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Notes and References Notes and References INTRODUCTION I. BE, II, 211.SeeCN, J, 114n. The historyof the hymnsand their relationship to 'The Ancient Mariner' isanalysedbyJohn LivingstonLowesin The Road to Xanadu (Boston: Houghton Mifflin, 1921) pp. 14-9. Lowes points out that 'The Rime of the Ancient Mariner is to a remarkabledegreea poem of the elements' (p, 14). 2. 'I haveoften thought of writing',Coleridgeconfessedto Sara, 'a setof Play­ bills for the vale of Keswick - for everyday in the Year - announcing each Day the Performances,by hisSupremeMajesty'sServants,Clouds, Waters, Sun, Moon, Stars, &£.' CL, II, 825. 3. Coleridgemet George Beaumontin the summerof 1803 when the artist and his wife took up lodgings at Greta Hall. The plan to transcribe some of Beaumont'sdrawingsfor a projectedvolumeof poemsmust haveoriginated at that time. In a letter of September 1803, Coleridgepromised to send the artist 'three Specimens' of his translations and later produce more of them for a separate volumeof poems.In February 1804, although no such poems materialized, Coleridge assured Beaumontthat he intended to carry out the project. Sec CL, II, 99S, 10SS..The record of Coleridge's transcriptions ofa total of 31of Beaumont's drawings,oil-sketches and paintings is preserved in his booknotes. Sec CN, II, 1899 and n. 4. The lineswerewrittenduring Coleridge'slate tour of the Netherlands (1828) with Dora and William Wordsworth. See Kathleen Coburn, The Self­ Conscious Imagination (London: Oxford University Press, 1914) p. 52. 5. See e.g, Charles Lamb's portrait of Coleridge in 'Christ's Hospital Five­ and-Thirty Years Ago', The Complete Works and Letters ofCharles Lamb (New York: Random House, 1963) p. 21 and Wordsworth's view of Coleridge in Book VI of The Prelude, 11.294-318. (The Poetical Works of WII/lam Wordsworth, ed,Thomas Hutchinson [London: Oxford University Press, 1960)). 6. Joseph W. Beach, The Concept of Nature In Nineteenth-Century English Poetry (New York: Macmillan, 1936) p. 114. 1. Alfred Goodson, Jr, 'Coleridge and Holderlin: Studies in the Poetics of Space', Diss, State Universityof New York at Buffalo, 1913, p, 14. 8. Paul D. Sheats, The Making of Wordsworth's Poetry, 1785-1798 (Cambridge, Mass.: Harvard University Press, 1913) pp. 211-18. 9. Owen Barfield, 'Symptoms of Iconoclasm', in Romanticism and Consciousness, ed. Harold Bloom(New York: W. W. Norton, 1910) p. 44. 10. Earl Wassermanpoints out that Coleridge'sidealof a total reconciliationof subject and object, while resolving the antinomy between competing 201 208 Noles and References epistemologies in Romantic literature, at the same time became inapplicable to the actual practice of poetry. It is not 'readily conceivable', Wassennan notes, 'how Coleridge's epistemology could be translated into the life of a poem', or how 'his theories of imagination and symbolism would be recognizable as shaping forces'. 'The English Romantics: The Grounds of Knowledge', Studies in Romanticism, 4 (1964) 29-3I. I I. I deal with the impact Wordsworth had on Coleridge's relationship with nature in Part II, pp. 35-50. 12. 'On Poesy and Art', BL, 11,258. PART I: COLERIDGE AND THE PICTURESQUE I. Humphry House, Coleridge (London: Rupert Hart-Davis, 1953) p. 54. I am in complete agreement with House's claim that by 'minimizing the importance to Coleridge ofthe external world in which he lived, we run the risk ofdiverting attention from some ofhis most characteristicstrengths as a writer - from his power of detailed poetic description of objects in nature; from his power ofattuning moods ofemotion to landscape and movements ofweather; of using the shapes and shifts and colours ofnature as symbols ofemotional and mental states. Even his critical idealism , whetherexpressed in poems or in his more technical philosophy, is grounded in a minute analysis of the phenomena of sense' (p. 14). 2. CN, II, 2351. This note is an adaptation of the following passage from Herder's Kalliqone, a work which Coleridge was annotating at the time (see Part III, nn. 19-25): 'sie [die Natur] schafft , indem sie zerstort, und zerstort indem sie schaffet, eine immer emsige Penelope, die ihren Schleier webt und trennt, trennt und weber', ('she [Nature] creates as she destroys, and destroys as she creates, an ever industrious Penelope who is weaving and unravelling, unravelling and weaving her veil'.) Herders Sammtliche Werke, ed. Bernard Suphan, 33 vols (Berlin: Weidmannsche Buchhandlung, 1877­ 1913) XXII (1880) 127. In an early fragment on nature (1783), Goethe expresses a similar perception of the continuous process of mak ing and unmaking which goes on in the natural world : 'Sie [die Natur]schafft ewiq neueGestalten; wasdaist warnochnie, waswarkommt nicht wieder- Alles ist neu und doch immer das Alte ... Sie baut immer und zerstiirt immer und ihre Werkstdue ist unzugiinglich.' ( 'She [Nature] createsfor evernewforms; what is now was never before, what was before will never come again­ Everything is new, and yet the old . .. She buildscontinuallyanddemolishes continually and her workmanship remains inscrutable. 'J Goethes Werke, Hamburger Ausgabe, 14 vols (Hamburg: Christian Wegner Verlag, 1955) XIII, 45. 3. John Barrell points out that in the latter part of the eighteenth century the activity oflandscape viewing according to principles ofcomposition learned from the Italian painters was so widespread 'that it became impossible for anyone with an aesthetic interest in landscape to look at the countryside without applying them, whether he knew he was doing so or not'. The Idea of Landscape and the Sense of Place: 1730-1840 (Cambridge Un iversity Press, 1972) p. 6. In 'Coleridge's "This Lime-Tree Bower My Prison" and Notes and References 209 the Categories of English Landscape' (Studies in Romanticism, 18 (1979) 253-70), Anne K. Mellor convincingly demonstrates Coleridge's debt to the picturesque and his participation in 'the historical movement in England from an objective to a subjective aesthetics at the end of the eighteenth century' (p. 253). 4. The locus classicus ofWordsworth's indictment ofthe picturesque is Bk XII of The Prelude, II. 109-39. Yet the roots of Wordsworth's early interest in the picturesque had grown much deeper than the poet acknowledges in this passage. On this issue see J. R. Watson, Picturesque Landscape and English Romantic Poetry (London: Hutchinson Educational, 1970) particularly pp . 93-107, and Russell Noyes, Wordsworth and the Art of Landscape (Bloomington: Indiana University Press, 1968). 5. Coleridge was critical, however, of certain affectations caused by the picturesque, as exemplified by a group of ladies he once saw in the Lake District who were reading Gilpin 'while passing by the very places instead of looking at the places' (CN, I, 760). He also took issue with specific claims advanced by individual writers of the picturesque. See for instance his marginal comments to Richard Payne Knight's An Analytical Inquiry into the Principles of Taste published by Edna Aston Shearer in 'Wordsworth and Coleridge Marginalia in a Copy of Richard Payne Knight's Analytical Inquiry into the Principles ofTaste " Huntington Library Quarterly, 1 (1937) 63-99. 6. See CN,I, 1489where Coleridge disagrees with those, meaning Wordsworth in particular, 'who hold it undignified to illustrate Nature by Art'. 'How else', Coleridge argues, 'can we bring the forms of Nature within our voluntary memory! - The first Business is to subjugate them to our Intellect & voluntary memory - then comes their Dignity by Sensation of Magnitude, Forms & Passions connected therewith.' 7. This review has been attributed to Coleridge by David Erdman. See 'Immoral Acts of a Library Cormorant', Bulletin of the New York Public Library, 63 (1959) 515-16. 8. Cf. The Letters ofWilliam and Dorothy Wordsworth: The Middle Years, ed. Ernest de Selincourt, 2 vols (Oxford: Clarendon Press, 1937) I, 2-3. 9. The annotated copy ofKnight's work is in the Huntington Library. See n. 5 above. 10. Price, An Essay on the Picturesque as Compared with the Sublime and the Beautiful, 1st edn (London, 1794) p. 17: 'It seems to me, that the neglect, which prevails in the works ofmodern improvers, ofall that is picturesque, is owing to their exclusive attention to high polish and flowing lines, the charms of which they are so engaged in contemplating, as to make them overlook two of the most fruitful sources of human pleasure; the first, that great and universal source of pleasure, variety ... ; the other intricacy, a quality which, though distinct from variety, is so connected and blended with it, that the one can hardly exist without the other.' 11. For Burke's conception of the beautiful see A Philosophical Inquiry into the Origin ofOur Ideas ofthe Sublime and the Beautiful (New York: Collier & Son, 1909)esp, Part 111. For a discussion ofBurke's theory ofthe sublime see Part 111, pp . 102-4. 12. On the importance of play in picturesque aesthetics see Martin Price, 'The 210 Notes and References Picturesque Moment', From Sensibility to Romanticism, ed. Frederick W. Hilles and Harold Bloom (Oxford University Press, 1965) pp. 270-5. 13. Seee.g. CN, I, 1468quoted on p. 14above. Gilpin defined the picturesque as 'that kind ofbeauty which would look well in a picture'. Observations on the Western Parts ofEngland (London, 1798)p. 238. Uvedale Price contested Gilpin's definition, arguing that it is imprecise and leads to the conclusion that all objects in art are picturesque, since 'any object in painting will please, or else the painter wouldn't have chosen it'. An Essay on the Picturesque, ch. III. A brief history of the various meanings of the term 'picturesque' is traced by W. J. Hipple in The Beautiful. the Sublime. and the Picturesque in Eighteenth-Century British Aesthetic Theory (Carbondale: Southern Illinois University Press, 1957) pp. 185-91. The entanglements between the terms 'picturesque' and 'romantic' in Germany, England and France are carefully studied by Raymond Immerwahr in Romantisch.
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