' bosoms, what so charms Their own.'

'Pleasures of Imagination'.

There is one species of egotism which is truly disgusting; not that which leads to communicate our feelings to others, but that which would reduce the feelings of others; to an ident.i.ty with our own.

The atheist who exclaims 'pshaw,' when he glances his eye on the praises of Deity, is an egotist; an old man, when he speaks contemptuously of love verses is an egotist; and the sleek favourites of fortune are egotists when they condemn all 'melancholy discontented' verses. Surely it would be candid not merely to ask whether the poem pleases ourselves, but to consider whether or no there may not be others, to whom it is well calculated to give an innocent pleasure.

I shall only add, that each of my readers will, I hope, remember, that these poems on various subjects, which, he reads at one time and under the influence of one set of feelings, were written at different times and prompted by very different feelings; and, therefore, that, the supposed inferiority of one poem to another may sometimes be owing to the temper of mind in which he happens to peruse it."

In the second edition (the second edition was published in conjunction with his friends Charles Lloyd and Charles Lamb) is added the following:

"My poems have been rightly charged with a profusion of double-epithets, and a general turgidness. I have pruned the double-epithets with no sparing hand; and used my best efforts to tame the swell and glitter both of thought and diction. This latter fault, however, had insinuated itself into my Religious Musings with such intricacy of union, that sometimes I have omitted to disentangle the weed from the fear of snapping the flower. A third and heavier accusation has been brought against me, that of obscurity; but not, I think, with equal justice. An author is obscure, when his conceptions are dim and imperfect, and his language incorrect, or inappropriate, or involved. A poem that abounds in allusions, like the 'Bard' of Gray, or one that impersonates high and abstract truths, like Collins's 'Ode on the Poetical Character,' claims not to be popular, but should be acquitted of obscurity. The deficiency is in the reader; but this is a charge which every poet, whose imagination is warm and rapid, must expect from his 'contemporaries'. Milton did not escape it; and it was adduced with virulence against Gray and Collins. We now hear no more of it, not that their poems are better understood at present, than they were at their first publication; but their fame is established; and a critic would accuse him self of frigidity or, inattention, who should profess not to understand them: but a living writer is yet sub judice; and if we cannot follow his conceptions or enter into his feelings, it is more consoling to our pride to consider him as lost beneath, than as soaring above, us. If any man expect from my poems the same easiness of style which he admires in a drinking-song for him, I have not written. Intelligibilia, non intellectum adfero.

I expect neither profit nor general fame by my writings; and I consider myself as having been amply repaid without either. Poetry has been to me its own 'exceeding great reward;' it has soothed my afflictions; it has multiplied and refined my enjoyments; it has endeared solitude; and it has given me the habit of wis.h.i.+ng to discover the good and the beautiful in all that meets and surrounds me."

We seem now to have arrived at that period of Coleridge's life which a profound student of his poetry, and himself a pleasing and elegant poet, has considered the period of the "Annus Mirabilis." "The Manhood," he observes, "of Coleridge's true poetical life was in the year 1797." This is perfectly true, and at that period he was only twenty-five, as before stated. He was, as is proved in his earlier poems, highly susceptible and sensitive, requiring kindness and sympathy, and the support of something like intellectual friends.h.i.+p. He tells us that he chose his residence at Stowey, on account of his friend Mr. Poole, who a.s.sisted and enabled him to brave the storm of "Life's pelting ills." Near him, at Allfoxden, resided Mr. Wordsworth, with whom, he says,

"Shortly after my settlement there, I became acquainted, and whose society I found an invaluable blessing, and to whom I looked up with equal reverence as a poet, a philosopher, or a man. His conversation extended to almost all subjects except physics and politics; with the latter he never troubled himself."

Although Coleridge lived a most retired life, it was not enough to exempt him from the watchfulness of the spies of government whose employment required some apparent activity before they could receive the reward they expected. Nor did he escape the suspicion of being a dangerous person to the government; which arose partly from his connexion with Wordsworth, and from the great seclusion of his life.

Coleridge was ever with book, paper, and pencil in hand, making, in the language of, artists, "Sketches and studies from nature." This suspicion, accompanied with the usual quant.i.ty of obloquy, was not merely attached to Coleridge, but extended to his friend, "whose perfect innocence was even adduced as a suspicion of his guilt," by one of these sapients, who observed that

"as to Coleridge, there is not much harm in him; for he is a whirl-brain, that talks whatever comes uppermost; but that Wordsworth!

he is a dark traitor. You never hear _him_ say a syllable on the subject."

During this time the brother poets must have been composing or arranging the Lyrical Ballads, which were published the following year, i.e. 1798.

Coleridge also in 1797 wrote the "Remorse," or rather the play he first called Osorio, the name of the princ.i.p.al character in it, but finding afterwards that there was a respectable family of that name residing in London, it was changed for the t.i.tle of the Remorse, and the princ.i.p.al character, Osorio, to Ordonio. This play was sent to Sheridan.

The following remarks were given in Coleridge's "Biographia Literaria,"

which wholly clears him from the suspicion of being concerned in making maps of a coast, where a smuggler could not land, and they shew what really was his employment; and how poets may be mistaken at all times for other than what they wish to be considered:

"During the first year that Mr. Wordsworth and I were neighbours, our conversations turned frequently on the two cardinal points of poetry,--the power of exciting the sympathy of a reader by a faithful adherence to the truth of nature, and the power of giving the interest of novelty by the modifying colours of imagination. The sudden charm which accidents of light and shade, which moonlight or sunset diffused over a known and familiar landscape, appeared to represent the practicability of combining both. These are the poetry of nature. The thought suggested itself (to which of us I do not recollect) that a series of poems might be composed of two sorts. In the one the incidents and agents were to be, in part at least, supernatural; and the excellence aimed at was to consist in the interesting of the affections by the dramatic truth of such emotions as would naturally accompany such situations, supposing them real; and real in 'this'

sense they have been to every human being who, from whatever source of delusion, has at any time believed himself under supernatural agency.

For the second cla.s.s, subjects were to be chosen from ordinary life: the characters and incidents were to be such as will be found in every village and its vicinity, where there is a meditative and feeling mind to seek after them, or to notice them when they present themselves.

In this idea originated the plan of the 'Lyrical Ballads,' in which it was agreed that my endeavours should be directed to persons and characters supernatural, or at least romantic; yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment which const.i.tutes poetic faith.

Mr. Wordsworth, on the other hand, was to propose to himself, as his object, to give the charm of novelty to things of every day, and to excite a feeling a.n.a.logous to the supernatural, by awakening the mind's attention from the lethargy of custom, and directing it to the loveliness and the wonders of the world before us,--an inexhaustible treasure; but for which, in consequence of the feeling of familiarity and selfish solicitude, we have eyes yet see not, ears that hear not, and hearts that neither feel nor understand.

With this view I wrote the 'Ancient Mariner,' and was preparing, among other poems, the 'Dark Ladie' and the 'Christabel,' in which I should have more nearly realized my ideal than I had done in my first attempt: but Mr. Wordsworth's industry had proved so much more successful, and the number of his poems so much greater, that my compositions, instead of forming a balance, appeared rather an interpolation of heterogeneous matter.

Mr. Wordsworth added two or three poems written in his own character, in the impa.s.sioned, lofty, and sustained diction, which is characteristic of his genius. In this form the 'Lyrical Ballads' were published, and were presented by him as an 'experiment', whether subjects, which from their nature rejected the usual ornaments and extra-colloquial style of poems in general, might not be so managed, in the language of ordinary life, as to produce the pleasurable interest which it is the peculiar business of poetry to impart.

To the second edition he added a preface of considerable length, in which, notwithstanding some pa.s.sages of apparently a contrary import, he was understood to contend for the extension of the style to poetry of all kinds, and to reject as vicious and indefensible all phrases and forms of style that were not included in what he (unfortunately, I think, adopting an equivocal expression) called the language of 'real'

life. From this preface, prefixed to poems in which it was impossible to deny the presence of original genius, however mistaken its direction might be deemed, arose the whole long-continued controversy.

For, from the conjunction of perceived power with supposed heresy, I explain the inveteracy, and in some instances, I grieve to say, the acrimonious pa.s.sions, with which the controversy has been conducted by the a.s.sailants." (Vol. ii. p. 1.)