Sed horum omnium
familiam
quis nobis enarrabit?
Coleridge - Poems
But in "Christabel" the technique has an
incomparable substance to work upon; substance at once simple and abnormal,
which Coleridge required, in order to be at his best.
It has been pointed out by the profoundest poetical critic of our time that
the perfection of Coleridge's style in poetry comes from an equal balance
of the clear, somewhat matter-of-fact qualities of the eighteenth century
with the remote, imaginative qualities of the nineteenth century. "To
please me," said Coleridge in "Table-Talk," "a poem must be either music or
sense. " The eighteenth-century manner, with its sense only just coupled
with a kind of tame and wingless music, may be seen quite by itself in the
early song from "Robespierre":
"Tell me, on what holy ground
May domestic peace be found? "
Here there is both matter and manner, of a kind; in "The Kiss" of the same
year, with its one exquisite line,
"The gentle violence of joy,"
there is only the liquid glitter of manner. We get the ultimate union of
eighteenth and nineteenth century qualities in "Work without Hope," and in
"Youth and Age," which took nine years to bring into its faultless ultimate
form. There is always a tendency in Coleridge to fall back on the
eighteenth-century manner, with its scrupulous exterior neatness, and its
comfortable sense of something definite said definitely, whenever the
double inspiration flags, and matter and manner do not come together. "I
cannot write without a _body of thought_," he said at a time before he
had found himself or his style; and he added: "Hence my poetry is crowded
and sweats beneath a heavy burden of ideas and imagery! It has seldom
ease. " It was an unparalleled ease in the conveying of a "body of thought"
that he was finally to attain. In "Youth and Age," think how much is
actually said, and with a brevity impossible in prose; things, too, far
from easy for poetry to say gracefully, such as the image of the steamer,
or the frank reference to "this altered size"; and then see with what an
art, as of the very breathing of syllables, it passes into the most flowing
of lyric forms. Besides these few miracles of his later years, there are
many poems, such as the Flaxman group of "Love, Hope, and Patience
supporting Education," in which we get all that can be poetic in the
epigram softened by imagination, all that can be given by an ecstatic plain
thinking. The rarest magic has gone, and he knows it; philosophy remains,
and out of that resisting material he is able, now and again, to weave, in
his deftest manner, a few garlands.
ARTHUR SYMONS.
SELECTIONS FROM THE
POEMS OF COLERIDGE
THE RIME OF THE ANCIENT MARINER
IN SEVEN PARTS
Facile credo, plures esse Naturas invisibiles quam visibiles in rerum
universitate.
Sed horum omnium familiam quis nobis enarrabit? et gradus et
cognationes et discrimina et singulorum munera? Quid agunt? quae loca
habitant? Harum rerum notitiam semper ambivit ingenium humanum, nunquam
attigit. Juvat, interea, non diffiteor, quandoque in animo, tanquam in
tabula, majoris et melioris mundi imaginem contemplari: ne mens assuefacta
hodiernae vitae minutiis se contrahat nimis, et tota subsidat in pusillas
cogitationes. Sed veritati interea invigilandum est, modusque servandus, ut
certa ab incertis, diem a nocte, distinguamus. --T. BURNET, _Archaeol.
Phil_. p. 68.
ARGUMENT
How a Ship having passed the Line was driven by storms to the cold Country
towards the South Pole; and how from thence she made her course to the
tropical Latitude of the Great Pacific Ocean; and of the strange things
that befell; and in what manner the Ancyent Marinere came back to his own
Country.
PART I
It is an ancient Mariner,
And he stoppeth one of three.
"By thy long grey beard and glittering eye,
Now wherefore stopp'st thou me?
"The Bridegroom's doors are opened wide,
And I am next of kin;
The guests are met, the feast is set:
May'st hear the merry din.
incomparable substance to work upon; substance at once simple and abnormal,
which Coleridge required, in order to be at his best.
It has been pointed out by the profoundest poetical critic of our time that
the perfection of Coleridge's style in poetry comes from an equal balance
of the clear, somewhat matter-of-fact qualities of the eighteenth century
with the remote, imaginative qualities of the nineteenth century. "To
please me," said Coleridge in "Table-Talk," "a poem must be either music or
sense. " The eighteenth-century manner, with its sense only just coupled
with a kind of tame and wingless music, may be seen quite by itself in the
early song from "Robespierre":
"Tell me, on what holy ground
May domestic peace be found? "
Here there is both matter and manner, of a kind; in "The Kiss" of the same
year, with its one exquisite line,
"The gentle violence of joy,"
there is only the liquid glitter of manner. We get the ultimate union of
eighteenth and nineteenth century qualities in "Work without Hope," and in
"Youth and Age," which took nine years to bring into its faultless ultimate
form. There is always a tendency in Coleridge to fall back on the
eighteenth-century manner, with its scrupulous exterior neatness, and its
comfortable sense of something definite said definitely, whenever the
double inspiration flags, and matter and manner do not come together. "I
cannot write without a _body of thought_," he said at a time before he
had found himself or his style; and he added: "Hence my poetry is crowded
and sweats beneath a heavy burden of ideas and imagery! It has seldom
ease. " It was an unparalleled ease in the conveying of a "body of thought"
that he was finally to attain. In "Youth and Age," think how much is
actually said, and with a brevity impossible in prose; things, too, far
from easy for poetry to say gracefully, such as the image of the steamer,
or the frank reference to "this altered size"; and then see with what an
art, as of the very breathing of syllables, it passes into the most flowing
of lyric forms. Besides these few miracles of his later years, there are
many poems, such as the Flaxman group of "Love, Hope, and Patience
supporting Education," in which we get all that can be poetic in the
epigram softened by imagination, all that can be given by an ecstatic plain
thinking. The rarest magic has gone, and he knows it; philosophy remains,
and out of that resisting material he is able, now and again, to weave, in
his deftest manner, a few garlands.
ARTHUR SYMONS.
SELECTIONS FROM THE
POEMS OF COLERIDGE
THE RIME OF THE ANCIENT MARINER
IN SEVEN PARTS
Facile credo, plures esse Naturas invisibiles quam visibiles in rerum
universitate.
Sed horum omnium familiam quis nobis enarrabit? et gradus et
cognationes et discrimina et singulorum munera? Quid agunt? quae loca
habitant? Harum rerum notitiam semper ambivit ingenium humanum, nunquam
attigit. Juvat, interea, non diffiteor, quandoque in animo, tanquam in
tabula, majoris et melioris mundi imaginem contemplari: ne mens assuefacta
hodiernae vitae minutiis se contrahat nimis, et tota subsidat in pusillas
cogitationes. Sed veritati interea invigilandum est, modusque servandus, ut
certa ab incertis, diem a nocte, distinguamus. --T. BURNET, _Archaeol.
Phil_. p. 68.
ARGUMENT
How a Ship having passed the Line was driven by storms to the cold Country
towards the South Pole; and how from thence she made her course to the
tropical Latitude of the Great Pacific Ocean; and of the strange things
that befell; and in what manner the Ancyent Marinere came back to his own
Country.
PART I
It is an ancient Mariner,
And he stoppeth one of three.
"By thy long grey beard and glittering eye,
Now wherefore stopp'st thou me?
"The Bridegroom's doors are opened wide,
And I am next of kin;
The guests are met, the feast is set:
May'st hear the merry din.
