Samuel Taylor Coleridge

Samuel Taylor ColeridgeSamuel Taylor Coleridge

His poems are full His poems are full of vague of vague symbolism and symbolism and supernatural supernatural phenomena, phenomena, seldom touching seldom touching the relationships the relationships in the human in the human world. world.

I. A brief biographyI. A brief biography

Samuel Taylor Coleridge was born in OttSamuel Taylor Coleridge was born in Ottery St. Mary, Devonshire, the son of a clerery St. Mary, Devonshire, the son of a clergyman. At the age of nine, his father died. gyman. At the age of nine, his father died. One year later he was sent away to schooOne year later he was sent away to school at Christ’s Hospital in London and seldl at Christ’s Hospital in London and seldom went back home. He was a lonely, saom went back home. He was a lonely, sad and mentally precocious boy, full of dred and mentally precocious boy, full of dreams in his mind. However, he found the sams in his mind. However, he found the school an excellent one, for it gracechool an excellent one, for it grace

I. A brief biographyI. A brief biography

him the intellectual nurture he needed, him the intellectual nurture he needed, as well as a lifelong friend, Charles as well as a lifelong friend, Charles Lamb. But the university. But the Lamb. But the university. But the university life at Cambridge bored him. university life at Cambridge bored him. He fell into idleness, had trouble with his He fell into idleness, had trouble with his instructor, and got into debt. In despair, instructor, and got into debt. In despair, he betook himself to London and enlisted he betook himself to London and enlisted in the 15in the 15thth Dragoon, but was discharged Dragoon, but was discharged after a few months and returned to after a few months and returned to Cambridge, whereCambridge, where

He finished his study however, but left wHe finished his study however, but left without a degree. Inspired by the redical tithout a degree. Inspired by the redical thinkers with their idealism, Coleridge joihinkers with their idealism, Coleridge joined Robert Southey in a utopian plan of ned Robert Southey in a utopian plan of establishing an ideal democratic commestablishing an ideal democratic community in America, named “Pantisocracunity in America, named “Pantisocracy.” The plan resulted in nothing but his y.” The plan resulted in nothing but his marriage to Sara Fricker, which turned omarriage to Sara Fricker, which turned out to be an unhappy one.ut to be an unhappy one.

In the spring of 1797, Coleriage met and beIn the spring of 1797, Coleriage met and began his long friendship with William Wordsgan his long friendship with William Wordsworth. Falling under Wordsworth’s spell, worth. Falling under Wordsworth’s spell, Coleridge creative energies were awakeneColeridge creative energies were awakened and he began to devote himself to poetry d and he began to devote himself to poetry writing. In 1798, the two men published a jwriting. In 1798, the two men published a joint volume of poetry, Lyrical Ballads, whicoint volume of poetry, Lyrical Ballads, which became a landmark in English poetry. Coh became a landmark in English poetry. Coleridge’s poem, “The Rime of the Ancienleridge’s poem, “The Rime of the Ancient Mariner,” was included in the volume. t Mariner,” was included in the volume.

The year 1797 and 1798 were among the The year 1797 and 1798 were among the more fruitful of Coleridge’s life. In addimore fruitful of Coleridge’s life. In addition to “The Ancient Mariner,” he wrottion to “The Ancient Mariner,” he wrote “Kubla Khan,” began writing “Chrise “Kubla Khan,” began writing “Christabel,” and composed “This Lime-Tretabel,” and composed “This Lime-Tree Bower My Prison,” “Frost at Midnighe Bower My Prison,” “Frost at Midnight,” and “The Nightingale,” which are t,” and “The Nightingale,” which are considered to be his best “conversatioconsidered to be his best “conversational” poems.nal” poems.

In 1798, he traveled with the In 1798, he traveled with the Wordsworth to Germany whereWordsworth to Germany where he he spent much of his time studying German spent much of his time studying German philosophy, especially he 18th-century philosophy, especially he 18th-century idealism of Immanuel Kant. After he idealism of Immanuel Kant. After he returned to England in 1800, Coleridge returned to England in 1800, Coleridge settled with his family at Keswick in the settled with his family at Keswick in the lake District near Wordsworth. By this lake District near Wordsworth. By this time Coleridge had become addicted to time Coleridge had become addicted to opium, a drug he used to ease the pain of opium, a drug he used to ease the pain of rheumatism, which gradually destroyed rheumatism, which gradually destroyed his health, happiness and poetic his health, happiness and poetic creativity. In his "Dejection, an Ode," he creativity. In his "Dejection, an Ode," he lamented over his declining spirit of lamented over his declining spirit of imagination. Coleridge spent two years in imagination. Coleridge spent two years in Malta in order to re store his healthMalta in order to re store his health

but failed. Back to London, he began to but failed. Back to London, he began to give his famous series of lectures on litergive his famous series of lectures on literature and philosophy; the lectures on Shature and philosophy; the lectures on Shakespeare were particularly successful. akespeare were particularly successful. Coleridge quarreled seriously with WordColeridge quarreled seriously with Wordsworth in 1810. Although they reconcilesworth in 1810. Although they reconciled with each other later on, their friendshd with each other later on, their friendship had never reached its former intimacy.ip had never reached its former intimacy. In 1813, his tragic drama Remorse recei In 1813, his tragic drama Remorse received popular welcome.In 1816 Coleridge, ved popular welcome.In 1816 Coleridge, still addicted to opium and now estrangstill addicted to opium and now estranged from his family, ed from his family,

took residence in the London home of atook residence in the London home of an admirer, the physician James Gillman. n admirer, the physician James Gillman. There he wrote his major prose work, BiThere he wrote his major prose work, Biographia Literaria (1817), a series of autographia Literaria (1817), a series of autobiographical notes and dissertations oobiographical notes and dissertations on many subjects, including some brillian many subjects, including some brilliantly perceptive literary criticism. The sently perceptive literary criticism. The sections in which he expresses his views octions in which he expresses his views on the nature of poetry and discusses the n the nature of poetry and discusses the works of Wordsworth are especially notaworks of Wordsworth are especially notable.ble.

II Point of viewII Point of view

Philosophically and critically, Coleridge oppoPhilosophically and critically, Coleridge opposed the limitedly rationalistic trends of the 18sed the limitedly rationalistic trends of the 18th-century thought. He courageously stemmth-century thought. He courageously stemmed the tide of the prevailing doctrines deriveed the tide of the prevailing doctrines derived from Hume and Hartley, advocating a more d from Hume and Hartley, advocating a more spiritual and religious interpretation of life, bspiritual and religious interpretation of life, based on what he had learnt from Kant and Scased on what he had learnt from Kant and Schelling. He believed that art is the only permahelling. He believed that art is the only permanent revelation of the nature of reality.nent revelation of the nature of reality.

A poet should realize the vague intimatiA poet should realize the vague intimations derived from his unconsciousness wons derived from his unconsciousness without sacrificing the vitality of the inspirithout sacrificing the vitality of the inspiration. Politically, Coleridge was first an eation. Politically, Coleridge was first an enthusiastic supporter of the French Revonthusiastic supporter of the French Revolution. He even designed his "Pantisocrlution. He even designed his "Pantisocracy as a society where everyone would acy as a society where everyone would be equal to anyone else. But in his later be equal to anyone else. But in his later period,period,

he was a fiery foe of the rights of he was a fiery foe of the rights of man, of Jacobinism. He insisted that man, of Jacobinism. He insisted that a government should be based upon a government should be based upon the will of the propertied classes the will of the propertied classes only, and should impose itself upon only, and should impose itself upon the rest of the community from the rest of the community from above.above.

III. Literary creationIII. Literary creation

Coleridge's actual achievement as poet can be dColeridge's actual achievement as poet can be divided into two remarkably diverse groups: the ivided into two remarkably diverse groups: the demonic and the conversational.demonic and the conversational.

The demonic group includes his three masterThe demonic group includes his three masterpieces: "The Rime of the Ancient Mariner, “Chpieces: "The Rime of the Ancient Mariner, “Christabel” and “Kubla Khan.” Mysticism and ristabel” and “Kubla Khan.” Mysticism and demonism with strong imagination are the distidemonism with strong imagination are the distinctive features of this group. The poems are set nctive features of this group. The poems are set in a strange territory of the poet's memory and in a strange territory of the poet's memory and dream, where events are reigned beyonddream, where events are reigned beyond

the control of reason. Unifying the group is the control of reason. Unifying the group is a magical quest pattern which intends as a magical quest pattern which intends as its goal to reconcile the poet's self-its goal to reconcile the poet's self-consciousness with a higher order of being consciousness with a higher order of being associated with divine forgiveness.associated with divine forgiveness.

Among the conversational group, "Frost at Among the conversational group, "Frost at Midnight" is the most important. Midnight" is the most important. "Dejection: An Ode" is also an intimate "Dejection: An Ode" is also an intimate personal piece in which Coleridge utters personal piece in which Coleridge utters his innermost thoughts and sentiments. his innermost thoughts and sentiments. Generally, the conversational group Generally, the conversational group speaks more directly of an allied theme: speaks more directly of an allied theme: the desire to go home, not to the past, but the desire to go home, not to the past, but to what Hart Crane beautifully called "an to what Hart Crane beautifully called "an improved infancy."improved infancy."

IV View on LanguageIV View on Language

Coleridge is one of the first critics to give Coleridge is one of the first critics to give close critical attention to language, maiclose critical attention to language, maintaining that the true end of poetry is to ntaining that the true end of poetry is to give plea sure "through the medium of give plea sure "through the medium of beauty." The chapters of great importanbeauty." The chapters of great importance in Biographia Literaria are his commece in Biographia Literaria are his comments on Wordsworth's theory of poetic stynts on Wordsworth's theory of poetic style. He sings highly Wordsworth's "purity le. He sings highly Wordsworth's "purity of language," "deep and subtle thoughtof language," "deep and subtle thoughts," "perfect truth tos," "perfect truth to

nature" and his "imaginative power." Bunature" and his "imaginative power." But he denies Wordsworth's claim that thert he denies Wordsworth's claim that there is no essential difference between the le is no essential difference between the language of poetry and the language spoanguage of poetry and the language spoken by common people. In analyzing Shken by common people. In analyzing Shakespeare, Coleridge emphasizes the phakespeare, Coleridge emphasizes the philosophic aspect, reading more into the silosophic aspect, reading more into the subject than the text and going deeper inubject than the text and going deeper into the inner reality than only learing for tto the inner reality than only learing for the outer form.he outer form.

TranslationTranslation

忽必列汗在上都曾经 忽必列汗在上都曾经 下令造一座堂皇的安乐殿堂： 下令造一座堂皇的安乐殿堂： 这地方有圣河亚佛流奔， 这地方有圣河亚佛流奔， 穿过深不可测的洞门， 穿过深不可测的洞门， 直流入不见阳光的海洋。 直流入不见阳光的海洋。 有方圆五英里肥沃的土壤， 有方圆五英里肥沃的土壤， 四周给围上楼塔和城墙： 四周给围上楼塔和城墙： 那里有花园，蜿蜒的溪河在其间闪耀， 那里有花园，蜿蜒的溪河在其间闪耀， 园里树枝上鲜花盛开，一片芬芳； 园里树枝上鲜花盛开，一片芬芳； 这里有森林，跟山峦同样古老， 这里有森林，跟山峦同样古老， 围住了洒满阳光的一块块青草草场。 围住了洒满阳光的一块块青草草场。

但是，啊！那深沉而奇异的巨壑 但是，啊！那深沉而奇异的巨壑 沿青山斜裂，横过伞盖的柏树！ 沿青山斜裂，横过伞盖的柏树！ 野蛮的地方，既神圣而又着了魔－－ 野蛮的地方，既神圣而又着了魔－－ 好象有女人在衰落的月色里出没， 好象有女人在衰落的月色里出没， 为她的魔鬼情郎而凄声嚎哭！ 为她的魔鬼情郎而凄声嚎哭！ 巨壑下，不绝的喧嚣在沸腾汹涌， 巨壑下，不绝的喧嚣在沸腾汹涌， 似乎这土地正喘息在快速而猛烈的悸动中，似乎这土地正喘息在快速而猛烈的悸动中， 从这巨壑里，不断迸出股猛烈的地泉； 从这巨壑里，不断迸出股猛烈的地泉；

在它那断时续的涌迸之间， 在它那断时续的涌迸之间， 巨大的石块飞跃着象反跳的冰雹， 巨大的石块飞跃着象反跳的冰雹， 或者象打稻人连枷下一撮撮新稻； 或者象打稻人连枷下一撮撮新稻； 从这些舞蹈的岩石中，时时刻刻 从这些舞蹈的岩石中，时时刻刻 迸发出那条神圣的溪河。 迸发出那条神圣的溪河。 迷乱地移动着，蜿蜒了五英里地方， 迷乱地移动着，蜿蜒了五英里地方， 那神圣的溪河流过了峡谷和森林， 那神圣的溪河流过了峡谷和森林， 于是到达了深不可测的洞门， 于是到达了深不可测的洞门， 在喧嚣中沉入了没有生命的海洋； 在喧嚣中沉入了没有生命的海洋； 从那喧嚣中忽必列远远听到 从那喧嚣中忽必列远远听到 祖先的喊声预言着战争的凶兆！ 祖先的喊声预言着战争的凶兆！

安乐的宫殿有倒影 安乐的宫殿有倒影 宛在水波的中央漂动； 宛在水波的中央漂动； 这儿能听见和谐的音韵 这儿能听见和谐的音韵 来自那地泉和那岩洞。 来自那地泉和那岩洞。 这是个奇迹呀，算得是稀有的技巧， 这是个奇迹呀，算得是稀有的技巧， 阳光灿烂的安乐宫，连同那雪窟冰窖！阳光灿烂的安乐宫，连同那雪窟冰窖！

有一回我在幻象中见到 有一回我在幻象中见到 一个手拿德西马琴的姑娘： 一个手拿德西马琴的姑娘： 那是个阿比西尼亚少女， 那是个阿比西尼亚少女， 在她的琴上她奏出乐曲， 在她的琴上她奏出乐曲， 歌唱着阿伯若山。 歌唱着阿伯若山。

如果我心中能再度产生 如果我心中能再度产生 她的音乐和歌唱， 她的音乐和歌唱， 我将被引入如此深切的欢欣， 我将被引入如此深切的欢欣， 以至于我要用音乐高朗而又长久 以至于我要用音乐高朗而又长久 在空中建造那安乐宫廷， 在空中建造那安乐宫廷， 那阳光照临的宫廷，那雪窟冰窖！ 那阳光照临的宫廷，那雪窟冰窖！ 谁都能见到这宫殿，只要听见了乐音。 谁都能见到这宫殿，只要听见了乐音。 他们全都会喊叫：当心！当心！ 他们全都会喊叫：当心！当心！ 他飘动的头发，他闪光的眼睛！ 他飘动的头发，他闪光的眼睛！ 织一个圆圈，把他三道围住， 织一个圆圈，把他三道围住， 闭下你两眼，带着神圣的恐惧， 闭下你两眼，带着神圣的恐惧， 因为他一直吃着蜜样甘露， 因为他一直吃着蜜样甘露， 一直饮着天堂的琼浆仙乳。 一直饮着天堂的琼浆仙乳。

ThemeTheme

To tell the readers the images of the To tell the readers the images of the river, of the magnificent palace and river, of the magnificent palace and other marvelous scenes deposited in other marvelous scenes deposited in his unconsciousness when he his unconsciousness when he dreamed in the sleep after taking the dreamed in the sleep after taking the opium to relieve the pain from his opium to relieve the pain from his rheumatism.rheumatism.

StructureStructureLines 1-11 the description of scenes or Lines 1-11 the description of scenes or

site of the summer palace he saw in his site of the summer palace he saw in his dream.dream.

12-30 How the river starts and appears, 12-30 How the river starts and appears, focusing on the description of the “deep focusing on the description of the “deep romantic chasm” to create the effect of romantic chasm” to create the effect of mystery and fantastic (wild and mystery and fantastic (wild and strange) power of nature.strange) power of nature.

31-36 stress again the fantastic scene 31-36 stress again the fantastic scene of the summer palace. With words of of the summer palace. With words of motion and sound, “a miracle of rare motion and sound, “a miracle of rare device” comes to the reader’s mind.device” comes to the reader’s mind.

structurestructure37-54 the emotion and imagination. Insp37-54 the emotion and imagination. Insp

ired by the music made by the Abyssiniaired by the music made by the Abyssinian girl, the poet tries to built the palace in girl, the poet tries to built the palace in his imagination and put it down on the n his imagination and put it down on the paper, so that the reader will share his ipaper, so that the reader will share his imagination while reading the poem. A pmagination while reading the poem. A poet, like a magician, could create wondeoet, like a magician, could create wonders with his imagination or inspiration givrs with his imagination or inspiration given by the gods of muse, that is the “milen by the gods of muse, that is the “milk of Paradise”.k of Paradise”.

FormForm

The poem is written in lines of irregular The poem is written in lines of irregular lengths varying from 3-foot iambic to lengths varying from 3-foot iambic to iambic pentameter, with occasional iambic pentameter, with occasional feminine endings. The rhymes are also feminine endings. The rhymes are also arranged haphazardly (accidentally)arranged haphazardly (accidentally)

feminine endings: When the rhyming feminine endings: When the rhyming sounds involve two or more syllables, it sounds involve two or more syllables, it is called is called feminine rhymefeminine rhyme. For example, . For example, "spitefully" and "delightfully." "spitefully" and "delightfully."

RhymeRhyme

When the rhyming sounds involve only oWhen the rhyming sounds involve only one syllable, it is called ne syllable, it is called masculine rhymemasculine rhyme. . For example, "cold" and "bold." For example, "cold" and "bold."

Rhyme is the repetition of the stressed vRhyme is the repetition of the stressed vowel sound and all succeeding sounds. owel sound and all succeeding sounds.

If the one or both rhyming words are witIf the one or both rhyming words are within the line, it is called hin the line, it is called internal rhymeinternal rhyme. F. For example, "the or example, "the grainsgrains beyond age, the beyond age, the dark dark veinsveins of her mother." of her mother."

RhymeRhyme

If the both rhyming words occur at the eIf the both rhyming words occur at the ends of lines, it is called nds of lines, it is called end rhymeend rhyme. For e. For example, "Three poets, in three distant axample, "Three poets, in three distant ages ges bornborn, /Greece, Italy, and England di, /Greece, Italy, and England did d adornadorn." End rhyme is the commonest ." End rhyme is the commonest and most consciously sought-after sounand most consciously sought-after sound repetition in English poetry. d repetition in English poetry.

RhymeRhyme Half rhymeHalf rhyme is the feminine rhymes that do not is the feminine rhymes that do not

rhyme completely. For example, "frightful" anrhyme completely. For example, "frightful" and "slightly, ""yellow" and "pillow." Half rhyme d "slightly, ""yellow" and "pillow." Half rhyme is called by others "near rhyme," "oblique rhyis called by others "near rhyme," "oblique rhyme," or "slant rhyme." me," or "slant rhyme."

Eye rhymeEye rhyme is formed by words that look like a is formed by words that look like a rhymed unit but do not have the same sounds. rhymed unit but do not have the same sounds. For example, "home" and "some", "hear" andFor example, "home" and "some", "hear" and "bear." "bear."

RhymeRhymeRhyme schemeRhyme scheme is the pattern of alterna is the pattern of alterna

ting end rhymes in a stanza or poem. In ting end rhymes in a stanza or poem. In analysis of a rhyme scheme, each rhyme analysis of a rhyme scheme, each rhyme is represented by a small letter, thus a rhis represented by a small letter, thus a rhyme scheme looks like "ababcc." yme scheme looks like "ababcc."