No More Learning

. is gone,"
and he attributes it "to my long and exceedingly severe metaphysical
investigations, and these partly to ill-health, and partly to private
afflictions which rendered any subjects, immediately connected with
feeling, a source of pain and disquiet to me. " In 1818 he writes: "Poetry
is out of the question. The attempt would only hurry me into that sphere of
acute feelings from which abstruse research, the mother of self-oblivion,
presents an asylum. " But theory worked with a natural tendency in keeping
him for the most part away from any attempt to put his personal emotions
into verse. "A sound promise of genius," he considered, "is the choice of
subjects very remote from the private interests and circumstances of the
writer himself. " With only a few exceptions, the wholly personal poems,
those actually written under a shock of emotion, are vague, generalized,
turned into a kind of literature. The success of such a poem as the almost
distressingly personal "Ode on Dejection" comes from the fact that
Coleridge has been able to project his personal feeling into an outward
image, which becomes to him the type of dejection; he can look at it as at
one of his dreams which become things; he can sympathize with it as he
could never sympathize with his own undeserving self. And thus one stanza,
perhaps the finest as poetry, becomes the biography of his soul:


"There was a time when, though my path was rough,
This joy within me dallied with distress,
And all misfortunes were but as the stuff
Whence Fancy made me dreams of happiness:
For hope grew round me, like the twining vine,
And fruits, and foliage, not my own, seemed mine
But now afflictions bow me down to earth:
Nor care I that they rob me of my mirth;
But oh! each visitation
Suspends what nature gave me at my birth,
My shaping spirit of Imagination.
For not to think of what I needs must feel,
But to be still and patient all I can,
And haply by abstruse research to steal
From my own nature all the natural man--
This was my sole resource, my only plan:
Till that which suits a part infects the whole,
And now is almost grown the habit of my soul. "


Elsewhere, in personal poems like "Frost at Midnight," and "Fears in
Solitude," all the value of the poem comes from the delicate sensations of
natural things which mean so much more to us, whether or not they did to
him, than the strictly personal part of the matter. You feel that there he
is only using the quite awake part of himself, which is not the essential
one. He requires, first of all, to be disinterested, or at least not
overcome by emotion; to be without passion but that of abstract beauty, in
Nature, or in idea; and then to sink into a quiet lucid sleep, in which his
genius came to him like some attendant spirit.

In the life and art of Coleridge, the hours of sleep seem to have been
almost more important than the waking hours.
"My dreams became the
substance of my life," he writes, just after the composition of that
terrible poem on "The Pains of Sleep," which is at once an outcry of agony,
and a yet more disturbing vision of the sufferer with his fingers on his
own pulse, his eyes fixed on his own hardly awakened eyes in the mirror. In
an earlier letter, written at a time when he is trying to solve the problem
of the five senses, he notes: "The sleep which I have is made up of ideas
so connected, and so little different from the operations of reason, that
it does not afford me the due refreshment. " To Coleridge, with the help of
opium, hardly required, indeed, there was no conscious division between day
and night, between not only dreams and intuitions, but dreams and pure
reason. And we find him, in almost all his great poems, frankly taking not
only his substance but his manner from dreams, as he dramatizes them after
a logic and a passion of their own. His technique is the transposition into
his waking hours of the unconscious technique of dreams. It is a kind of
verified inspiration, something which came and went, and was as little to
be relied upon as the inspiration itself. On one side it was an exact
science, but on the other a heavenly visitation. Count and balance
syllables, work out an addition of the feet in the verse by the foot-rule,
and you will seem to have traced every miracle back to its root in a
natural product. Only, something, that is, everything, will have escaped
you. As well dissect a corpse to find out the principle of life. That
elusive something, that spirit, will be what distinguishes Coleridge's
finest verse from the verse of, well, perhaps of every conscious artist in
our language. For it is not, as in Blake, literally unconscious, and
wavering on every breath of that unseen wind on which it floats to us; it
is faultless; it is itself the wind which directs it, it steers its way on
the wind, like a seagull poised between sky and sea, and turning on its
wings as upon shifted sails.

This inspiration comes upon Coleridge suddenly, without warning, in the
first uncertain sketch of "Lewti," written at twenty-two; and then it
leaves him, without warning, until the great year 1797, three years later,
when "Christabel" and "The Ancient Mariner" are begun. Before and after,
Coleridge is seen trying to write like Bowles, like Wordsworth, like
Southey, perhaps, to attain "that impetuosity of transition and that
precipitancy of fancy and feeling, which are the _essential_ qualities
of the sublimer Ode," and which he fondly fancies that he has attained in
the "Ode on the Departing Year," with its one good line, taken out of his
note-book. But here, in "Lewti," he has his style, his lucid and liquid
melody, his imagery of moving light and the faintly veiled transparency of
air, his vague, wildly romantic subject matter, coming from no one knows
where, meaning one hardly knows what; but already a magic, an incantation.
"Lewti" is a sort of preliminary study for "Kubla Khan"; it, too, has all
the imagery of a dream, with a breathlessness and awed hush, as of one not
yet accustomed to be at home in dreams.