BIOGRAPHIA LITERARIA

BY
SAMUEL TAYLOR
COLERIDGE
Coleridge, fellow poet and close friend of
Wordsworth makes a statement regarding
romantic lyrical poetry which is in many
ways is significantly different from
Wordsworth’s theory of poetry.
As poets the two friends had decided to
compose poetry in which the familiar was
presented in a light that made it look
unfamiliar and the unfamiliar look familiar.
Coleridge took up to write the second type
of poetry. His famous ‘Christabel’, ‘The
Ancient Mariner’, ‘The Dark Ladie’ etc.
belong to that category.
At the very outset of chapter 4 of
‘Biographia Literaria’ Coleridge makes a
very important statement which applies to
forms of imaginative writing, be it poetry,
or novel or drama or whatever. A creative
writer’s imagination makes him present
characters and events which we may not
come across in real life and yet feel
attracted to such representations and derive
pleasure out of them.
This is possible because for that time we
accept and are guided by a kind of logic
which is peculiar to literary creation. This
acceptance on our part is described by
Coleridge as ‘willing Suspension of
disbelief’ on the reader’s part. Coleridge’s
poems require that as a precondition for
their enjoyment.
Wordsworth’s poems, on the other hand,
are presented as an experiment which was
unknown to the poets of the preceding age.
He presented subjects and characters taken
up from familiar day to day life, presented
in a language divested of ornamental
elements of style and language and were
endowed with a certain kind of poetic
pleasure.
So far Coleridge finds nothing about his
poetry with which he is not in agreement.
His objections are based chiefly on theory
propounded by his friend. Briefly stated,
these objections rest chiefly on the
following points:
(1) Coleridge finds Wordsworth’s concept
of his poetic diction misconceived. What he
calls the language of REAL life is an
obscure principle. It is an erroneous view.
Because, as soon as one says, as
Wordsworth has done, that his language is
taken from the lips of ordinary men when
they are ‘in a excited state of mind’.
It ceases to be ‘ordinary’ and acquires an
unusualness not found in a mundane state
of mind. This is what Coleridge thinks to be
a self contradiction in Wordsworth’s view
of poetic diction.
(2) Coleridge then understands two
important tasks, namely

(a) to explain what he thinks of a

POEM

(b) to define POETRY

Coleridge is basically a philosopher and
therefore first explains what is
philosophical PROCESS and the RESULT
that one arrives at by following that
process.
This brings him to another objection to
Wordsworth’s theory - namely METRE or
VERSE.

Wordsworth stated that verse is not a

prerequisite of poetic composition. But by
quoting the most ordinary children’s verse,
he points out that verse satisfies the
reader’s anticipation of sounds and rhymes
etc.
That gives a composition a certain form
which may be called superficial form, but
form it is all the same. This giving versified
form to a composition is the process, gives
it a distinctive appeal the RESULT of
which process is PLEASURE.
Thus, according to Coleridge, a poem is a
‘species of composition’ which is opposed
to works of Science, by aiming at giving
pleasure and not just information.
Coleridge, however, does not agree that
there may be other forms than verse which
may give pleasure. His idea is to limit
himself to defining poem and poetry, and
that metre is definitely an additional merit.
Coming to the idea of POETRY, Coleridge
subdivides it into two categories. Those
composition which are promoted by fancy
and those endowed with the power of
imagination - the latter being the superior
category.
He also says that to define POETRY is also
to define a POET.

The poet brings the whole soul of man into

activity. He synthesizes the diverse
faculties of the mind into one single whole.
This is a magical power called
IMAGINATION.
Chapter 17
Wordsworth’s idea of Diction is further
examined and rejected by Coleridge who
says that his idea of diction

(a) is applicable to a very small body

of poetry

(b) even so, that small body of poetry

uses diction which is acceptable to
most practitioners of poetry.
(c) even if it is possible to use such
language in poetry, it is not desirable.

The reason for his objection is that it is

doubtful that people of elevated rank and
refinement will show preference for that
kind of diction.
Coleridge, in support of his argument,
illustrates from some of Wordsworth’s own
well-appreciated poems like ‘Ruth’,
‘Michael’, ‘The Mad Mother’ and shows
that the characters delineated therein are by
no means taken from low or rustic life as
also the sentiments and language used in
those poems are not such as can be related
with their real life circumstances.
Also, the fact of the rustic being in
everyday contact of nature is no guarantee
that his language will be elevated so as to
be appropriate for poetic expression.
Again and again Coleridge uses
Wordsworth’s own words ‘selected’,
‘selective’ to counter his friend’s theory and
asserts that unlike what Wordsworth
believes there is a vital and essential
distinction between the language of poetry
and that of prose.
He says the adjective ‘real’ is erroneous.
Every man’s language is peculiar to his
own education, his mental faculty and
knowledge.

Secondly, language is also social class

specific.

Thirdly, it cannot be universally the same

for everyone.
Even the phrase, as used by Wordsworth,
‘in a state of excitement’, cannot justify his
theory. For that kind of a state of mind will
inevitably influence one’s use of language.
Chapter 18
Continuing with Wordsworth’s idea of
diction, Coleridge says that even if it is
language as used by ordinary men, the
qualifying adjective of “selective use”
makes all the difference. Once again, he
chooses Wordsworth’s own poems and
proves that the words employed therein are
of current vocabulary, they do not mean
just what they would when used in day-to-
day conversation.
They are endowed with a deeper meaning.

As for the need of metrical composition,

Coleridge says that even the prose used for
higher argumentative or intellectual
discourse cannot be the same as prose used
in conversation. Reading and talking call
for use of prose at two different levels.
Moreover, metre used in poetical
expression exercises a check in unrestricted
expression of passion.

(a) elements of metre are appropriate for

expression of a state of excitement.

(b) metre is an artificial and voluntary

discipline accepted by the poet so that
he can do proportional representation.
This strikes a balance between what is
spontaneous impulse and voluntary
restraint.

Metre adds to the element of excitement

and surprise. It is an additional element
which enhances poetic delight. Without the
use of metre, poetic expression will remain
imperfect and defective.
 QUESTIONS

(1) Coleridge’s views on poetry are

essentially contradictory, but
complementary to Wordsworth’s idea
of poetry.

(2) Irrespective of his close friendship

with Wordsworth, Coleridge boldly
brings out the flaws in Wordsworth’s
idea of poetry.
(3) Compare Wordsworth’s and
Coleridge’s views on poetic diction and
metre in poetry.

(4) What justification does Coleridge give

in support of metrical composition?
Examine with appropriate illustration.