Abstract
It is not the purpose of this study to try and establish with any precision the historical origins of these three poems. ‘Kubla Khan’ was probably written in the autumn of 1797, rather than the summer as Coleridge claims in his prose Preface to the poem. Yet the Preface itself, which has so profoundly influenced the way in which the poem has been understood, is much later, and it was published only in 1816. According to a note which Wordsworth dictated to Isabella Fenwick in 1843, ‘The Rime of the Ancient Mariner’ was planned by Coleridge and himself during a walk on the Quantock Hills in the spring of 1798. On 23 March, Wordsworth records, ‘Coleridge … brought his ballad finished.’1 A month previously, on 18 February 1798, Coleridge had written to Joseph Cottle, ‘I have finished my ballad – it is 340 lines.’2 In the Lyrical Ballads of 1798 it was 658 lines and was to undergo extensive revisions and the important addition of prose marginal glosses in 1815–16, published in Sibylline Leaves (1817). The earliest draft of ‘Dejection’ was addressed as a letter to Sara Hutchinson, and dated 4 April 1802. The subsequent drastic revisions of the poem have been examined by Herbert Read in his essay ‘The Creative Experience in Poetry’,3 as the process of using control and order to enable the poet to regard his own confession; to adopt the perspective of spectator and artist. As Coleridge himself wrote in 1808, ‘the spirit of poetry … must of necessity circumscribe itself by rules … It must embody in order to reveal itself.’4
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Notes
Herbert Read, The Forms of Things Unknown: Essays Towards an Aesthetic Philosophy (New York, 1960) pp. 124–40.
See A. D. Snyder in a letter to The Times Literary Supplement, 2 Aug 1934, p. 541;
Irene H. Chayes, ‘ “Kubla Khan” and the Creative Process’, Studies in Romanticism, VI (1966) 1. MS now in the British Library.
D. F. Rauber, ‘The Fragment as Romantic Form’, Modern Language Quarterly, 30 (1969) 221. On the Romantic fragment in Coleridge’s later poetry, see below, Ch. 6
Kathleen Raine, ‘Traditional Symbolism in “Kubla Khan”’, Sewanee Review, 72 (1964) 640–2.
Humphrey House, Coleridge, the Clark Lectures, 1951–2 (London, 1953) p. 115.
See further K. M. Wheeler, The Creative Mind in Coleridge’s Poetry (London, 1981) pp. 39–41.
Mary Rahme, ‘Coleridge’s Concept of Symbolism’, Studies in English Literature, IX (1969) 627.
Coleridge, ‘On the Prometheus of Aeschylus’, Literary Remains, ed. H. N. Coleridge (London, 1836–9) vol. 4, p. 362.
David Jones, ‘An Introduction to “The Ancient Mariner”’ (1963–4), in ‘The Dying Gaul’ and Other Writings, ed. Harman Grisewood (London, 1978) p. 208. Also see Thomas McFarland, Coleridge and the Pantheist Tradition (Oxford, 1969), Excursus XIII: ‘Coleridge’s Theory of the Imagination’, p. 308.
See W. B. Gallie, Philosophy and the Historical Understanding (London, 1964) Ch. 2: ‘What is a Story?’.
See E. S. Shaffer, ‘Kubla Khan ’ and the Fall of Jerusalem (Cambridge, 1975) p. 291
Stephen Prickett, Romanticism and Religion (Cambridge, 1976) Ch. 1: ‘“The Living Educts of the Imagination”: Coleridge on Religious Language’.
Maud Bodkin, Archetypal Patterns in Poetry (1934, Oxford, 1963) p. 307.
Attrib. Charles Burney, Monthly Review, XXIX (1799) 202–10; quoted in Jackson, op. cit., p. 56.
Frank Kermode, The Sense of an Ending: Studies in the Theory of Fiction (1966; Oxford, 1979) pp. 58ff.,63.
John Coulson, Newman and the Common Tradition (Oxford, 1970) p. 4.
See D. W. Harding, ‘The Theme of “The Ancient Mariner” ’, Scrutiny, IX (1941) 334–42.
Quoted in H. D. Traill, Coleridge, English Men of Letters, Series 1884 (London, 1909) p. 186.
For example: Graham Hough, The English Mind (Cambridge, 1964) p. 181. For comment on the ‘great Coleridgean position’ see Prickett, op. cit., pp. 11–12.
See Allan Grant, A Preface to Coleridge (London, 1972) p. 119.
Nicholas Lash, Theology on Dover Beach (London, 1979) p. 160.
Revd Alexander Dyce, from an account by Wordsworth, published in a note on ‘The Ancient Mariner’ in the 1852 edition of Coleridge’s Poems, quoted in J. L. Lowes, The Road to Xanadu, rev. edn (London, 1978) pp. 203–4.
See also George Dekker, Coleridge and the Literature of Sensibility (London, 1978) p. 103
A. H. Thompson, ‘Thomson and Natural Description in Poetry’, in Sir A. W. Ward and A. R. Waller (eds), The Age of Johnson, The Cambridge History of English Literature Series, vol. x (Cambridge, 1932)
Karl Jaspers, Plato and Augustine (New York, 1962) p. 30; McFarland, op. cit., pp. 395–6.
Don Cupitt, The World to Come (London, 1982) p. 110.
George Dekker, Coleridge and the Literature of Sensibility (London, 1978) pp. 22–54.
See also, Stephen Prickett, ‘The Religious Context’, in Stephen Prickett (ed.), The Romantics (London, 1981) pp. 115–63.
Charles Wesley, Short Hymns on Select Passages of the Holy Scriptures(London, 1796), vol. II, p. 82.
Johnson’s Pocket Dictionary of the English Language (Halifax, 1861) p. 126.
Edward Kessler, Coleridge’s Metaphors of Being (Princeton, NJ, 1979) p. 19.
John Beer, Coleridge’s Poetic Intelligence (London, 1977) pp. 84–94; and also his ‘A Stream by Glimpes: Coleridge’s Later Imagination’, in Beer (ed.), Coleridge’s Variety: Bicentenary Studies (London, 1974) pp. 227–9.
M. H. Abrams, Natural Supernaturalism: Tradition and Revolution in Romantic Literature (New York, 1971) p. 65. On the ‘sacramental aspect of Romantic symbol’,
see J. Robert Barth, S.J., The Symbolic Imagination: Coleridge and the Romantic Tradition (Princeton, N.J., 1977) pp. 114–16.
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© 1985 David Jasper
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Jasper, D. (1985). ‘Kubla Khan’, ‘The Rime of the Ancient Mariner’ and ‘Dejection’. In: Coleridge as Poet and Religious Thinker. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-07509-6_4
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