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22 September 1830.
Table Talk (1821–1834)
Kontext: A poet ought not to pick nature's pocket: let him borrow, and so borrow as to repay by the very act of borrowing. Examine nature accurately, but write from recollection; and trust more to your imagination than to your memory.
Duty Surviving Self-Love (1826)
Kontext: O wiselier then, from feeble yearnings freed,
While, and on whom, thou may'st — shine on! nor heed
Whether the object by reflected light
Return thy radiance or absorb it quite:
And tho' thou notest from thy safe recess
Old Friends burn dim, like lamps in noisome air,
Love them for what they are; nor love them less,
Because to thee they are not what they were.
" The Presence of Love http://etext.lib.virginia.edu/stc/Coleridge/poems/Presence_Love.html" (1807), lines 1-4.
Kontext: p>And in Life's noisiest hour,
There whispers still the ceaseless Love of Thee,
The heart's Self-solace and soliloquy.You mould my Hopes, you fashion me within.</p
“Hast thou a charm to stay the morning-star
In his steep course?”
St. 1.
"Hymn in the Vale of Chamouni" (1802)
Kontext: Hast thou a charm to stay the morning-star
In his steep course? So long he seems to pause
On thy bald awful head, О sovran Blanc!
“In nature there is nothing melancholy.”
The Nightingale: A Conversation Poem, lines 13-22 (1798).
Kontext: "Most musical, most melancholy" bird!
A melancholy bird! Oh! idle thought!
In nature there is nothing melancholy.
But some night-wandering man, whose heart was pierced
With the remembrance of a grievous wrong,
Or slow distemper, or neglected love,
(And so, poor wretch! filled all things with himself,
And made all gentle sounds tell back the tale
Of his own sorrow) he, and such as he,
First named these notes a melancholy strain.
Letter to William Sotheby (13 July 1802).
Letters
Kontext: Metaphisics is a word that you, my dear Sir! are no great friend to / but yet you will agree, that a great Poet must be, implicitè if not explicitè, a profound Metaphysician. He may not have it in logical coherence, in his Brain & Tongue; but he must have it by Tact / for all sounds, & all forms of human nature he must have the ear of a wild Arab listening in the silent Desart, the eye of a North American Indian tracing the footsteps of an Enemy upon the Leaves that strew the Forest —; the Touch of a Blind Man feeling the face of a darling Child.
On Poesy or Art (1818)
Kontext: Now Art, used collectively for painting, sculpture, architecture and music, is the mediatress between, and reconciler of, nature and man. It is, therefore, the power of humanizing nature, of infusing the thoughts and passions of man into everything which is the object of his contemplation.
"The Great Good Man" (1802).
Kontext: How seldom, friend! a good great man inherits
Honor or wealth, with all his worth and pains!
It sounds like stories from the land of spirits
If any man obtain that which he merits,
Or any merit that which he obtains.
.........
Greatness and goodness are not means, but ends!
Hath he not always treasures, always friends,
The good great man? Three treasures,—love and light,
And calm thoughts, regular as infants' breath;
And three firm friends, more sure than day and night,—
Himself, his Maker, and the angel Death.
Letter to Thomas Poole (16 October 1797).
Letters
Kontext: From my early reading of Faery Tales, & Genii &c &c — my mind had been habituated to the Vast — & I never regarded my senses in any way as the criteria of my belief. I regulated all my creeds by my conceptions not by my sight — even at that age. Should children be permitted to read Romances, & Relations of Giants & Magicians, & Genii? — I know all that has been said against it; but I have formed my faith in the affirmative. — I know no other way of giving the mind a love of "the Great," & "the Whole." — Those who have been led by the same truths step by step thro' the constant testimony of their senses, seem to me to want a sense which I possess — They contemplate nothing but parts — and are parts are necessarily little — and the Universe to them is but a mass of little things. It is true, the mind may become credulous and prone to superstition by the former method; — but are not the experimentalists credulous even to madness in believing any absurdity, rather than believe the grandest truths, if they have not the testimony of their own senses in their favor? I have known some who have been rationally educated, as it is styled. They were marked by a microscopic acuteness; but when they looked at great things, all became a blank, and they saw nothing, and denied that any thing could be seen, and uniformly put the negative of a power for the possession of a power, and called the want of imagination judgment, and the never being moved to rapture philosophy.
“A damsel with a dulcimer
In a vision once I saw”
Kubla Khan (1797 or 1798)
Kontext: A damsel with a dulcimer
In a vision once I saw:
It was an Abyssinian maid,
And on her dulcimer she played,
Singing of Mount Abora.
Could I revive within me
Her symphony and song,
To such a deep delight 'twould win me,
That with music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honey-dew hath fed,
And drunk the milk of Paradise.
Zdroj: The Rime of the Ancient Mariner
Zdroj: The Rime of the Ancient Mariner
Zdroj: The Rime of the Ancient Mariner
Zdroj: The Rime of the Ancient Mariner
Kubla Khan (1797 or 1798)
Zdroj: The Complete Poems
"The Friend. The Improvisatore" (1828)
Zdroj: The Rime of the Ancient Mariner
“No man was ever yet a great poet, without being at the same time a profound philosopher.”
Zdroj: Biographia Literaria (1817), Ch. XV
