Notes

Introduction: Dorothy Wordsworth, Hartley Coleridge and the Poetics of Relationship

1. In a letter to Alexander Dyce, who had recently published Specimens of English Sonnets to ‘exhibit specimens of our best Sonnet-writers’, William writes: ‘It is a pity that Mr Hartley Coleridge’s Sonnets had not been pub- lished before your collection was made – as there are several well worthy of a place in it’ (Dyce, 1833, p. vi; LWDW, V, p. 665). 2. Dorothy was, however, published anonymously: William included several of her poems in various editions of his works. Alexander Dyce also included ‘Address to a Child, during a Boisterous Winter Evening’ (attributed to an ‘Anonymous Authoress’) in the pioneering Specimens of British Poetesses (1827), one of the first works intended to ‘exhibit the growth and progress of the genius of our country- women in the department of Poetry’ (Dyce, 1827, pp. iii, v). 3. Cervelli is here quoting Greg Garrad’s definition of ecocriticism in Ecocriticism (2004). Cervelli’s study is a development of the feminist work of Mellor and Levin; as Cervelli notes, ‘Mellor’s sense of the female self as being “profoundly connected to its environment” represents a kind of incipient ecocriticism’ (2007, p. 5). 4. For a full account of my study of Hartley’s reception, see Healey, 2010. 5. In 1851, Derwent also collected and edited two volumes of Hartley’s Essays and Marginalia. Most of these essays, Derwent states, had been previously published in various periodicals. 6. Mellor cites John Keats and Emily Brontë as two such ‘crossover’ writers, labelling them ‘ideological cross-dressers’ (Mellor, 1993, p. 171). 7. Fanny Wollstonecraft was immortalized in her famous mother’s Letters from Sweden which, when published by her step- father, William Godwin, along with his memoir of Wollstonecraft in 1798, revealed to the public that Fanny was an illegitimate child, her mother had twice attempted suicide, and that Fanny’s biological father, Gilbert Imlay, had abandoned her. With this insensitive exposure of the nature of Fanny’s birth, Godwin misguidedly contributed to the disintegration of her fragile ego and her ultimate suicide. See also Carlson, 2007, which examines the ‘inextricably connected’ lives and writings of the Wollstonecraft-Godwin- Shelley family (p. 3). 8. Todd’s deeply sympathetic and moving account of Fanny Wollstonecraft’s tragic life is a necessary study of the real physical cost of the ‘cult of creative genius’ (Todd, 2007, p. 117). 9. This quotation is taken from Lawrence’s essay ‘Chaos in Poetry’ (Introduction to Harry Crosby’s Chariot of the Sun) in Mara Kalnins’s edition of Lawrence’s Selected Poems (Lawrence, 1992). 10. See Wolfson, 2010, pp. 179–207, for her extensive analysis of Dorothy’s verse.

234 Notes pp. 12–42 235

1. ‘Fragments from the universal’: Hartley Coleridge’s Poetics of Relationship

1. See also Emily Dickinson’s identical disclaimer: ‘When I state myself, as the Representative of the Verse – it does not mean – me – but a supposed person’ (Dickinson, 1958, II, p. 412). 2. For the importance of friendship in STC’s writings in the context of late- eighteenth-century ideas about friendship, see Taussig, 2002. 3. While ‘Inmate’ did not denote imprisonment in nineteenth- century usage, it was applied to mental asylum patients, or used to describe a person who does not entirely belong to the place where they dwell (OED). 4. This state of solitude among strangers recalls William’s depiction of incom- municative isolation among the ‘countless many’ in ‘Home at Grasmere’ (HG, pp. 88, 90, ll. 808–16). 5. I am grateful to Peter Anderson for enabling me to see this echo of STC’s vision (Anderson, 2008, p. 58). 6. See also David Fairer’s analysis of Locke’s theory of human identity (Fairer, 2009, pp. 33–57). 7. Denise Gigante discusses William’s ‘feeding mind’ extensively (Gigante, 2005, pp. 68–88). 8. See ‘To Shakespeare’, ‘Homer’, ‘Homer’ and ‘Shakespeare’ (CPW, pp. 16, 102, 117, 319). 9. See Barnes, 2010, p. 11. 10. On the Origin of Species by Means of Natural Selection was first published in 1859, ten years after Hartley’s death, but Hartley was most likely inspired by Darwin’s theories, which were published and made famous from 1835 onwards. 11. See Mellor, 1993, pp. 171–208. 12. For further discussion of the effect of marriage on siblings, see Walker, 2009, pp. 97–129. 13. The line that Hartley quotes from ‘I Wandered Lonely as a Cloud’ – ‘on that inward eye that is the bliss of solitude’ – was, in fact, a contribution from Mary Wordsworth (William’s wife). 14. This is a direct allusion to William’s depiction of the repetitive monotony of the imprisoned fishes’ life; see ‘To a Friend’: ‘To wheel with languid motion round and round, / Beautiful, yet in a mournful durance bound’ (LP, p. 202, ll. 110–11). 15. Hartley’s description of the fish is a direct allusion to William’s Prelude: ‘some type or picture of the world: forests and lakes, / Ships, rivers, towers, the war- rior clad in mail’ (VIII, p. 338, ll. 736–38). 16. Kalnins writes: ‘As Graham Hough has pointed out, their [Lawrence’s Birds, Beasts and Flowers poems] highly original and idiosyncratic free verse shape has no literary antecedents’ (Lawrence, 1992, p. 10). 17. Thomas Gray, ‘Elegy Written in a Country Churchyard’ (1966, p. 39, ll. 55–6). 18. John Clare, ‘Address to an Insignificant Flower obscurely blooming in a lonely wild’ (1989, I, p. 218, ll. 33–6). 19. John Clare, ‘To a Cowslip Early’ (1989, II, p. 52, ll. 15–16). 236 Notes pp. 42–70

20. John Clare, ‘To the Cows Lip’ (1996, I, p. 323, ll. 9–12). 21. In a letter to Derwent, August 1842, Hartley declares this sonnet to be his most accomplished: ‘I think myself the Sonnet “What sound awakened first the untried ear?” the best’ (LHC, p. 258). 22. De Quincey refers in a note to a passage from Sir Thomas Browne’s Religio Medici (II, ix). 23. The phrase ‘In vain for her’ could be an allusion to Thomas Gray’s ‘Sonnet on the Death of Richard West’, which William refers to in the Preface to Lyrical Ballads. Gray describes how the sights and sounds of nature cannot reach him in his grief: ‘In vain to me the smileing [sic] Mornings shine / … These Ears, alas! for other Notes repine’ (Gray, 1966, p. 92, ll. 1, 5, my italics). 24. See also William’s ‘Nuns fret not at their convent’s narrow room’ (TV, p. 133). 25. See Hunt, 2003, p. 212; Keats, 1958, I, p. 185. 26. Cited in Griggs, 1929, p. 27. 27. See also Hartley’s sonnet ‘Time was when I could weep’ (NP, p. 74, ll. 1–2, 12–13). 28. Cf. William Wordsworth’s letter to John Wilson: ‘I have often applied to Idiots, in my own mind, that sublime expression of scripture that, “their life is hidden with God”’ (LWDW, I, p. 357). 29. Hartley includes a slightly different version of this poem in a letter to Derwent, dated August 1830 (see LHC, pp. 121–2). 30. At this time (1813), however, William’s eyesight had deteriorated, which could, in part, explain his inward- looking nature, as opposed to Hartley’s revelling in the senses. Interestingly, Gigante (2005) notes that William often lamented his weak sense of smell too (and, with this, taste). Such sensory limitation would cause a lack of connection with the outside world and a focus on introspection – in this instance, decreasing his empathy with children. 31. Griggs’s praise, nevertheless, still risks presenting Hartley as ‘immature’ as it plays into the perpetual infantilization of Hartley, led by STC: ‘A little Child, a limber Elf / Singing, dancing to itself’.

2. The Coleridge Family: Influence, Identity and Representation

1. Elsewhere, Hartley declares that it is his sister Sara who is ‘the inheritrix of his [STC’S] mind and genius’ and confesses modestly that he has not ‘much more than the family cleverness’ (LHC, p. 275). 2. See also ‘Dedicatory Sonnet to S.T. Coleridge’, ll. 3–4: ‘Thou, in thy night- watch o’er my cradled slumbers / Didst meditate the verse that lives to shew’ (CPW, p. 2); and ‘Poietes Apoietes’ (CPW, p. 92, ll. 31–2): ‘Thou wreath’dst my first hours in a rosy chain, / Rocking the cradle of my infancy’. 3. Extracts on Hartley’s behaviour at Oxford are taken from a letter by John Keble, Fellow of Oriel, to John Taylor Coleridge, 19 June 1820 (LHC, pp. 303–4). 4. STC later writes to William Sotheby in 1829 that Hartley’s dismissal from Oxford was undeserved: ‘Poor dear Hartley! – He was hardly – nay, Notes pp. 71–92 237

cruelly – used by the Oriel men’ (CCL, VI, p. 797). After the Oriel episode, STC frequently begins to refer to his son as ‘Poor’ Hartley, just as Dorothy and others had referred to STC as ‘Poor Coleridge’. 5. For fragments of this essay, see Griggs, 1931. 6. A considerably different version of this sonnet is included in a letter from Hartley to his mother, dated 28 October 1836 (LHC, p. 199). The version that Derwent chooses to publish expresses Hartley’s sense of inferiority more explicitly. 7. The phrase ‘empyreal air’ also figures in William’s The Excursion, IV, l. 232 (Wordsworth, W., 2007, p. 137). 8. Hartley summarizes the vast discrepancy between the representative writ- ten word and actuality when discussing his father’s conversational powers in his introduction to The Dramatic Works of Massinger and Ford (1840) (MF, p. xliv). 9. See also Hartley’s introduction to The Dramatic Works of Massinger and Ford, where he again equates true knowledge and faithful representation with love (MF, p. xx). 10. STC recognized this neglect of his children to some extent: see CCL, II, p. 767; III, p. 61, where STC thinks of his children as orphans. 11. It was ultimately contributions from Southey, William and Lady Beaumont that funded Hartley’s university education. 12. Allsop’s Letters were criticized also by Wordsworth and Moxon (LWDW, VI, pp. 148, 148n). 13. William had expressed a similar belief over both Allsop’s publication and Henry Nelson Coleridge’s already published Specimens of the Table Talk of the Late Samuel Taylor Coleridge in a letter to Edward Moxon in December 1835 (LWDW, VI, p. 134). 14. Similarly, ‘I have been cherish’d, and forgiven’ professes that Hartley has been pitied only for his father’s sake: ‘’Twas for the sake of one in Heaven / Of him that is departed’ (NP, p. 93, ll. 3–4). 15. In a characteristic moment of modesty, Hartley goes on to predict that he will only be remembered for his literary affiliations: ‘If aught of mine be pre- served from oblivion, it will be owing to my bearing the name of Coleridge and having enjoyed, I fear with less profit than I ought the acquaintance of Southey and of Wordsworth’ – 27 November 1843 (EM, II, pp. 109–10). 16. John Clare’s ‘I am’ was first printed on 1 January 1848, a year before Hartley’s death. 17. Hartley is referring to Henry Nelson Coleridge’s review of his Lives of Distinguished Northerns, Quarterly liv (September 1835), p. 330. 18. Quotation taken from Scenes of Clerical Life (1857), George Eliot’s first – aptly, anonymously – published work. 19. Taken from an unpublished manuscript, ALS September 28, 1846, among the Hartley Coleridge Papers, Harry Ransom Research Center, University of Texas at Austin (quoted in Plotz, 2001, p. 200). 20. The dreams that terrorize Hartley echo STC’s ‘The Pains of Sleep’. Hartley’s nocturnal longing for fraternal solicitude also echoes STC’s address to William and Dorothy, who he apostrophizes as ‘sister!’, in ‘English Hexameters’: ‘But O! my friends, my beloved! / Feverish and wakeful I lie’ (PW, I.1, p. 528, ll. 16, 20–1). 238 Notes pp. 94–112

21. See GJ, October 1802, p. 126. 22. Hartley admits in a notebook that ‘Presentiment’ was written about himself; see NP, p. 86n. In Touched with Fire: Manic-Depressive Illness and the Artistic Temperament, an illuminating study on the high incidence of manic–depression among artists, poets, writers and musicians, and the relationship between ‘madness’ and creativity, Kay Redfield Jamison, a professor of psychiatry and herself a sufferer of manic-depression, suggests that both STC and Hartley ‘seem likely to have suffered from manic-depressive illness’ (which is now more commonly termed bipolar disorder). See Jamison, 1994, p. 62. 23. For an extensive study of STC and this characteristic of ‘division’, see Seamus Perry’s Coleridge and the Uses of Division (1999), where Perry argues that STC’s double-mindedness was a virtue rather than incapacity. 24. This portrait of Hartley by David Wilkie is held at the Wordsworth Trust, Grasmere. 25. Anon., 1851d, pp. 149–50. 26. See also the following: Anon., 1851a, views Hartley’s poems as ‘only frag- ments of his genius’; Anon., 1851b, p. 283, dismisses all Hartley’s poems as possessing a ‘slight or fragmentary nature’; The Eclectic Review, a review of Derwent’s Memoir finds them ‘fragmentary’ and ‘derivative’ (Anon., 1851f, pp. 657, 659). 27. Anon., 1851e, p. 235. 28. Cf. Hartley’s acceptance of his literary heritage with Bloom’s summary of Nietzche’s similar denial of an ‘anxiety of influence’: ‘Nietzsche … was the heir of Goethe in his strangely optimistic refusal to regard the poetical past as primarily an obstacle to fresh creation … Nietzsche, like Emerson, did not feel the chill of being darkened by a precursor’s shadow. “Influence”, to Nietzsche, meant visualization’ (Bloom, 1975, p. 50).

3. ‘Who is the Poet?’: Hartley Coleridge, William Wordsworth and the ‘The Use of a Poet’

1. For further praise of William Wordsworth see: ‘To the Same’, p. 119; ‘Rydal’, p. 119; and ‘To W. W. on his seventy- fifth birthday’, p. 206. Hartley also declared William’s ‘Ode on Immortality’ ‘decidedly the finest in any lan- guage’ (EM, II, p. 101). 2. See BL, Chapter III. 3. The OED defines the term ‘gasconade’ as ‘boast extravagantly’. 4. William’s praise of Hartley’s prose does not accord with the impression gleaned by Hartley, as he remarks to Derwent: ‘Mr. Wordsworth thinks my prose stiff and elaborate’ (LHC, p. 258). 5. Griggs goes as far as to implicate this specific intervention in Hartley’s with- drawal from publication; see LHC, p. 230. 6. Susan Manly also notes this ambivalence in William’s understanding of com- mon language and people (Manly, 2007, p. 212). 7. In a letter to John Prior Estlin, STC refers to his own occasional silliness (‘Puns and Conundrums’) as a mere ‘Avalanche’, ‘loosened by sudden thaw from the Alps of my Imagination’ (CCL, I, p. 223). Keanie cites this letter when distinguishing between the imaginations of father and son; Hartley’s Notes pp. 114–124 239

imagination ‘is more consistently, or, one might say, more thoroughly, thawed through’ (Keanie, 2006, pp. 57–8). 8. Interestingly, in ‘Butterfly’, D. H. Lawrence uses a completely reverse but- terfly motif to Hartley’s depiction of the ‘over-reaching’ butterfly. Lawrence’s incredulity springs from why the butterfly is content to settle on his lowly shoe: ‘Butterfly, why do you settle on my shoe, and sip the dirt on my / shoe’ (Lawrence, 1992, p. 238, l. 2–3). It is implicit through Lawrence’s repetition of the strong blowing wind that he is anticipating, indeed imploring the creature ‘content on my shoe’ to fly higher. In Lawrence’s poem, the butter- fly is a symbol of resurrection, immortality of the soul and the transmutation from one life to the next; the butterfly’s movement is from the known physi- cal world of the shoe and the garden into the ethereality of the unknown. While Lawrence lets the butterfly leave the known world – beseeches him to – Hartley’s poem beckons the butterfly down and as such could also be read as betraying a comparative fear of the unknown and anxiety over the notion of resurrection. 9. Dorothy’s unpublished late journals show that she shared Hartley and George Eliot’s awareness of the importance of hidden lives: she visited ‘unvisited tombs’ and recorded the epitaphs of people that were unknown to her (Wordsworth Trust, DCMS 104.4, 25 September–1 November 1826). 10. See, for example, John Hamilton Reynolds ‘Peter Bell’ (1819), ‘Peter Bell v Peter Bell’ (1820) and ‘Benjamin the Waggoner’ (1819); Shelley’s ‘Peter Bell the Third’ (October 1819); William Maginn, ‘A Lyrical Ballad’ (1819); Byron’s ‘Epilogue’ [‘A Parody of Wordsworth’s Peter Bell’ (1820)]; and Robert Montgomery, ‘The Age Reviewed’ (1828). 11. I do not wish to play into the infantilization of Hartley by reproducing this image; rather, I feel it captures the fact that it is over-association with both William and his textual versions of the child Hartley which has governed the arresting of Hartley’s identity. An inscription on the picture reads that it is a ‘copy of one by John Peter Mulcaster [Mary’s father] who made it from a sketch from the life in 1844’, five years before Hartley’s death, in his forty- eighth year (Wordsworth Trust; 2006.92.2). Mary’s picture is dated 19 September 1900 – Hartley’s birthday. 12. ‘Frost at Midnight’, l. 44; ‘The Nightingale’, l. 91; ‘Christabel’, Part II, l. 656; ‘Fears in Solitude’, l. 226; ‘Immortality Ode’ ll. 114, 124. Roger Robinson notes: ‘Surely no particular child, not even the child whose birth is cele- brated in Virgil’s Fourth Eclogue, ever had so much beautiful and genuinely great poetry written about him as did Hartley before he was seven years old’ (Robinson, R., 1996, p. 2). 13. Hartley’s criticism of the William Wordsworthian emphasis on childhood as the ideal state is also noted by Plotz, which she describes in more negative terms (Plotz, 2001, p. 249). 14. Hartley’s ‘flaming sword’ motif is a probable allusion to the ‘flaming sword, / Which chased the first- born out of Paradise’ in Byron’s Heaven and Earth, A Mystery (Byron, 1991, VI, p. 376, ll. 785–6). 15. STC also recognizes that the dew- drop is a harbinger of both hope and potential loss in ‘Album Verses: “Dewdrops are the Gems of Morning”’: ‘ Dew- drops are the Gems of Morning, / But the Tears of mournful Eve’ (PW, I.2, p. 1014, ll. 1–2). 240 Notes pp. 129–54

4. Dorothy Wordsworth’s Journals: Writing the Self, Writing Relationship

1. William recounts this separation in The Prelude (Bk VI, p. 98, ll. 208–11). 2. Dorothy is here quoting Oliver Goldsmith, The Traveller, or A Prospect of Society, ll. 7–10:

Where’er I roam, whatever realms to see, My heart untravelled fondly turns to thee: Still to my brother turns, with ceaseless pain, And drags at each remove a lengthening chain. (Goldsmith, 2003, p. 32)

3. Dorothy’s Journals show that she was a reader of Mary Wollstonecraft; see GJ, p. 152. 4. Cassandra Austen also uses a trope of light to figure the closeness of her relationship with her sister, Jane: ‘She was the sun of my life, the gilder of every pleasure, the soother of every sorrow, I had not a thought concealed from her’ (Austen, 1997, p. 344). 5. Interestingly, in a letter to Edward Quillinan, dated 31 March 1849, after Hartley’s death, Sara Coleridge also figures her relationship with her brother in terms of light and darkness; unlike the Wordsworths and Austen, how- ever, she describes how intense concern for Hartley cast a ‘cloud’ over Sara’s happiness and did, indeed, in William’s words, ‘rob’ her life of light: ‘Hartley’s infirmities, Hartley’s failures & sorrows & misfortunes were the largest & blackest Cloud that hung over my prospect in early youth, and some times for a while, intercepted all its natural sunshine.’ Sara shows how powerfully the other sibling’s suffering in life (and not just their death, as with Cassandra Austen) impacts on sibling self- conception and growth. Sara cannot distinguish her identity entirely from that of her brother – his suffer- ings become hers: ‘all [her] life long in one shape or another’ she was ‘a suf- ferer’ of his ‘excesses’ (Wordsworth Library, WLMS A/Coleridge, Sara/47). 6. Comitini also wrongly refers to the Grasmere Journals as the Grasmere Journal, singular (as does Pamela Woof, and also Colette Clark in her 1960 collection Home at Grasmere), when they should be pluralized – they exist as four separate notebooks. Comitini states that the ‘Journal’, by the nature of journal writing, does not have a particular narrative to it, but by singularizing the title Comitini gives the impression of a more formal autobiography, which suggests that crit- ics often try to impose an artificial order onto Dorothy’s writings. 7. Dorothy is here quoting Theseus’ speech in Shakespeare’s A Midsummer Night’s Dream, which goes on to state that ‘the poet’s pen’ ‘gives to airy nothing / A local habitation and a name’ (Shakespeare, 2003, V.i, ll. 15–17). Dorothy’s use of this quotation is particularly apt as her own acute percep- tion of nature’s transitory states literally gives a name ‘to airy nothing’. 8. Fay concurs with this view (Fay, 1995, p. 189). 9. Cf. Hartley’s poem ‘Continuation’, where he juxtaposes an image of natural isolation – ‘That flower recluse’; ‘balm breathing anchorite’; ‘lone flower’ – with one of harmonious and loving community: a ‘happy nest of Doves’ (NP, p. 73, ll. 2, 4, 11, 6). 10. Wallace also notes this as a positive exchange in ‘Home at Grasmere Again: Revising the Family in Dove Cottage’ (Wallace, 2007, p. 106). Notes pp. 155–68 241

11. See Trilling’s head- note to his selections from the Grasmere Journals in the Oxford Anthology of English Literature, vol. II (Bloom and Trilling, 1973, p. 613). 12. Fay also argues this view (Fay, 1995, pp. 106–7). 13. Vlasopolos (1999) accords with my reading of the relative insignificance of the Wordsworth wedding to the journals as a whole. 14. To my knowledge, the only account of the Wordsworth marriage that has noticed Mary’s reaction as well as Dorothy’s is that by Walker in his chapter on ‘Marriage and Siblings’ in Marriage, Writing and Romanticism (Walker, 2009, pp. 97–8). 15. I do, however, agree with Sanders’s view that ‘Either Dorothy’s conscience was clear on the subject of incest, or she was unconcerned about the comments of other people’ with regard to her relationship with William (Sanders, 2002, p. 42). 16. In his notebooks, STC similarly describes a cloud circling the moon as ‘not larger than a floating Veil’ (CN, II, 2453). 17. William’s later ‘thousand thousand diamond drops’ description in ‘Home at Grasmere’ is surely influenced by Dorothy’s minute ‘diamond drop’ descrip- tion (HG, p. 86, ll. 784–8). 18. See Blake’s ‘Auguries of Innocence’ (Blake, 1979, p. 209). 19. Lee is quoting Margaret Oliphant from Blackwood’s Magazine. 20. The title of Eigerman’s work – The Poetry of Dorothy Wordsworth – is misleading and presumptuous as we get none of Dorothy’s verse itself, but rather cut- and- spliced ‘images and cadences’ of her journals (p. ii). By extracting and reshaping the latent poetry out of her prose, Eigerman’s selective editorial act is somewhat counterproductive (not to mention micromanaging) as it undermines, in part, the original aesthetic merit of the journals themselves and their artless fluidity: Eigerman destroys the natural continuity and meaning of Dorothy’s prose, the implication being that it is ‘not enough’ as it stands. It also undermines Dorothy’s own authorial expression – this is not how Dorothy intended her prose to be presented to a readership – thus Eigerman robs her of authorial control. 21. Paula Feldman finds this reading convincing: ‘Dorothy Wordsworth seems to anticipate by many years the work of Wallace Stevens, Baudelaire, and Ezra Pound’ (Feldman, 1997, p. 825). 22. See LWDW, IV, 3 January 1823, p. 181. 23. See also Newlyn, 2000, p. 232.

5. Sibling Conversations: The Wordsworthian Construction of Authorship

1. Mitchell notes that sibling relationships remain ‘the great omission in psy- choanalytic observation and theory’ (Mitchell, 2000, p. 23). Sanders also notes: ‘within literary criticism and history, too, this is an oddly neglected area’ (Sanders, 2002, p. 1). 2. Spencer (2005) in Literary Relations, and Stone and Thompson (2007) in Literary Couplings, both indicate that critical focus on the relationship between STC and William may have caused Dorothy’s role to be overlooked. 3. See Ernest De Selincourt’s Preface to The Greens of Grasmere (Wordsworth, D., 1987, p. 34). 242 Notes pp. 168–81

4. See, for example, Fruman, 1985: ‘she wrote very little, and except for a few poems scattered about in collections of her brother’s verse, published nothing. “I should detest the idea of setting myself up as an author”, she declared, when friends urged her to publish.’ 5. For further discussion of the ideas of privacy and publication, see Clery, 2004; and also Eger, Grant, O Gallchoir and Warburton, 2001. 6. Maria Edgeworth is similarly anxious about exhibiting the children whose sayings and actions she uses in Practical Education (1798). 7. All the words (‘moveless’ and ‘viewless’) which Dorothy criticizes were dis- carded in later versions of An Evening Walk and Descriptive Sketches. Dorothy’s criticisms anticipate STC’s view of his own poetic ‘defects’ in Biographia Literaria. 8. Feldman also notes Dorothy as a significant influence on William and the Lyrical Ballads (Feldman, 1997, p. 826). 9. Fay recognizes the ‘toll’ this conflict would eventually take on Dorothy (Fay, 1995, p. 112). 10. In her biography of Dorothy, The Ballad of Dorothy Wordsworth, Frances Wilson suggests that there is evidence that Dorothy’s pathological self- denial also manifested itself physically in ‘anorexic tendencies’. Wilson’s point that ‘she responds with less pleasure to what she puts into herself than to what she takes out of herself’ fits in with the notion I describe that Dorothy’s intellectual service to William bordered on the masochistic. Wilson states that ‘watching the body shrink is a way of experiencing consciousness with- out the encumbrance of corporal presence’ and believes that this is what Dorothy attempted to achieve (Wilson, 2008, p. 115). It is a credible reading as it forms a physical counterpart to Dorothy’s mode of feeling mentally alive through an analogous ‘emptying out’ of intellectual self and avoidance of the ‘encumbrance’ of authorial presence, i.e., the accountability neces- sitated by public independent authorial effort. Both behaviours suggest a denial of realistic existence and consequence. 11. Vlasopolos also notes Dorothy’s ‘clinical’ interest in the effects of William’s composition on his body (Vlasopolos, 1999, 126–34). 12. See also GJ, 29 January 1802, p. 59; and 17 March 1802, p. 79. 13. Vlasopolos’s account of Dorothy’s journal is notable for its unusually sensitive understanding of the issues of identity, displacement, repression, transgression and the ambiguities of identity. It is the only study, to my knowledge, to analyse Dorothy’s representation of William rigorously. Interestingly, Vlasopolos’s memoir, No Return Address: A Memoir of Displacement (2000), traces similar themes of displacement, identity, home and exile in her own immigrant life. 14. Dorothy writes to STC at the beginning of the letter that she fully expects STC to be the first to read this letter: ‘This letter is intended for William, tho’ I have little hope that he will be in town when it arrives’ (LWDW, II, p. 207). The letter did indeed arrive after William had left to return to Grasmere, and is quoted in a letter from STC to William on 21 May 1808. 15. Seven years later Dorothy had resigned herself to the fact that their liter- ary industry would never be lucrative in William’s lifetime: ‘I now perceive clearly that till my dear Brother is laid in his grave his writings will not produce any profit. This I now care no more about and shall never more Notes pp. 182–201 243

trouble my head concerning the sale of them’ (LWDW, III, 15 August 1815, p. 247). 16. My reading of the link between D. H. Lawrence, Dorothy Wordsworth and Hartley Coleridge is enlightened by Kalnins’s introduction to Lawrence’s Selected Poems (Lawrence, 1992, pp. 1–19). 17. Kalnins quotes Eliot’s essay with regard to D. H. Lawrence (Lawrence, 1992, p. 5). 18. In a letter to Samuel Rogers, William notes that even when Dorothy’s men- tal health was deteriorating seriously she was still able to recite verse from memory perfectly (LWDW, VI, 7 June 1835, p. 98). 19. See Simpson, 1987, pp. 110–13; Levinson, 1986, pp. 45–6, 48–9, 53, 56; and Dickstein, 1987, pp. 326–8. For more positive readings of Dorothy’s role in ‘Tintern Abbey’, see Hartman, 1971, pp. 250–1, 257–8, 331; and Soderholm, 1995. Soderholm’s article is particularly useful as he is one of the few crit- ics to search for a response to William’s poem by focusing his analysis on Dorothy’s ‘Thoughts on my Sick-Bed’. 20. Marks also points out that William recognizes Dorothy’s active role in his poetry-making (Marks, 2004, p. 56). 21. Marks’s interpretation accords with my reading that William ultimately comes to a humbling realization of his comparative insignificance. 22. See also M. H. Abrams’s positive assessment of Dorothy’s role in ‘Tintern Abbey’ (1990). 23. From 1845 onwards ‘Lines Written at a Small Distance From my House’ is entitled ‘To My Sister’. 24. William observes ‘the shooting lights / Of thy wild eyes’ in ‘Tintern Abbey’ ([hv]ll. 119–20); De Quincey describes her eyes as: ‘wild and startling, and hurried in their motion’ (De Quincey, 2003, p. 52); STC: ‘her eye watchful in minutest observation of nature’ (CCL, I, 3 July 1797, pp. 330–1). 25. Dorothy is talking of William’s visit to Forncett the previous Christmas. 26. During this time, 1797–1800, William composed the poems that would be published in the 1798 and 1800 editions of Lyrical Ballads. 27. STC has a similar fantasy about the death of his children whom he loves but also perceives as a threat to his identity. 28. In ‘Sonnet: On Receiving an Account that my Sister’s Death was Inevitable’ (1791), STC again mourns what this sibling loss means to his self- expression: ‘My woes, my joys unshar’d?’ (PW, I.1, p. 39, l. 12). 29. ‘Home at Grasmere’ was not published by William, although ll. 959–1048 were published in the preface to The Excursion (1814) as a ‘prospectus’ to The Recluse. A revised version of the whole poem was published in 1888 as The Recluse. 30. William expresses this same sentiment to Dorothy in a letter from Switzerland: ‘I have thought of you perpetually and never have my eyes burst upon a scene of particular loveliness but I have almost instantly wished that you could for a moment be transported to the place where I stood to enjoy it’ (LWDW, I, 6 and 16 September 1790, p. 35). 31. Interestingly, when William is struggling with the task which Mary has requested of him he asks Hartley Coleridge to ‘try his powers’ at writing the epitaph (LWDW, VI, 6 December 1835, p. 130). The task of writing the actual epitaph eventually fell to Rev. Henry Francis Cary, translator of Dante’s Divine Comedy and a close friend of Charles Lamb. 244 Notes pp. 201–16

32. Both Dorothy and William identified with the closeness of the Lamb siblings and admired Charles Lamb’s unstinting protection of his sister. On 22 September 1796, Mary Lamb, in a fit of insanity, killed her mother with a knife stab to the heart. The care of Mary’s brother Charles, acting against the wishes of his family, ensured that his sister was not incarcerated in a mental asylum. Mary and Charles lived together until Charles’s death in 1834, neither of them ever marrying. 33. Likewise, writing to Edward Moxon, William talks of his need to address fully ‘the most striking feature of our departed friend’s character and the most affecting circumstance of his life, viz, his faithful and intense love of his Sister’ (LWDW, VI, 20 November 1835, p. 114). 34. Ernest De Selincourt notes that ‘Moxon continued to print off copies incorporating W. W.’s corrections until the final version [of the epitaph] was established early in February and the poem was ready for distribution among W. W.’s friends’ (LWDW, VI, p. 147n). 35. See also William’s ‘Maternal Grief’, a poem also on the death of one twin. 36. Elsewhere in ‘The White Doe of Rylstone’ William refers to the sister- figure as a ‘prattler on the knee’ (l. 1041), which echoes his memory of the child Dorothy as a ‘prattler among men’ in ‘The Sparrow’s Nest’ (l. 14). 37. Cf. Paradise Lost, XII, ll. 648–9: ‘They hand in hand with wandering steps and slow, / Through Eden took their solitary way’ (Milton, 2008, p. 317). 38. Cf. Frankenstein, where Victor Frankenstein, like William, emphasizes the sensitizing influence of his adoptive sister, Elizabeth: ‘Her sympathy was ours; her smile, her soft voice, the sweet glance of her celestial eyes, were ever there to bless and animate us. She was the living spirit of love to soften and attract: I might have become sullen in my study, rough through the ardour of my nature, but that she was there to subdue me to a semblance of her own gentleness’ (Shelley, M. W., 2003, pp. 39–40). 39. See, for example, Todd, 2007. 40. Frances Wilson believes that Emily Brontë’s powerful depiction of sibling union and identity confusion between Catherine Earnshaw and Heathcliff in Wuthering Heights was inspired by the Wordsworths (Wilson, 2008, p. 150). 41. As Rachel Crawford states, she is ‘locked into the metaphor for the growth of the poet’s mind, representing both its aboriginal state and the catalyst that provides for its transformation into subjecthood’ (Crawford, 1992, p. 211).

6. ‘My hidden life’: Dorothy, William and Poetic Identity

1. See also Comitini (2003), who also discusses Dorothy’s difficulty with recon- ciling her artistic ambition with her personal ideals. 2. In The Poetry of Dorothy Wordsworth, Hyman Eigerman recognizes the latent poetry in Dorothy’s prose and, controversially, mimics Dorothy’s experiment by reshaping ‘images and cadences’ of the Journals into free verse (Eigerman, 1940, p. ii). 3. The two poems Dorothy refers to are ‘An address to a Child in a high wind’ and, most likely, ‘The Cottager to her Infant’, both published in William’s 1815 Poems. Notes pp. 217–30 245

4. Newlyn also finds much evidence that Dorothy ‘suffered from an anxiety of both influence and reception in relation to her brother’ (Newlyn, 2000, p. 231). 5. In her biography of William and Dorothy, Maclean suggests that Dorothy’s powers were the longer lasting of the two siblings (Maclean, 1927, p. 41). 6. See also Landon’s ‘Lines of Life’, which expresses shame at the concentration on self that writing required (Breen, 2000, p. 153, ll. 83–4). 7. Wolfson also examines Dorothy’s dialogic poetic response to William; see Wolfson, 1988. 8. Wolfson also notices this critical flaw; see Wolfson, 1988, p. 141. 9. See ‘Autumn Flowers’, ‘September’ and ‘November’ (CPW, pp. 148–9). 10. See also Wolfson’s positive reading of ‘Floating Island’ (Wolfson, 1988, p. 145); and Mellor’s account (Mellor, 1993, pp. 154–7). 11. Fay also discusses Dorothy’s renunciation of ‘the male romantic project’ (Fay, 1995, p. 124). 12. Rachel Mayer Brownstein concurs with De Quincey’s opinion (Brownstein, 1973, p. 62n). Though I do not want to encourage the notion that the unusual nature of Dorothy’s protracted mental illness was a manifestation of her frustrated authorial life, Wilson’s recent suggestion that she suffered from ‘depressive pseudodementia’ is a convincing summation of her decline (Wilson, 2008, p. 247). It is interesting that Dorothy retains lucid periods, which go against the progressive nature of senile dementia, where she is able to recite poetry perfectly. Bibliography

Editions of the poetry, essays and letters of Hartley Coleridge

Coleridge, Hartley (1833a), Biographia Borealis; or Lives of Distinguished Northerns (Leeds: F. E. Bingley). — (1833b), Poems, Songs and Sonnets (Leeds: F. E. Bingley). — (1836), The Worthies of Yorkshire & Lancashire (Leeds: John Cross). — (1840a), ‘Introduction’, in Philip Massinger and John Ford, The Dramatic Works of Massinger and Ford, intr. Hartley Coleridge (London: Edward Moxon), pp. ix–lx. — (1840b), ‘Modern English Poetesses’, Quarterly Review 66 (September), pp. 374–418. — (1851a), Essays and Marginalia, 2 vols, ed. Derwent Coleridge (London: E. Moxon). — (1851b), Poems by Hartley Coleridge with a Memoir of His Life by his Brother, 2 vols, ed. Derwent Coleridge (London: E. Moxon). — (1852), Lives of Northern Worthies, 3 vols, ed. Derwent Coleridge (London: E. Moxon). — (1908), The Complete Poetical Works of Hartley Coleridge, ed. Ramsay Colles (London: George Routledge and Sons). — (1936), Letters of Hartley Coleridge, ed. Earl Leslie Griggs and Grace Evelyn Griggs (London: Oxford University Press). — (1942), New Poems, including a Selection from His Published Poetry, ed. Earl Leslie Griggs (London: Oxford University Press). — (1990), Poems, 1833, intr. Jonathan Wordsworth (Oxford: Woodstock Books). — (2000), Bricks without Mortar: The Selected Poems of Hartley Coleridge, ed. Lisa Gee (London: Picador). Reeves, James (ed.) (1974), Five Late Romantic Poets: George Darley, Hartley Coleridge, Thomas Hood, Thomas Lovell Beddoes, Emily Brontë (London: Heinemann Educational). Tirebuck, William (ed.) (1888), The Poetical Works of Bowles, Lamb, and Hartley Coleridge (London: Walter Scott).

Editions of the journals, poetry and letters of Dorothy Wordsworth

Wordsworth, Dorothy (1874), Recollections of a Tour Made in Scotland, ed. J. C. Shairp (New York: G. P. Putnam’s Sons). — (1897), Journals of Dorothy Wordsworth, 2 vols, ed. William Knight (London: Macmillan). — (1930), Journals of Dorothy Wordsworth, ed. William Knight (London: Macmillan).

246 Bibliography 247

— (1936), George and Sarah Green, A Narrative, ed. Ernest De Selincourt (London: Oxford University Press). — (1941), Journals of Dorothy Wordsworth, 2 vols, ed. Ernest De Selincourt (London: Macmillan). — (1958), Journals of Dorothy Wordsworth, ed. Helen Darbishire (London: Oxford University Press). — (1965), A Dorothy Wordsworth Selection, ed. Marjorie M. Barber (London: Macmillan). — (1971; 1989), Journals of Dorothy Worsworth, ed. Mary Moorman (Oxford: Oxford University Press). — (1985), Letters of Dorothy Wordsworth: A Selection, ed. Alan G. Hill (Oxford: Oxford University Press). — (1987a), The Grasmere Journal, intr. Jonathan Wordsworth (London: Michael Joseph). — (1987b), The Greens of Grasmere, ed. Hilary Clark (Wolverhampton: Clark and Howard Books). — (1992), Selections from the Journals of Dorothy Wordsworth, ed. Paul Hamilton (London: Pickering and Chatto). — (1995), The Continental Journals, 1798–1820, ed. Helen Boden (Bristol: Thoemmes). — (1997), Recollections of a Tour Made in Scotland, ed. Carol Kyros Walker (New Haven and London: Yale University Press). — (2002), The Grasmere and Alfoxden Journals, ed. Pamela Woof (Oxford: Oxford University Press). — (2009), Dorothy Wordsworth: A Longman Cultural Edition, ed. Susan M. Levin (Harlow: Longman). Wordsworth, Dorothy, and William Wordsworth (1960), Home at Grasmere: Extracts from the Journal of Dorothy Wordsworth, written between 1800 and 1803, and from the Poems of William Wordsworth, ed. Colette Clark (Harmondsworth: Penguin). — (1967–88), The Letters of William and Dorothy Wordsworth, 7 vols, arr. and ed. Ernest De Selincourt; rev. Alan G. Hill, Mary Moorman and Chester L. Shaver (Oxford: Clarendon Press).

Books and periodicals

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Barbauld, Anna Laetitia (2002), Anna Laetitia Barbauld: Selected Poetry and Prose, ed. William McCarthy and Elizabeth Kraft (Ontario: Broadview Press). Barnes, Martin (2010), Shadow Catchers: Camera- less Photography (London; New York: Merrell Publishers). Barrell, John (1988), ‘The Uses of Dorothy: “The Language of the Sense” in “Tintern Abbey”’, Poetry, Language, and Politics (Manchester: Manchester University Press). Bate, Jonathan (2000), The Song of the Earth (Oxford: Picador). Bate, W. Jackson (1979), The Burden of the Past and the English Poet (Cambridge, Massachusetts: The Belknap Press of Harvard University Press). Bateson, F. W. (1965), Wordsworth: A Re- interpretation (London: Longman). Bellanca, Mary Ellen (2007), Daybooks of Discovery: Nature Diaries in Britain, 1770–1870 (Charlottesville and London: University of Virginia Press). Benstock, Shari (ed.) (1988), The Private Self: Theory and Practice of Women’s Autobiographical Writings (London: Routledge). Berger, John (1991), About Looking (New York: Vintage). Blackmore, Richard (1725), A Treatise of the Spleen and Vapours (London: J. Pemberton). Blake, William (1979), Blake’s Poetry and Designs, ed. Mary Lynn Johnson and John E. Grant (New York: W. W. Norton and Company). Bloom, Harold (1975), The Anxiety of Influence: A Theory of Poetry (New York: Oxford University Press). Bloom, Harold, and Lionel Trilling (eds) (1973), ‘Romantic Poetry and Prose’, in Frank Kermode and John Hollander (eds), The Oxford Anthology of English Literature, vol. II (London: Oxford University Press). Bond, Alec (1984), ‘Reconsidering Dorothy Wordsworth’, Charles Lamb Society Bulletin 47/48 ( July–October), pp. 194–207. Breen, Jennifer (ed.) (2000), Women Romantic Poets: An Anthology, 1785–1832 (London: J. M. Dent). Bromwich, David (1991), ‘The French Revolution and “Tintern Abbey”’, Raritan X (Winter), pp. 1–23. Brownstein, Rachel Mayer (1973), ‘The Private Life’, Modern Language Quarterly 34, pp. 48–63. Burke, Edmund (1983), Edmund Burke: Reflections on the Revolution in France, ed. Conor Cruise O’Brien (Harmondsworth: Penguin). — (1998), Edmund Burke: A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, ed. Adam Phillips (Oxford: Oxford University Press). Burney, Fanny (1998), Evelina, or The History of a Young Lady’s Entrance into the World, ed. Stewart J. Cooke (London and New York: W. W. Norton). Burton, Neel (2009), The Meaning of Madness (Oxford: Acheron Press). Byron, George Gordon, Lord (1973–4), Byron’s Letters and Journals, vols I, III, ed. Leslie A. Marchand (London: John Murray). — (1980–93), Lord Byron: The Complete Poetical Works, 7 vols, ed. Jerome J. McGann (Oxford: Clarendon Press). Carlson, Julie A. (2007), England’s First Family of Writers (Baltimore: The John Hopkins University Press). Cervelli, Kenneth (2007), Dorothy Wordsworth’s Ecology (London: Routledge). Cheyne, George (1943), The Letters of Doctor George Cheyne to Samuel Richardson, ed. Charles F. Mullett (Columbia, Missouri: University of Missouri Press). Bibliography 249

Chodorow, Nancy (1978), The Reproduction of Mothering: Psychoanalysis and the Sociology of Gender (London: University of California Press). Clare, John (1984), The Later Poems of John Clare, 1837–1864, vol. I, ed. Eric Robinson, David Powell and Margaret Grainger (Oxford: Clarendon Press). — (1989), The Early Poems of John Clare, 1804–1822, 2 vols, ed. Eric Robinson, David Powell and Margaret Grainger (Oxford: Clarendon Press). — (1996), John Clare: Poems of the Middle Period, 1822–1837, vol. I, ed. Eric Robinson, David Powell and P. M. S. Dawson (Oxford: Clarendon Press). Clery, Emma (2004), ‘Out of the Closet: Richardson and the Cult of Literary Women’, The Feminization Debate in Eighteenth- Century England (Basingstoke: Palgrave Macmillan), pp. 132–70. Coleridge, Samuel Taylor (1836), Letters, Conversations, and Recollections of S. T. Coleridge, 2 vols, ed. Thomas Allsop (London: Edward Moxon, 1836). — (1847), Biographia Literaria, or Biographical Sketches of My Literary Life and Opinions, 2 vols, ed. H. N. Coleridge and Sara Coleridge (London: Pickering). — (1956–71), The Collected Letters of Samuel Taylor Coleridge, 6 vols, ed. Earl Leslie Griggs (Oxford: Clarendon Press). — (1957–73), The Notebooks of Samuel Taylor Coleridge, vols I–III, ed. Kathleen Coburn (London: Routledge & Kegan Paul). — (1971), Coleridge on Shakespeare: The Text of the Lectures of 1811–12, ed. R. A. Foakes (London: Routledge and K. Paul). — (1983), The Collected Works of Samuel Taylor Coleridge: Biographia Literaria, 2 vols, ed. James Engell and W. Jackson Bate (Princeton, New Jersey: Princeton University Press). — (1987), Samuel Taylor Coleridge: Lectures 1808–1819, On Literature, vol. II, ed. R. A. Foakes (Princeton: Princeton University Press). — (1990), The Notebooks of Samuel Taylor Coleridge, vol. IV, ed. Kathleen Coburn and Merton Christensen (London: Routledge). — (1995), Samuel Taylor Coleridge: Poems, ed. John Beer (London: J. M. Dent). — (2001), The Collected Works of Samuel Taylor Coleridge: Poetical Works, Vol. I, Poems (Reading Text), ed. J. C. C. Mays (Princeton: Princeton University Press). — (2002), Coleridge’s Notebooks: A Selection, ed. Seamus Perry (Oxford: Oxford University Press). Coleridge, Samuel Taylor, and William Wordsworth (2005), Wordsworth and Coleridge: Lyrical Ballads, ed. R. L. Brett and A. R. Jones (London: Routledge). Coleridge, Sara (1874), Memoir and Letters of Sara Coleridge, ed. Edith Coleridge (New York: Harper and Brothers). Comitini, Patricia (2003), ‘“More Than Half a Poet”: Vocational Philanthropy and Dorothy Wordsworth’s Grasmere Journals’, European Romantic Review 14 (September), pp. 307–22. Coupe, Laurence (ed.) (2000), The Green Studies Reader, from Romanticism to Ecocriticism (London: Routledge). Cowper, William (1995), The Poems of William Cowper, vol. II, ed. John Baird and Charles Ryskamp (Oxford: Clarendon Press). Craske, Matthew (1997), Art in Europe, 1700–1830 (Oxford: Oxford University Press). Crary, Jonathan (1992), Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge, Massachusetts: MIT Press). 250 Bibliography

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Reviews

Anon. (1833), ‘Hartley Coleridge’, Quarterly Review 98 ( July), pp. 517–21. — (1836), ‘Art. IX. – Poems by Hartley Coleridge’, American Quarterly Review 20 (December), pp. 478–504. — (1851a), ‘Hartley Coleridge’, Chambers Edinburgh Journal 16 (22 November), pp. 327–31. — (1851b), ‘Hartley Coleridge’, New Monthly Magazine 92 ( July), pp. 276–85. — (1851c), ‘Hartley Coleridge’, Tait’s Edinburgh Magazine 18, pp. 267–70. — (1851d), ‘Hartley Coleridge as Man, Poet, Essayist’, Fraser’s Magazine (26 July), in LLA, 30.375, pp. 145–52. — (1851e), Review of Memoir, The Examiner, in LLA, 29.363 (3 May), pp. 235–8. — (1851f), Review of Memoir and EM, The Eclectic Review ( June), pp. 645–61. — (1874), ‘Dorothy Wordsworth’s Scotch Journal’, from The Spectator (5 September), in LLA, 122.1578, pp. 630–3. Blunden, Edmund Charles (1929), ‘Coleridge the Less’, review of Earl Leslie Griggs, Hartley Coleridge: His Life and Work, TLS 1449 (7 November), pp. 881–2. Coleridge, Henry Nelson (1835), Review of Lives of Distinguished Northerns, Quarterly liv (September), p. 330. Fausset, Hugh l’Anson (1933), ‘Dorothy Wordsworth’, review of Ernest De Selincourt, Dorothy Wordsworth: A Biography, TLS 1661 (30 November), p. 853. Fruman, Norman (1985), ‘The Sister’s Sacrifice’, review of Robert Gittings and Jo Manton, Dorothy Wordsworth, and Alan Hill (ed.), Letters of Dorothy Wordsworth, TLS 4291 (28 June), p. 711. Schofield, Robin (2001), Review of Bricks without Mortar, CB 18, pp. 60–5. Tomlinson, Philip (1936), ‘A Mountain Tragedy: By Dorothy Wordworth’, review of Ernest De Selincourt (ed.) George and Sarah Green: A Narrative, TLS 1801 (8 August), p. 644. — (1937), ‘Elfin Visits to the Lake Poets: Coleridge the Less on His Guardians’, review of Letters of Hartley Coleridge, TLS 1823 (9 January), p. 24. — (1942), ‘Dorothy’s Journals’, review of Ernest De Selincourt (ed.) Journals of Dorothy Wordsworth, TLS 2108 (27 June), p. 319. Index

Note: initial definite and indefinite articles in headings and titles are ignored in filing entries, as are initial conjunctions and prepositions in headings.

Aaron, Jane 212–13, 232 Beer, John 14–15 Abrams, M. H. 243n. Bellanca, Mary Ellen 136 Alexander, Meena 164, 169, 173 Berger, John, ‘Why Look at Animals?’ Alfoxden (Somerset) 137, 175, 176, 141 178, 190, 192, 195–6, 198, 199: Bishop, Elizabeth 40–1 see also Wordsworth, Dorothy, ‘The Fish’ 40 works: journals: Alfoxden Journal Blackmore, Richard, A Treatise of the Allsop, Thomas 76, 237n. Spleen … 53 ‘alternate Romanticism’ 140: see Blackwood’s 61, 106–7 also Curran, Stuart; Mellor, Anne, Blake, William 25–6, 54, 56, 161, ‘feminine Romanticism’ 241n. Ambleside 104 ‘Auguries of Innocence’ 25–6, 241n. American Quarterly Review 67, 70–1, Bloom, Harold 6, 7, 66, 100, 232, 89–90 238n., 240n. Anderson, Peter 235n. The Anxiety of Influence 6, 232, anorexia 242n.: see also Wordsworth, 238n. Dorothy, illness and mental See also influence, questions of; decline Wordsworth, Dorothy, and Aristotle 82, 107 William (brother); Wordsworth, Arnold, Jane 218 William, and Dorothy aspen leaves imagery 78–9 Blunden, Edmund Charles 3, 5, 33 Austen, Cassandra 204, 240nn. Bond, Alec 163 Austen, Jane 133–4, 201, 240n. Boyce, Samuel 6, 126 Mansfield Park 133–4 Breen, Jennifer 215 Austen family 240n. Brocken, spectre of 23–4 Bromwich, David 187 Balint, Emily 203 Brontë, Emily 234n. Barbauld, Anna Laetitia, ‘To a Little Wuthering Heights 244n. Invisible Being … ’ 59 Browne, Thomas 236n. Barber, Marjorie 158 Brownstein, Rachel Mayer 245n. Barnard Castle 153 Burke, Edmund 36 Barnes, Martin 235n. Reflections on the Revolution in Barrell, John 187, 188 France 200–1 Bate, Jonathan 229 Burney, Charles 72 Bate, W. Jackson 90 Burney, Frances 72–3 Bateson, F. W. 197 Evelina 72 Baudelaire, Charles 29, 241n. Burns, Joseph 117 Beaumont, Lady Margaret 130–1, Burton, Neel 95 214, 215–16, 237n. Byron, George Gordon, 6th Baron Beddoes, Thomas, ‘Bride’s Tragedy’ 193 1, 5–6, 50–1, 86, 102–3, 105, 117

258 Index 259

Don Juan 102, 128 on William Wordsworth 118–20 ‘Epilogue’ 239n. Coleridge, Hartley ‘Heaven and Earth, A Mystery’ alleged drinking 69, 73, 95, 236n. 239n. alleged eccentricities 3, 69–71, ‘Stanzas for Music’ 52 81–3, 90–1, 98, 127–8 anthropomorphizing tendencies Cambridge 17, 174, 226 25–6, 41–3 Campbell, Thomas 89–90 anxieties of authorship/influence Carlson, Julie 6, 234n. 6–7, 11, 19, 24, 29, 37, 68, 85–90, Cary, Henry Francis 243n. 93–4, 117, 125–7 Cervelli, Kenneth 2, 10, 164, 228, and childhood/children 4, 12–13, 229, 234n. 23–4, 28, 36, 44, 51, 55–65, 79, Cezanne, Paul 39 111, 122, 123, 124–5, 224 Chaucer, Geoffrey, Troilus and Creseide death 118–19: grave 114 80 democratic vision 19, 26, 28, 41, Cheyne, George 54 44, 62, 93, 103, 106–13, 114–16, The English Malady … 53 123 Chodorow, Nancy 27 depression 19, 95–6, 238n. Clare, John 5, 38–9, 41 and Derwent (brother) 3, 4, 13, 20, ‘Address to an Insignificant 33, 36, 38, 52, 54, 65, 70–1, 76, Flower … ’ 235n. 79, 87, 89, 90–9, 103, 104, 106, ‘I am’ 81, 237n. 117, 118–19, 120, 121, 123, 183, ‘To a Cowslip Early’ 42, 236n. 234n.; see also Coleridge, Derwent ‘To the Cows Lip’ 42, 236n. and D. H. Lawrence 6, 39–41, 82, Clark, Colette 240n. 238–9n., 243n. Clarkson, Catherine 146–7, 168, and Dorothy Wordsworth: 177, 205, 207 compared to 4, 26–7, 38, 42–4, Clery, Emma 242n. 47–8, 142, 151, 159–65, 171, 175, ‘Cockney School’ 102–3: see also 183, 188–9, 200–1, 215, 216–17, Hunt, Leigh; Keats, John 219, 223, 224, 226, 228–9, 231–3, Coleridge, Derwent (brother of 239n.; on Dorothy 114; see also Hartley) 70, 76, 79, 89, 103, Wordsworth, Dorothy, on Hartley 104, 117, 177, 236nn., 238n. epitaph for Charles Lamb 243n. as ‘family editor’ 98–9 as eternal child, see myth of and Hartley: editor of xiv, 1, 3, 4, on fame 32, 77, 84–6, 101, 102–3, 38, 64–5, 71, 76, 94–7, 99, 106, 114–16, 125–6, 237n. 117, 234n., 237n., 238n.; and the ‘feminine Romanticism’, affinities Hartley myth 3, 96–7, 120–3; with 4–5, 27, 35, 40–2, 59, 66, and Hartley’s reputation 3, 7, 13, 73, 115 20, 33, 36, 51, 52, 54, 70, 87, 94, ‘hidden life’ 11, 42, 86–7, 111, 96–8, 106; relationship with 114–16, 118 Hartley 4, 7, 20, 90–100, 183; imagination 13–15, 25, 29, 48, 69, see also Coleridge, Hartley, and 72–3, 80, 84, 87, 97, 98, 107–8, Derwent (brother) 112–14, 238n. marriage 94 and Keats 25, 27, 29–31, 35, 44–6, Memoir of Hartley 13, 20, 34, 38, 47, 50–1, 63, 73–4, 89, 103, 51, 64–5, 75, 87, 91, 94, 95, 96, 113–14, 125, 126, 128 99, 118–19, 238n. Lockean ideas 4, 5, 15–16, 24–8, and STC 3, 79, 95, 96–7, 98 49, 52, 53, 116 260 Index

Coleridge, Hartley – continued relational selfhood 4–5, 7, 11, 13, on love 14, 16, 28, 31, 37, 41–2, 19–29 passim, 35, 46, 49, 50, 57, 50, 55, 56, 60, 62, 63–4, 73, 75, 64, 69, 88, 114, 116, 124, 125, 79–80, 83, 110, 112, 115, 127, 127, 231, 232 200–1, 203–4, 237n. reviews 1, 3, 6, 33, 67, 84, 98–9, on marriage 31, 38, 60, 61, 62, 102, 234n., 237n., 238n. 92–3, 94; see also marriage and Sara (sister) 80, 81, 99, 117, and Modernism 5–6, 33, 39–41, 236n., 240n.; see also Coleridge, 162 Sara myth of 3, 12–13, 20–1, 27–8, second volume to Poems (intended) 67–84, 90–9, 123, 127–8, 165, 233 70, 76, 81, 105, 106, 127 mythologized by STC and William self and other 7, 11, 12–13, 16–18, Wordsworth 3, 6, 27–8, 68–70, 77, 19, 20, 22, 26–7, 28, 38, 70, 82, 92, 118–28, 165, 187, 189, 239n. 90–9 passim, 183, 232–3 and nature 4, 13–14, 15, 17, 23, and the senses 44–55 passim; 25–30, 32–44, 45–8, 65 sound/hearing 45–9, 236n.; ‘one life’ 13, 15–16, 25, 43, 45–6, synaesthesia 25, 44–5, 51–2, 193 47, 49, 52, 55–6, 116, 232 sensitivity 13, 32, 33–4, 51–5, 75, ‘One Mind’ 31, 88, 89–90, 99–100, 78–9, 91, 124 231–2 and sibling bonds 8, 78, 80, 81, on originality 67, 72–3, 82 84, 89, 90–9 passim, 155, 200–1, on the Poet 5, 12, 29–31, 57, 62, 203, 204, 240n. 67, 72–3, 82, 83–4, 85–7, 88–90, and Southey 75, 79, 84 99–100, 101–4, 107–14, 115–16, and STC xiv, 1, 7, 27–8, 67–8, 118: poetic immortality 29–31, 73–4, 75, 76–7, 81, 83–4, 85, 87, 32, 83–4, 85–7, 88–9, 99–100, 91–2, 96, 99–100, 101, 105–7, 101, 108, 114–15, 122; poetic 203, 237n., 238n.; and STC’s integrity 72–3, 79–80, 81–2, 102; death 70, 74, 75–6, 76–8, 82–3, on poetry 29–31, 49, 62, 69, 91–2; see also Coleridge, Samuel 72–3, 80, 86–7, 91, 99–100, 101–4, Taylor 106–11, 113–14, 125–6, 127, 236n. and the sublime 4, 15, 36, 40–1, ‘poetics of relationship’ 3–4, 6, 8, 45–6, 48, 49, 53, 61, 66, 100 9, 10, 11–13, 16–18, 19, 29–31, and William Wordsworth 20, 31, 32, 33–5, 38–44, 49–65, 81, 100, 38–9, 44–6, 50–1, 55–6, 63, 66, 115, 121 68, 71, 72, 87, 89–90, 102–5, poetic style/imagery 12–65 passim, 105–7, 116, 117–19, 123, 187, 77–9, 87–9, 97, 98, 99–100, 192, 201–2, 204, 215, 235n., 111–13, 124–5, 128, 134–5, 238n., 239n.; criticized by 143, 145, 160–1, 163–4, 205, 105–6; criticizes William 102–4; 239n.; flowers 41–4; leaf- tree and Lucy poems 26, 42, 124; symbolism 38, 77–9, 96–7, 123, parodies of 116–18; and ‘Tintern 143; miniaturism 13, 25–6, 32, Abbey’ 13, 14, 15, 45, 48, 115, 33–7 120; and ‘To H.C., Six Years Old’ portraits ix, 122, 238n., 239n. (see Wordsworth, William, works); reception/reputation 1, 3–12, 52, see also Wordsworth, William, 76, 80–2, 84–5, 91–2, 94, 97–8, and Hartley Coleridge 104, 118, 122, 126, 128, 164–5, on women 42, 43, 50, 59, 60, 61, 172–3, 187, 232–3, 234n. 62, 63 Index 261 and Wordsworth family 75, 104–6, ‘Continuation’ 38, 240n.; 118–19, 237n. ‘Could I but harmonise one ‘Zany/spectre’ portrayal 76–7, 82–3 kindly thought’ 86; ‘The works: Cowslip’ 41; ‘The Cuckoo’ 45; Biographia Borealis; or Lives of ‘De Animabus Brutorum’ 28–9, Distinguished Northerns 1, 73, 32; ‘Dedicatory Sonnet to 84–5, 237n.; Preface to Poems, Songs S.T. Coleridge’ 68–71, 236n.; and Sonnets 81, 106–7, 110, 126–7 ‘Epigram’ 70; ‘Epitaph on an essays and marginalia: ‘The Books Honest Hostess’ 114; ‘Five of my Childhood’ 36, 51; senses hath the bounteous Lord ‘De Omnibus et Quibusdam bestow’d’ 44; ‘Followed by Aliis’ 61; ‘Lyttleton: on Another’ 81; ‘The Forsaken to the Life’ 82; ‘On Parties the Faithless’ 85; ‘Fragment’ in Poetry’ 15, 48, 57; ‘On 20–1, 22–3, 58, 113, 115; the Imitators of Pope’ 77; ‘From Country to Town’ ‘Pins’ 13, 24–6, 54, 116, (‘Continued’) 17–20, 35, 49, 160, 161; ‘A Preface That 124; ‘Full well I know – my May serve for all Modern Friends – ye look on me’ 38, Works of Imagination’ 72–3, 76–7, 79–80, 81–3; ‘The 107–8; ‘Remarks on Old Age, God-Child’ 62; ‘Heard, Passive Imagination, and Not Seen’ 45, 88; ‘Hidden Insanity’ 29, 49–50, 80, 95; ‘R. Music’ 45; ‘Homer’ (‘Far from all West’ 77; ‘Shakespeare and his measured … ’) 235n.; ‘Homer’ Contemporaries’ 106–7; (‘Far from the sight …’) 235n.; ‘Sir Joshua Reynolds’ 115 ‘Humming Birds’ 113, 115; ‘Introduction’ to The Dramatic ‘I dreamed that buried in my Works of Massinger and Ford 1, fellow clay’ 114; ‘I have been 105–6, 114–15, 237nn.; letters 7, cherish’d, and forgiven’ 237n.; 71–2, 75, 98, 105, 117, 118, ‘I have written my name on water’ 128: to Derwent 87, 89, 91, 29–30, 31; ‘The Infant’s Soul’ 56; 92, 94, 103, 104, 236n.; to Sarah ‘I saw thee in the beauty of thy Coleridge (mother) 38, 74, 90, spring’ 34; ‘I thank my God 92, 93, 114, 237n.; to STC 75 because my hairs are grey!’ 123; poems: ‘Address to Certain Gold ‘It were a state too terrible for Fishes’ 24, 38–9; ‘Album man’ 37; ‘Let me not deem that Verses’ 86; ‘As the dew of I was made in vain’ 33, 36–7, the morning bestars every 116; ‘The Lily of the Valley’ 41; blade’ 124–5; ‘Autograph’ 86; ‘Lines’ (‘Oh for a man, I care not ‘Autumn Flowers’ 245n.; what he be’) 28, 127; ‘Lines: ‘Azalea’ 44; Bricks without written by H.C. in the fly- leaf Mortar 3, 98; ‘A Brother’s of a copy of Lucretius … ’ 24; Love to his Sister’ 200, 201, ‘A lonely wanderer upon earth 203; ‘Can Man rejoice in joys am I’ 37–8, 94, 224; ‘Long time he may not know?’ 94; ‘The a child’ 12, 121, 123, 125–7 (see Celandine and the Daisy’ 41, also Coleridge, Hartley, myth of; 44, 101; ‘Coleridge the Poet’ 71; Coleridge, Hartley, mythologized The Complete Poetical Works by STC and William); ‘The of Hartley Coleridge xiv; Man, whose lady- love is virgin 262 Index

Coleridge, Hartley – continued III]’ 26–8; ‘To the Same Truth’ 42; ‘May, 1840’ 47, [Wordsworth]’ 31, 238n.; ‘To 48, 50; ‘May Morning’ 34; William Wordsworth’ 31, New Poems (1942) xiv, 101; ‘To Wordsworth’ 101; 4, 116; ‘Night’ 47, 193; ‘To W.W. on his seventy- fifth ‘November’ 245n.; ‘Oh – why, birthday’ 238n.; ‘’Twere surely my Brother, are we thus hard to toil without an aim’ 86; apart’ 92; ‘On a Bunch of ‘The Use of a Poet’ 107, 110, Cowslips’ 43, 50, 151; ‘On 111, 112; ‘What can a poor man an Infant’s Hand’ 57–8, do but love and pray?’ 127; 60; ‘On a Picture of a Very ‘What I Have Heard’ 88; ‘What Young Nun …’ 50; ‘On the is the meaning of the word Late Mrs Pritt … ’ 62; ‘Pains “sublime”’ 36, 53, 66, 100, 231; I have known, that cannot ‘What was’t awaken’d first the be again’ 52; ‘Parody on untried ear’ 45; ‘Whither is Wordsworth’ 116–17; ‘Peter gone the wisdom and the Bell’ 117; Poems, Songs and power’ 99; ‘Who is the Sonnets (1833) 1, 3, 5, 67, Poet?’ 107, 108; ‘Who would 80, 89, 102, 104, 112, 121, have thought, upon this icy 123, 215, 216–17, 234n.; cliff’ 111–12; ‘Young and his ‘The Poet’ 83–4; ‘Poietes Contemporaries’ 85; ‘Youth, Apoietes’ 29, 125–6, 236n.; thou art fled’ 123 ‘Presentiment’ 95–6, 238n.; Coleridge, Henry Nelson 71, 72, ‘Prometheus’ 70; ‘Rydal’ 238n.; 84–5, 237nn. ‘The Sabbath-Day’s Child’ 33–4, Coleridge, John Taylor 71, 236n. 60–1; ‘September’ 245n.; Coleridge, Samuel Taylor xiv, 8, 10, ‘Shakespeare’ 235n.; ‘Still 11, 18, 20, 21–8, 33, 38, 45, 47, for the world he lives, and 49, 50, 82, 95, 98, 102, 103, 104, lives in bliss’ 74; ‘There was 106, 107, 158, 165, 179, 180–1, a seed which the impassive 183, 187, 210, 212, 213, 232–3, wind’ 36–7, 81–2; ‘Thou, Baby 236–7nn., 242nn., 243nn. Innocence’ 56; ‘Time was when accused of plagiarism 85 I could weep; but now all care’ and childhood 27 236n.; ‘To — ’ 63–4; ‘To a Deaf and children 21, 58–9, 60, 62, and Dumb little girl’ 45, 49; ‘To 63: see also Coleridge, Derwent a Friend’ 13–14, 15, 26; ‘To an (brother of Hartley); Coleridge, Infant’ 56; ‘To Christabel Rose Hartley; Coleridge, Samuel Taylor, Coleridge’ 55; ‘To dear little neglect of family; Coleridge, Sara Katy Hill’ 55, 56; ‘To Derwent (sister of Hartley) Coleridge’ 91; ‘To Jeanette’ 55; death 74–7, 82–3, 91 ‘To K. H. I. … ’ 55, 60, 62–3; divided self 21–2, 55, 64, 96–7, ‘To Margaret’ 55; ‘To my 232, 238n. Unknown Sister- in-Law’ 61, and Dorothy Wordsworth 52, 92; ‘To Shakespeare’ 235n.; 172, 192, 214, 227, 237n., ‘To S.T. Coleridge’ 71; ‘To the 243n.: see also Wordsworth, Nautilus’ 39, 112; ‘To the River Dorothy, and STC; Coleridge, Otter in Devonshire’ 88; ‘To the Samuel Taylor, and the Same [“a friend” II]’ 15–16; Wordsworths ‘To the Same [“a friend” elitism 112–13, 116 Index 263 idealizes Hartley 3, 4–5, 6–7, 122, 203, 239n.; ‘The Pains 12, 27–8, 45, 51, 55, 68–70, 78, of Sleep’ 237n.; ‘Religious 79, 82–3, 84, 92, 120–1, 123–6, Musings’ 58; ‘Sonnet: On 189, 236–7n.: see also Coleridge, Receiving an Account that my Hartley Sister’s Death … ’ 243n.; ‘Sonnet: illnesses/addictions 95, 142–3: On seeing a Youth … ’ 139; depression 14–15, 96, 144–5, ‘Sonnet: To a Friend … ’ 60; 238n. ‘Time, Real and Imaginary: An letters 77, 78–9, 123, 172, 238n. Allegory’ 26, 183; ‘To a Friend’ and nature 8, 14–15, 20, 21, 24, 139, 197; ‘To an Infant’ 59, 60 27–8, 47, 77–8, 88, 112 Coleridge, Sara (sister of Hartley) 71, neglect of family 74–5, 79–81, 79, 80, 81, 98–9, 117, 236n., 240n. 110, 120, 131, 237n. as ‘family editor’ 71, 98–9 ‘one life’ 16, 22, 24, 163, 232 Phantasmion 80 poetic imagery 77, 96–7, 139, 143, Coleridge, Sarah (née Fricker; mother 163, 239n. of Hartley) 37–8, 74, 75, 76, 79, rejects Hartley 52, 70, 97, 120 84–5, 90–1, 92, 93, 104, 114, 138 on Shakespeare 61–2 Colles, Ramsay xiv, 33–4, 92, 94, 116 and sibling bonds 139, 183–4, Comitini, Patricia 136, 240n., 197, 201, 243n. 244nn. ‘silliness’ 238n. ‘the common life’ 16, 64, 109, 116, synaesthesia 25, 139 231–2: see also Locke, John; ‘one and the Wordsworths 103–5, 110, life’; relational selfhood/self- in- 112, 119, 139, 167, 172, 175–6, relation; Woolf, Virginia 192, 195–6, 198, 203–4, 214, 227, Cookson, William 129 237n. Cowper, William, The Task 22, 143 works: Crabb Robinson, Henry 201, 217, Biographia Literaria 71, 104, 219 112, 242n.; Lectures 1808–1819, Crackanthorpe, Charlotte 135 On Literature 61–2; Letters, Crackanthorpe, Christopher 147 Conversations and Recollections Crary, Jonathan 29 of 76; Notebooks 3, 21, 55, Craske, Matthew 158 58, 77, 79, 96, 97, 123–4, 139, Crawford, Rachel 244n. 241n.; Specimens of the Table Cromwell, Oliver 114 Talk of the Late Samuel Taylor Crosby, Harry, Chariot of the Sun Coleridge 237n. 234n. poems: ‘Album Verses: Cunningham, Allan 116 “Dewdrops … ”’ 239n.; Curran, Stuart 35, 39, 108, 140 ‘Christabel’ 12, 78, 122, 143, ‘alternate Romanticism’ 140 239n.; ‘Constancy to an Ideal Object’ 23–4; ‘Dejection: An Dante Alighieri 1, 243n. Ode’ 14–15, 144–5; ‘English Divine Comedy 243n. Hexameters’ 49, 203–4, 237n.; Darwin, Charles 5–6, 23, 35, 235n. ‘The Eolian Harp’ 47, 51, 78–9, On the Origin of Species 35, 235n. 163; ‘Fears in Solitude’ 122, Davy, Sir Humphry 22, 34–5, 78 239n.; ‘Frost at Midnight’ 18, Dearden, Joseph 102–3 27, 69, 92, 122, 210, 239n.; ‘Kubla depression 14–15, 19, 95–6, 134, Khan’ 88–9; ‘The Nightingale: 144–6, 218–19, 238n.: see also A Conversation Poem’ 45, individual authors 264 Index

De Quincey, Thomas 7–8, 18, 48–9, Fairchild, Hoxie Neale 162 85, 147, 165, 170–3, 192, 236n., Fairer, David 16, 89, 235n. 243n., 245n. family authorship 3, 6–7, 8, Confessions of an English 9–11, 66–100, 117, 231–3, Opium- Eater 18, 48–9 234n.: see also Wordsworth, and Dorothy Wordsworth 7–8, Dorothy, and William (brother); 147, 165, 170–3, 192, 243n. Wordsworthianism ‘Lake Reminiscences’ 170 Fausset, Hugh l’Anson 2–3 on music 48–9, 236n. Fay, Elizabeth 2, 9, 27, 138–9, 144, De Selincourt, Ernest 2–3, 241n., 146, 161, 165, 166, 172–3, 178, 244n. 180, 188, 194, 202, 240n., 242n., de Vere, Aubrey 68, 97–8, 123 245n. Dickinson, Emily 235n. Feldman, Paula 241n., 242n. Dickstein, Morris 187, 189, 143n. ‘feminine Romanticism’ 4, 27, 35, Dove Cottage 156, 173, 198, 240n. 66, 234n.: see also Coleridge, Dowden, Edward 55 Hartley; Mellor, Anne; Drayton, Michael 5 Wordsworth, Dorothy Dryden, John 66, 67–8 feminist theory 2, 4, 5, 8, 11, 27, Duffy, Carol Ann, ‘Dorothy 35, 59, 73, 173, 223: see also Wordsworth is Dead’ 142, 162, individual critics 211 Fenwick, Isabella 158 Dyce, Alexander 234nn. Ferguson, Edward 217–18 Specimens of English Poetesses Ferrier, James 85 234n. Forncett Rectory 129, 174, 243n. Specimens of English Sonnets 234n. Fox, Caroline 51–2 Fox Talbot, William Henry 34–5 Easedale Tairn 156 Fraser’s Magazine 98 Eclectic Review 238n. Freud, Sigmund 221 ecocriticism 8, 229, 234n.: see also Fruman, Norman 132, 241–2n. Cervelli, Kenneth Fullmer, June 22 Edgeworth, Maria, Practical Education 242n. Garrad, Greg 234n. Edinburgh Review 102 Gee, Lisa 1, 3, 5, 89, 97 Eger, Elizabeth 242n. gender (in)significance 2–3, 4, 8, ‘egotistical sublime’ 31, 40–1, 43, 11, 19, 35–6, 73, 167, 180, 181, 101, 108–10, 140, 160, 186, 190: 185–6, 212–13, 232–3 see also Wordsworth, William Genesis, book of 194 Eigerman, Hyman 162–3, 241n., George and Sarah Green, A Narrative, see 242n., 244n. Wordsworth, Dorothy, works Eliot, George 5–6, 85, 87, 114, 115, Germany 195–6, 198 229, 239n. Gigante, Denise 235n., 236n. Middlemarch 53, 87 Gilbert, Sandra 2 Scenes of Clerical Life 237n. Gittings, Robert 178 Eliot, Thomas Stearns 99–100, 182, Godwin, William 79, 159, 234n. 243n. Godwin circle see Wollstonecraft– Emerson, Ralph Waldo 238n. Godwin–Shelley circle Eolian harp 78 Goethe, Johann Wolfgang von 238n. Estlin, John Prior 238n. Goldsmith, Oliver, The Traveller The Examiner 1, 99 240n. Index 265

Grant, Charlotte 242n. Hutchinson, Mary see Wordsworth, Grasmere 114, 118–19, 138, 149, Mary (née Hutchinson) 178, 192, 198, 200, 214, 227, Hutchinson, Sara (‘Asra’) 21–2, 154, 238n., 242n.: see also Wordsworth, 157, 204 Dorothy, works: journals Grasmere Journals see Wordsworth, Imagist poets 5–6, 33, 39, 162–3, Dorothy, works: journals 241n Gray, Thomas 42 Imlay, Gilbert 234n. ‘Elegy Written in a Country incest, brother–sister 154–5, 167 Churchyard’ 114, 235n. influence, questions of 6, 7, 66, ‘Sonnet on the Death of Richard 238n. West’ 236n. in Dorothy and William Green, George 167–8, 171 Wordsworth 42–3, 135–9, 146, Green, Sarah 167–8, 171 148, 158–67 passim, 171, 174, The Greens of Grasmere see Wordworth, 176, 184, 186–7, 195, 200, 208, Dorothy, works: George and Sarah 210, 211–12, 213, 214–31 passim Green in Hartley and STC xiv, 3, 34, Griggs, Earl Leslie xiv, 4, 63, 70, 73, 37, 58, 67–8, 77–8, 86–8, 90–1, 76, 83, 86, 98, 116, 119, 236nn., 99–100 237n., 238n. in Hartley and William Hartley Coleridge: His Life and Wordsworth 101–28 passim Work 33, 54 intertextuality 6, 9, 73, 88–9, 180, Gubar, Susan 2 222

Hamilton, Paul 196 James, William 159 Hardwick, Elizabeth 145 Jamison, Kay Redfield 238n. Hardy, Thomas 158 Jeffrey, Francis 102, 103 Hartley, David, Observations on Johnson, Monte Ransome 82 Man … 58 Johnston, Kenneth R. 189 Hartman, Geoffrey 100, 243n. Hay, Daisy 10 kaleidoscope 29 Hazlitt, William 212 Kalnins, Mara 39, 235n., 243n Healey, Nicola 234n. Keanie, Andrew 3–4, 26, 33, 35–6, Hewlett, Maurice 160 66, 81, 98, 126, 238n. ‘hidden life’ see Coleridge, Hartley; Keats, John 72, 103, 128, 234n., Eliot, George; Wordsworth, 236n. Dorothy and Dorothy Wordsworth 126, Homans, Margaret 2, 136, 161, 223, 193, 227 228 and Hartley Coleridge 1, 5, 25, 27, Homer 31, 32, 62, 235n. 29–31, 35, 44–51, 72, 73–4, 89, Hopps, Gavin 70 101, 103, 113–15, 125 ‘horizontal sublime’ see the sublime, ‘How many bards gild the lapses of ‘of nearness’/‘female sublime’ time’ 89 Hough, Graham 235n. ‘I stood tip-toe … ’ 193 Hunt, Leigh 5–6, 50–1, 107–8, 117, ‘Ode to a Nightingale’ 25, 46 236n. ‘Sleep and Poetry’ 113, 125 Foliage 107 Keble, John 236n. Hutchinson, Joanna 204 Kenyon, John 104 Hutchinson, John 154 Keswick 102, 129 266 Index

Klass, Dennis 206 Marshall, Jane (née Pollard) 131, Krawczyk, Scott 6 132, 133, 144, 164, 173–5, 195, Kristeva, Julia 27, 73 219–20, 153 Marshall, Julia 219–20 Lacan, Jacques 27 Marvell, Andrew, ‘Orient Dew’ Lake District 75: see also individual 124 places Matlak, Richard 8, 158, 167, 195 ‘Lake School’ 102 McFarland, Thomas 212 Lamb, Charles 50, 191, 201–3, Mellor, Anne 2, 10, 59, 140, 162, 212–13, 232, 243–4nn. 171, 186, 231, 235n., 245n. Lamb, Mary 201–3, 204, 212–13, ‘feminine Romanticism’ 4, 27, 35, 217, 232, 243–4nn. 66, 234n. Landon, Letitia Elizabeth 215–16, Merrin, Judith 40 245n. Miller, Jean Baker 19 ‘Lines of Life’ 215, 245n. Millgate, Michael 158 Langdale Fell 167–8 Milton, John 1, 47, 196, 232 Lawrence, D. H. 5–6, 8, 39–40, 41, Paradise Lost 206, 244n. 82, 161, 162, 181–2, 234n., 235n., Mitchell, Juliet 10, 133, 196, 197–8, 238–9n., 243nn. 203, 221, 241n. ‘Baby Tortoise’ 40 Modernism 5–6, 33, 162–3 Birds, Beasts and Flowers 235n Monet, Claude 158 ‘Butterfly’ 238–9n. Mont Blanc 111–12 ‘Chaos in Poetry’ 161 Montgomery, Robert 239n. ‘Fish’ 39–41 More, Hannah 217 ‘Poetry of the Present’ 182 Moxon, Edward (publisher of Selected Poems 234n. Hartley) 105–6, 119, 128, 201, Lee, Edmund 136, 161, 172, 241n. 237n., 244nn. Lee, Sidney 231–2 Mulcaster, John Peter 239n. Levin, Susan xiv, 2, 10, 137–8, 155, Mulcaster, Mary E. ix, 122, 239n. 165, 168, 173, 193, 217, 222, 234n. Mullan, John 53, 54 Levinson, Marjorie 187, 189, 243n. Levy, Michelle 6, 98–9 Narrative Concerning George and Sarah Locke, John 4, 5, 49, 52–3, 232, 235n. Green, see Wordsworth, Dorothy, ‘one Common Life’ 16, 116 works Essay Concerning Human ‘negative capability’ 45, 113: see also Understanding 15–16, 44 Keats, John Loughrigg 140–1, 185 Nether Stowey 69, 137, 198 Lucretius 24 Newlyn, Lucy 6, 66, 99, 124, 127–8, 164, 241n., 244n. Maclean, Catherine Macdonald 160, New Poems (1942) see Coleridge, 245n Hartley, works Maginn, William 239n. Nicene Creed 206 Manly, Susan 111, 238n. Nickman, Steven 206 Manton, Jo 178 Nietzche, Friedrich 238n. Marks, Clifford 2, 190, 191–2, North of England Magazine 83 243nn. Notes and Queries 116 marriage 31, 38, 60, 61, 62, 92–3, 94, 148, 151–7, 170, 178, 182, Objectivist poets 163 241nn. O Gallchoir, Cliona 242n. Index 267

‘one life’ 13, 15–16, 22, 24, 25, 43, 64, 69, 88, 114, 116, 124, 125, 127, 45–6, 47, 49, 52, 55–6, 116, 142, 132, 134, 142, 145, 157, 159, 192, 163, 191, 232 212, 218, 223, 231, 232: see also ‘One Mind’ 31, 88, 89–90, 99–100, Coleridge, Hartley, self and other; 231–2 ‘the common life’; Wordsworth, organicism 16, 24–5 Dorothy, self and other Oriel College (Oxford) 69, 75, 236–7nn. Religio Medici 236n. Ovid 202 Reynolds, John Hamilton 117, 239n. Owen, W. J. B. 158 Reynolds, Joshua 115–16, 161 Oxford 69–71, 75, 236–7nn. Discourses 161 Oxford Anthology of English Richardson, Samuel 54 Literature 240n. River Derwent 13–14 River Rotha/Rothay 227 Pantheism see ‘one life’ River Wye 194, 230 Paterson, Don 5, 12 Robinson, Roger 239n. ‘The Alexandrian Library’ 125 Rogers, Samuel 163, 169–70, 243n. Penrith 102, 129, 131–2 Ross, Marlon 66, 183, 184, 186, 221 Perry, Seamus 238n. Rowe, Dorothy 130, 198 photography, camera- less 34–5 Ruoff, Gene W. 189 Plotz, Judith 33, 36, 55, 56–7, 68, Ruskin, John, Stones of Venice 162 79, 83–4, 99–100, 127–8, 239n. Rydal Mount 63, 103, 104, 117, 217 Poems, Songs and Sonnets (1833), see Rydal Water 122, 149, 185 Coleridge, Hartley, works ‘poetics of relationship’ 3, 4, 8, 10, St Oswald’s Church (Grasmere) 114 11, 142, 186, 212–13, 231–3: see Sanders, Valerie 8, 131, 166–7, 187, also Coleridge, Hartley 213, 241nn. Pollard, Jane see Marshall, Jane self, the egotistical 5, 10, 13, 27, Poole, Thomas 79 30–1, 40–1, 44, 63, 85–7, 101, Pope, Alexander 32, 77 110, 114, 136, 145, 175, 186, 189, ‘Essay on Man’ 53–4 196, 198, 210–12, 214–15, 218, Pound, Ezra 162–3, 241n. 227, 229, 231, 232 The Prelude see Wordsworth, William, selfhood see relational selfhood/self- works in-relation Purkis, Samuel 78 Shairp, J. C. 171, 172 Shakespeare, William 1, 32, 61–2, Quarterly Review 1, 6, 102, 103 231–2 Quiller-Couch, Arthur 161–2 King Richard II 80, 127 Quillinan, Edward 99, 240n. ‘The Lover’s Complaint’ 179 A Midsummer Night’s Dream 240n. Racedown 134, 148, 198 Twelfth Night 41 Rawnsley, Hardwicke Drummond, Shelley, Mary 5, 22–4, 50–1, 133, 201 Reminiscences of Wordsworth Frankenstein, or the Modern among the Peasantry of Prometheus 22, 36, 64, 120–1, Westmoreland 63, 118 244n. Recollections of a Tour Made in Scotland The Last Man 17 see Wordsworth, Dorothy, works Matilda 16–17 relational selfhood/self-in- Shelley, Percy Bysshe 50–1, 110, 117, relation 4–5, 7, 10, 11, 13, 163, 212, 239n. 19–29 passim, 35, 46, 49, 50, 57, A Defence of Poetry 110 268 Index sibling theory/studies 8, 10, 130, Thoreau, Henry David 163 131, 133, 166–7, 197–8, 203, 206, Times Literary Supplement 98 212–13, 221, 241n. Tirebuck, William 5, 98 siblings/sibling bonds 2–3, 8–10, 26, Todd, Janet 6–7, 64, 144, 234n., 77–8, 90–5, 129–36, 139, 141–2, 244n. 148, 151–7, 162, 164–73, 178, Tomlinson, Philip 98, 135, 157, 171 180–213 passim, 217, 220, 224, Trilling, Lionel 154–5, 240n. 225–6, 230, 232, 235n., 240n., Tucker, Josiah 115 241n., 243n., 244nn., 245n. twins/twin bonds 162, 166, 178, Silverman, Phyllis R. 206 180, 202, 203, 205, 244n. Simpson, David 187, 243n. Smith, Charlotte 140, 157 Valenciennes, Pierre- Henri de, Advice Society for Encouraging Commerce to a Student on Painting … 158 and Manufactures 116 Victoria, Queen 118 Soderholm, James 194–5, 243n. Virgil 239n. Sotheby, William 236–7nn. Vlasopolos, Anca 2, 154, 180, 183, Southey, Robert 51, 52, 89, 93, 105, 242nn. 123–4, 237n. Hartley in care of 75, 79 Waddington, Samuel 1 Hartley compares to STC 84 Walker, Eric 133–4, 241n. The Spectator 171–2 Wallace, Anne 177, 240n. Spencer, Jane 8, 66–8, 72, 160–1, Warburton, Penny 242n. 188, 209, 241n. Watts, Alaric 104 Stanger, Mary 81 Wedgwood, Thomas 34–5 STC see Coleridge, Samuel Taylor Whitman, Walt 5, 127, 163 Stevens,Wallace 241n. Leaves of Grass 5 Stillinger, Jack 192, 211 Wilkie, David 97, 238n. Multiple Authorship and the Myth of Wilkinson, Thomas 153 the Solitary Genius 167 Wilson, Frances 155, 242n., 244n., Stone, Marjorie 166, 177, 241n. 245n. ‘stream of consciousness’ 159 The Ballad of Dorothy Wordsworth the sublime 15, 36, 45, 53, 66, 100, 155, 242n., 245n. 134, 139, 140–1, 156, 160–2, Wilson, John 236n. 185–7, 190–9, 202, 210–12 Winchester, C. W. 63 ‘of nearness’/‘female sublime’ 4, Windy Brow (Keswick) 129 40–1, 61, 66, 100, 134–5, 140–1, Wolfson, Susan 2, 3, 9, 10, 26, 140, 210–12 168, 186, 195, 210, 211, 212, 219, Switzerland 243n. 223, 231, 234n., 245nn. synaesthesia 44–5, 51–2, 139, 193 Wollstonecraft, Fanny 6–7, 234n. Wollstonecraft, Mary 16–17, 64, 135, Table Talk see Coleridge, Samuel 144, 146–8, 169, 240n. Taylor, Works: Specimens … Letters from Sweden 234n. Tait’s Edinburgh Magazine 7–8, 52 Maria 16, 130 Tasso, Bernardo 67 A Vindication of the Rights of Tasso, Torquato 67 Woman 134, 147 Taussig, Gurion 235n. Wollstonecraft–Godwin–Shelley Taylor, Henry 179 circle 6, 7, 234n.: see also Thelwall, John 78, 124 Godwin, William; Shelley, Thompson, Judith 166, 177, 241n. Mary; Shelley, Percy Bysshe; Index 269

Wollstonecraft, Fanny; on maternal absence and Wollstonecraft, Mary repression 220, 222 Woof, Pamela 147–8, 156, 182, 186, as ‘modern sensibility’ 162–3, 240n. 241n. Woolf, Virginia 95 myth of 2, 4–5, 142, 147–8, on Dorothy Wordsworth 157, 160, 165, 170–1, 188–9: see also De 184, 192, 229 Quincey, Thomas, and Dorothy A Room of One’s Own 231–2, 233 Wordsworth; Wordsworth, Wordsworth, Catherine 207 Dorothy, and Lucy poems Wordsworth, Christopher 130, 174 and nature 8, 43, 51–2, 139–64 Wordsworth, Dora (Dorothy; passim, 190, 194, 208–10, 219, Dorothy’s niece) 103, 207, 218 227, 228–9 Wordsworth, Dorothy and the ‘one life’ 142, 163 anthropomorphizing poetic identity/poetic techniques 8, tendencies 42–3, 137, 142 10, 17–18, 160–3, 185–7, 214–21 authorial conflict 7, 8, 167–9, passim, 228–9, 231 170–2, 177–8, 185–7, 214–22, prose identity/prose techniques 8, 229–30, 233 78, 136–57 passim, 158–65 childhood 75–6, 129–31 passim, 181–2, 229, 241n.: on children/childhood 63, 214, Impressionism 158 222–5: verse for children 63, 214 and publication 167–70, 217, and death 206–8 234n., 241–2n., 244n. and D. H. Lawrence 8, 161, 162, reception/reputation 2, 7, 164–5, 181–2, 234n., 243n. 171–3, 187, 229, 232–3 and domestic labour 177–8 relational selfhood/self-in- relation Emma/Emmeline appellation 197, 10, 132, 134, 142, 145, 157, 159, 198–9, 204 192, 212, 218, 223, 231, 232 and ‘feminine’/‘alternate’ self and other 8–9, 78, 129–33, Romanticism 10, 27, 140–1, 136–7, 141–51, 154–7, 165, 166, 160, 182–3, 186, 210–13, 219, 178–80, 186, 194, 214–16, 218–33 222, 223, 229, 245n.: see also passim, 242n., 244n. Curran, Stuart; Mellor, Anne senses: acute vision 52, 158–62, on friendship 132, 133–4, 142, 192, 210–11, 243n.: sound/ 193–4, 207 hearing 46, 47–8, 137, 156–7, grandparents of 129, 131–2 180, 183–4, 193, 207, 210, 211; on Hartley 51, 75, 122, 240n. synaesthesia 139, 193; see also ‘hidden life’ 151, 214, 229–30 Coleridge, Hartley, and the senses and the home/dwellings/ sensitivity 38, 51–2, 165, 170, environments 129, 132, 137–8, 209–10 151–3, 155–7, 164, 224, 227, 229 and sibling relationships 78, 94, illness and mental decline 114, 129–36, 155–7, 197, 217, 243–4n. 192–4, 212, 218–19, 229–30, and STC 75, 132, 136–45 passim, 242n., 243n., 245n.: anorexia 148–9, 154, 179, 180–1, 236–7n., 242n.; depression 144–6, 218–19 242n. and Lucy poems 124, 148, 154, and the sublime 134, 139–41, 156, 156, 165, 184, 189, 192, 193, 160–1, 162, 185–7, 190, 193, 199, 195–8, 230: see also Wordsworth, 202, 210, 211 William, works: poetry: Lucy and William (brother) xiv, 14, poems 38, 42, 45–8, 51–2, 129–65 270 Index

Wordsworth, Dorothy – continued poems 192–5, 214–30: ‘Address passim, 166–94 passim, 195–208 to a Child … ’ 234n. (see also passim, 208–14, 214–30 passim: Wordsworth, William, works); alleged incest 154–5, 241n.; ‘Floating Island at Hawkshead … ’ as amanuensis 167, 174, 176; 26–7, 30, 49, 212, 227–9, 231; ‘anxiety of influence’ 2, 166, ‘Grasmere – A Fragment’ 171, 185–7, 214–17, 219–22, 17–18, 225; ‘A Holiday at 232, 244n.; collaboration Gwerndovennant’ 224–5; with 6, 9, 136–9, 161–2, 166–80 ‘Irregular Verses’ 135, 168, passim, 187–94, 203–13 passim 215, 219–22; ‘Lines Intended for 216, 217–19, 232–3, 243n., my Niece’s Album’ 215; ‘The 244n.; competes with 214–30 Mother’s Return’ 222, 223; passim; criticizes 173–5, 180–1; ‘Thoughts on my Sick-Bed’ dependent on 94, 132, 142, 192–5, 243n. 144–6, 151, 165; and ‘hidden Wordsworth, John 130, 144, 146, life’ 214–30 passim; and his 204, 206, 208, 217 marriage 94, 148, 151–7, 178, Wordsworth, Mary (née 182, 241n.; records his creative Hutchinson) 94, 104, 118, 137, decline 217–18; as siblings 138, 148, 151, 153–4, 155–7, 176, 195–213 passim, 221–2; and 195, 204, 212, 218, 235n., 241n. ‘Tintern Abbey’ 9, 14, 120, Wordsworth, Richard 130 187–95, 196, 208, 230, 243nn.; Wordsworth, William xiv, 1–11 see also Wordsworth, William, passim, 13–63 passim, 69–72, and Dorothy 75–8, 87, 89–90, 93, 97, 100, works: George and Sarah Green, 129–65 passim, 165–213 passim, A Narrative 167–9, 241n. 214–33 passim journals 136–65 passim, 173, child as symbol 3, 12, 55, 59, 63, 182–3, 187, 192–8 passim, 216, 68, 118–19, 121–3, 125, 126, 218, 220, 228–30, 239n., 240n., 128, 142, 150, 179, 188–9, 197, 241n., 242n., 244n.: Alfoxden 206–10, 222–5, 239n., 244n. Journal 8, 46, 47, 136, 137, creative decline 116–17, 217–18, 138, 139, 159, 175, 205, 240n.; 242n. Grasmere Journals 8, 10, 42–3, and Dorothy: ‘anxiety of 45–7, 132–65 passim, 171, 175–81 influence’ 184–6, 187, 196, 199, passim, 185, 205–6, 209–10, 203; dependence on 9, 144, 150, 216, 217, 220, 240nn., 242n. 167, 176, 179, 182–3, 184–6, 196, (daffodils description 42–3, 137, 198; on Dorothy’s illness 219, 192–3; ‘more than half a poet’ 243n.; see also Wordsworth, passage 185–7, 221; publication Dorothy, and William (brother) of 168–9); Recollections of a Tour egotism/egotistical sublime 4, Made in Scotland 146–7, 171; 9–10, 13, 22, 30–1, 40, 101, 110, unpublished journals 229, 136, 140, 145, 163, 175, 183, 186, 239n. 187–95 passim, 196, 198, 210, letters 75, 106, 129, 130, 131, 132, 211–12, 214–15, 218, 227–9, 231 135, 137, 138, 146, 153, 163, 168, and Hartley Coleridge 72, 77, 173–5, 176, 177, 195, 200, 205, 82–3, 84, 89–90, 97, 101–28, 207, 214, 215, 217, 218, 220, 222; 189, 237n., 239n.: Hartley’s to William Wordsworth 145, death 118–19; see also Coleridge, 180–1, 242n. Hartley Index 271 and Lamb siblings 191, 201–2, Distance From my House’ (‘To My 243–4nn. Sister’) 142, 191, 243n.; ‘Lines marriage 148, 151–7, 178, 182, Written in Early Spring’ 43, 241n. 146; ‘Lucy Gray’ 26, 184, 196; and nature 13–14, 15, 19, 26, Lucy poems 26–7, 42, 124, 148, 28, 30–1, 38–9, 40–5, 48, 50–2, 154, 156, 165, 184, 189, 190, 59, 101, 103, 107–9, 120, 124, 192, 193, 194, 195–8, 227–8, 230 137–9, 149–50, 156, 161–2, 163, (see also individual poems); Lyrical 165, 187–94, 196–9, 202, 204–5, Ballads 104, 107, 110, 145, 190, 209–10, 228–9 209, 242n., 243n. (Preace ‘one life’ 13, 15–16, 25, 43, 45, 103–4, 107, 108–13, 176, 178, 142, 163, 191, 232 236n.); ‘Maternal Grief’ 244n.; as poet laureate 118 ‘Michael’ 178–9; ‘Nuns fret works: ‘An Address to a Child in not at their convent’s narrow a high wind’ 244n. (see also room’ 40, 236n.; ‘Nutting’ Wordsworth, Dorothy, works: 149–50; ‘The Old Cumberland poems: ‘Address to a Child … ’); Beggar’ (‘The Beggar’) 176; ‘The ‘ Airey- Force Valley’ 163; ‘Among Pedlar’ 150, 176, 178, 179; ‘Peter all lovely things my Love had Bell’ 117, 175, 176, 177; ‘Poems been’ (‘Glowworm’) 148; ‘The on the Names of Places’ 225, Beggar’ (‘The Old Cumberland 226; The Prelude 13–14, 17, Beggar’) 176; ‘Beggars’ 184, 18, 59, 163, 175, 188, 196, 185; ‘The Butterfly’ 185; 211–12, 213, 214, 220, 223, ‘Children Gathering Flowers’ 226, 227, 235n., 239n.; The (‘Foresight’) 150, 179; ‘The Recluse 243n.; ‘River Duddon: Cottager to her Infant’ 244n.; Conclusion’ 30–1; ‘The Ruined Descriptive Sketches 173–4, Cottage’ 179; ‘She dwelt among 242n.; ‘Epitaph written on th’ untrodden ways’ 116; ‘A Charles Lamb’ 190–1; ‘Evening Slumber did my spirit seal’ 154, Voluntary, VI’ 51; An Evening 189, 193, 196, 228; ‘Song’ 42, Walk 158, 173–4, 242n.; The 116–17, 193, 196, 230; ‘The Excursion 102, 237n, 243n.; Sparrow’s Nest’ 38, 162, 184, ‘Expostulation and Reply’ 45; 197, 210, 244n.; ‘Strange fits of ‘Foresight’ (‘Children Gathering passion … ’ 196; ‘This is the Flowers’) 150, 179; ‘Glowworm’ Spot’ (‘Travelling’) 179; ‘Three (‘Among all lovely things my years she grew … ’ 194, 196–7, Love had been’) 148; ‘Gold 208; ‘Tintern Abbey’ 9, 13, 14, and Silver Fishes in a Vase’ 39; 15, 45–6, 48, 93, 115, 120, 133, ‘Home at Grasmere’ 22, 136, 137–9, 160, 163, 180, 187–95, 186, 193, 198–9, 201–2, 203, 196, 199–200, 208, 230, 243nn.; 204, 241n., 243n.; ‘Immortality ‘To a Butterfly’ 197–8, 209–10; Ode’ 69, 121, 122, 123, 197, ‘To a Friend’ 39, 235n.; ‘To H.C., 200, 202, 208, 222, 223–4, Six Years Old’ 12, 68, 77, 119, 225, 238n.; ‘It is a beauteous 121, 123, 124, 127, 165, 189 (see Evening … ’ 50; ‘I Wandered also Coleridge, Hartley, myth Lonely as a Cloud’ 42–3, 93, of/mythologized by STC and 228, 235n.; letters 75, 106, William Wordsworth); ‘To my 153, 179, 201, 234n., 237n., Sister’ (‘Lines Written at a Small 243n.; ‘Lines Written at a Small Distance From my House’) 142, 272 Index

191, 243n.; ‘Travelling’ (‘This Wordsworthianism 3–4, 6, 10, 26, is the Spot’) 179; ‘The Vale 40, 69, 108, 122, 125, 151, 161–2, of Esthwaite’ 132; ‘We are 175–6, 180, 182–5, 197, 218–19, Seven’ 206–7; ‘The White Doe 222, 224–5, 229, 239n. of Rylstone’ 78, 181, 205–6, 244n.; ‘The World is too much Yaeger, Patricia 4, 40–1, 61, 211–12 with us’ 19, 108–9 Yeats, William Butler 12 Wordsworth–Coleridge circle 2–11, 74–5, 167, 195: see also individual names