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Nicola Healey © Nicola Healey 2012 Softcover reprint of the hardcover 1st edition 2012 978-0-230-27772-4 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2012 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978-1-349-32563-4 ISBN 978-0-230-39179-6 (eBook) DOI 10.1057/9780230391796 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress. 10 9 8 7 6 5 4 3 2 1 21 20 19 18 17 16 15 14 13 12 For Jane Stabler I have but seen their feathers, – that is all. As much as we can know of poets dead Or living; but the gilded plumes that fall Float on the earth, or in the wind dispread Go everywhere to beautify the breeze. (CPW, p. 155, ll. 7–11) Contents

Acknowledgements ix Abbreviations xi Author’s Note xiv

Introduction: Dorothy Wordsworth, Hartley Coleridge and the Poetics of Relationship 1 1 ‘Fragments from the universal’: Hartley Coleridge’s Poetics of Relationship 12 Solitude, community and the relational selfhood 13 Hartley’s nature poetry 32 Sensory receptivity, relationship and identity 44 ‘Sweet baby, little as thou art, / Thou art a human whole’ 55 2 The Coleridge Family: Influence, Identity and Representation 66 ‘A living spectre of my Father dead’ 67 Getting away from the Coleridge name 84 Hartley Coleridge, Derwent Coleridge and sibling rivalry 90 3 ‘Who is the Poet?’: Hartley Coleridge, William Wordsworth and the ‘The Use of a Poet’ 101 Poetic immortality, mortality and ‘To H. C., Six Years Old’ 118 4 Dorothy Wordsworth’s Journals: Writing the Self, Writing Relationship 129 ‘Fraternal affection’: ‘the building up of my being, the light of my path’ 129 Solitude-in- community in Dorothy’s Journals 136 Dorothy’s aesthetics of relationship 158 5 Sibling Conversations: The Wordsworthian Construction of Authorship 166 The problems of literary industry and domestic labour in Dove Cottage 173 The role of Dorothy and the sibling in ‘Tintern Abbey’ 187 Sibling (dis)harmony in William’s poems, 1798–1805 195 ‘She gave me eyes, she gave me ears’ 208

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6 ‘My hidden life’: Dorothy, William and Poetic Identity 214 ‘But why should I inscribe my name / No poet I’ 214 ‘I reverenced the Poet’s skill’ 219 ‘the lost fragments shall remain, / To fertilize some other ground’ 222 ‘The common life which is the real life’: Family Authorship and Identity 231

Notes 234 Bibliography 246 Index 258 Acknowledgements

I owe a great debt of thanks to the University of St Andrews School of English for helping to fund my doctoral study, where the grounding of this book was formed. I would also like to thank The Carnegie Trust for the Universities of Scotland for funding my PhD, and the Keats- Shelley House for providing me with a bursary during the initial stages of revis- ing this work. This book would not have come to fruition without the guidance and support of several people. First and foremost, I am deeply indebted to Jane Stabler, not least for reading and commenting on many drafts of my work: her contributions and guidance have been invaluable and have significantly helped to shape this book. Jane has offered me con- tinual intellectual and moral support and I have been extremely grateful for her expertise, insight, encouragement, patience and kindness during my doctoral studies and beyond. I am also especially grateful to Susan Manly for reading and commenting on several drafts of my work and for her guidance. Both Jane and Susan have been a source of inspiration to me, for which I feel very fortunate. My thanks also go to Nicholas Roe, David Fairer, Tom Jones, Graham Davidson, Peter Anderson and Andrew Keanie for their helpful comments on various drafts of this work at different stages. I was greatly encouraged by the observations and suggestions of an anonymous Palgrave Macmillan reader, to whom I also give thanks here. I would especially like to thank my uncle, David Healey, for his interest, enthusiasm and appreciation; for being my ideal reader and sounding board. I would like to thank Jeff Cowton for allowing me to consult and quote from manuscripts concerning Hartley Coleridge and Dorothy Wordsworth at The Wordsworth Trust, Jerwood Centre. The jacket illustration, ‘Wordsworth and Hartley Coleridge on Rydal Lake’, by Mary E. Mulcaster (1900), is reproduced by kind permission of Dove Cottage, The Wordsworth Trust. A section of Chapter 2 appeared in The Coleridge Bulletin 33 (Summer 2009), pp. 96–105, and is reprinted by permission of Graham Davidson. Extracts of Chapters 1 and 2 appeared together as a study of Hartley’s reception in Romanticism 16.1 (2010), pp. 25–42, and is reprinted by permission of Nicholas Roe. I am especially grateful to the following for their various forms of help and support at different stages during the final difficult year of

ix x Acknowledgements preparing this book: my parents, Norman and Maureen Healey, and twin sister, Alicia Healey; Rose Pimentel, Alexandra Drayton, Nicola Searle, Jane Stabler, Kristin Lindfield- Ott and David Taylor for their friendship and faith in me; and Marilyn Lewis, Joseph Rizzo-Naudi, Nadia Ivanow, Amy Luck, Camilla Attwood, Alexandra Buddle, Saff Greenaway, Francesca Lobban and Natalie McCulloch for keeping me going. I would particularly like to thank Arno Fourie and all the staff at Cotswold House, Oxford – without their help this book would not have reached completion. Finally, I would like to thank Paula Kennedy, commissioning editor at Palgrave Macmillan, for her initial interest in the book, Benjamin Doyle, editorial assistant at Palgrave, for his advice and support during the revision process, Peter Andrews for seeing the book through to pro- duction, and Nora Bartlett for her invaluable help. My work on Hartley Coleridge and Dorothy Wordsworth, and my academic life in general, is most indebted to Jane Stabler; like Hartley, ‘I am a debtor, and I cannot pay’, but I dedicate this book by way of appreciation with deep gratitude and admiration to Jane. Abbreviations

AJ GJ Dorothy Wordsworth, The Grasmere and Alfoxden Journals, ed. Pamela Woof (Oxford: Oxford University Press, 2002). BL Samuel Taylor Coleridge, The Collected Works of Samuel Taylor Coleridge: Biographia Literaria, 2 vols, ed. James Engell and W. Jackson Bate (Princeton, New Jersey: Princeton University Press, 1983). BWM Hartley Coleridge, Bricks without Mortar: The Selected Poems of Hartley Coleridge, ed. Lisa Gee (London: Picador, 2000). CB The Coleridge Bulletin CCL Samuel Taylor Coleridge, The Collected Letters of Samuel Taylor Coleridge, 6 vols, ed. Earl Leslie Griggs (Oxford: Clarendon Press, 1956–71). CN Samuel Taylor Coleridge, The Notebooks of Samuel Taylor Coleridge, vols I–III, ed. Kathleen Coburn (London: Routledge & Kegan Paul, 1957–73); The Notebooks of Samuel Taylor Coleridge vol. IV, ed. Kathleen Coburn and Merton Christensen (London: Routledge, 1990). CPW Hartley Coleridge, The Complete Poetical Works of Hartley Coleridge, ed. Ramsay Colles (London: George Routledge and Sons, 1908). DW Dorothy Wordsworth, Dorothy Wordsworth: A Longman Cultural Edition, ed. Susan M. Levin (London: Longman, 2009). EM Hartley Coleridge, Essays and Marginalia, 2 vols, ed. Derwent Coleridge (London: E. Moxon, 1851). EP William Wordsworth, Early Poems and Fragments, 1785–1797, by William Wordsworth, ed. Carol Landon and Jared Curtis (Ithaca and London: Cornell University Press, 1997). ER Edinburgh Review HG William Wordsworth, Home at Grasmere: Part First, Book First of ‘The Recluse’, by William Wordsworth, ed. Beth Darlington (Hassocks: Harvester Press, 1977), MS. B (earliest full version of the poem).

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LB William Wordsworth, Lyrical Ballads, and Other Poems, 1797–1800, by William Wordsworth, ed. James Butler and Karen Green (Ithaca, NY: Cornell University Press, 1992). LBP William Wordsworth and Samuel Taylor Coleridge, Wordsworth and Coleridge: Lyrical Ballads, ed. R. L. Brett and A. R. Jones (London: Routledge, 2005). LHC Hartley Coleridge, Letters of Hartley Coleridge, ed. Grace Evelyn Griggs and Earl Leslie Griggs (London: Oxford University Press, 1936). LLA Littell’s Living Age LP William Wordsworth, Last Poems, 1821–1850 by William Wordsworth, ed. Jared Curtis (Ithaca and London: Cornell University Press, 1999). LWDW William Wordsworth and Dorothy Wordsworth, 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, 1967–88). Memoir Hartley Coleridge, Poems by Hartley Coleridge with a Memoir of His Life by his Brother, 2 vols, ed. Derwent Coleridge (London: E. Moxon, 1851). MF Philip Massinger and John Ford, The Dramatic Works of Massinger and Ford, intr. Hartley Coleridge (London: Edward Moxon, 1840). MLN Modern Language Notes NP Hartley Coleridge, New Poems, including a Selection from His Published Poetry, ed. Earl Leslie Griggs (London: Oxford University Press, 1942). OED Oxford English Dictionary PMLA Publications of the Modern Language Association of America Poems Hartley Coleridge, Poems, Songs and Sonnets (Leeds: F. E. Bingley, 1833). Prelude William Wordsworth, The Thirteen- Book Prelude, by William Wordsworth, vol. II, ed. Mark L. Reed (Ithaca and London: Cornell University Press, 1991). PW Samuel Taylor Coleridge, The Collected Works of Samuel Taylor Coleridge: Poetical Works, Vol. I, Poems (Reading Text), ed. J. C. C. Mays (Princeton: Princeton University Press, 2001). Abbreviations xiii

RES Review of English Studies SiR Studies in Romanticism SJ Dorothy Wordsworth, Recollections of a Tour Made in Scotland, ed. Carol Kyros Walker (New Haven and London: Yale University Press, 1997). SS William Wordsworth, Sonnet Series and Itinerary Poems, 1820–1845, by William Wordsworth, ed. Geoffrey Jackson (Ithaca and London: Cornell University Press, 2004). TLS Times Literary Supplement TV William Wordsworth, Poems in Two Volumes, and Other Poems, 1800–1807, by William Wordsworth, ed. Jared Curtis (Ithaca, NY: Cornell University Press, 1983). WC The Wordsworth Circle WLMS Wordsworth Library Manuscript Author’s Note

All references to Hartley Coleridge’s poems will be to The Complete Poetical Works of Hartley Coleridge, ed. Ramsay Colles (1908) unless otherwise stated, which collects together Hartley’s 1833 Poems, the second volume of Derwent’s 1851 edition, and two previously unpublished poems. New Poems, ed. Earl Leslie Griggs (1942), collects together a further 61 previously unpublished and uncollected poems. Titles are as they appear in Hartley’s original 1833 Poems, or, for poems not in this edition, as they appear in CPW and NP; where a poem is untitled, the poem’s first line will be given. As Hartley did not always date his compositions, and much of his work is published posthumously, it is difficult to consistently date his work; dates are, when given, as they appear in CPW, Derwent’s 1851 edition, and NP. When work is undated, the date of first publication will be given. All references to Dorothy Wordsworth’s poems are to Dorothy Wordsworth: A Longman Cultural Edition, ed. Susan Levin (2009), which is based on the texts Levin collects in an appendix to Dorothy Wordsworth and Romanticism (1987; revised 2009). Distinguishing Hartley and Samuel Taylor Coleridge without colluding in the relative diminution of Hartley Coleridge is a problem that confronts this study too; the same is true of Dorothy and William Wordsworth. As I am often referring to all writers at once, in most cases I will be using first names to refer to the Wordsworths, Hartley and Derwent – for equality and in order to avoid confusion – and the moniker STC to refer to the elder Coleridge. When it is needed for clar- ity, both first and surname will be used.

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