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SUPPLEMENT 2003 to SAMUEL TAYLOR COLERIDGE


An Annotated Bibliography of Criticism and Scholarship
Volumes I-III
By
Walter B. Crawford
With the research and editorial assistance of
Ann M. Crawford

PART I 1996 to date

1 9 9 6

[S I 1996] ANON. "Inquiry into Footpath to Pixies Parlour." Pulman's Wkly News (9 F 1996), 14. Followup in "Pixie's Parlour Still Out of Reach," Pulman's Wkly News (30 Ag 1996), 8.

  • February: Ottery's Footpath 30 was severed by erosion some time ago. Department of Environment will hold inquiry into proposals to reroute the popular path. C--"Ottery's most famous son--relaxed and contemplated at Pixies Parlour" [cf C's Songs of the Pixies].
  • August: Permission has been refused to create a new footpath in the area. The only route now is from Knightstone, on the Ottery to Bowd road. The town council is asking for the beauty spot--now an overgrown mess--to be cleaned up and for the footpath from Knightstone to be maintained.
  • From clippings sent by Rosemary Elizabeth Coleridge Middleton.


[S I 1996] ASHTON, Rosemary. The Life of Samuel Taylor Coleridge: A Critical Biography. (Blackwell Critical Biographies, 7) Oxford & Cambridge, MA: Blackwell Publishers (1996). vii, 480 pp. 22 ils. 234 x 150mm. Presentation copy to WBC.

  • Author explores C's complex character, demonstrating how his writings are directly expressive of his opinions and emotions. She traces his development through his friendships, at school with Charles Lamb, at Cambridge, at Bristol with Southey and other radicals, at Nether Stowey with Thomas Poole, in Germany, in the Lake District with the Wordsworths, and in London, in the company of such men as Godwin and a whole train of disciples. She maps and measures the profound influence of German philosophy upon C's thinking and theorizing in illuminating detail. She places his reputation with the context of both British and German Romanticism, and shows how C became for such Victorian intellects as John Stuart Mill and Thomas Carlyle, a luminary of immense importance. (Drawn from jacket flap.)
  • Color reproduction of Vandyke portrait (1795--C9202) on jacket.


[S I 1996] BERLIN, Sven. The RAM. Drawings by Sven Berlin. Odyssey [C Cottage, Nether Stowey, Somerset] (1997). Drawings ©1996. 29 leaves, 24 plates. 293 x 296mm. Glossy white paper cover, black endpapers.

  • Half-title on leaf 5r, in calligraphy: Drawings / for the / Ancient / Mariner: / Poem by / Coleridge. / ????? / Direct in Ink / by / Sven Berlin / [his monogram].
  • Berlin's preface, titled "Cutwater" (footnoted as "The forepart of a ship's prow"), uses as epigraph "If a man could pass thro' Paradise in a Dream" . . . (Notebook entry 4287, 1815-16 (first published in Anima Poetae, 1895--C734, p 282). The RAM, he writes, "has haunted me since a child even though much of its meaning escaped me." When a friend suggested that he do some drawings for the poem, he writes, "I was hesitant as I had no nautical experience or marine memory to draw upon. . . . My friend said that C, himself, had no knowledge of the sea when he wrote the poem . . . . A blockage was loosened: / And straight a sound was heard. / Under the water it rumbled on, / Still louder and more dread. / I took up my drawing pen and without any notes or preliminary thought began to discover that man with the glittering eye. By evening I had six drawings and remained in-vision for five days, at the end of which all the drawings were completed[,] only one of which has been changed since. . . . // So the drawings must be seen as a spontaneous statement as nearly as possible, in harmony with the experience C presented. They are not illustrations but drawings which are a direct visual experience--as far as that is possible--of something that is invisible part of the time. The more I read the poem the more I realise the gaps left by the drawings. C always leaves something unsaid, as though the expectation of proof of his having been there is contained in what is written. [That is the application of the epigraph.] // . . . If my drawings catch a spoonful of truth about these matters I shall consider the privilege of doing them worthwhile."
  • Prints the 1834 text of the poem, with the Argument and the Burnet motto in Latin and English, omitting glosses for lines 1-118 and 203-23. The wingspread albatross and the AM's face, in outline, are printed on the Contents page and the page facing the start of the poem. Plates 1 and 24 are similar drawings of the AM in a visored cap. The AM is bareheaded in the drawing on the cover and plate 2. In calligraphy on verso leaves facing plates 3-23 are lines relevant to the drawing: 37-40, 49-50, 51-4, 79-82, 115-18, 139-42, 185-9, 220-3, 228-31 (with echoes of 215 and 260), 288, 289-91, 297-300, 331-4, 335-40, 377-82, 442-5, 464-7, 552-5, 574-7, 591-6, 622-5.
  • The drawings are bold, powerful, whether in merest outline or including much detail. Noteworthy features:
  • His glittering eye is a motif in most depictions of the AM, and also emphasized are the cursing eyes of the crew.
  • In plate 3, showing the veiled bride with flowers and the AM grasping the shoulder of the Wedding Guest, in the background is a grave marker: "In memor... / C...leridge / 1797-98."
  • In plate 5, Berlin is among those illustrators ignoring C's negatives in the line "Nor shapes of men nor beasts we ken": he shows the sun, the albatross in flight, the ship to left of a huge iceberg, and in the foreground a whale and a shark or dolphin(?).
  • Plate 6 shows the AM's arrow in flight from lower left pointing toward the albatross folding its wings to land on the ship's rail.
  • The drawing in plate 8 is unique, powerful. It shows a huge albatross, bigger than the AM, head and neck hanging down his front, body hanging down his back, its huge feet on the deck, with huge wings surrounding the AM as if lovingly; the arrow still stuck in part of its body is seen in the foreground.
  • Plate 9 is also unusual in its detail. It shows Life-in-Death with skeletal Death holding an ace-of-hearts over her shoulder, in front of them a checkerboard and a large die.
  • Sven Berlin, sculptor, painter, and writer, was born in London in 1911. He has had more than forty one-man shows and his work is represented in National Collections including the Tate Gallery, V & A and Imperial War Museum. He has published two volumes of his autobiography and a study of the St. Ives painter Alfred Wallis, Primitive (1949, reprinted 1992).


[S I 1996] BrownTrout PUBLISHERS, San Francisco. Poets of the Lake District: 1997 Calendar. Featuring Lake Poets WW, STC, and Robert Southey. San Francisco: BrownTrout Pubrs (1996). 304 x 304mm. Il (col photos 227 x 278mm).

  • "W, C, and Southey lived in the area for many years . . . and were inspired to produce some of their most beautiful lines in this extraordinary place." Prints Recollections of Love (January); Answer to a Child's Question (April); Separation (August); and Love, Hope, and Patience in Education (November). Illustrations not specifically C-related.


[S I 1996] BURKE, James. "Connections: Satisfied Customers." Scientific American (Mr 1996), 116-17.

  • Traces the history of "the modern department store, with its money-back-guaranteed merchandise" from Josiah Wedgwood through Malta Commissioner Alexander Ball, whose "dispatches were being edited, day and night, by his new re-write man. This latter player was a passing opium addict and Romantic maven called STC, who had arrived on the island in 1804, on the run from his wife and his habit." Includes C's friendship with Allston, who introduced him to Samuel Morse, who later influenced the development. Concludes that the money-back guarantee "is a practice first introduced, in his London showrooms, by Wedgwood."
  • Discovered by Eric W. Crawford.


[S I 1996] CRAWFORD, Walter B[yron]. Samuel Taylor Coleridge: An Annotated Bibliography of Criticism and Scholarship. Volume III: Part I, 1793-1994, including Supplement to Volumes I and II, 1793-1939; Comprehensive Bibliography, 1940-1965; Selective Bibliography, 1966-1994; and Part II, 1791-1993. By Walter B. Crawford with the research and editorial assistance of Ann M. Crawford. New York: G. K. Hall & Co., An Imprint of Simon & Schuster Macmillan, 1996. xxxv, 946 pp, including 7 indexes in 278 pp. 285 x 220mm.

  • Volume III contains more than 5700 entries, substantially annotated and elaborately indexed. Volumes I (1976) and II (1983) and III (1996) have a combined total of more than 10,400 entries.
  • Volume III covers not only the usual forms of publication (books, pamphlets, articles and notes in periodicals, including newspapers) and the usual approaches (critical, historical, biographical, psychological, sociological, etc.). It also covers Coleridge portraits as well as the considerable body of other Coleridge-related visual art, music, sound recordings, motion pictures and filmstrips, radio and television broadcasts, live performances, and even electronic media, as well as satires, parodies, and imitations of his writings, completions (by other authors) of his unfinished poems, a selection of writings (fiction, drama, poetry) making imaginative use of material drawn from his life and works, and a wide variety of miscellaneous Coleridge-related phenomena.
  • Reviews: Derrick Woolf, CB, ns 8 (Au 1996), 72-4, followed by authors' comments in CB, ns 9 (Sp 1997), 73-5. Morton D Paley, SiR, 38 (Su 1999), 315-22.


[S I 1996] CRAWFORD, Walter B[yron], assisted by Ann M Crawford. A Supplement to Samuel Taylor Coleridge: An Annotated Bibliography of Criticism and Scholarship, Volumes I- III. Westminster, CA: The Crawfords (Je 1996). 20 two-column pages, 8.5" x 11".

  • The first separately published Supplement. It incorporates that published in CB, ns 5 (Sp 1995), 50-8, and includes 85 annotated items. It is replaced by this online Supplement.


[S I 1996] HAINTON, Raymonde, and Godfrey Hainton. The Unknown Coleridge: The Life and Times of Derwent Coleridge, 1800-1883. Janus Pubg Co (1996). ix, 313 pp.

  • Includes extensive coverage of Derwent's relationship with his father and others in his family, drawing on C's letters and other sources. Thoroughly documented. Thirteen illustrations.


[S I 1996] HODGE, Jane Aiken. Passion & Principle: The Loves and Lives of Regency Women. John Murray (1996). x, 230 pp. 240 x 158mm.

  • Quotes C to Godwin on Mrs Inchbald (p 176). Discusses C's marriage and children, and relationship with Ws, with much on C's wife and daughter (pp 185-90).


[S I 1996] MACRONE, Michael. Brush Up Your Poetry! Illustrations by Tom Lulevitch. NY: Cader Books; Kansas City, MO: Andrews and McMeel, A Universal Press Syndicate Co (1996). 255 pp. 188 x 128mm.

  • From "Introduction": "It should be no surprise poetry has lent the English language hundreds of quotable phrases. . . . My aim . . . is to bring some of these sayings back home and back to life. Everyday phrases and quotable lines are traced to the source and presented in context. I cite short passages and explain how they work, and I try to recapture the spirit of their time and place. Along the way, I also touch on literary history and suggest how to read poems . . . . The phrases and poems are grouped by poet. A select group . . . get chapters to themselves. The rest are gathered in chronological chapters."
  • C cited in chapter on Wordsworth (pp 135, 137) and in that on the Romantic Period (pp 144-5, including a 3-line biographical note). The section on C (pp 155-60) presents "An Albatross around Your Neck," "A Ghastly Crew," "All Things Both Great and Small" and "Sadder but Wiser," quoting and discussing the context of these memorable phrases, the discussion adding up to an interpretive summary of The RAM.


[S I 1996] MALAN, Don. Samuel Taylor Coleridge's Rime of the Ancient Mariner .Reproductions of all three 19th century folios: David Scott, 1837; J Noel Paton, 1863; Gustave Doré, 1876. Introduction by Dan Malan, author of Gustave Doré: Adrift on Dreams of Splendor. St Louis, MO: Malan Classical Enterprises (1996). 112 pp. More than 100 illustrations. 277 x 211mm. Paper.

  • "All the illustrations reproduced herein are from the 19th century, and are now in the public domain. These illustrations are from Dan Malan's personal collection. Only the text of this book is copyrighted. Please feel free to photocopy any of the illustrations in this book. Enjoy!" (p [2]).
  • Six "chapters." (1) "Introductory sections: Life of Samuel Taylor Coleridge (1772-1834) [author declares wrongly that C "had many affairs"]; History of Illustrations to The Ancient Mariner [lists 31, to 1948, all in the Coleridge Bibliography II-III]; Life of David Scott (1806-1849); Scott Illustrations to Pilgrim's Progress; Life of J Noel Paton (1821-1901); Paton Illustrations to Lays of the Scottish Cavaliers [the page also shows the "cover of 1886 Ancient Mariner edition which combines sets of engravings by Paton & Doré--not in the Coleridge Bibliography II-III]." And the remaining sections are especially thorough and detailed: "Life of Gustave Doré (1832-1883); Doré Illustrations from his most famous folios; Bibliography of Doré Ancient Mariner Editions [including editions not in the Coleridge Bibliography II-III; they are listed by date, publisher, pages, size, and number of illustrations; the list of French, German, Italian, and Russian editions does not name the translators]; Bibliography of Book Titles Illustrated by Doré."
  • (2) "Poem text: The Rime of the Ancient Mariner (reproduced from the 1877 1st U.S. Doré Edition; includes two Doré vignettes and the marginal notes)."
  • (3) "Set of 25 etchings by David Scott (original illustration size 9½" x 13", reduced 25%, plus the original 1837 title page)."
  • (4) "Samples of vignettes from 1857 edition (Four Illustrations by Edward Wehnert, Birket Foster and E Duncan, reproduced full size)."
  • (5) "Set of 20 Outline Illustrations by J Noel Paton (original oblong illustrations 9½" x 12½", reduced 25%, plus the 1877 title page from the 1st U.S. edition)."
  • (6) "Set of 40 Wood Engravings by Gustave Doré (these are the full-page plates, see page 16 for vignettes; original illustration size 9½" x 12½", reduced 25%; includes illustrated title pages from 1876 1st British edition and the 1877 1st American edition)."
  • Cover printed in blue: the front has a composite of 3 illustrations by Paton, Doré, and Scott; the back has a Doré engraving. The best book on its interrelated subjects so far. Useful biographical-critical commentary, much detailed bibliographic information (including on editions not in the Coleridge Bibliography II-III},
  • Gift to the CCC from Stephen H Ford.


[S I 1996] [MOORE, Christopher, ed.] Selected Poems [of C]. (Gramercy Great Poets) NY & Avenel, NJ: Gramercy Bks (1996). 175 pp.

  • Introduction by Moore (pp 9-10) is biographical account; mostly critical sketch is on jacket flaps. No other editorial matter; no line numbers. Prints The RAM, and Christabel, and 70 "Lyric Poems," including KK and Dejection. Jacket portrait is the Vandyke (1795--C9202) (55 x 56mm); KK 1-16 on back of jacket.


[S I 1996] NOGAMI, Norio, ed & tr. S. T. Coleridge Shishu [S. T. Coleridge Poems]. Tokyo: Seibido (1996). 476 pp, [4] pp of plates. 195 x 130mm. In slipcase.

  • Japanese translation of 75 selected poems by C, in the order in which they appear in CPW. Included is C's translation of a Greek Ode on Astronomy (not in CPW; see C5073, C5565, and C5578). In both table of contents (pp 5-16) and text, the titles are in both English and Japanese.
  • In the introduction (pp 17-28), some brief quotations from C are in English, Latin, and Greek, with Japanese translations. Afterword (pp 467-9), titles in English of works cited. List of "C's Poetical Works" (pp 470-3), in English with occasional note in Japanese. Index of titles (pp 474-6). Biographical note on the editor/translator at top of copyright/colophon page [477].
  • The plates following the Japanese title page are facsimiles of the title pages of Christabel ; Kubla Khan, A Vision; The Pains of Sleep (1816); Poems on Various Subjects (1796); Poems by S. T. Coleridge . . . [and] Poems by Charles Lamb and Charles Lloyd (1797); and halftone photos of Christ's Hospital and The River Otter.


[S I 1996] PALEY, Morton D. Coleridge's Later Poetry. Oxf: Clarendon P (1996). xii, 147 pp.

  • Thorough, detailed analyses of the poems in 5 chapters: Hope, Negation, Self, Love, and Epitaphs. The introduction, "C's Later Poetry" (pp 1-11), stresses that "C always had a number of poetic voices, but their composition and relative importance changed dramatically. . . . 'Later' is of course a relative word. . . . Almost all the poems by which he is known to most non-specialist readers were written before he was 30. Yet . . . C wrote a considerable amount of poetry after that, and the last decade of his life was especially productive. It is the argument of this book that this body of work is worth serious attention" (p 2). Discusses "C's most celebrated poetic valedictory," Dejection, his claim that he can no longer write poetry being "a paradox that was to be repeated" (p 3). "Perhaps the best way to approach C's later poetry is through the concrete instance of a poem which is in many ways typical," Love, Hope, and Patience in Education, which Paley discusses at length (pp 6-11).
  • Includes "Supplementary Note: The Abraham Wivell Portrait" (1833--C9228), the Wagstaff engraving of which is reproduced as frontispiece and on the first edition jacket.


[S I 1996] TAKAYAMA, Nobuo. "The Formation of 'KK'." B Faculty of Liberal Arts, Hosei U, no 58 (F 1996), 51-66. In English.

  • Headings: Introduction, The kinds of sleep, C's dream, Waking sleep and poetry making, The possibility of automatism, Conclusion.
  • Offprint given to CCC by author.


[S I 1996] WATTERS, Reggie [ie, C Reginald], ed. The Bristol Connection: A Celebration in Words and Music of the First Meeting of Coleridge and Wordsworth, Bristol 1795. Given by Reggie Watters, Reader; Charles Gibbs, Bass-Baritone; Nigel Dodd, Piano. Including the first performance of a Song Cycle, The Lucy Poems, by Nigel Dodd. Saturday 14th October 1995, 7.30 p.m., at St George's, Brandon Hill, Bristol. Np: np (1995). Paper cover, 20 unnumbered pp. 210 x 148mm. See also audio cassette recording of the concert, The Bristol Connection (1996, in Part II.8 below).

  • Page 3: "Order of Programme, Readings and Incidental Music," in 5 parts. (1) "Coleridge and Music": Purcell, Music for a While; Haydn, The Wanderer; Mozart, Das Veilchen and Abendempfindung; Carnaby, Peace [1795?--C8601, edition not specified] and Genevieve [1810--C8617]. (2) "Coleridge in Bristol": Vaughan Williams, Cradle Song [1905--C8728], and Richard Rodney Bennet[t], The Lark [1966--C8879]. (3) "Coleridge returns to Bristol from Clevedon": Haydn, Sonata No 60 n C Hob XVI50 (1795), The English (Allegro, Adagio, Allegro Molto). (4) "The Radical Wordsworth": Dodd, Lucy Poems. (5) "Epilogue: A newly discovered poem" ["STC's last Bristol poem," courtesy of J C C Mays, editor of forthcoming Complete Poetical Works of Coleridge for the CC]. The inlay card in the audio recording of the concert lists a concluding musical number: Coleridge-Taylor, Genevieve [1905--C8725]. "The Performance [was] followed by a Buffet Supper in the Crypt."
  • Page 5: Text of Das Veilchen and Abendempfindung in parallel columns of German and English (The Violet and Evening Thoughts). Page 6: Composer Dodd's note on The Lucy Poems: A Song Cycle for Bass-Baritone and Piano (ca 195 words, above advertisement). "There appears to be no other musical treatment of the group as a whole." Pages 7-9: Texts of the 5 chosen poems. Pages 10-11: "Bristol in the 1790s," by Watters (ca 1575 words), focused largely on C. Page 13: "Joseph Haydn in Bristol [in 1794]," by Watters (ca 425 words). Pages 14-15: "W, C and the Georgian House [of the Pinney's]," by Karin M Walton (ca 950 words). Page 16: Biographical notes on Watters, Gibbs, and Dodd; and Acknowledgments. Back cover: schedule of Bristol Museums and Art Gallery Winter [Free] Lecture Series. Other pages and inside back cover: advertisements.
  • Event reviewed by M Birtchnell, CB, ns No 6 (Au 1995), 53-5.
  • Gift to CCC from Reggie Watters.


[S I 1996] WATTERS, Reggie [ie, C Reginald], and Derrick Woolf. Walking with C in the Quantocks, 3. Kilve. [Nether Stowey:] C Cottage (1996). Triple-fold leaflet, 215 x 100mm folded. Il, map.

  • Clearly drawn and printed map (180 x 205mm), with route clearly marked and numbers identifying points of interest connected with C which are discussed in some detail (with anecdotes and C quotations) in the rest of the leaflet: "Kilve by the green sea," Oil Retort House & Limekiln, Kilve Pill, Prehistoric Settlement, The Iron Stairway, Manor Mill & Mill Pond, St Mary's Churchyard, East Quantoxhead, East Wood, St Mary's Church, Kilve & Kilve Chantry. One panel gives directions for "Walk 3. Kilve Car-park, Kilve Pill, East Quantoxhead, Kilve Church and Chantry." Illustrations are identified. Back panel gives addresses and telephone numbers of C Cottage, C Books, The Hood Arms, and Chantry Tea Rooms.
  • Gift to CCC from Derrick Woolf.


[S I 1996] WOOLF, Derrick. ["'A Sketch of Poor C's House at Stowey'."] CB, ns 8 (Au 1996), 73-4.

  • Footnote to his review of volume III of the C Bibliography: "As a direct result of the thoroughness of Professor Crawford's VOL III an early illustration of C Cottage has been unearthed. It is a copy of 'a sketch of poor C's House at Stowey' which John Chester sent to Thomas Allsop on 28th S 1837. . . . [I]t is . . . the earliest visual record of the cottage." Drawing on Broughton (1942--C3829), which reproduced this sketch as frontispiece, Woolf describes the sketch, comparing the view to the current appearance of the cottage, and reproduces the original sketch (69 x 101mm).


1 9 9 7

[S I 1997] ANON. "Libraries Find Rare C Books." Recently at UML: A News Release from the University of Manitoba Libraries. News Release No 47 (My 1997), 1 p.

  • Recently donated to UML Department of Archives and Special Collections, a collection formerly owned by Barbara E Rooke, editor of The Friend (CC, IV) (1969--C6084): the original 28 issues of the 1809-10 Friend; the 3-volume 1818 and 1844 editions; an 1865 edition; Rooke's "Proof Copy" of The Friend (1967); Allsop, ed, Letters . . . of S. T. C (1836--C174); and other noteworthy books.


[S I 1997] OKACHI, Mine. Vijion to Genjitsu [Vision and Reality]. ([Chuo University Studies in the Humanities, 17]) Tokyo: Chuodaigaku Shuppanbu [Chuo Univ Press] (1997). xv, 650, 17 pp. Ils. 217 x 150mm. Front of book jacket reproduces the title page plus an illustration 93 x 52mm. In Japanese.

  • Text includes author names and titles in English, lines from various authors' poems quoted and translated. Book One, on the Romantics, treats 18th-century authors, principally Burns; C and W at length; other Romantics including Southey, Shelley, Keats, and Hazlitt. Book Two, on the Victorians, treats Clough, Tennyson, the Brontës, Arnold, the Brownings, James Thomson, and Swinburne.
  • Includes Japanese translations followed by the English of C's To a Friend [Charles Lamb] 17-37 (pp 28-31); On Observing a Blossom on the First of February 1796 (pp 33-6); and To a Primrose: The First Seen in the Season (pp 45-8). Book One, part II, is on C and W; parts III-IV are mostly on C (pp 111-231). Index in English and Japanese, 2-column pages (back pp 1-17), includes a column on C and 23 of his works (pp 5-6). Annotated with the help of Emiko Samard.


[S I 1997] TAKAYAMA, Nobuo. "The Reason Why C Lost His Poetic Genius." B Faculty of Liberal Arts, Hosei U, no 99 (F 1997), 143-53. In English.

  • Headings: Introduction, Poetic circumstances of "annus mirabilis," C's view of poet, Conclusion.
  • Offprint given to CCC by author.


[S I 1997] TAMURA, Kenji. Kôrurijji no Sôzôteki Seishin: Tôitsusei, Bunretsu, Tôitsusei no Kaihuku [The Creative Mind of STC: "Unity, Division, and Unity Regained"]. Tokyo: Eihôsha (1997). [x], 656 pp. Front (port). Index, pp 637-56.

  • The text is in 22 chapters, 16 previously published (1969-1995). Endnotes follow each chapter.
  • The introduction, "C's False Image and Real Image" (4 chapters, pp 3-80): "A Dilemma in C Study" (priority of philosopher and critic); "C's Creative Mind" (the critic's mind and the Romantic world image); "C and Kant"; and "C and Schelling."
  • Part I, "Phases in the Development of C's Thought: Critical Principles and the Practice of Poetry" (11 chapters, pp 83-457): "The Theory of Polarity" (the coincidence of opposites), "The Theory of the Trinity" (belief in God), "The Principle of Organic Unity" (organism and mechanism), "Imagination and Reason" (metaphysical imagination), "Methodology" (the principles of criticism), "The Concept of Consciousness and the Unconscious, "Symbolic Philosophy" (symbol and reality), "Logosophia" (a system in a vision), "The RAM" (on the albatross), "Dejection: An Ode" (the revelation of pleasure), and "The Magic of KK" (the interpretation of Jungian psychology).
  • Part II, "C and Other Authors" (7 chapters, pp 461-615): "C and Hartley" (reception and rejection of Hartley's theory), "C and Schiller" (the translation of Wallenstein), "C and [Robert] Owen" (the practice and breakdown of Utopian society), "C and Godwin" (the Lectures 1795 on Politics and Religion), "C and Hazlitt" (from their first meeting to The Spirit of the Age), "C and Davy" (the experiment on inhaling nitrous oxide), and "C and [T S] Eliot" (a comparative study of culture theories).
  • Extensive bibliography: publications in English (3 in German) (pp 621-30, in Roman type), and publications in Japanese (pp 631-33).
  • Frontispiece is the second Leslie portrait of C (1818-- C9218).
  • Gift to the CCC from Nobuo Takayama and annotated with his help.


[S I 1997] [WASHINGTON, Peter, ed.] C: Poems and Prose. (Everyman's Library Pocket Poets) NY & Toronto: Alfred A Knopf (1997). 255 pp. 165 x 110mm. ("This selection by Peter Washington first published in Everyman's Library, 1997.") With red ribbon-bookmark.

  • Includes KK, 6 "Ballads" (including The RAM and Christabel), 16 "Odes and Conversation Poems," 42 "Occasional Verse," and "Selected Prose" from BL (from chapters IV, XIII, XIV), letters (to Thelwall, 17 D 1796; to Godwin, 25 Mr 1802; and to Sotheby, 13 Jy 1802 and 10 S 1802), and notebooks (Ja and D 1804, My-My 1811, 12 and 31 My 1830). Index of first lines. No editorial matter.


[S I 1997] WOOF, Robert, and Stephen Hebron. The RAM: The Poem and Its Illustrators. [Grasmere:] The Wordsworth Trust (1997). viii, 152 pp. Ils (color and b&w). 270 x 210mm. Soft cover.

  • Catalog of Wordsworth Museum exhibition marking the 200th anniversary of C's composition of The RAM. Introduction by Woof (pp 1-24); "design, typesetting, research on and writing about the artists" by Hebron [who drew heavily on volumes II-III of the C Bibliography without acknowledgment other than inclusion in the "Selective Bibliography"]. The 1817 text of the poem (pp 25-45).
  • "The Ancient Mariner and Its Illustrators" (pp 47-124) begins with color reproductions of captioned illustrations, by Paton, Doré, Pogany, Jones, Peake, Duncan Grant, Procktor, Emerson. Then artists are presented chronologically, with 1- or 2-page biographical-critical sketch of each artist and selected illustrations in black and white: Scott 5 and 2 pencil studies, Paton 5 and 4 pencil studies, Doré 6 and studies for 2 of the engravings, Strang 5, Jones 5 and of one of the engravings an early proof with the artist's comments, Peake 4, Duncan Grant 4. "Contemporary Approaches" (pp 108-11): Procktor 4, Berlin 2 sculpture and one drawing, Palmer 4, Emerson 2, Bryan Kneale 1 sculpture.
  • Illustrations appear also on the front and back covers and in the "Catalogue" of the 54 items in the exhibition (pp 125-49), which include significant items related to the artists though not necessarily to Coleridge. All the artists exhibited are in the C Bibliography or in this online Supplement, except Bryan Kneale (born 1930) whose bronze "Homage to Doré" (item 51, elongated head of the albatross) is shown on page 124.
  • Some of the other exhibited works by the artists are not in the C Bibliography: for example, pencil studies by Scott (p 61); items 9 and 10 (original drawings by Gustave Doré); pencil studies by Paton (p 67); items 12 and 13 ("Self-portrait" and "The Etcher" by William Strang); item 23 (autograph letter from Jones to Douglas Cleverdon); item 24 (proof of "The Wedding Guest" by David Jones); item 33 (original drawings by Mervyn Peake); item 45 (aquatints by Patrick Procktor); item 47 (original artwork by Hunt Emerson); item 50 (apparently an original wood engraving by Garrick Palmer); and items 52-4 (marble sculptures by Sven Berlin).
  • Item 16 shows the title page of Elbert Hubbard's 1899 edition (C813), but the headnote is about Hubbard only, saying nothing about the edition's well-known illustrator William W Denslow.
  • Item 28 shows the title page of the Lörinc 1921 edition, with the note: ". . . with a small number of illustrations"; but the British Library copy seen and photocopied by the Crawfords has no illustrations other than the title page vignette. The revised edition of 1957 has the Doré illustrations. See C1837 (1921); C4862 (revised edition of 1957); and C3471 (the 1982 facsimile reprint of the 1921 edition).
  • Items (often illustrated) are included in the catalog by these artists other than those mentioned above: Wehnert, Duncan, and Foster; Patten Wilson; Ricketts; Cole; Metcalfe; Lhote; Rogers; Davies; Gordon Grant; Edward A Wilson; Calder; Prassinos; Ticheho; Bensmann; Burger; Hodges; and Possi.
  • "Selected Bibliography" (pp 150-1). Index of names and of titles of C's and W's works mentioned (pp 152).
  • Gift to the CCC from Antje Klesse.

1 9 9 8

[S I 1998] CHARLTON, Eliza. "Light Reading on the 6.15." Daily Telegraph (17 Jy 1998), 25.

  • A long article about Alexander Waugh's new series, "the Travelman Short Stories," a "library of classic short stories, printed on a single broadsheet, which concertinas neatly into pocket size." The series "will be available at bookshops and newsagents across the country and W H Smith is promoting them at its branches at stations and airports. . . . This enticing combination of literature and travel is not, of course, wholly original. . . . W H Smith itself claims some credit for introducing decent literature to station bookstalls. A Times report of 1851 comments unflatteringly of these . . . . [But] Smith's backed a cheap and popular 'Traveller's Library', whose titles included C's Table Talk."
  • From clipping from Rosemary Elizabeth Coleridge Middleton.

[S I 1998] FOREMAN, Amanda. Georgiana, Duchess of Devonshire. NY: Random House, 1998. xx, 454 pp. Profusely illustrated, in b&w and color. Spencer and Cavendish Family Trees on end-papers. 242 x 160mm. Illustrated jacket.

  • In his 83-line "parody," Ode to Georgiana, Duchess of Devonshire (1799), Coleridge "gently poked fun at [the] popularity" of Georgiana's poem The Passage of the Mountain of St. Gothard ; prints the last 8 lines of the Morning Post version of Coleridge's Ode (p 312n).

[S I 1998] JACKSON, H[eather] J[oanna], and George Whalley, eds. Marginalia. IV, Pamphlets to Shakespeare. (CC, 12) (Bollingen Ser, 75) Princeton UP (1998). xxiv, 870 pp. 7 pls (facsimils), incl frontispiece. No index. Vols I and II (1980-84---C6440); vol III (1992---C6623).

  • Editor Jackson's Foreword (pp xiii-xviii) reviews "some of the changes in policy or practice that have been introduced during [the] piecemeal publication" of the Marginalia. "In addition to annotated texts from Sherlock to Zwick, Volumes Five and Six are expected to include addenda as well as a comprehensive index to the Marginalia." She then gives "a short-title list of the current Table of Contents for Volumes Five and Six" and invites "corrections or additions." Following the Foreword is "Editorial Practice: A Brief Guide," including "Abbreviations" (pp xix-xxiv).

[S I 1998] MATTHEWS, Robert. "Comet Guided C to the AM." Sunday Telegraph (18 Ja 1998), 10. Ils.

  • "A spectacular cosmic event seen during a country walk 200 years ago [on the evening of 13 N 1797] inspired STC to compose one of the most evocative passages in The RAM [313-21, printed beside adaptation of C portrait], according to detective work by an astronomer," Duncan Steel, whose "research, to be published in Astronomy and Geophysics next month, is already attracting interest from Coleridge experts." The date of C's walk "coincides with the earth crossing the path of Comet Temple-Tuttle, the debris from which is known to produce a spectacular annual meteor shower known as the Leonids. The year 1797 is likely to have featured an especially spectacular shower, says Dr Steel, as the Earth would then have been passing through one of the densest clouds of debris, with meteors whose trails would persist for long enough to form the 'fire-flags' described by C." To left of article is a reproduction (155 x 124mm) of an illustration by an unnamed artist "of the doomed sailor's ship passing through a celestial fire storm."

[S I 1998] NICOLSON, Adam. "The View from Perch Hill." Sunday Telegraph Mag (12 Jy 1998), 70. Il by Geoff Grandfield.

  • Personal essay prompted by Holmes, C: Early Visions, (1989). The theme (as condensed by the annotater): "If I had to choose one moment to be someone else at some other time, I would want to be STC, aged 29, radiant with glowing vitality, as he emerges to his 1802 summer of glory in the mountains. I knew what I wanted because I had been reading about it in Richard Holmes's biography of the young C. I'm leaving for the mountains tonight."
  • Illustration shows a figure in white striding across a valley between black mountain slopes on either side, and with a gray mountain peak between his extended legs.
  • From tearsheet sent by Rosemary Elizabeth Coleridge Middleton.

[S I 1998] STEEL, Duncan. "The Leonid meteor showers and the genesis of the Ancient Mariner." Astronomy and Geophysics, 39 (F 1998), 1.20-1.23. Ils.

  • C's poem "contains many vivid astronomical allusions which have been much discussed in the two centuries since" the poem's conception "on a long walk begun by C, William and Dorothy W on 13 N 1797." That conception "may have been stimulated by a Leonid meteor shower outburst during the preceding night; indeed, observation of the meteor activity may have provoked this extraordinary walk itself" (p 1.20). Discusses the circumstances of the walk and the astronomical allusions in the poem, reviews descriptions of "the Leonids' historical displays," prints 2 photographs of the 1996 display, and reproduces an engraving of "the great Leonid meteor storm of 1833, according to an artist's impression (with considerable licence). . . . It seems [that this picture] was not drawn until some decades after the event, and then in order to lend weight to a biblical interpretation of its significance rather than out of scientific interest . . . . [This copy] was taken from a book by Uriah Smith [1881 or 1883], a professor of theology at Battle Creek in Michigan . . . . For a full century the Seventh Day Adventist Church interpreted the Leonid storm in 1833 as a sign of the Second Coming of Christ and the impending Day of Judgement."
  • Conclusion: "I have no information to hand that confirms that C and/or the Wordsworths actually observed the Leonid meteors . . . . As to why they decided to leave on a long hike for the coast as the Sun set on a cloudy day in mid-November, one can only conjecture. My hypothesis, that they did so in order to observe the heavens, is provoked by the recognition that the sky would have been very active in the few nights leading up to their expedition, and the fact that the fire-flag imagery in the AM is suggestive of the long-enduring Leonid meteor train."

[S I 1998] TAKAYAMA, Nobuo. "The Nature and Functions of Double Touch: An Approach to C's Psychology." B Faculty of Liberal Arts, Hosei U, no 103 (F 1998), 101-22. In English.

  • Heads: Introduction, The Sense of Touch, The Meaning of Touch, Single and Double Touch, Reverie and Night-mair, Conclusion.
  • Offprint given to CCC by author.

[S I 1998] TOKYO KÔRURIJJI [COLERIDGE] SOCIETY, eds & trs. Seijika Hikkei no Sho-Seisho Kenkyû: Kôrurijji ni okeru Shakai, Bunka, Shûkyô [Translation and Study of The Statesman's Manual: Society, Culture, and Religion in Coleridge]. Tokyo: Kobian Shobô (1998). xi, 290 pp. In Japanese.

  • The translation (called Part II, pp 101-99) was done by all eight translators: Koichiro Hara, Masako Sakagami, Nobuo Takayama, Naoyuki Takemura, Keiko Anzai, Yumiko Okamura, Takahito Yamada, and Kazuko Oguro.
  • Editorial matter: Preface (pp iii-v), by Koichiro Hara. Part I (an introduction), "The Statesman's Manual and Its Background" (pp 5-91, references 92-7), by Koichiro Hara, treats these topics: Social and Cultural Conditions during C's Life, The Work's Title and Readers, The Work's Purpose and Its Intellectual Background, The Ideas Criticized in the Work, The Character of the Work as Criticism, C's View of the Bible, and The Statesman's Manual and Logosophia. Translators' notes (pp 201-32). Part III, The Existing Distress and Discontents of the English People (an outline of A Lay Sermon, p 233), followed by a summary of A Lay Sermon (pp 235-52) by Masako Sakagami. Afterword (pp 253-7) by Nobuo Takayama. [Pages 258-90 also numbered 33-1 at bottom in reverse order.] Chronology of C's life and works (pp 265-58/26-33). Appendix: words from The Statesman's Manual as quoted in the OED, with definitions (pp 270-66/21-5). Index (pp 290-71/20-1).
  • Gift to the CCC from Nobuo Takayama.


[S I 1998] WU, Duncan, ed. Romanticism: An Anthology. 2nd edn. Oxford: Blackwell Pubrs, ©1994, 1998. xlviii, 1121 pp. 245 x 175mm. Small print, mostly 2-column pages. Illustrated paper cover.

  • Has Wordsworth and Coleridge, Lyrical Ballads, pp 189-269; Wordsworth, pp 270-419; Coleridge, pp 447-555. Special sections of table of contents: "Selected Contents by Theme," pp xxiii-xxvii; and "Selected Contents by Version (Coleridge)"--"This anthology includes both the canonical texts (usually the later versions) as well as earlier ones; the supplementary table below lists all multiple Coleridge texts under poem title."--(pp xxvii). Extensive explanatory notes.

1 9 9 9

[S I 1999] APPLEBOME, Peter. "Dusting Off the Pages of a Bookish Vanderbilt's Passion." NYT (11 Mr 1999), 2.

  • "Perhaps the most important book" in the collection of George Washington Vanderbilt (died 1914) in his Biltmore Estate in Asheville, NC, is Sibylline Leaves (1817) "with the author's corrections for subsequent editions inked in and signed."
  • Discovered by J E Ted Meredith.


[S I 1999] BIRIOTTI, Sophie, ed. Gardens of the Imagination: A Literary Anthology . Illustrations by Peter Malone. San Francisco: Chronicle Books, 1999. [vii], 8-144 pp. 248 x 192mm. Color ils.

  • Introduction (pp 8-10) includes this reference: "Writing has the power to re-create the majesty and harmony of the mythical garden. Coleridge's classic evocation of Kubla Khan's paradise on earth constructs a garden out of pure syllabic energy--a garden fashioned out of poetry" (p 9). One of 23 selections, the poem (pp 16-18) has a full-page illustration showing the "damsel with a dulcimer" (a lion lying beside her) in the foreground, the "stately pleasure dome" amid "forests ancient as the hills"--"the green hill athwart a cedarn cover"--in the background, with a crescent "waning moon" in a wedge of sky at the very top. In the text, opposite the lines about the damsel with a dulcimer is a small oval showing the damsel's hat resting on the zither.
  • Gift to the CCC from Stephen H Ford.


[S I 1999] COLLIER, Graham. Antarctic Odyssey: In the Footsteps of the South Polar Explorers. Account by Graham Collier, Photographed by Patricia Graham Collier. NY: Carroll & Graf (first pubd London: Robinson Pubg, 1999). xiv, 194 pp. 285 x 195mm. Ils & maps. Illustrated jacket.

  • The introduction ("The Ancient Mariner," xii-xiv) begins with The RAM 59-62 followed by the author's personal reminiscences ("I was twelve when I first read Coleridge's RAM" ) and an account of his initial researches and Antarctic travels. Reproduces the Doré 1876 engraving of the albatross hovering high above the ship among the icebergs (p xii). The main text of the book gives the history of West and East Antarctica and describes and illustrates (56 color photos, mostly full-page) what the Colliers saw during their travels there.
  • Gift to the CCC from Stephen H Ford.


[S I 1999] CURTIS, John. The Lake District. L: Jarrold Pubg (1999).

  • Photographs of "England's most mountainous national park, . . . often in the less than perfect conditions that the regular visitor knows is the norm. . . . Captions drawn from appropriate quotations from some of Lakeland's most famous writers from Wordsworth to Wainwright via Coleridge, Ruskin, Southey and Ransome." Source: anonymous review in Cumbria, 49 (Ja 2000), 41.


[S I 1999] JENSEN, Kurt. "Miracle Worker." LA Times Book Review (8 Ag 1999), 3.

  • This review of Perlman's Ordeal, a novel by Brooks Hansen, begins and ends with an application of the dream token noted by C in Notebook entry 4287, 1815-16 (first published in Anima Poetae, 1895--C734, p 282): "If a man could pass thro' Paradise in a Dream, & have a flower presented to him as a pledge that his Soul had really been there, & found that flower in his hand when he awoke--Aye! and what then?" Jensen writes: "C's wonder stops us short, because like us, the poet dreads to discover that for the sign of his dream, he could offer only the prettiest instance of botany and, with that, the dream of the mind is confused with the facts of the living. There is some disappointment in this, But if we bend the world to fit our idea of it, we diminish. // Sometimes, however, the world usefully harasses the imagination and modifies our conception of what it is like. Such harassments--unexpected trauma, secluded beauty on rare occasions--include miracles. . . . // [In this novel, Hansen] draws a stunning portrait of a credible miracle and reaffirms his trademark as a writer of spiritual concerns, dreamlike visions, that, when framed by familiar circumstance, become human or even universal experiences."
  • For more detailed treatment of this motif, see volume III, Part II.1, Wells (1895--C7082); for other C-related adaptations of this motif, see Index 7, "If a man . . ." under 3400 and the 6000s, 6400s-6900s, 8400s, and 8700s.


[S I 1999] PALEY, Morton D. Portraits of Coleridge. Oxf: Clarendon P (1999). See Part II.9 below.


[S I 1999] RIVENBURG, Roy. "Arizona's Deep, Dark Secret: A subterranean treasure kept quiet for 14 years, Kartchner Caverns opens it splendors for the world." LA Times (14 N 1999), L1, 12-13. Il.

  • An hour's drive southeast of Tucson, the 300-foot-long caverns are among the top 10 in the world for rare mineral formations, its stalagmites and stalactites still growing at the rate of 1 inch every 750 years. Discovered by two amateur spelunkers in N 1974 near Benson, Arizona. "The explorers later christened the cave Xanadu, after the opening verse in STC's poem 'KK': 'In Xanadu did KK a stately pleasure dome decree." "After Arizona purchased the site in 1988 and the secret went public, workers spent 11 years carving tunnels into the limestone and building wheelchair-accessible trails and bridges." The interior is sealed with giant restaurant-freezer doors "to keep out the dry desert air which could wreak havoc with the cave's 99% humidity and 68-degree temperature." In the Throne Room "a majestic 58-foot-tall column called KK rises from the floor center stage. . . . The one-hour tour ends at a small amphitheater on a ridge overlooking KK." More detailed description, full information for persons planning a visit, a map, and 9 color photographs, the first (337 x 228mm) showing the column KK in the Throne Room.


[S I 1999] TAKAYAMA, Nobuo. "C's Influence on Modern Psychology." B Faculty of Liberal Arts, Hosei U (Tokyo), no 108 (F 1999), 271-83.

  • Offprint given to CCC by author.


[S I 1999] WILSON, Jean Moorcroft. Siegfried Sassoon: The Making of a War Poet, A Biography, 1886-1918. NY: Routledge, 1999. viii, 600 pp. Ils.

  • Reference to SS's mother Theresa and C in C6290 is here supplemented by the information that Theresa founded a local Poetry Society in the winter of 1896, and that her second meeting was on C (p 72). Four other references to C are indexed.
  • Discovered by Arnold T Schwab.


2 0 0 0

[S I 2000] BAILEY, Brian. Writers' Paradise. The magical landscapes of the West Country have inspired many of our best-loved poets and authors--with a few notable exceptions. Realm, 90 (Ja-F 2000), 30-7. Il.

  • C featured in several paragraphs (including references to The RAM and KK). Photos include one of his portrait by Northcote (1804--C9000), and he is mentioned in captions to photos of his cottage at Nether Stowey and of Lynmouth in Devon.

[S I 2000] BATE, Jonathan. The Song of the Earth. Cambridge: Harvard UP, 2000. xiii, 335 pp. pls (15 b&w ils). 222 x 135mm.

  • "This is a book about why poetry continues to matter as we enter a new millennium that will be ruled by technology. It is a book about modern Western man's alienation from nature. It is about the capacity of the writer to restore us to the earth which is our home. . . . In the first three chapters I establish some contexts. Why do we value literary works withy rural settings? How can we reconcile 'culture' and 'nature', two forces which are traditionally opposed to each other? What indeed do we mean by 'nature'? How and why do we dream of living in unity with 'her'? Then in the book's middle chapters I ask with respect to a range of poems [including Coleridge's] some of the questions which ecologists ask of biological organisms. How are they influenced by climate? In what kind of landscape do they flourish? What are their modes of creating shelter, their relations with other species? [In the closing two chapters I meditate on] spiritual, linguistic, historical, regional and national aspects to our senses of identity and belonging" (Preface).


[S I 2000] BAXTER, Nicola, ed. The Children's Treasury of Classic Poetry. [Profusely] Illustrated by Cathie Shuttleworth. NY: Barnes & Noble Books, 2000. First pub as The Children's Classic Poetry Collection and Classic Poetry for Children, Leicester, Eng: Armadillo Books, An Imprint of Bookmart Ltd, 2000. 176 pp. 287 x 210mm. Illustrated cover and book jacket.

  • "Introduction" by N.M.A.B. (p 9) gives advice appropriate for the intended readers: e.g., "It is always a good idea to try reading a poem out aloud." "About the Poets" (pp 165-9): "A poet and thinker, C was a great friend of the poet William Wordsworth." Prints KK around a large colored illustration reflecting images in lines 1-11 (pp 48-9).

[S I 2000] FLEISSNER, Robert F. Sources, Meaning, and Influences of Coleridge's Kubla Khan: Xanadu Re-Routed, A Study in the Ways of Romantic Variety . (Studies in British Literature, 46) Lewiston, NY, & Queenstown, Ontario: Edwin Mellen P, 2000. xi, xx, 208 pp. Illustrated hardcover and frontispiece plate. 235 x 160mm.

  • Part I: An Annotated Xanadu (pp 1-44). AX Appendix: Echolalia of Lycidas in "KK" (pp 45-6).
  • Part II: "KK" on Its Own Terms, including "The Matter of the Text: A Preliminary Review" (pp 51-99).
  • Part III: Its Modern Pertinence (pp 105-51).
  • Concluding Remarks (pp 155-68). Appendix dealing "with a more casual consideration of Coleridgean influence (that is, apropos of popular culture)" (pp 171-80). Bibliography and Index.
  • Cover illustration: "Kubla Khan " by Isabella Low, etching and silkscreen print, 16" x 24" [1991--C9369]. Frontispiece: "Gough's Caves at Cheddar, England, which most scholars think inspired Coleridge in Kubla Khan."
  • Gift to the CCC from the author.


[S I 2000] JACKSON, H[eather] J[oanna], and George Whalley, eds. Marginalia. V, Sherlock to Unidentified. (CC, 12) (Bollingen Ser, 75) Princeton UP (2000). xxiii, 867 pp. 7 pls (facsimils), incl frontispiece. No index. Vols I and II (1980-84--C6440); vol III (1992--C6623); vol IV (1998--S I 1998).

  • In her Foreword (pp xv-xvi), editor Jackson states that "the final volume, Volume Six, waits only for the collective Index and is scheduled for publication in 2001." Following the Foreword is "Editorial Practice: A Brief Guide" and "Abbreviations" (pp xvii-xxiii).
  • Review: J W Barbeau, CB, NS 20 (W 2002), 141-6.


[S I 2000] JACKSON, J[ames] R[obert] de J[ager], ed. Lectures 1818-1819 On the History of Philosophy. 2 vols. (CC, 8) (Bollingen Ser, 75) Princeton UP (2000). Ils.

  • Kathleen Coburn's decision to have her edition of The Philosophical Lectures of STC (1949--C4180) re-edited for the Collected Coleridge "arose, I believe, from her wish to encourage a fresh approach to the material and from her expectation that as General Editor she would be able to cast a critical eye over the result" (I, xv). Jackson goes on to trace the history of work on this edition, delayed by three deaths. "What is presented in the present volumes, therefore, is a completely new edition" (I, xvi).


[S I 2000] MEISEL, Tony. To the Sea: Sagas of Survival and Tales of Epic Challenge on the Seven Seas. NY: Black Dog & Leventhal, Pubrs, c2000. 288 pp. 343 x 215mm. Profusely illustrated, incl jacket. Index.

[S I 2000] O'KEEFE, Gavin. "The Rime and the Reason: Peake, Doré, and the Ancient Mariner." Peake Studies, 7 (Oc 2000), 6-12.'

  • Peake was undoubtedly at least subliminally inspired and influenced by Doré's illustrations of different authors' works. "Doré's illustrations of [The RAM] often expand into active maritime vistas with angels and sea-creatures, whereas Peake's drawings restrain themselves to close-up treatments of the main 'action'." O'Keefe supports this observation by a comparative analysis of Doré and Peake's treatment of lines 25-8, 80-1, 141-2, 160-1, 190-4, 232-3, 440-1 (Peake only), and 586.
  • In Peake's Death and Life-in-Death (190-4), "the juxtaposition between, and combination of, the female features with a skull and skeleton makes for a very striking, and confronting image, which is undoubtedly why the publisher refused initially to publish this illustration. This concept is reminiscent of a gouache painting by René Magritte, 'The Depredator' (1935). . . . This image suggests primal religious symbols such as the Hindu Kali or Celtic Sheelagh-na-Gig where female figures can represent both fertility and death."
  • O'Keefe concludes that "what we may be able to see from this comparison is Peake's artistic response both to Coleridge and, in a more subtle way, Doré."
  • Discovered by William Gwynne, Melbourne, Australia, who (with the approval of the author, a book illustrator, also of Melbourne) e-mailed a copy to WBC for the CCC.

2 0 0 1

[S I 2001] CARDINALE, Philip. "Noises in a Swound!" Coleridge Bulletin, NS 17 (Summer 2001), 27-38. Ils (pp 27 and 37-8) from Emerson (1989CC6592).

  • "The above panel from Hunt Emerson's 1989 comic book rendition of The RAM depicts a sceptical response [puzzled comic book characters saying: "What's a swound?" "Dunno. But it must be noisy."] to a stanza of STC's most famous poem" (p 27).
  • "The progressive attenuation of word and meaning in this stanza [The RAM ] sets up the changing of the poem from a rational modern to an imaginative narrative mode" (p 30).
  • "The ‘noises in a swound' have a significant structural placement in the poem, not only for the change they signal from common to archaic poetic diction but also for the way in which the ambiguity of the phrase reflects a threshold of dream perception. This may give some explanation of why C ultimately restored this unique line after it had been removed from the 1800 Lyrical Ballads" (concluding sentences of the article, p 38).

[S I 2001] CHESHIRE, Paul. "The Eolian Harp." Coleridge Bulletin, NS 17 (Summer 2001), 1-26 and fold-out inserted inside back cover. Il.

  • Headpiece illustration (drawing) (62 x 127mm) credited to "Samuel Palmer, Sketchbook, 1824, ©British Museum." At bottom of drawing, left center, is "E2859 - 1928"; and at right is "T. A. M."
  • Artist objectifies the scene viewed from "the midway Slope / Of yonder hill," including the "Serenely brilliant" sky above "the distant Sea" beyond "yon bean-field", adding center left a milkmaid, a man with a rake, and one with a scythe. Leaning against right edge of drawing, with legs (feet bare) stretched out across bottom of drawing, is a long-haired female figure, right hand supporting pensively bent-downward head, and left hand stretched over a rectangular container on which is written (mostly illegible in this reproduction) something like "The earth is full of / thy [xxxxx]."

[S I 2001] JACKSON, H[eather] J[oanna], and George Whalley, eds. Marginalia . VI, Valckenaer to Zwick. (CC, 12) (Bollingen Ser, 75) Princeton UP (2001). xxxv, 715 pp. 3 pls incl frontispiece. Vols I and II (1980-84--C6440); vol III (1992--C6623); vol IV (1998--S I 1998); vol V (2000--S I 2000).

  • Editor Jackson's Foreword (pp xiii-xxi) begins: "But for precedent and consistency, this Foreword could as well be called an Afterword. Its brief reflections on the experience of editing Coleridge's marginalia are intended to act as a bookend to the "Editor's Introduction" by George Whalley in the first volume of the series, and to offer a different though perfectly compatible perspective."
  • "Addenda" (pp 249-329). "Appendix: Some Mistaken Attributions" (pp 333-5).
  • The Index to all six volumes of the Marginalia begins with "Brief Guide" (pp 337-8) and "Extended Guide" (pp 338-41). "Errata" (p 341): "The process of making the index has uncovered occasional errors . . . and discrepancies" now corrected in this index. The two-column Index runs for 375 pages (pp 341-715).

[S I 2001] KLESSE, Antje. Illustrationen zu S. T. Coleridges The Rime of the Ancient Mariner: Eine Studie zur Illustration von Gedichten. Memmingen, Germany: Edition Curt Visel, 2001. 296 pp. Ils. 240 x 170mm. Paper. Illustrated cover.

  • This publication is based on the author's doctoral dissertation, 2001, at the Rheinischen Friedrich-Wilhelms-Universität, Bonn.
  • Following the foreword and acknowledgments (p 5) is chapter 1, the introduction (pp 7-27), which discusses the author's purposes, method, and kind of research; the circumstances of composition of the poem, its tenor, and its reception; and Coleridge and the arts.
  • Chapter 2: David Scott (1837), Mysticism and Monition [Admonition]; Joseph Noel Paton (1863), Aestheticism and Piety; and Gustave Doré (1875), Post-Romantic Realism.
  • Chapter 3: William Strang (1896), Between Realism and Symbolism; William Pogany (1910), Playful, Fanciful Decoration; and Harry Clarke (1913/15), Decorative Decadence.
  • Chapter 4: David Jones (1929), Mysticism and Neo-Romanticism; Mervyn Peake (1943), Expressionistic Neo-Romanticism; Alexander Calder (1946), Line, Form and Space; and André Masson (1948), Cryptic Surrealism.
  • Chapter 5: Frank Horley (1971), Neo-Celtic Styles; Hunt Emerson (1989), The Mariner as Comicbook Hero; and Garrick Palmer (1994), "Dichte Stiche."
  • The conclusion discusses the variations in the illustrative form of the poem.
  • Appendixes include the text of the poem, alphabetical and chronological lists of illustrated editions of The RAM, biographical sketches (with lists of their other works) of the 15 illustrators most thoroughly covered in the book, transcribed interviews with Hunt Emerson and Garrick Palmer, a list of the 50 illustrations included, a 313-item bibliography, and an index.
  • An extremely thorough treatment, well-illustrated, based on thorough research and study, dealing with Coleridge illustrations in perceptive detail well beyond the brief annotations in the Coleridge Bibliography, and with editions and pertinent reference works not noted in the Bibliography.
  • Gift to the CCC from the author.

[S I 2001] MAYS, J[ames] C C, ed. Poetical Works. (CC, 16) (Bollingen Ser, 75) Princeton UP (2001). 3 vols in 6. I, Parts 1 & 2, Poems (Reading Text); II, Parts 1 & 2, Poems (Variorum Text); III, Parts 1 & 2, Plays. Many illustrations.

  • I, Poems (Reading Text). Part 1, clxxviii, 574 pp, includes Contents; List of Illustrations; Foreword [acknowledgments]; Editorial Practice, Symbols, and Abbreviations; Chronological Tables; Editor's Introduction (lxxix-clxxviii); and poems to 1799. Part 2, xxv, 575-1403 pp, includes poems from 1799 to 1834, and Annexes (Manuscript Collections, Printed Collections, Annotated Copies), one Addendum, and Index of Titles and First Lines (pp 1365-1403).
  • The editor explains that his Introduction "is divided into five parts, which are different in their intentions, their make-up, and their relation to one another." The parts are headed "On Coleridge's Verse in General," "Problems in Editing Coleridge's Verse," "The Variorum Sequence," "The Reading Text," and "Drama."
  • II, Poems (Variorum Text). Part 1, li, 757 pp, includes poems to 1799. Part 2, xxv, 759-1439 pp, includes poems of 1799-1834, four Addenda, and Index of Titles and First Lines (pp 1377-1439).
  • III, Plays. Part 1, xxx, 945 pp, includes plays to The Death of Wallenstein, and an Appendix: Coleridge as Translator of Schiller's Wallenstein (pp 931-45). Part 2, xiii, 949-1652 pp, includes the remaining plays and a General Index (pp 1435-1652). "The plays have been given X ("additional") numbers as a means of locating them within the overall chronological sequence of the poems" (p ix). The editor's introduction to The Fall of Robespierre deals with date, text, the process of collaboration, historical background, the dedication as frontispiece, the present text. His introduction to Osorio deals with date, texts, sources, "The Importance of Osorio for Coleridge: Sheridan," note on the text, and the present text. His introductions to the other plays are similarly extensive and detailed.

[S I 2001] OELAND, Glenn. "William Bartram: A Naturalist's Vision of Frontier America." Photographs by Annie Griffiths Belt. National Geographic, 199 (Mr 2001), 104-23.

  • "Echoes of [Bartram's] Travels are heard again and again in W's poem 'Ruth' and in C's 'Kubla Khan,' most famously in the haunting lines, 'Where Alph, the sacred river, ran / Through caverns measureless to man / Down to a sunless sea.' Those images are lifted straight from Bartram's account of the 'secret subterranean conduits and gloomy vaults' that honeycomb northern Florida's limestone landscape" (p 122). Beautifully and informatively illustrated: a picture is worth a thousand words.

[S I 2001] PERRY, Seamus. "Coleridge's Scotland." Coleridge Bulletin, NS 17 (Summer 2001), 58-75. Map.

  • Excellent map gives itinerary (places and dates) of "The Scottish Tour of STC 15th August - 15th September 1803, until 29 August in the company of William & Dorothy Wordsworth" (p 58). Full account of the tour follows.

[S I 2001] WORTHEN, John. The Gang: Coleridge, the Hutchinsons & the Wordsworths in 1802. New Haven & L: Yale UP, 2001. viii, 344 pp. 20 ils. On pp 338-44 is a 2-column, very fine-print Index. 240 x 155mm. Illustrated jacket: "Detail of Borrowdale (1810) by John Harden (1772-1847), Abbot Hall Art Gallery, Kendal, Cumbria."

  • Part I, Pre-History (March), pp 19-112. Part II, Joy and Melancholy (March to July), pp 115-201. Part III, To the Wedding (May to October), pp 205-65. Epilogue, pp 267-71. Appendixes: "Wordsworth's 'The Leech-gatherer' in May 1802," and "Coleridge's 'First Dejection': 'Letter written Sunday Evening, April 4'."

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[S I 2002] C, J. "NB" [column]. TLS (15 N 2002). 16.

  • Third note in the column: "The drawing on the left, by Jorge Luis Borges, a detail from a page of sketches, will go on sale at Christie's in London on November 20. The larger figure shown here is thought to be a ‘self-portrait in Napoleonic pose', according to the catalogue. It was made in 1921, when Borges was twenty-two years old. Also on sale is the manuscript of an unpublished essay on Coleridge, with a drawing of the poet smoking an opium pipe. The sketches are expected to go for around ,9,000, the essay for five times as much."

[S I 2002] FLETCHER, Terry. "How Coleridge Dealt with Rescue Blackspot: Every year walkers get into difficulties on Scafell's Broad Stand. They are following in illustrious footsteps as Terry Fletcher discovered." Cumbria, 52 (Ag 2002), 35-7. Il.

  • "C told in a letter to Sara Hutchinson how he almost became the first known casualty of Scafell's now notorious Broad Stand. . . . It is a potentially deadly trap which has claimed many lives over the years and is still listed among the Wasdale Mountain Rescue Team's worst blackspots. There is a much safer, though less direct, route via Foxes Tarn. But that entails losing and regaining 600 ft of precious height, and all too often, limbs, tired after climbing England's second highest mountain, persuade the unwary to risk the glassy shelves, especially once they have started down the initially simple path. C made exactly the same mistake, as he wrote to Sara." Author quotes the letter at length, with commentary. "C was a couple of centuries too early to make use of the nylon slings that nowadays often flutter from Broad Stand . . . . [T]he rock is now dangerously polished by the sweating palms and scrabbling feet of thousands of walkers."
  • A small black-and-white vignette adaptation of the 1795 Vandyke portrait of Coleridge is inset on page 35, and on pages 36-7 a full-color photographic illustration provides "a forbidding vista" of a fell runner descending Broad Stand.

[S I 2002?] HAWKINS, Paul. "The Coleridge Way: A long distance route linking Exmoor and the Quantocks." Clipping from Park Life (Exmoor National Park), not dated.

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[S I 2003] CHERNIAK, Judith. "No Resting Could He Find: The Mariner, the Dutchman and the Wandering Jew." TLS (24 Ja 2003), 13-15. Il.

  • Discusses (in 10 columns) the three works' relationships with one another and with other works indebted to them. Concludes: "The Wandering Jew was recast in prose and poetry throughout the nineteenth century, changing meaning with the changing times . . . . But the most enduring life of the legend is in the two works which absorbed its motifs and transformed them. The Ancient Mariner has probably inspired more exegesis than any other poem in English; it has never been out of print since its first publication in 1798. The Flying Dutchman is in the repertory of every major opera house. Even as the haunted figure of the Wandering Jew fades from view, the works he inspired, transcending their origins, continue to travel the world, moving listeners with their strange power of speech."
  • Includes an 1802 illustration of the Wandering Jew and Doré's design (1876-C526) illustrating Death and Life-in-Death playing dice.

[S I 2003] DAVIS, Pat. "Faithful to Her Father." Cumbria, 52 (Ja 2003), 21-23. Il.

  • "Praised equally for her mind as [for] her beauty, Sara Coleridge devoted her life to keeping her famous father's poetic legacy alive." Sara saw little of her father as a child, but "she did have the greatest good fortune in finding a ‘father-uncle' in Robert Southey." She "mastered no fewer than six languages." She loved walking in the Lake District, and she wrote Phantasmion, the charming and still memorable fantasy set there. Married to first-cousin Henry Nelson Coleridge and settled in London, she became mother of five children (two of whom died young), and collected, annotated, and edited all her father's widely scattered work.
  • Illustrations include "Sara at 25 from a portrait by Charlotte Jones" (75 x 67mm); trimmed portraits of STC and RS (50 x 27mm each); and a full-color view of "Friar's Crag-seen across a frozen-at-the-edges Derwentwater--favourite walk of Sara's."

[S I 2003] HAYASAKI, Erika. "Reading, ‘Riting and Rap." LATimes (14 Ja 2003), 1, 16. Il.

  • "Teachers are using the song lyrics to make literary classics relevant. The two have more in common than meets the eye." Two education professors, Jeffrey Duncan-Andrade of UCLA and Ernest Morrell of Michigan State University, "say rap lyrics can be used ‘to teach irony, tone, diction and point of view' and can be ‘analyzed for theme, motif, plot and character development.' A sample lesson plan they offer to high school teachers calls for comparing ‘Kubla Khan,' by Samuel Taylor Coleridge, with ‘If I Ruled the World,' by rapper Nas."

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