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It is not a part of the plan of this book to present any extended bibliography, but there are certain reference books to which the student's attention should be called.
The remaining
thirty-five years of his life are a record of ambitious projects and
fitful efforts, for the most part turned by ill-health and lack of steady
purpose into melancholy failure, but with a few fragmentary results
standing out brilliantly. At times Coleridge did newspaper work, at
which he might have succeeded; in 1800, in a burst of energy, he translated
Schiller's tragedy 'Wallenstein' into English blank verse, a translation
which in the opinion of most critics surpasses the original; and down
to 1802, and occasionally later, he wrote a few more poems of a high
order. For a few years from 1800 on he lived at Greta Hall in the village
of Keswick (pronounced Kesick), in the northern end of the Lake Region
(Westmoreland), fifteen miles from Wordsworth; but his marriage was
incompatible (with the fault on his side), and he finally left his wife
and children, who were thenceforward supported largely by Southey, his
successor at Greta Hall. Coleridge himself was maintained chiefly by
the generosity of friends; later, in part, by public pensions. It was
apparently about 1800, to alleviate mental distress and great physical
suffering from neuralgia, that he began the excessive use of opium (laudanum)
which for many years had a large share in paralyzing his will. For a
year, in 1804-5, he displayed decided diplomatic talent as secretary
to the Governor of Malta. At several different times, also, he gave
courses, of lectures on Shakspere and Milton; as a speaker he was always
eloquent; and the fragmentary notes of the lectures which have been
preserved rank very high in Shaksperean criticism. His main interest,
however, was now in philosophy; perhaps no Englishman has ever had a
more profoundly philosophical mind; and through scattered writings and
through his stimulating though prolix talks to friends and disciples
he performed a very great service to English thought by introducing
the viewpoint and ideas of the German transcendentalists, such as Kant,
Schelling, and Fichte. During his last eighteen years he lived mostly
in sad acceptance of defeat, though still much honored, in the house
of a London physician. He died in 1834.
As a poet Coleridge's first great distinction is that which we have already pointed out, namely that he gives wonderfully subtile and appealing expression to the Romantic sense for the strange and the supernatural, and indeed for all that the word 'Romance' connotes at the present day. He accomplishes this result partly through his power of suggesting the real unity of the inner and outer worlds, partly through his skill, resting in a large degree on vivid impressionistic description, in making strange scenes appear actual, in securing from the reader what he himself called 'that willing suspension of disbelief which constitutes poetic faith.' Almost every one has felt the weird charm of 'The Ancient Mariner,' where all the unearthly story centers about a moral and religious idea, and where we are dazzled by a constant succession of such pictures as these:
And ice, mast-high, came floating by,
As green as emerald.
We were the first that ever burst
Into that silent sea.
The western wave was all aflame:
The day was well nigh done:
Almost upon the western wave
Rested the broad, bright sun;
When that strange shape drove suddenly
Betwixt us
and the sun.
'Christabel'
achieves what Coleridge himself described as the very difficult task
of creating witchery by daylight; and 'Kubla Khan,' worthy, though a
brief fragment, to rank with these two, is a marvelous glimpse of fairyland.
In the second
place, Coleridge is one of the greatest English masters of exquisite
verbal melody, with its tributary devices of alliteration and haunting
onomatopoeia. In this respect especially his influence on subsequent
English poetry has been incalculable. The details of his method students
should observe for themselves in their study of the poems, but one particular
matter should be mentioned. In 'Christabel' and to a somewhat less degree
in 'The Ancient Mariner' Coleridge departed as far as possible from
eighteenth century tradition by greatly varying the number of syllables
in the lines, while keeping a regular number of stresses. Though this
practice, as we have seen, was customary in Old English poetry and in
the popular ballads, it was supposed by Coleridge and his contemporaries
to be a new discovery, and it proved highly suggestive to other romantic
poets. From hearing 'Christabel' read (from manuscript) Scott caught
the idea for the free-and-easy meter of his poetical romances.
With a better
body and will Coleridge might have been one of the supreme English poets;
as it is, he has left a small number of very great poems and has proved
one of the most powerful influences on later English poetry.
WILLIAM WORDSWORTH, 1770-1850.
William Wordsworth
[Footnote: The first syllable is pronounced like the common noun 'words']
was born in 1770 in Cumberland, in the 'Lake Region,' which, with its
bold and varied mountains as well as its group of charming lakes, is
the most picturesque part of England proper. He had the benefit of all
the available formal education, partly at home, partly at a 'grammar'
school a few miles away, but his genius was formed chiefly by the influence
of Nature, and, in a qualified degree, by that of the simple peasant
people of the region. Already as a boy, though normal and active, he
began to be sensitive to the Divine Power in Nature which in his mature
years he was to express with deeper sympathy than any poet before him.
Early left an orphan, at seventeen he was sent by his uncles to Cambridge
University. Here also the things which most appealed to him were rather
the new revelations of men and life than the formal studies, and indeed
the torpid instruction of the time offered little to any thoughtful
student. On leaving Cambridge he was uncertain as to his life-work.
He said that he did not feel himself 'good enough' for the Church, he
was not drawn toward law, and though he fancied that he had capacity
for a military career, he felt that 'if he were ordered to the West
Indies his talents would not save him from the yellow fever.' At first,
therefore, he spent nearly a year in London in apparent idleness, an
intensely interested though detached spectator of the city life, but
more especially absorbed in his mystical consciousness of its underlying
current of spiritual being. After this he crossed to France to learn
the language. The Revolution was then (1792) in its early stages, and
in his 'Prelude' Wordsworth has left the finest existing statement of
the exultant anticipations of a new world of social justice which the
movement aroused in himself and other young English liberals. When the
Revolution past into the period of violent bloodshed he determined,
with more enthusiasm than judgment, to put himself forward as a leader
of the moderate Girondins. From the wholesale slaughter of this party
a few months later he was saved through the stopping of his allowance
by his more cautious uncles, which compelled him, after a year's absence,
to return to England.
For several
years longer Wordsworth lived uncertainly. When, soon after his return,
England, in horror at the execution of the French king, joined the coalition
of European powers against France, Wordsworth experienced a great shock--the
first, he tells us, that his moral nature had ever suffered--at seeing
his own country arrayed with corrupt despotisms against what seemed
to him the cause of humanity. The complete degeneration of the Revolution
into anarchy and tyranny further served to plunge him into a chaos of
moral bewilderment, from which he was gradually rescued partly by renewed
communion with Nature and partly by the influence of his sister Dorothy,
a woman of the most sensitive nature but of strong character and admirable
good sense. From this time for the rest of her life she continued to
live with him, and by her unstinted and unselfish devotion contributed
very largely to his poetic success. He had now begun to write poetry
(though thus far rather stiffly and in the rimed couplet), and the receipt
of a small legacy from a friend enabled him to devote his life to the
art. Six or seven years later his resources were several times multiplied
by an honorable act of the new Lord Lonsdale, who voluntarily repaid
a sum of money owed by his predecessor to Wordsworth's father.
In 1795 Wordsworth
and his sister moved from the Lake Region to Dorsetshire, at the other
end of England, likewise a country of great natural beauty. Two years
later came their change (of a few miles) to Alfoxden, the association
with Coleridge, and 'Lyrical Ballads,' containing nineteen of Wordsworth's
poems (above, page 267). After their winter in Germany the Wordsworths
settled permanently in their native Lake Region, at first in 'Dove Cottage,'
in the village of Grasmere. This simple little stone house, buried,
like all the others in the Lake Region, in brilliant flowers, and opening
from its second story onto the hillside garden where Wordsworth composed
much of his greatest poetry, is now the annual center of pilgrimage
for thousands of visitors, one of the chief literary shrines of England
and the world. Here Wordsworth lived frugally for several years; then
after intermediate changes he took up his final residence in a larger
house, Rydal Mount, a few miles away. In 1802 he married Mary Hutchinson,
who had been one of his childish schoolmates, a woman of a spirit as
fine as that of his sister, whom she now joined without a thought of
jealousy in a life of self-effacing devotion to the poet.
Wordsworth's
poetic inspiration, less fickle than that of Coleridge, continued with
little abatement for a dozen years; but about 1815, as he himself states
in his fine but pathetic poem 'Composed upon an Evening of Extraordinary
Splendour,' it for the most part abandoned him. He continued, however,
to produce a great deal of verse, most of which his admirers would much
prefer to have had unwritten. The plain Anglo-Saxon yeoman strain which
was really the basis of his nature now asserted itself in the growing
conservatism of ideas which marked the last forty years of his life.
His early love of simplicity hardened into a rigid opposition not only
to the materialistic modern industrial system but to all change--the
Reform Bill, the reform of education, and in general all progressive
political and social movements. It was on this abandonment of his early
liberal principles that Browning based his spirited lyric 'The Lost
Leader.'
During the
first half or more of his mature life, until long after he had ceased
to be a significant creative force, Wordsworth's poetry, for reasons
which will shortly appear, had been met chiefly with ridicule or indifference,
and he had been obliged to wait in patience while the slighter work
first of Scott and then of Byron took the public by storm. Little by
little, however, he came to his own, and by about 1830 he enjoyed with
discerning readers that enthusiastic appreciation of which he is certain
for all the future. The crowning mark of recognition came in 1843 when
on the death of his friend Southey he was made Poet Laureate. The honor,
however, had been so long delayed that it was largely barren. Ten years
earlier his life had been darkened by the mental decay of his sister
and the death of Coleridge; and other personal sorrows now came upon
him. He died in 1850 at the age of eighty.
Wordsworth,
as we have said, is the chief representative of some (especially one)
of the most important principles in the Romantic Movement; but he is
far more than a member of any movement; through his supreme poetic expression
of some of the greatest spiritual ideals he belongs among the five or
six greatest English poets. First, he is the profoundest interpreter
of Nature in all poetry. His feeling for Nature has two aspects. He
is keenly sensitive, and in a more delicately discriminating way than
any of his predecessors, to all the external beauty and glory of Nature,
especially inanimate Nature--of mountains, woods and fields, streams
and flowers, in all their infinitely varied aspects. A wonderfully joyous
and intimate sympathy with them is one of his controlling impulses.
But his feeling goes beyond the mere physical and emotional delight
of Chaucer and the Elizabethans; for him Nature is a direct manifestation
of the Divine Power, which seems to him to be everywhere immanent in
her; and communion with her, the communion into which he enters as he
walks and meditates among the mountains and moors, is to him communion
with God. He is literally in earnest even in his repeated assertion
that from observation of Nature man may learn (doubtless by the proper
attuning of his spirit) more of moral truth than from all the books
and sages. To Wordsworth Nature is man's one great and sufficient teacher.
It is for this reason that, unlike such poets as Keats and Tennyson,
he so often views Nature in the large, giving us broad landscapes and
sublime aspects. Of this mystical semi-pantheistic Nature-religion his
'Lines composed above Tintern Abbey' are the noblest expression in literature.
All this explains why Wordsworth considered his function as a poet a
sacred thing and how his intensely moral temperament found complete
satisfaction in his art. It explains also, in part, the limitation of
his poetic genius. Nature indeed did not continue to be to him, as he
himself says that it was in his boyhood, absolutely 'all in all'; but
he always remained largely absorbed in the contemplation and interpretation
of it and never manifested, except in a few comparatively short and
exceptional poems, real narrative or dramatic power (in works dealing
with human characters or human life).
In the second place, Wordsworth is the most consistent of all the great English poets of democracy, though here as elsewhere his interest is mainly not in the external but in the spiritual aspect of things. From his insistence that the meaning of the world for man lies not in the external events but in the development of character results his central doctrine of the simple life. Real character, he holds, the chief proper object of man's effort, is formed by quietly living, as did he and the dalesmen around him, in contact with Nature and communion with God rather than by participation in the feverish and sensational struggles of the great world. Simple country people, therefore, are nearer to the ideal than are most persons who fill a larger place in the activities of the world. This doctrine expresses itself in a striking though one-sided fashion in his famous theory of poetry--its proper subjects, characters, and diction. He stated his theory definitely and at length in a preface to the second edition of 'Lyrical Ballads,' published in 1800, a discussion which includes incidentally some of the finest general critical interpretation ever made of the nature and meaning of poetry. Wordsworth declared:
1. Since the purpose of poetry is to present the essential emotions of men, persons in humble and rustic life are generally the fittest subjects for treatment in it, because their natures and manners are simple and more genuine than those of other men, and are kept so by constant contact with the beauty and serenity of Nature.
2. Not only
should artificial poetic diction (like that of the eighteenth century)
be rejected, but the language of poetry should be a selection from that
of ordinary people in real life, only purified of its vulgarities and
heightened so as to appeal to the imagination. (In this last modification
lies the justification of rime.) There neither is nor can be any essential
difference between the language of prose and that of poetry.
This theory,
founded on Wordsworth's disgust at eighteenth century poetic artificiality,
contains a very important but greatly exaggerated element of truth.
That the experiences of simple and common people, including children,
may adequately illustrate the main spiritual aspects of life Wordsworth
unquestionably demonstrated in such poems as 'The Reverie of Poor Susan,'
'Lucy Gray,' and 'Michael.' But to restrict poetry largely to such characters
and subjects would be to eliminate not only most of the external interest
of life, which certainly is often necessary in giving legitimate body
to the spiritual meanings, but also a great range of significant experiences
which by the nature of things can never come to lowly and simple persons.
That the characters of simple country people are on the average inevitably
finer and more genuine than those of others is a romantic theory rather
than a fact, as Wordsworth would have discovered if his meditative nature
had, allowed him to get into really direct and personal contact with
the peasants about him. As to the proper language of poetry, no one
to-day (thanks partly to Wordsworth) defends artificiality, but most
of Wordsworth's own best work, as well as that of all other poets, proves
clearly that there is an essential difference between the language of
prose and that of poetry, that much of the meaning of poetry results
from the use of unusual, suggestive, words and picturesque expressions,
which create the essential poetic atmosphere and stir the imagination
in ways distinctly different from those of prose. Wordsworth's obstinate
adherence to his theory in its full extent, indeed, produced such trivial
and absurd results as 'Goody Blake and Harry Gill,' 'The Idiot Boy,'
and 'Peter Bell,' and great masses of hopeless prosiness in his long
blank-verse narratives.
This obstinacy
and these poems are only the most conspicuous result of Wordsworth's
chief temperamental defect, which was an almost total lack of the sense
of humor. Regarding himself as the prophet of a supremely important
new gospel, he never admitted the possibility of error in his own point
of view and was never able to stand aside from his poetry and criticise
it dispassionately. This somewhat irritating egotism, however, was perhaps
a necessary element in his success; without it he might not have been
able to live serenely through the years of misunderstanding and ridicule
which would have silenced or embittered a more diffident spirit.
The variety
of Wordsworth's poetry deserves special mention; in addition to his
short lyric and narrative poems of Nature and the spiritual life several
kinds stand out distinctly. A very few poems, the noble 'Ode to Duty,'
'Laodamia,' and 'Dion,' are classical in inspiration and show the finely
severe repression and finish of classic style. Among his many hundreds
of sonnets is a very notable group inspired by the struggle of England
against Napoleon. Wordsworth was the first English poet after Milton
who used the sonnet powerfully and he proves himself a worthy successor
of Milton. The great bulk of his work, finally, is made up of his long
poems in blank-verse. 'The Prelude,' written during the years 1799-1805,
though not published until after his death, is the record of the development
of his poet's mind, not an outwardly stirring poem, but a unique and
invaluable piece of spiritual autobiography. Wordsworth intended to
make this only an introduction to another work of enormous length which
was to have presented his views of Man, Nature, and Society. Of this
plan he completed two detached parts, namely the fragmentary 'Recluse'
and 'The Excursion,' which latter contains some fine passages, but for
the most part is uninspired.
Wordsworth,
more than any other great English poet, is a poet for mature and thoughtful
appreciation; except for a very small part of his work many readers
must gradually acquire the taste for him. But of his position among
the half dozen English poets who have made the largest contribution
to thought and life there can be no question; so that some acquaintance
with him is a necessary part of any real education.
ROBERT SOUTHEY.
Robert Southey
(1774-1843), a voluminous writer of verse and prose who from his friendship
with Wordsworth and Coleridge has been associated with them as third
in what has been inaptly called 'The Lake School' of poets, was thought
in his own day to be their equal; but time has relegated him to comparative
obscurity. An insatiate reader and admirable man, he wrote partly from
irrepressible instinct and partly to support his own family and at times,
as we have seen, that of Coleridge. An ardent liberal in youth, he,
more quickly than Wordsworth, lapsed into conservatism, whence resulted
his appointment as Poet Laureate in 1813 and the unremitting hostility
of Lord Byron. His rather fantastic epics, composed with great facility
and much real spirit, are almost forgotten; he is remembered chiefly
by three or four short poems--'The Battle of Blenheim,' 'My days among
the dead are past,' 'The Old Man's Comforts' (You are old, Father William,'
wittily parodied by 'Lewis Carroll' in 'Alice in Wonderland')--and by
his excellent short prose 'Life of Nelson.'
WALTER SCOTT.
In the eighteenth
century Scotland had contributed Thomson and Burns to the Romantic movement;
now, early in the nineteenth, she supplied a writer of unexcelled and
marvelous creative energy, who confirmed the triumph of the movement
with work of the first importance in both verse and prose, namely Walter
Scott. Scott, further, is personally one of the most delightful figures
in English literature, and he is probably the most famous of all the
Scotsmen who have ever lived.
He was descended
from an ancient Border fighting clan, some of whose pillaging heroes
he was to celebrate in his poetry, but he himself was born, in 1771,
in Edinburgh, the son of an attorney of a privileged, though not the
highest, class. In spite of some serious sicknesses, one of which left
him permanently lame, he was always a very active boy, more distinguished
at school for play and fighting than for devotion to study. But his
unconscious training for literature began very early; in his childhood
his love of poetry was stimulated by his mother, and he always spent
much time in roaming about the country and picking up old ballads and
traditional lore. Loyalty to his father led him to devote six years
of hard work to the uncongenial study of the law, and at twenty he was
admitted to the Edinburgh bar as an advocate. Though his geniality and
high-spirited brilliancy made him a social favorite he never secured
much professional practice; but after a few years he was appointed permanent
Sheriff of Selkirk, a county a little to the south of Edinburgh, near
the English Border. Later, in 1806, he was also made one of the Principal
Clerks of Session, a subordinate but responsible office with a handsome
salary which entailed steady attendance and work at the metropolitan
law court in Edinburgh during half of each year.
His instinct for literary production was first stimulated by the German Romantic poets. In 1796 he translated Burger's fiery and melodramatic ballad 'Lenore,' and a little later wrote some vigorous though hasty ballads of his own. In 1802-1803 he published 'Minstrelsy of the Scottish Border,' a collection of Scottish ballads and songs, which he carefully annotated. He went on in 1805, when he was thirty-four, to his first original verse-romance, 'The Lay of the Last Minstrel.' Carelessly constructed and written, this poem was nevertheless the most spirited reproduction of the life of feudal chivalry which the Romantic Movement had yet brought forth, and its popularity was immediate and enormous. Always writing with the greatest facility, though in brief hours snatched from his other occupations, Scott followed up 'The Lay' during the next ten years with the much superior 'Marmion,' 'The Lady of the Lake,' and other verse-romances, most of which greatly increased both his reputation and his income. In 1813 he declined the offer of the Poet Laureateship, then considered a position of no great dignity for a successful man, but secured the appointment of Southey, who was his friend. In 1811 he moved from the comparatively modest country house which he had been occupying to the estate of Abbotsford, where he proceeded to fulfill his ambition of building a great mansion and making himself a sort of feudal chieftain. To this project he devoted for years a large part of the previously unprecedented profits from his writings. For a dozen years before, it should be added, his inexhaustible energy had found further occupation in connection with a troop of horse which he had helped to organize on the threat of a French invasion and of which he acted as quartermaster, training in barracks, and at times drilling for hours before breakfast.