Opium
did but confirm what the natural habits of his constitution had bred in
him: an overwhelming indolence, out of which the energies that still arose
intermittently were no longer flames, but the escaping ghosts of flame,
mere black smoke.
did but confirm what the natural habits of his constitution had bred in
him: an overwhelming indolence, out of which the energies that still arose
intermittently were no longer flames, but the escaping ghosts of flame,
mere black smoke.
Coleridge - Poems
" Hartley Coleridge, in the biographical
supplement to the "Biographia Literaria," replies with what we now know to
be truth: "If my Father sought more from opium than the mere absence of
pain, I feel assured that it was not luxurious sensations or the glowing
phantasmagoria of passive dreams; but that the power of the medicine might
keep down the agitations of his nervous system, like a strong hand grasping
the strings of some shattered lyre. " In 1795. that is, at the age of
twenty-three, we find him taking laudanum; in 1796, he is taking it in
large doses; by the late spring of 1801 he is under the "fearful slavery,"
as he was to call it, of opium. "My sole sensuality," he says of this time,
"was not to be in pain. " In a terrible letter addressed to Joseph Cottle in
1814 he declares that he was "seduced to the _accursed_ habit
ignorantly"; and he describes "the direful moment, when my pulse began to
fluctuate, my heart to palpitate, and such a dreadful falling abroad, as it
were, of my whole frame, such intolerable restlessness, and incipient
bewilderment . . . for my case is a species of madness, only that it is a
derangement, an utter impotence of the volition, and not of the
intellectual faculties. " And, throughout, it is always the pains, never the
pleasures, of opium that he registers.
Opium took hold of him by what was inert in his animal nature, and not by
any active sensuality. His imagination required no wings, but rather
fetters; and it is evident that opium was more often a sedative than a spur
to his senses.
The effect of opium on the normal man is to bring him into something like
the state in which Coleridge habitually lived. The world was always a
sufficiently unreal thing to him, facts more than remote enough,
consequences unrelated to their causes; he lived in a mist, and opium
thickened the mist to a dense yellow fog. Opium might have helped to make
Southey a poet; it left Coleridge the prisoner of a cobweb-net of dreams.
What he wanted was some astringent force in things, to tighten, not to
loosen, the always expanding and uncontrollable limits of his mind.
Opium
did but confirm what the natural habits of his constitution had bred in
him: an overwhelming indolence, out of which the energies that still arose
intermittently were no longer flames, but the escaping ghosts of flame,
mere black smoke.
At twenty-four, in a disinterested description of himself for the benefit
of a friend whom he had not yet met, he declares, "the walk of the whole
man indicates _indolence capable of energies_. " It was that walk which
Carlyle afterwards described, unable to keep to either side of the garden-
path. "The moral obligation is to me so very strong a stimulant," Coleridge
writes to Crabb Robinson, "that in nine cases out of ten it acts as a
narcotic. The blow that should rouse, _stuns_ me. " He plays another
variation on the ingenious theme in a letter to his brother: "Anxieties
that stimulate others infuse an additional narcotic into my mind. . . . Like
some poor labourer, whose night's sleep has but imperfectly refreshed his
overwearied frame, I have sate in drowsy uneasiness, and doing nothing have
thought what a deal I have to do. " His ideal, which he expressed in 1797 in
a letter to Thelwall, and, in 1813, almost word for word, in a poem called"
The Night-Scene," was, "like the Indian Vishnu, to float about along an
infinite ocean cradled in the flower of the Lotus, and wake once in a
million years for a few minutes just to know that I was going to sleep a
million years more. " Observe the effect of the desire for the absolute,
reinforced by constitutional indolence, and only waiting for the
illuminating excuse of opium.
From these languors, and from their consequences, Coleridge found relief in
conversation, for which he was always ready, while he was far from always
ready for the more precise mental exertion of writing. "Oh, how I wish to
be talking, not writing," he cries in a letter to Southey in 1803, "for my
mind is so full, that my thoughts stifle and jam each other. " And, in 1816,
in his first letter to Gillman, he writes, more significantly, "The
stimulus of conversation suspends the terror that haunts my mind; but when
I am alone, the horrors that I have suffered from laudanum, the
degradation, the blighted utility, almost overwhelm me. " It was along one
avenue of this continual escape from himself that Coleridge found himself
driven (anywhere, away from action) towards what grew to be the main waste
of his life.
supplement to the "Biographia Literaria," replies with what we now know to
be truth: "If my Father sought more from opium than the mere absence of
pain, I feel assured that it was not luxurious sensations or the glowing
phantasmagoria of passive dreams; but that the power of the medicine might
keep down the agitations of his nervous system, like a strong hand grasping
the strings of some shattered lyre. " In 1795. that is, at the age of
twenty-three, we find him taking laudanum; in 1796, he is taking it in
large doses; by the late spring of 1801 he is under the "fearful slavery,"
as he was to call it, of opium. "My sole sensuality," he says of this time,
"was not to be in pain. " In a terrible letter addressed to Joseph Cottle in
1814 he declares that he was "seduced to the _accursed_ habit
ignorantly"; and he describes "the direful moment, when my pulse began to
fluctuate, my heart to palpitate, and such a dreadful falling abroad, as it
were, of my whole frame, such intolerable restlessness, and incipient
bewilderment . . . for my case is a species of madness, only that it is a
derangement, an utter impotence of the volition, and not of the
intellectual faculties. " And, throughout, it is always the pains, never the
pleasures, of opium that he registers.
Opium took hold of him by what was inert in his animal nature, and not by
any active sensuality. His imagination required no wings, but rather
fetters; and it is evident that opium was more often a sedative than a spur
to his senses.
The effect of opium on the normal man is to bring him into something like
the state in which Coleridge habitually lived. The world was always a
sufficiently unreal thing to him, facts more than remote enough,
consequences unrelated to their causes; he lived in a mist, and opium
thickened the mist to a dense yellow fog. Opium might have helped to make
Southey a poet; it left Coleridge the prisoner of a cobweb-net of dreams.
What he wanted was some astringent force in things, to tighten, not to
loosen, the always expanding and uncontrollable limits of his mind.
Opium
did but confirm what the natural habits of his constitution had bred in
him: an overwhelming indolence, out of which the energies that still arose
intermittently were no longer flames, but the escaping ghosts of flame,
mere black smoke.
At twenty-four, in a disinterested description of himself for the benefit
of a friend whom he had not yet met, he declares, "the walk of the whole
man indicates _indolence capable of energies_. " It was that walk which
Carlyle afterwards described, unable to keep to either side of the garden-
path. "The moral obligation is to me so very strong a stimulant," Coleridge
writes to Crabb Robinson, "that in nine cases out of ten it acts as a
narcotic. The blow that should rouse, _stuns_ me. " He plays another
variation on the ingenious theme in a letter to his brother: "Anxieties
that stimulate others infuse an additional narcotic into my mind. . . . Like
some poor labourer, whose night's sleep has but imperfectly refreshed his
overwearied frame, I have sate in drowsy uneasiness, and doing nothing have
thought what a deal I have to do. " His ideal, which he expressed in 1797 in
a letter to Thelwall, and, in 1813, almost word for word, in a poem called"
The Night-Scene," was, "like the Indian Vishnu, to float about along an
infinite ocean cradled in the flower of the Lotus, and wake once in a
million years for a few minutes just to know that I was going to sleep a
million years more. " Observe the effect of the desire for the absolute,
reinforced by constitutional indolence, and only waiting for the
illuminating excuse of opium.
From these languors, and from their consequences, Coleridge found relief in
conversation, for which he was always ready, while he was far from always
ready for the more precise mental exertion of writing. "Oh, how I wish to
be talking, not writing," he cries in a letter to Southey in 1803, "for my
mind is so full, that my thoughts stifle and jam each other. " And, in 1816,
in his first letter to Gillman, he writes, more significantly, "The
stimulus of conversation suspends the terror that haunts my mind; but when
I am alone, the horrors that I have suffered from laudanum, the
degradation, the blighted utility, almost overwhelm me. " It was along one
avenue of this continual escape from himself that Coleridge found himself
driven (anywhere, away from action) towards what grew to be the main waste
of his life.
