Occasion of the Lyrical Ballads, and the Objects Originally Proposed – Preface to the Second Edition – The Ensuing Controversy, Its Causes and Acrimony – Philosophic Definitions of a Poem and Poetry with Scholia
In Chapter 14 of Biographia Literaria, Samuel Taylor Coleridge reflects on the creation of the Lyrical Ballads, a joint work with William Wordsworth, and its significance for the development of Romantic literature. This chapter delves into the background, objectives, and critical reception of the Lyrical Ballads, as well as providing Coleridge’s thoughts on the nature of poetry and its relationship to philosophy.
Occasion of the Lyrical Ballads: Coleridge begins by recounting the origin of the Lyrical Ballads, a collection of 23 poems published in 1798 by both Coleridge and Wordsworth. This collaboration aimed to challenge the prevailing literary norms of the time, and in doing so, it marked the beginning of the Romantic movement in English literature. Coleridge discusses the circumstances that led to the creation of the Lyrical Ballads, highlighting the mutual influence and friendship between him and Wordsworth.
Objects Originally Proposed: Coleridge and Wordsworth had distinct objectives for the Lyrical Ballads. Wordsworth sought to explore ordinary life and the emotions of everyday people, using simple, natural language, while Coleridge aimed to convey supernatural and imaginative themes, employing a more elevated and poetic diction. Despite these differences, both poets shared a common goal of breaking away from the artificiality and conventions of 18th-century poetry.
“Preface” to the Second Edition: When the Lyrical Ballads was first published, it was met with mixed reviews and controversy. In response to the criticism, Wordsworth wrote a preface to the second edition, in which he elaborated on the principles that guided their work, defending the use of simple language and the focus on everyday subjects. This preface would later become one of the seminal texts of Romantic literary theory.
The Ensuing Controversy, Its Causes, and Acrimony: Coleridge examines the controversy surrounding the Lyrical Ballads, attributing it to the public’s resistance to change and to the radical shift in literary conventions that the collection represented. He acknowledges that the Lyrical Ballads may have flaws, but he also defends their merits and the innovative nature of their approach to poetry.
Philosophic Definitions of a Poem and Poetry with Scholia: In this section, Coleridge attempts to define poetry and distinguish it from other forms of writing. He argues that poetry is the result of the interaction between the poet’s imagination and the reader’s emotions, and that it should be evaluated based on its ability to arouse deep feelings and thoughts. He also explores the relationship between poetry and philosophy, asserting that while the two disciplines share common ground, poetry is primarily concerned with the expression of emotions and the creation of vivid images, whereas philosophy is focused on rational inquiry and abstract concepts.
Chapter 14 of Biographia Literaria is an important examination of the Lyrical Ballads, its origins, and the critical reception it received. Coleridge offers insights into the intentions behind the collection, its role in initiating the Romantic movement, and the philosophical underpinnings of poetry. By reflecting on the Lyrical Ballads and its impact, Coleridge contributes significantly to our understanding of Romantic literature and the role of poetry in society.
Samuel Taylor Coleridge, discusses his views on poetry extensively in this chapter. His thoughts on poetry revolve around its nature, purpose, relationship with philosophy, and the role of imagination in the creative process. Here are the key aspects of Coleridge’s views on poetry:
1. Poetry as an expression of emotion: Coleridge believes that poetry is a form of artistic expression that conveys the poet’s emotions, thoughts, and experiences. A successful poem should evoke deep emotions in the reader and create vivid, powerful images. Poetry should not merely reproduce reality but transform it into something new, imaginative, and universal.
2. The role of imagination in poetry: As explained in Chapter 13 of Biographia Literaria, Coleridge distinguishes between Primary and Secondary Imagination. He emphasizes the importance of Secondary Imagination in the creation of poetry, as it allows poets to transcend their individual experiences and generate original, evocative works of art.
3. The distinction between poetry and prose: Coleridge contends that the difference between poetry and prose is not merely a matter of form or meter but lies in the nature of their expression. Poetry employs a more concentrated and imaginative use of language, aiming to evoke strong emotions and images, whereas prose tends to be more concerned with rational discourse and narrative.
4. Poetry and philosophy: In Chapter 14, Coleridge explores the relationship between poetry and philosophy. He argues that both disciplines share some common ground but have different objectives and methods. While philosophy focuses on rational inquiry and abstract concepts, poetry is concerned with the expression of emotions and the creation of vivid, imaginative images. Poetry can, however, draw from philosophical ideas and concepts to enrich its themes and content.
5. The importance of organic unity in poetry: Coleridge believes that a poem should have an organic unity, where all its elements – form, content, and style – work together harmoniously to create a coherent and meaningful whole. This unity is achieved through the poet’s imaginative and creative powers, which shape and transform the diverse elements of a poem into a unified work of art.
6. The use of language in poetry: Coleridge argues that poetic language should be natural, vivid, and expressive, avoiding the artificiality and conventions of 18th-century poetry. However, he also acknowledges the need for a certain degree of poetic diction that distinguishes poetry from everyday speech.
7. The Role of Emotion: Coleridge, like other Romantics, placed great importance on the role of emotion in poetry. He believed that poetry should evoke deep emotional responses in the reader, serving as a means to explore and express the human condition. For Coleridge, the power of poetry lay in its ability to communicate profound emotional experiences, both for the poet during the creative process and for the reader in engaging with the finished work.
8. Suspension of Disbelief: Coleridge coined the term “willing suspension of disbelief” to describe the reader’s willingness to accept the fantastical or supernatural elements in a poem, despite their implausibility in the real world. He believed that the power of the poet’s imagination, when skilfully employed, could convince the reader to temporarily set aside their rational judgments and immerse themselves in the world of the poem.
9. Symbolism: Coleridge believed that the language of poetry should be rich in symbolism, as symbols have the power to evoke complex ideas and emotions in a condensed form. In his view, the poet’s role was to uncover the hidden connections between seemingly disparate elements in the world and reveal them through the use of symbols.
Wordsworth’s and Coleridge’s views on poetry
William Wordsworth and Samuel Taylor Coleridge, both prominent Romantic poets, shared many ideas about the nature and purpose of poetry. However, there were also some significant differences in their views. Here is a comparison of their perspectives on poetry:
1. Nature: Both Wordsworth and Coleridge believed that nature was an important source of inspiration for poetry. Wordsworth saw nature as a moral and spiritual guide, a source of wisdom and solace that could heal the human soul. He felt a deep connection with nature and believed that poetry should capture the simple beauty and profound truths found in the natural world. Coleridge also appreciated the power of nature, but his approach was more metaphysical. He saw nature as a symbol of the divine and a reflection of the human mind, often exploring the relationship between the inner and outer worlds.
2. Imagination: Coleridge placed great emphasis on the role of the Imagination in the creative process, distinguishing between the Primary and Secondary Imagination. He believed that the poet’s Secondary Imagination could transform and elevate ordinary experiences into the realm of the extraordinary. Wordsworth, on the other hand, focused on the concept of “the spontaneous overflow of powerful feelings,” emphasizing the importance of emotion and the poet’s personal experiences in the creative process. While both poets recognized the significance of Imagination, their approaches to it were distinct.
3. Language: Wordsworth advocated for the use of simple, everyday language in poetry, believing that it would make poetry more accessible and emotionally resonant for a wider audience. He argued that poetic diction should be drawn from the language of ordinary people and should avoid artificiality and ornamentation. Coleridge, however, appreciated the use of more complex language, including symbolism and metaphor, to convey profound ideas and emotions. While he did not completely reject Wordsworth’s preference for simplicity, he placed more emphasis on the richness and flexibility of poetic language.
4. The Role of the Poet: Wordsworth saw the poet as a figure with heightened sensitivity, someone who could perceive and appreciate the beauty and wisdom found in the natural world and everyday experiences. He believed that the poet’s role was to communicate these insights to readers, inspiring them to cultivate a deeper connection with nature and their own emotions. Coleridge, on the other hand, viewed the poet as a kind of prophet or visionary, whose creative imagination could reveal hidden truths about the world and the human spirit. While both poets believed in the transformative power of poetry, they had different expectations for the role of the poet.
Wordsworth and Coleridge shared a deep appreciation for nature, the importance of emotion, and the transformative potential of poetry. However, they diverged in their views on the role of the Imagination, the use of language, and the function of the poet. Despite these differences, their collaborative work in the Lyrical Ballads and their individual contributions to Romantic poetry have left an indelible mark on the literary landscape.
Multiple Choice Questions
1. In Chapter 14 of Biographia Literaria, Coleridge discusses the role of which faculty in the creative process?
a) Logic
b) Memory
c) Imagination
d) Reason
Answer: c) Imagination
2. According to Coleridge, how many types of imagination does he identify in Chapter 14 of Biographia Literaria?
a) One
b) Two
c) Three
d) Four
Answer: b) Two
3. What does Coleridge call the first type of imagination in Chapter 14 of Biographia Literaria?
a) Primary Imagination
b) Secondary Imagination
c) Tertiary Imagination
d) Quaternary Imagination
Answer: a) Primary Imagination
4. What does Coleridge call the second type of imagination in Chapter 14 of Biographia Literaria?
a) Primary Imagination
b) Secondary Imagination
c) Tertiary Imagination
d) Quaternary Imagination
Answer: b) Secondary Imagination
5. In Chapter 14 of Biographia Literaria, Coleridge describes the Primary Imagination as:
a) A basic mental faculty that all humans possess
b) A higher form of imagination used by poets and artists
c) A supernatural ability possessed by a few gifted individuals
d) A scientific method for understanding the world
Answer: a) A basic mental faculty that all humans possess
6. In Chapter 14 of Biographia Literaria, Coleridge describes the Secondary Imagination as:
a) A basic mental faculty that all humans possess
b) A higher form of imagination used by poets and artists
c) A supernatural ability possessed by a few gifted individuals
d) A scientific method for understanding the world
Answer: b) A higher form of imagination used by poets and artists
7. According to Coleridge in Chapter 14 of Biographia Literaria, what is the relationship between the Primary and Secondary Imagination?
a) They are completely separate faculties
b) They are the same faculty, but with different functions
c) The Secondary Imagination is a more advanced form of the Primary Imagination
d) The Primary Imagination is a more advanced form of the Secondary Imagination
Answer: c) The Secondary Imagination is a more advanced form of the Primary Imagination
8. In Chapter 14 of Biographia Literaria, Coleridge believes that the Secondary Imagination allows poets to:
a) Create a world of their own, transcending the mundane reality
b) Strictly adhere to the rules of classical poetry
c) Focus only on their own personal experiences
d) Avoid the influence of emotions in their work
Answer: a) Create a world of their own, transcending the mundane reality
9. According to Coleridge in Chapter 14 of Biographia Literaria, the primary function of the Primary Imagination is to:
a) Allow humans to perceive and process the world around them
b) Create artistic expressions
c) Separate truth from falsehood
d) Analyse and critique the works of others
Answer: a) Allow humans to perceive and process the world around them
10. In Chapter 14 of Biographia Literaria, Coleridge suggests that the Secondary Imagination is responsible for:
a) Dissolving, diffusing, and dissipating in order to recreate
b) Providing a strict set of rules for poets to follow
c) Focusing on the technical aspects of poetry
d) Encouraging poets to avoid emotional expression
Answer: a) Dissolving, diffusing, and dissipating in order to recreate
Literary Latitude 