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.