No More Learning

"Christabel," as it stands, is a piece of pure witchcraft,
needing no further explanation than the fact of its existence.

Rossetti called Coleridge the Turner of poets, and indeed there is in
Coleridge an aerial glitter which we find in no other poet, and in Turner
only among painters. With him colour is always melted in atmosphere, which
it shines through like fire within a crystal. It is liquid colour, the dew
on flowers, or a mist of rain in bright sunshine. His images are for the
most part derived from water, sky, the changes of weather, shadows of
things rather than things themselves, and usually mental reflections of
them. "A poet ought not to pick Nature's pocket," he said, and it is for
colour and sound, in their most delicate forms, that he goes to natural
things. He hears


"the merry nightingale
That crowds and hurries and precipitates
With fast thick warble his delicious notes;"


and an ecstasy comes to him out of that natural music which is almost like
that of his own imagination. Only music or strange effects of light can
carry him swiftly enough out of himself, in the presence of visible or
audible things, for that really poetic ecstasy. Then all his languor drops
off from him, like a clogging garment.

The first personal merit which appears in his almost wholly valueless early
work is a sense of colour. In a poem written at twenty-one he sees Fancy


"Bathed in rich amber-glowing floods of light,"


and next year the same colour reappears, more expressively, in a cloud,


"wholly bright,
With a rich and amber light. "


The two women in "The Two Graves," during a momentous pause, are found
discussing whether the rays of the sun are green or amber; a valley is


"Tinged yellow with the rich departing light;"


seen through corn at evening,


"The level sunshine glimmers with green light;"


and there is the carefully observed


"western sky
And its peculiar tint of yellow green. "


"The Ancient Mariner" is full of images of light and luminous colour in sky
and sea; Glycine's song in "Zapolya" is the most glittering poem in our
language, with a soft glitter like that of light seen through water. And he
is continually endeavouring, as later poets have done on a more deliberate
theory, to suffuse sound with colour or make colours literally a form of
music; as in an early poem


"Where melodies round honey-dropping flowers,
Footless and wild, like birds of Paradise,
Nor pause, nor perch, hovering on untamed wing. "


With him, as with some of them, there is something pathological in this
sensitiveness, and in a letter written in 180O he says: "For the last month
I have been trembling on through sands and swamps of evil and bodily
grievance.
My eyes have been inflamed to a degree that rendered reading
scarcely possible; and, strange as it seems, the act of mere composition,
as I lay in bed, perceptibly affected them, and my voluntary ideas were
every minute passing, more or less transformed into vivid spectra. "

Side by side with this sensitiveness to colour, or interfused with it, we
find a similar, or perhaps a greater, sensitiveness to sound, Coleridge
shows a greater sensitiveness to music than any English poet except Milton.
The sonnet to Linley records his ecstatic responsiveness to music;
Purcell's music, too, which he names with Palestrina's ("some madrigals
which he heard at Rome") in the "Table-Talk. " "I have the intensest delight
in music," he says there, "and can detect good from bad"; a rare thing
among poets. In one of his letters he notes: "I hear in my brain . . .
sensations . . . of various degrees of pain, even to a strange sort of uneasy
pleasure. . . . I hear in my brain, and still more in my stomach. " There we
get the morbid physical basis of a sensitiveness to music which came to
mean much to him.