In these two or three
brief hours of his power out of a lifetime, Coleridge is literally a
wizard.
brief hours of his power out of a lifetime, Coleridge is literally a
wizard.
Coleridge - Poems
"The
excellence aimed at," says Coleridge, "was to consist in the interesting of
the affections by the dramatic truth of such emotions, as would naturally
accompany such situations," those produced by supernatural agency,
"supposing them real. And real in this sense they have been to every human
being who, from whatever sense of delusion, has at any time believed
himself under supernatural agency. " To Coleridge, whatever appealed vitally
to his imagination was real; and he defended his belief philosophically,
disbelieving from conviction in that sharp marking off of real from
imaginary which is part of the ordinary attitude of man in the presence of
mystery.
It must not be forgotten that Coleridge is never fantastic. The fantastic
is a playing with the imagination, and Coleridge respects it. His intellect
goes always easily as far as his imagination will carry it, and does not
stop by the way to play tricks upon its bearer. Hence the conviction which
he brings with him when he tells us the impossible. And then his style, in
its ardent and luminous simplicity, flexible to every bend of the spirit
which it clothes with flesh, helps him in the idiomatic translation of
dreams. The visions of Swedenborg are literal translations of the
imagination, and need to be retranslated. Coleridge is equally faithful to
the thing seen and to the laws of that new world into which he has
transposed it.
"The Ancient Mariner" is the most sustained piece of imagination in the
whole of English poetry; and it has almost every definable merit of
imaginative narrative. It is the only poem I know which is all point and
yet all poetry; because, I suppose, the point is really a point of mystery.
It is full of simple, daily emotion, transported, by an awful power of
sight, to which the limits of reality are no barrier, into an unknown sea
and air; it is realized throughout the whole of its ghastly and marvellous
happenings; and there is in the narrative an ease, a buoyancy almost, which
I can only compare with the music of Mozart, extracting its sweetness from
the stuff of tragedy; it presents to us the utmost physical and spiritual
horror, not only without disgust, but with an alluring beauty. But in
"Christabel," in the first part especially, we find a quality which goes
almost beyond these definable merits. There is in it a literal spell, not
acting along any logical lines, not attacking the nerves, not terrifying,
not intoxicating, but like a slow, enveloping mist, which blots out the
real world, and leaves us unchilled by any "airs from heaven or blasts from
hell," but in the native air of some middle region.
In these two or three
brief hours of his power out of a lifetime, Coleridge is literally a
wizard. People have wanted to know what "Christabel" means, and how it was
to have ended, and whether Geraldine was a vampire (as I am inclined to
think) or had eyes in her breasts (as Shelley thought). They have wondered
that a poem so transparent in every line should be, as a whole, the most
enigmatical in English. But does it matter very much whether "Christabel"
means this or that, and whether Coleridge himself knew, as he said, how it
was to end, or whether, as Wordsworth declared, he had never decided? It
seems to me that Coleridge was fundamentally right when he said of the
"Ancient Mariner," "It ought to have had no more moral than the Arabian
Nights' tale of the merchant's sitting down to eat dates by the side of a
well, and throwing the shells aside, and lo! a genie starts up, and says he
_must_ kill the aforesaid merchant, because one of the date-shells
had, it seems, put out the eye of the genie's son. " The "Ancient Mariner,"
if we take its moral meaning too seriously, comes near to being an
allegory. "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.
excellence aimed at," says Coleridge, "was to consist in the interesting of
the affections by the dramatic truth of such emotions, as would naturally
accompany such situations," those produced by supernatural agency,
"supposing them real. And real in this sense they have been to every human
being who, from whatever sense of delusion, has at any time believed
himself under supernatural agency. " To Coleridge, whatever appealed vitally
to his imagination was real; and he defended his belief philosophically,
disbelieving from conviction in that sharp marking off of real from
imaginary which is part of the ordinary attitude of man in the presence of
mystery.
It must not be forgotten that Coleridge is never fantastic. The fantastic
is a playing with the imagination, and Coleridge respects it. His intellect
goes always easily as far as his imagination will carry it, and does not
stop by the way to play tricks upon its bearer. Hence the conviction which
he brings with him when he tells us the impossible. And then his style, in
its ardent and luminous simplicity, flexible to every bend of the spirit
which it clothes with flesh, helps him in the idiomatic translation of
dreams. The visions of Swedenborg are literal translations of the
imagination, and need to be retranslated. Coleridge is equally faithful to
the thing seen and to the laws of that new world into which he has
transposed it.
"The Ancient Mariner" is the most sustained piece of imagination in the
whole of English poetry; and it has almost every definable merit of
imaginative narrative. It is the only poem I know which is all point and
yet all poetry; because, I suppose, the point is really a point of mystery.
It is full of simple, daily emotion, transported, by an awful power of
sight, to which the limits of reality are no barrier, into an unknown sea
and air; it is realized throughout the whole of its ghastly and marvellous
happenings; and there is in the narrative an ease, a buoyancy almost, which
I can only compare with the music of Mozart, extracting its sweetness from
the stuff of tragedy; it presents to us the utmost physical and spiritual
horror, not only without disgust, but with an alluring beauty. But in
"Christabel," in the first part especially, we find a quality which goes
almost beyond these definable merits. There is in it a literal spell, not
acting along any logical lines, not attacking the nerves, not terrifying,
not intoxicating, but like a slow, enveloping mist, which blots out the
real world, and leaves us unchilled by any "airs from heaven or blasts from
hell," but in the native air of some middle region.
In these two or three
brief hours of his power out of a lifetime, Coleridge is literally a
wizard. People have wanted to know what "Christabel" means, and how it was
to have ended, and whether Geraldine was a vampire (as I am inclined to
think) or had eyes in her breasts (as Shelley thought). They have wondered
that a poem so transparent in every line should be, as a whole, the most
enigmatical in English. But does it matter very much whether "Christabel"
means this or that, and whether Coleridge himself knew, as he said, how it
was to end, or whether, as Wordsworth declared, he had never decided? It
seems to me that Coleridge was fundamentally right when he said of the
"Ancient Mariner," "It ought to have had no more moral than the Arabian
Nights' tale of the merchant's sitting down to eat dates by the side of a
well, and throwing the shells aside, and lo! a genie starts up, and says he
_must_ kill the aforesaid merchant, because one of the date-shells
had, it seems, put out the eye of the genie's son. " The "Ancient Mariner,"
if we take its moral meaning too seriously, comes near to being an
allegory. "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.
