The Coleridge Collection Part I: 1991-1995

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 1991 to 1995

1 9 9 1

[S I 1991] ANON. "Love Letters Stored in an Old Trunk." Daily Telegraph (30 D 1991), 15.

  • In a wood on his farm near Scarborough in North Yorkshire, Michael Harrison chanced upon the gouged initials C and A on the trunk of an old beech tree. This is not far from the Hutchinsons' Gallows Hill Farm. Harrison believes the letters refer to C himself and to Asra, and to support his claim points to C's A Day-dream 10: "Two dear names carved upon the tree." He "is making plans to allow visitors to view the beech tree."
  • From a partial clipping from Rosemary Elizabeth Coleridge Middleton.


[S I 1991] ANON, ed. Poems. (Everyman's Library, 27) L: D Campbell Pubrs (1991). 371 pp. LCCO (COHM): TX-3-875-400, pub 26 S 1991, c26 Je 1994 ( c9 My 1994 by Alfred A Knopf).

  • "New material: editing, introduction, bibliography, & chronology."


[S I 1991] GAARDER, Jostein. Sofies verden: Roman om filosofiens historie. Oslo: H Aschehoug & Co (W Nygaard) (1991). Rpt (paper) 1995. 509 pp. 216 x 153mm. Register. English translation: Sophie's World: A Novel About the History of Philosophy. Translated by Paulette Møller. NY: Farrar, Straus & Giroux (1994); rpt (paper) NY: Berkley Books (1996,
1997). xv, 523 pp. Index.

  • This book is as much a history of philosophy as a novel, but since the author calls it a novel, for annotation see it as [S II.1 1991] GAARDER.


[S I 1991] JOHNSON, Paul. The Birth of the Modern: World Society 1815-1830. NY: HarperCollins (1991). xx, 1095 pp.

  • C topics indexed: marriage of, 513-15 (detail account; "more and more marriages were breaking down"); opium and other drugs used by, 767-71 (detailed account); political, philosophical, religious views of, 825-28 (essence of the views and how they were formed); science and C, 543-7 (in detailed section on Humphrey Davy, Thomas Wedgwood, and others who influenced C's views). Other references indexed: 56, 142, 324, 371, 383, 409, 427, 485, 522, 702-03, 722, 998.


[S I 1991] OKAMURA, Yumiko, tr. Sheikusupia Hihyô: Sheikusupia to Miruton ni Tsuite no Koen Higeki Sakuhin Majinaria [Coleridge's Shakespearean Criticism]. Ed T[homas] M[iddleton] Raysor. Tokyo: Kobian Shobô (Ja 1991). vii, 263 pp.

  • Japanese translation of Raysor (1930--C2265, rev edn 1960).
  • Gift to the CCC from Kazue Katsurada.


[S I 1991] YAMADA, Yutaka. Shitsui no Shijin Kôrurijji: Byochinaki Kokai [Coleridge as a Poet of Dejection]. Kyoto: Yamaguchi-shoten (D 1991). i, xv, 556 pp. 3 plates (port, ils). Errata slip inserted. In slipcase. In Japanese.

  • Many quotations in English as well as bibliography and index. Chronology (pp 539-46) in Japanese with proper names and titles in English.
  • Title page on slightly heavier cream-colored paper followed by 2 plates of which pp 1-3 contain the Northcote portrait (1804--C9209) and photos of 4 buildings including Dove Cottage, Greta Hall, and Rydal Mount. Preface (pp i-ix) dated S 1991.
  • Gift to the CCC from Kazue Katsurada.


1 9 9 2

[S I 1992] ANON, ed. The RAM and Other Poems. (Dover Thrift Edn) NY: Dover (1992). iv, 76 pp.

  • One of a 9-volume paper-boxed paperback set with box title Nine Great English Poets. "Republication of [23] selections from" CPW. Only editorial matter is "Note" (p iii), brief commentary on background of some of the principal selections.


[S I 1992] GARDNER, Martin, ed. Best Remembered Poems. Ed and Annotated by Martin Gardner. NY: Dover (1992). xi, 210 pp.

  • KK preceded by half-page condensation of C's preface to poem and note referring to the Xanadu of Citizen Kane (1941--C7196) and the parody "The Astrodome" (1966--C8445).


[S I 1992] (Cf H748) KATSURADA, Rikichi, Yumiko Okamura, and Nobuo Takayama, trs. Korurijji no Shogai [The Life of Coleridge, by James Gillman (1838--H748)]. Tokyo: Kobian Shobô (Mr 1992 [Hesei 4]). vii, 321 pp. Il (port). Jacketed. In Japanese.

  • Translation of Gillman (1838--H748). Portrait is the anonymous German (1799--C9205).
  • Gift to the CCC from Kazue Katsurada.


[S I 1992] NOGAMI, Norio. Wakaki Hi no Kôrurijji: Shijin to shite no Seicho o tadotte [Coleridge in His Young Days: Following His Growth as a Poet]. Tokyo: Ôshisha (1992). xi, 367 pp. 188 x 125mm. In Japanese.

  • This book is a detailed analytical and interpretive study of C's poetry and drama, with frequent extensive quotations in English followed by Japanese translations. Endnotes are in English. Following the main text (pp 3-274) are 34 Japanese translations of C poems: Sonnet to the Autumnal Moon, 1788; Destruction of the Bastille, I, IV-VI, 1789; Anna and Harland, 1790; To the Evening Star, 1790; On receiving an account that his only sister's death was inevitable, 1791; On seeing a youth affectionately welcomed by a sister, 1791; Inside the Coach, 1791; Devonshire Roads, 1791; Music, 1791; Sonnet on quitting school for college, 1791; Absence: A Farewell Ode, 1791; Happiness, 1791; Sors misera Servorum in insulis Indiae occidentalis, Jul. 3, 1792; To Disappointment, 1792; A Fragment in a lecture-room, 1792; Ode, 1792; Written after a walk before supper, 1792; First draft: An Effusion at Evening written in August, 1792; Translation of a Greek Ode on Astronomy, 1792; Songs of the Pixies, 1793; Lines on an Autumnal Evening, 1793; On Bala Hill, 1794; Lines to a beautiful spring in a village, 1794; The Outcast, 1794; Domestic Peace, 1794; To a friend [Charles Lamb], 1794; To the Nightingale, 1795; Lines: composed while climbing . . . Brockley Coomb, 1795; The Hour when we shall meet again, 1795; The Eolian Harp, 1795; To the Author of Poems [Joseph Cottle], 1795; Reflections on having left a Place of Retirement, 1795; This Lime-Tree Bower my Prison, 1797; and The Nightingale, 1798.
  • Bibliography, in English, of "C's Works & Letters & c." (pp 353-63). [Afterword?] (pp 365-7).
  • The first title page is on a two-color plate with 49 x 35mm vignette of C portrait by George Dawe (1812--C9214), above C's signature in red. Following the second title page are the C portrait by Shuter (1798-C9204) and three pages each with two facsimiles of title pages: C's Poems on Various Subjects (1796), Poems by S. T. C . . . , Charles Lamb, and Charles Lloyd (1797), Christabel . . . (1816), Zapolya (1817); and Poems by Thomas Rowley (1794) and Fingal : An Ancient Epic Poem, translated by James Macpherson (1762). The portrait by Shuter is also on the book jacket (120 x 90mm).


[S I 1992] POSSI [pseud of Paula and Simon Kenevan], eds & ils. The RAM. As illustrated by Possi. Sherborne, Dorset: Classic Words & Image (1992). 96 pp. 230 x 170mm. Typesetting by Elite Words & Image Publishing Services. Printed in Hong Kong.

  • Good halftone of the 1795 Vandyke portrait (artist's name misspelled), p 7. "STC (an introduction)," pp 8-10, is biographical sketch to 1798, with circumstances of composition of The RAM. Good halftone of the Kenevans, p 11. "Possi (an introduction)," pp 12-13, includes brief biographical data about the artists, account of their careers and especially of their work on The RAM 1990-92. "Several paintings were worked on at a time, with Paula and Simon painting together--illustrating any part of the poem which inspired either of them. Their only restriction was the width of the silk, but their creative limitations were almost infinite. The dyes produced fantastic colour mixes and effects which meant that with the careful use of gutta, water and drying times almost anything could be achieved."
  • The 24 full-color, nearly full-page illustrations preceding and interspersed throughout the text of the poem are "cataloged" on pp 94-5 with the approximate size of the original paintings (350 to 900mm by 300 to 800mm). The first is "'At Anchor'--(the painting that led their way)," a frontal view of the ship, sails furled, with snowy mountains in background. The others illustrate The RAM 1-2, 41-4, 53-4 (also on front of jacket), 63-4 (also on back of jacket), 81-2, 115-18, 141-2, 183-6, 190-4, 220-3, 238-9, 284-91, 320-1, 335-6, 363-6, 422-3, 464-5, 492-5, 514-15, 542-9, 564-9, 574-5, 618-25.
  • Gift to CCC from publisher Gary Hill.


[S I 1992] WATTERS, Reggie [ie, C Reginald], and Derrick Woolf. Walking with C in the Quantocks, 1. Stowey. [Nether Stowey:] C Cottage (1992). Triple-fold leaflet, 215 x 100mm folded. Il, map.

  • Clearly drawn and printed map (195 x 275mm), 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: Nether Stowey, C Cottage, Tom Poole's House, Tannery, Castle Hill House, Castle Mount, Broom Squires Cottage, and Walfords' Gibbet. One panel gives directions for "Walk 1. Stowey, Bin Combe, Walfords' Gibbet." Illustrations are identified. Back panel includes addresses and telephone numbers of C Cottage, C Books, The Court Gallery, Cricket Malherbie Farms, Harlequin, and Castle Cottage (light meals, teas, b&b).
  • Gift to CCC from Derrick Woolf.


[S I 1992] WATTERS, Reggie [ie, C Reginald], and Derrick Woolf. Walking with C in the Quantocks, 2. Alfoxton. [Nether Stowey:] C Cottage (1992). Triple-fold leaflet, 215 x 100mm folded. Il, map.

  • Clearly drawn and printed map (195 x 275mm), 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: Alfoxton and the Ws, Holford Common, Hodder's Coombe [sic] and the Round House, The Brook, Bicknoller Post & the Great Road, Views of the Severn Sea from the Great Road, Alfoxton Park, The Dog Pound, and Dorothy's Glen and the Waterfall. One panel gives directions for "Walk 2. Hodder's Combe, Bicknoller Post, Alfoxton." Illustrations identified. Back panel includes addresses and telephone numbers of C Cottage, C Books, The Hood Arms, and Combe House Hotel.
  • Gift to CCC from Derrick Woolf.


1 9 9 3

[S I 1993] ALEXANDER, Caroline. The Way to Xanadu. Weidenfeld & Nicolson (1993); NY: Knopf (1994), xvi, 206 pp. No index.

  • A blend of travel writing and literary scholarship. From the jacket blurb: she "reconstructs the origins of C's haunting images as she leads us across three continents--from the windswept steppes of Inner Mongolia, where the great Khan held sway, to North Florida with its 'mighty fountains,' to Kashmir's mystical and holy cave of ice, to sacred 'Mount Abora' in Ethiopia."
  • Review: Annette Kobak, "On the Trail of KK," Weekend Telegraph (1 Ja 1994), 19.
  • Gift to CCC from Stephen H Ford.


[S I 1993] BENSON, Gerard, Judith Chernaik, and Cicely Herbert, eds. Poems on the Underground. New and Extended Edn. Cassell (1993). [xvii], 15-188 pp. 29 b&w ils, incl facsimiles. Paper. 1st edn 1991; "Illustrated Edn" 1992 included color reproductions of 24 posters.

  • Anthology's introductions set forth history of the popular programme "Poems on the Underground," launched 29 Ja 1986 to fill empty advertising spaces on the London underground with poems (posters obtainable from London Transport Museum). Includes Frost at Midnight 1-13.


[S I 1993] DORÉ, Gustave, il. The RAM. Accelerated Christian Education, Inc, for School of Tomorrow, Lewisville, TX (1993). LCCO (COHM): TX-4-340-615, pub & c1993, also c2 Jy 1996.

  • "New material: front and back covers, editorial revisions, introduction."


[S I 1993] HAMILTON, Ian, ed. Selected Poems. (Bloomsbury Poetry Classics) NY: St Martin's P (1993). 124 pp. 155 x 105mm.

  • Selection by Hamilton; no editorial matter; 17 complete poems and Fears in Solitude 1-153. Jacket flap has 125-word critical sketch: "He is admired as the author of a handful of haunting anthology pieces, . . . but the bulk of his verse writings is ignored." STC monograms designed by Jeff Fisher.


[S I 1993] HUGHES-HALLETT, Penelope. The Wordsworths and the Lakes: Home at Grasmere. L: Collins & Brown (1993). 160 pp. Il. 190 x 250mm.

  • Extensive biographical treatment of C, even beyond his relationship with the Ws and the Lakes. Profusely illustrated with relevant maps, facsimiles, drawings, engravings, and color reproductions of mostly contemporary art, the captions often quoting or otherwise referring to C. Included are the 1795 Hancock (C9203), 1804 Dance (C9208), 1804 Northcote (C9209), and 1833 Maclise (C9227) portraits of C; the Wilkie portrait of Hartley C at age 10; the Edward Nash drawing of Edith Southey and Sara C as children; facsimiles of C's Prospectus for The Friend, W's note to Wrangham on the back of one, and the front cover of The Friend; a small engraving of Greta Hall (design by W J Palmer); and a watercolor by Caroline Southey of part of Southey's Greta Hall study with a distant view of Keswick seen through the south window.


[S I 1993] HUNT, John Gabriel, ed. 365 Love Poems. NY: Barnes & Noble Bks (1993). 320 pp.

  • No editorial matter other than preface. Editor has arranged the poems according to their themes. Under "The Meaning of Love," Answer to a Child's Question; under "Young Love," The Exchange; under "Married Love," The Happy Husband; under "The Anguish of Love," Something Childish, But Very Natural (titled "If").


[S I 1993] MOTION, Andrew. Philip Larkin: A Writer's Life. NY: Farrar Straus Giroux (1993). xx, 570 pp.

  • Kingsley Amis knew Larkin at Oxford. Larkin was "'an almost aggressively normal undergraduate of the non-highbrow sort . . . .' His dislike of tutorial work grew week by week. 'We paid special attention to the Romantic poets,' Amis remembers. 'They all signed on as Bill Wordsworth and his Hot Six--W (tmb) with "Lord" Byron (tpt), Percy Shelley (sop), Johnny Keats (alto and clt), Sam "Tea" C (pno), Jimmy Hogg (bs), Bob Southey (ds)'" (p 58).
  • Discovered by Arnold T Schwab.


[S I 1993] PEAKE, Mervyn [Laurence], il. The RAM. Chatto & Windus (1993). vi, 45 pp. 149 x 115mm. 8 full-p ils. 1st edn (7 ils), 1943 (C3872).

  • Small-format reprint misleadingly identified on copyright page as first published in 1949--which edition had only the original 7 drawings. Large paper edition (1978) (300 x 210mm) reprinted the text and 7 illustrations of the editions of 1943, 1949, and 1971, with an additional drawing (of Life-in-Death) hitherto unpublished (C6382).


[S I 1993] SAVIGNEAU, Josyane. Marguerite Yourcenar: Inventing a Life. Translated by Joan E Howard. Chicago & L: U of Chicago P (1993). xvii, 527 pp. Originally pub as Marguerite Yourcenar: L'Invention d'une vie, Paris: Éditions Gallimard (1990).

  • There exist two versions of the first meeting of French author Yourcenar and the American academic Grace Frick in a bar in 1937 (both were born in 1903). Florence Codman gives Grace's version of the scene: "'Grace was in fact alone in the bar and Marguerite was engaged in conversation with a man. They were talking about literature, about C in particular. "They were saying things that were so inaccurate, indeed so stupid, that I intervened to tell them they had it all wrong," Grace told me'" (p 115).
  • Discovered by Arnold T Schwab.


[S I 1993] SULTANA, Donald. "STC, an American Naval Hero and a Mysterious Duellist in Malta." Melita Historica (The Malta Historical Society), 11, No 2 (1993), 113-27. Rpt in The Malta Year·Book 1995, Sliema, Malta: De La Salle Brothers Pubns (1995), pp 455-66.

  • Lecture delivered on 18 Mr 1993 in the library of the Foundation for International Studies at Valletta under the auspices of the British Culture Association. Woodring, in Table Talk (CC) I 300 n6 (1990--C6603), surmised that C might have been "intrigued" by an episode in which the American naval hero Stephen Decatur "acted as second in 1802 in a duel that resulted in the death of the secretary to the Governor of Malta." This note, says the lecturer, resurrects what Sultana, in his STC in Malta and Italy, 1804-1806 (1969), had shown to be a myth. Sultana traces the development of the myth and supplies new information which unravels the confusion about the duel and about the official title of Ball, which was "Civil Commissioner." A register of burials in Valleta reads: "John Corcoran--a clerk in the Commissariat Department. N.B. Shot in a duel by an American officer. Feb. 14, 1803." Full details supplied by Sultana.
  • Gift to CCC from Merle L Gardner and Jackie Spiteri.


[S I 1993] TAKAYAMA, Nobuo. Koururijji to Doitsu Bungakusha [C and German Men of Letters.] Tokyo: Kobian Shobo (1993). viii, 275 pp. Front (port). With errata slip. In Japanese.

  • Contents: Preface, Introduction, Luther, Jakob Böhme, Klopstock, Lessing, Wieland, Stolberg, Bürger, Herder, Goethe, Schiller, A W Schlegel. Portrait is the anonymous German (1799--C9205).
  • Gift to the CCC from Nobuo Takayama.


[S I 1993] WU, Duncan. "Nina-Thoma: An Addition to the Coleridge Bibliography." N&Q (D 1993), 468.

  • Prints and discusses a hitherto unnoticed version of C's The Complaint of Ninathóma published in the Morning Chronicle, 15 Jy 1793.


1 9 9 4

[S I 1994] ANON, ed. Motherhood: An Anthology of Verse and Prose. NY: Smithmark Pubrs (1994); copyright by Anness Pubg Ltd, L, 1995. 64 pp. 200 x 200mm. Full-page color ils opposite text pages also illustrated or decorated. Color-illustrated jacket. No index.

  • Includes C's To an Infant 1-20 with variant punctuation and spelling and added capitalization of nouns. Printed (p 32) beside reproduction (66 x 48mm) of Sweet Dreams (mother holding child) by Thomas Brooks (1819-91) and opposite reproduction (180 x 131mm) of Woman with Child by Hector Caffieri (1847-1932), with unidentified oval vignette (30 x 25mm) of mother and infant in right margin. This poem not before seen in an anthology.


[S I 1994] BISHOP, Elizabeth. One Art. Letters, Selected and Ed by Robert Giroux. NY: Farrar, Straus, Giroux (1994). xxv, 668 pp.

  • To Randall Jarrell, Pearl Kazin, and Robert Lowell, on 7 Oc, 30 N, and 2 D 1956, reports being completely absorbed by Letters (1956--C4766) of C, "that adorable man. . . . I'd never realized how wonderful the letters could be in bulk like that, and how contemporary he sounds." Reading C's account of wet weather, worsening health, and hopeless finances, "I could scarcely believe that I was dry, had no symptoms of anything at all, and was at least solvent . . . . I feel as if I could scarcely be said to exist, beside C [sic]. . . . I want very much to write some sort of piece, mostly about C, but bringing in Fitzgerald's The Crack-Up, Dylan Thomas, Hart Crane, etc.--but don't know whether I know enough, or have enough material at hand." On 28 My 1975, she begins her response to a request for advice on how to develop as a poet: "Read a lot of poetry--all the time--and not 20th-century poetry. Read Campion, Herbert, Pope, Tennyson, C--anything at all almost that's any good, from the past."
  • Discovered by Arnold T Schwab.


[S I 1994] COLERIDGE [Family]. Coleridge: The Early Family Letters. Ed with an introd by James Engell. Oxf: Clarendon P (1994). xix, 113 pp.

  • "The main task has been to publish early letters of the C family [other than STC], providing enough annotation and context to permit individual readers to construct their own biographical interpretations and historical conclusions" (Preface, p vi). The book contains 40 letters dating from 1771 to 1836. Thorough index organizes STC references by Life, Relations with Family, Relations with Friends, Army Experience, Schooling, Writing, and Works.


[S I 1994] CRAWFORD, Walter B[yron]. "Comparative Studies of C Illustrations: Methodology and Considerations." CB, ns 4 (Au 1994), 45-59.

  • Answers the questions: "How might one go about preparing for and conducting such a study [for publication]? What special considerations must be borne in mind?" Using the specific example of The RAM, first discusses (a) the problem of selecting from the number accessible of the nearly 2000 illustrations of that poem indexed in the C Bibliography, and then (b) the form of publication the study will require, and the problems involved in reproducing the illustrations. The body of the article begins: "Working in different traditions, and from different personal viewpoints, artists treat poems in a variety of ways, and these different modes of treatment may be evaluated by various criteria." These criteria are discussed in detail in annotated outline form. Conclusion presents "some of the more useful commentaries on the poetry-art relationship annotated in volume III of the C Bibliography."


[S I 1994] FARRANT, Alan Andrew. The RAM. The Stukeley P (1994). Ltd edn of 30 signed, dated, and numbered aquatints. Nos 1-39 in tied linen-covered Solander box (468 x 330 x 55mm), title in black on cover and on spine. Nos 40-50 book-bound. The boxed issue is in 13 gatherings of 2 sheets folded to 4 leaves (457 x 320mm), with interspersed sheets (455 x 315mm) of plates (211 x 152mm) and guard sheets (368 x 246mm). Type film-set in Caxton Book. Text printed at Senefelder Press on Velin Arch Blanc 200gsm. Aquatints made in the workshop of Hugh Stoneman and printed on Velin Arch Blanc 270gsm.

  • The publication: Prints the 1834 text without the gloss [which contains images and motifs not entirely compatible with the artist's]. Each aquatint is individually captioned by hand with the line or lines to which it refers: 1, 11, 21, 41-2, 59-60, 73-4, 81-2, 105-6, 117-18, 141-2, 175-6, 197-8, 222-3, 252, 283-4, 290-1, 295-6, 322-3, 350-1, 375-6, 392, 408-9, 430, 466-7, 490-1, 503-4, 514, 554-5, 574, 624. The aquatints are distinguished by excellent spatial design, occasionally tending to the abstract (sometimes the Mariner is merely a nude figure), and often to the symbolic: for example, plate 7 for lines 81-2. Many also make imaginative use of perspective. Unusual, but not a fault: the ship is represented as a small three-masted sailboat (perhaps 30 feet long), or a still smaller single-masted boat, in plate 20 the Mariner lying asleep in a boat not much bigger than a casket. And the Albatross is hung around the Mariner's neck by a chain rather than a rope. The aquatints were exhibited in February 1997 in the Brewhouse Gallery at Eton, where Farrant, "an Old Etonian," also met with students to discuss his works and Coleridge's poem (source: cutting of a report of the exhibition and talk, periodical not identified, but p 4).
  • The prospectus: The artist's prospectus (a sheet of Velin Arch Blanc folded to 210 x 147mm, 4 pp, available from Bertram Rota Ltd, 31 Long Acre, Covent Garden, London, WC2E 9LT) includes "About the Artist" (with his portrait) (p [2]) and "The Making of the Mariner," describing the three-phase development of each of the aquatints, which took ten years to complete (p [3]). Pages [1] and [4] include the title and specifications of the work and reproductions (102 x 72mm) of plates 10 (for lines 141-2) and 30 (for line 624).
  • The "script treatment": The artist also prepared a "Script Treatment for a Programme Presenting the AF Edition of Coleridge's The Rime of the Ancient Mariner," subtitled "The re-examination of a great poem; a new interpretation and a justification of this vision," and dated October 1996 (26 pp). The programme was for a BBC 2 Schools broadcast and for a CD-ROM.
  • The artist's interpretation: In no one place does the artist offer a complete, coherent written explanation of his visual interpretation of the poem. Those sometimes different explanations, from brief to extensive, are found in the artist's Prospectus [AP], the published Preface [Pr] and "Legend," a list of 22 images in the aquatints, with brief indications of their significance [Le], and his "Script," which includes extensive interpretive passages and brief but detailed explanations of his visual translations in each aquatint of many individual images and motifs in the poem, which, taken together, constitute something of an explication of the poem as the artist "illuminates" it visually [Sc]. In the following paragraphs I have assembled the principal explanations into as brief a coherent account as I could manage.
  • Farrant wishes his 30 aquatints to "illuminate" (rather than "merely illustrate") the poem "as a cautionary tale to all who are blessed at birth with the poet's or artist's gift of perception," which is "the very essence of the soul" and opens the soul to the inspiration of the Muse. "But the soul is a delicate flower; easily crushed and corrupted by the delights of worldly pursuits" [Pr]. The Mariner is "the Artist in a state of remorse," the Wedding Guest "the Artist in a state of innocence" [Le]. In the poem, the Mariner's killing of the Albatross is a metaphor for self-destruction of the soul. In the poem the symbolic instrument of destruction is the crossbow, "the poison of self-deluding appetite" [Le]; in the art the instrument is the hypodermic syringe [Pr], symbolizing drug abuse, which itself "is a metaphor for the many other worldly appetites which, if over indulged, so easily destroy the creative spirit" [AP].
  • Farrant reads the central figure of the Night-mare Life-in-Death as "the unforgiving mistress of the mind who can be muse or, just as easily, the destroyer of the soul." She is the White Goddess who, as "the young and innocent Virgin," appears as the Bride in the poem; and who, as "the wicked, all-destroying Witch," is the Night-mare Life-in-Death. The White Goddess is also the Moon Goddess. The Mariner "is punished with the most dreadful retribution by the same Mistress that was his Inspiration and his Muse--the Moon Goddess herself" [Sc].
  • Reading the poem in this light as reflecting the experience of Coleridge before 1797, says Farrant, "you have the story of a young poet who sets out on life's adventure, full of confidence in his own genius." He is inspired and "begins to give expression to his talent. He gets so excited with his own brilliance that he goes on a high--a drug-induced binge," which is a metaphor for his slipping into forms of debauchery. "In so doing he effectively destroys himself. All his special gifts are taken away from him: as Poet, as Artist, and as Priest of the real secrets of the world, which is what the Poet really is." ("We were the first that ever burst / Into that silent sea" [lines 105-6] Farrant glosses as "The Poet thinks he has discovered all the secrets.") "He suffers pain and degradation, and becomes remorseful."
  • After this early "Experience marinates in the Subconscious" of Coleridge, he produces the poem, conveying the Ancient Mariner's warning [Sc]. The penalty "should be death; but death is too easy an escape to ever satisfy the jealousy of the muse; the source of all inspiration. The muse therefore prepares a living hell from which the Mariner can never recover. All he can do is wander the earth warning others of the penalty and pain that may be in store if they too succumb to worldly temptation" [AP].
  • Farrant's brief detailed glosses are too many for them all to be presented here, but the glosses on the most notable images not drawn from the poem supplement the overall interpretation presented above, as follows:
  • Plates 15 (for lines 283-4) and 17 (for 295-6) show a swaddled, thumb-sucking infant in center of huge floating multi-petaled flower like a lotus, representing "the return of innocence" in sleep [Le]. The infant also appears in The Mabinogion story about the White Goddess, known in Celtic mythology as Arianrod or Ceridwen: she bears a beautiful baby boy whom she wraps up, places in a coracle, and sets afloat on the lake of Teggid--the boy who became Taliesin, the most famous Celtic poet [Sc].
  • Plate 22 (for 408-9) "illuminates" the Two Voices as "Conscience and Hope, like a pair of psychiatrists" [unseen; Sc] attending the Ancient Mariner seen hooked up to an intravenous apparatus, in a hospital bed, as suffering from a drug overdose, with hypodermic syringe at his side.
  • In Plate 26 (for 503-4) the Mariner kneels in self-flagellant remorse, his back marked by application of the six-strand whip lying on deck.
  • In Plate 27 (for 514), standing beside the Hermit, "the earth's guardian" [Le], is his Goat, "the Bearer of Sins as taken from Leviticus 16:10-22" [Sc].
  • In Plate 29 (for 574), her back to the Mariner, a nude female figure stands on a half seashell floating on the sea--the White Goddess as "the young and innocent Virgin" [Sc], "The Young Girl" who is "the muse who turns away for good" [Le]. (This is also a visual allusion to Botticelli's Birth of Venus--colloquially, "Venus on a Half-shell.")
  • Review: W B Crawford, CB, ns 11 (Sp 1998), 72-6.
  • Click here to see the first graphic enlarged.
  • Click here to see the second graphic enlarged.

[S I 1994] JACKSON, H[eather] J[oanna]. STC: Selected Poetry. Ed with introd and notes. (World's Classics) Oxf UP (1997; introd & notes copyright 1994). xviii, 201 pp. 195 x 128mm. Paper. On cover is color reproduction of the Vandyke portrait of C (1795--C9202).

  • Introduction (ix-xiii), Chronology (xiv-xvi), Note on the Text (xvii-xviii), Selected poetry, without notes ([1]-186), Notes [to pp 1-155] ([187]-94), Further Reading (195-7), and Index of Poem Titles and First Lines (198-201).


[S I 1994] KEANE, Patrick J. Coleridge's Submerged Politics: The Ancient Mariner and Robinson Crusoe . Columbia & L: Univ of Missouri P, 1994. xv, 419 pp. 242 x 150mm. Book jacket has Doré 1876 illustration of the AM with albatross hanging from his neck.

[S I 1994?] MILLER, Norma. "Bedfellows Through Archetype: The Ancient Mariner and Richard Nixon." Poetry Digest, No 8 (1994?), 52-6.

  • In the Locklin Collection, Special Collections Department, CSULB Library.


[S I 1994] MONETTE, Paul. Last Watch of the Night: Essays Too Personal and Otherwise. NY, San Diego, L: Harcourt Brace (1994). ix, 309 pp. No index.

  • The last of this award-winning author's autobiographical works tracing his tortuous path from the stigmas of homosexuality and his five-year struggle with AIDS [he died 10 F 1995]. Interprets C's feelings expressed in This Lime-tree Bower, and concludes: "Unexpectedly, the loving contemplation of his friend's adventure restores to him the beauty of his garden. The sublime is in every leaf, the dappled light on the walnut-tree: No plot so narrow, be but Nature there. Nothing so exalted in Room 404 of the Park Hyatt, but I felt the same heartening connection to the gathering of the tribe [homosexual demonstrators] along the Mall [in Washington, DC]--as if I myself were there. AIDS was my prison. Not very leafy, but sufficient to free the sympathetic imagination. Even in the throes of the viral assault, losing my body electric organ by organ, I could still make contact--no yielding yet to the isolation of dying. // And as the evening deepened and the rally stage was dismantled, I wondered how many had watched it all from the closet--that black garden where nothing grows, death-in-life" (pp 164-5). "I remember sitting with Stephen in the music room, reading C to him, 'Frost at Midnight.' Craig poked his head in, saw right away the lay of the land, and turned to go--over our protests, especially Stevie's, who'd had his fill of C" (p 298).
  • Discovered by Arnold T Schwab.


[S I 1994] NICHOLS, Dixie. "You Cannot Put a Price on Fame." Daily Telegraph (13 Jy 1994), 31. Il.

  • "Celebrity status brings publicity but no guarantee the house will sell, finds Dixie Nichols." Sketches the C/Southey link to Greta Hall, parties interested in purchasing it, and the estate agent's efforts to sell it at the highest price possible.
  • From clipping from Rosemary Elizabeth Coleridge Middleton.


[S I 1994] PORTER, Peter, ed. The Illustrated Poets: STC. Selected and with an introduction by Peter Porter. Aurum P (1994). v, 10-61 pp. 11 ils. 178 x 110mm.

  • Introduction discusses The RAM ("almost a summing-up of the case of C the poet himself") and C's romanticism (pp 10-11) and concludes with a biographical sketch (p 12). Prints 11 complete poems, Encinctured with a Twine of Leaves, Christabel 1-52, and The Eolian Harp 12-48. The 6 color illustrations are matched (remotely) to the poems by the editor, not the artists; the 5 engravings for The RAM are by Doré (1876--C526 [misdated 1877]), Joseph Noel Paton [misnamed "James Noel Paton"] (1863--C450), and Wehnert (1857--C406). Good color reproduction (64 x 61mm) of head of Vandyke portrait of C (1795--C9202) on jacket front.
  • Gift to CCC from Arthur A Axelrad.


[S I 1994] VAUGHAN, William. Romanticism and Art. With 215 illustrations, 21 in color. (World in Art) Thames & Hudson (c1978 and 1994, a rpt with revisions). 288 pp. 210 x 148mm. Paper.

  • C was one of Blake's sympathizers (p 80). "J. G. Fichte . . . felt that there was no world that could be separated from the perceiver, that our awareness was in fact an act of creation. As C put it: [quotes Dejection 47-9]" (p 134). Compares Constable and C: "Like C, whose poetry he greatly admired, he felt the attentive perception of nature in itself to be spiritually uplifting. Constable also shared something of C's dark and troubled temperament" (p 203).


[S I 1994] WILSON, Jenny. The Lakeland Poets. An Illustrated Collection. Photographs by Rob Talbot. Edison, NJ: Chartwell Bks (1994). 112 pp. This edn produced for sale in the USA only. Phototypeset by Keyspools Ltd, Golborne, Lancs. Printed and Bound in Italy. Word and pictures in this form Copyright George Weidenfeld & Nicolson, 1991. Photographs copyright by Talbot-Whiteman, 1991. Design by Peter Bridgewater. First pub in Great Britain by Weidenfeld & Nicolson, Ltd, 1991.

  • Preface (p 7) refers briefly to C, quoting "C's 'varied scene/of wood, hill, dale, and sparkling brook between'" [from An Effusion at Evening 59-60, CPW 50]. C on pp 8-9 (with painting), 12 (photo), 34 (photo), 46-7, 70-1, 74-5, 80-1, 82-3 (photo), 88-9 (drawing), and 98-9.


[S I 1994] WOOF, Pamela, with Mark Bains. The Lake Poets. [Grasmere:] The Wordsworth Trust (nd, but 1994). 88 pp. No index. 185 x 107mm. Paper. Distributed by Castle Communications PLC with the video The Lake Poets (1994; see Part II.8 below).

  • Biographical account with generous quotation from the poetry. C treated mainly on pages 25-7 (C's first impressions of the Lake district), 29-33 and 36-9 (C, the district, the LBs), 47-56 (A Letter to ---- [Sara Hutchinson], April 4, 1802), 81-3 (C and W after Malta); also on 63-4, 71, 74, with mentions on 5, 24, 28, 58, 75.
  • Gift to CCC from Molly Lefebure.


1 9 9 5

[S I 1995] ANON. "Chapel's Links with C." Somerset County Gazette (20 Oc 1995), 30.

  • In department "Taunton Topics," report of meeting of Somerset Record Society, which "publishes the full texts of records of the county, and subscribers get an annual volume." Included in report: "Members were welcomed by Laurence Dopson, who recalled that Taunton's first local historian, the Rev Dr Joshua Toulmin, had introduced the poet STC to Mary Street chapel. // 'C preached here every other week,' Tim Mayberry, author of C and W in the West Country, told the meeting. He had preached there at the same time he was writing Frost at Midnight, The AM and KK; people spoke of 'the eloquence and spell-binding nature of his sermons'. // The bible C used at the Taunton services is still read at Mary Street chapel, it was revealed."


[S I 1995] ANON, ed. The RAM and Other Poems. (Penguin 60s) NY & L: Penguin Bks (1995). vi, 88 pp. 136 x 107mm. Paper.

  • Back cover has 60-word critical note; front cover has Doré illustration (70 x 60mm) for The RAM 45-50. Prints The RAM with the Burnet Latin motto, 1798 Argument, and gloss. Other poems are Christabel, KK, Dejection, Frost at Midnight, and The Nightingale.
  • Gift to CCC from Stephen H Ford.


[S I 1995] BASBANES, Nicholas A. A Gentle Madness: Bibliophiles, Bibliomanes, and the Eternal Passion for Books . NY: Henry Holt (1995). xvii, 638 pp. 236 x 150mm. Decorated jacket with illustration. Rpt With a New Preface. (An Owl Book) NY: Henry Holt (1995, Preface c1999). xxxi, 638 pp. 230 x 150mm. Paper, decorated cover with illustration.

  • In his discussion of Charles Lamb's remarks on "borrowers of books," author quotes Lamb on C's returning books to him with marginalia: from "Justice I must do my friend" to "There they stand in conjunction; natives and naturalized" (p 43).


[S I 1995] BLISSETT, William, and Alan Horne. David Jones, Artist and Writer (1895-1974): A Centennial Exhibition. U of Toronto: Thomas Fisher Rare Book Library, 5 October 1995·to·2 January 1996. 56 pp. Profusely illustrated, including in color. Paper.

  • Discusses Jones's editions of The RAM (1929--C2202 and 1964--C5706) (pp 19, 20, 22), reproducing two of his copperplate engravings, one for The RAM 185-96, and the other the composite centered on the ship, its crew with arms upraised, below a sky of stars, moon, and sun, and the sea alive with the "thousand slimy things." Refers briefly (p 30) to Jones's Introduction to The RAM (1972--C6230). "Material on Exhibit" includes the editions of 1929 and 1964 and 15 copper engravings for The RAM printed from the blocks by Rampant Lions Press, including 5 discarded by the artist, from the 1964 edition, and a print of a wood engraving, "The Bride" [The RAM 33-4 or 593-4], signed "Dafyd J.'30" (p 52).
  • Gift to CCC from Stephen H Ford.


[S I 1995] BROOKE, Nick, and Tim Rayment. "Don Finds 300 C Poems." Sunday Times (12 F 1995), News 1.3. Il.

  • The 20-year search through 5 continents by James [C C] Mays, editor of forthcoming 3-volume Poetical Works for the CC, turned up 300 new works ranging from "two-line fragments to manuscripts 10 pages long" and "thousands of new versions of existing poems." Included are "texts about buggery, gout, ingrown fingernails and lesbian lovers. One is in Greek and Hebrew about a friend who had trouble sustaining erections with his frisky young wife." "An elegy to his broken shaving pot" is in 6 versions. Fancy in Nubibus is written "on a piece of pale seaweed. Others are in pencil, erased by the poet but restored by Mays using police techniques. Some are written in gout medicine or blood, drawn when C bit his thumb after running out of ink." One, "An Autograph on an Autopergamene"--meaning "self-parchment"--"seems to have been written in blood on a piece of skin that had peeled off in the bath: 'Why, sure, such a wonder was never yet seen! / An Autograph on an Autopergamene! / A poet's own Name, and own Hand-writing both, / And the Ink and the Parchment all of his own growth--/ The ink his own Blood and the Parchment his Skin--/ This from's Leg, and the other from's razor-snipt Chin'."
  • Mays "found new versions of all but 10 of the 500 or so known C poems. There used to be five versions of Christabel . . . ; he found 25. Where there were 10 Ancient Mariners there are now more than 100, a poetry editor's nightmare." A MS poem to Hartley C, to help him remember the Greek alphabet, hanging in the Devon home of Denise C, widow of C's great-great-grandson Nicholas F D C, has been "missed by generations of scholars." [Joan C, widow of Alwyne H B C, the senior great-great-grandson of the poet, says that this MS poem has been seen by several C scholars for decades.]
  • Article is headed by montage of C MSS flanked by portraits of Mays and of C (previously published, adapting the 1804 Northcote).
  • This Sunday Times feature was immediately reported from London on the Reuters North American Wire, "Lost C Poems Found after 20-year Search" (12 F 1995), 243 words, and Reuters was credited in other brief reports on 13 F 1995 in the NYT, Chicago Tribune, and Toronto Star. Similar brief reports appeared the same day in the Baltimore Sun, Boston Herald, Orange County [Calif] Register, and Ottawa Citizen; on 14 F 1995 in the Daily Telegraph and the Houston Chronicle, and on 19 F 1995 in the Sunday Times (Capetown, RSA). Numerous other newspapers also carried the story.


[S I 1995] DORÉ, Gustave, il. The RAM. By Samuel Coleridge. Illustrated by Gustave Doré. NY: Platinum P (1995). On back flap of jacket: Smithmark Pubrs, A Division of U.S. Media Holdings, NY. [1-4] (incl half-tp, frontis, tp with engraved vignette), [5]-12 (text, beginning and ending with engraved head-and tailpieces), and 38 unnumb, captioned pls. 366 x 260mm, engravings 310 x 239mm above captions.

  • "The type in this facsimile edition of The RAM, originally published in 1876 [C526], has been meticulously reset in the classic typeface, Bodoni. Every effort has been made to preserve the historical integrity of the original publication, from the choice of typestyle to the observation of antiquated punctuation. // The original engravings have been painstakingly [lithographically] reproduced [in virtually the original size], with only the addition of a simple ruled border to accentuate Doré's artistry and the craftsmanship of his engravers" [p 4]. No editorial matter. Book jacket prints enlarged title-page vignette on front and same-size plate 23 (for lines 367-8) on back. The front flap comments on the Doré edition and this facsimile, and gives 12 lines on STC; the back flap is devoted to Doré.


[S I 1995] FENTON, James. "A Lesson from Michelangelo." NYRB (1995). Rpt in The Best American Essays 1996, ed and with Introd by Geoffrey C Ward, Bost & NY: Houghton Mifflin (1996), pp 151-68.

  • C on pp 163-66.
  • Discovered by Arnold T Schwab.


[S I 1995] GIMSON, Andrew. "C was a Nazi? They must be joking." In "Germany Calling" column in "Foreign News" section, Sunday Telegraph (9 Ap 1995), 26. With cartoon by Ken Tarkor? [name illegible].

  • "In a long and brilliant attack on Britain in Germany's leading conservative newspaper [Frankfurter Allgemeine Zeitung], a Hamburg scholar [Helmut Simon] has argued that W, C and the British Romantic poets helped to pave the way for Adolf Hitler. . . . [This attack] should be read as an elaborate joke. It is inspired by the theory floated while last autumn's Deutsche Romantik exhibition was showing in London, namely that German romantic art led to Nazism. This theory caused immense hurt and shock in Germany." Summarizes Simon's article and concludes: "It is just the sort of ["tasteless"] gibe we make about Germany all the time. The fact that they are learning to answer back is a good sign." Cartoon shows a pensive Hitler thinking, "Ancestral voices prophesying war . . . [sic] Who am I to disagree?"
  • From clipping from Rosemary Elizabeth Coleridge Middleton.


[S I 1995] HAMMOND, Wayne G, and Christina Scull. J.R.R. Tolkien: Artist & Illustrator. Bost & NY: Houghton Mifflin (1995). 208 pp. Il. 290 x 225mm.

  • Tolkien's drawing, Xanadu, done in "pencil, coloured pencil, black ink," is seen in a black-and-white reproduction (137 x 90mm), below the authors' account of it. Among Tolkien's pictures made during his first two years as an undergraduate at Oxford, D 1911 through summer 1913, "was a sketch, made probably in 1913, of Xanadu after C . . . . From its roughness it seems to have been made quickly, and is on the back of a tailor's bill evidently snatched up on the spur of the moment. Tolkien must have been inspired to draw it as suddenly as C had been to write KK when he work from his dream. It shows the 'chasm, with ceaseless turmoil seething' in which a mighty fountain cascades down a cedar-covered slope to form the sacred river, Alph, which flows at lower left into the 'caverns measureless to man'. Behind the cleft is the 'stately pleasure-dome' decreed by KK, like a Buddhist stupa with a tall finial. The spidery 'bridge' spanning the chasm is not in C, nor are the two trees or lamps drawn very small just over the tops of the two cliffs; but the latter look ahead to the Two Trees of Valinor in 'The Silmarillion'. KK and Tolkien's vision of it may also be related to his description of the place where the Elves awoke in Middle-earth: 'Now the places about Koiviënéni the Waters of Awakening are rugged and full of mighty rocks, and the stream that feeds that water falls therein down a deep cleft . . . [sic] a pale and slender thread, but the issue of the dark lake was beneath the earth into many endless caverns falling ever more deeply into the bosom of the world.'14The colours of the sketch are fantastic rather than realistic: light pink on the tops of the cliffs, blue for the shadowed parts, red on either side of the cascading water" (pp 40-1). Note 14: "The Book of Lost Tales, Part One, p. 232." (Cited is volume 1 of 11 of The History of Middle-earth, ed Christopher Tolkien, L: George Allen & Unwin, Unwin Hyman, HarperCollins, 1983-94; Boston: Houghton Mifflin, 1984-1994 [p 203]).


[S I 1995] HARDING, Anthony John. The Reception of Myth in English Romanticism. Columbia & L: Univ of Missouri P, 1995. xv, 289 pp. 235 x 150mm.


[S I 1995] JACKSON, H[eather] J[oanna], and J[ames] R[obert] de J[ager] Jackson, eds. Shorter Works and Fragments. 2 vols. (CC, 11) (Bollingen Ser, 75) Princeton UP [and L: Routledge] (1995). 12 pls incl facsims and port of Joseph Henry Green.

  • Introduction and Acknowledgments (xxiii-viii): These volumes "contain essays, reviews, and pamphlets that C himself saw into print; more sustained works, such as the 'Theory of Life' and 'Confessions of an Inquiring Spirit', that were finished enough to be brought out posthumously by friends and family; papers associated with work in progress; and a variety of occasional and personal documents that were never intended for publication. . . . The materials have been arranged chronologically, as far as possible, . . . and the headnote for each entry attempts to provide an appropriate context for that particular entry." Discusses the origins of the entries and the roles of Joseph Henry Green, Sara CC, HNC, Derwent C, and James and Anne Gillman. Appendix A, "Joseph Henry Green: Introduction to the Philosophical Remains of S. T. C." Appendix B: "List of Manuscripts Omitted." Usual other preliminaries and full analytical index.


[S I 1995] KLESSE, Antje, and Derrick Woolf. The Illustrated Mariner. Catalogue of Exhibition held at Kilve Court, Somerset, 9-10 September 1995. Nether Stowey: Designed, Published and Printed by ODYSSEY Poets, Coleridge Cottage (1995). 45 pp. Il. 213 x 216mm. Paper.

  • Foreword (p 7) is by Reggie Watters, Chairman, The Friends of C, which sponsored the exhibition. Introduction (pp 10-12) first reviews the circumstances of composition and publication of the poem, its mixed reception, W's disenchantment with C's "pop gothic ballad," and its personal significance to C. The second part discusses artists' treatments of the poem. Between David Scott (1832-37) and Sven Berlin (1995; see S I 1996 below), "more than 80 artists have illustrated [published editions of] the poem and many more have produced individual paintings and drawings. It is an astonishingly visual work and C has virtually provided would-be artists with a ready-made palette: emerald green / fog-smoke white / burnt green, and blue and white / blue glossy green, and velvet black. . . . This exhibition focuses on graphic illustrations to the AM, most of them in black-and-white and all of them taken from published illustrated editions of the poem. There are serious and humorous ones among them; epitomies of simplicity on the one hand, and of decorative exuberance and splendour on the other; examples of expert draughtmanship as well as what have been called 'awkward attempts at graphic sublimity'. Only a fraction of the many world-wide illustrated mariners are shown but the 100 or so images do give an indication of the three interpretative modes that artists adopt in handling the subject matter": narrative realism (eg, Doré), decorative abstraction (eg, Pogany), and expressive interpretation (eg, Peake)--each mode explained briefly.
  • After a "Note on the Illustrated Text Quotations" (p 12), the "Catalogue" (pp 14-26) lists exhibited illustrations by D Scott (1837--C188), Wehnert (1857--C406), Paton (1863--C450), Doré (1876--C526), P Wilson (in Lang, ed, 1898--C793), Cole (1900--C1012), Metcalfe (EHC, ed, 1907--C1322), Pogany (1910--C1486), Deslignères (in Jarry, ed, 1921--C1835), Peck (in Huntington, ed, rev by Moffat, 1929--C2201, misdated 1898, which did not have illustrations), Jones (1929--C2202), Davies (1937--C2813), Denning (1940--C3682), Peake (1943--C3872), Calder (in Warren, 1946--C4015), Emerson (1989--C6592), Palmer (in Holmes, ed, 1994--C6637), and Sven Berlin (1995), reproducing one or more illustrations by each. The cover illustration, "The Spectral Ship" (1993), is by David Myerscough-Jones. "Biographical Notes" (pp 28-40), "Bibliography" (p 42), and "Acknowledgements" (p 44). Exhibition reviewed in CB, ns No 6 (Au 1995), 60.
  • Gift to CCC from the authors.


[S I 1995] PICKLES, Sheila, ed. Love Sonnets: A Treasury of English Verse. Scented by Penhaligon's [Esprit de Lavande]. Pavilion Books (1995). 72 pp. Color ils, including on jacket. 185 x 115mm.

  • Prints Farewell to Love (p 47) opposite full-color reproduction (93 x 73mm) of "The Young Lovers" by Gerard Hoet (1648-1733). No editorial matter. "Sheila Pickles is the Managing Director of Penhaligon's, the exclusive London perfumers established in 1870" and "editor of nine scented treasuries of verse and prose" (back jacket flap).


[S I 1995] POOLE, Peggy, ed. Poet's England: Cumbria. Headland (1995).

  • "Lots of W, plenty of daffs, some C and Southey, a dash of Keats and Scott with a garnishing of Norman Nicholson. . . . More than 70 poets who wrote in and about the county from the 17th century to the present day." £6.95. Source: brief review by T[erry] F[letcher] in Cumbria, 45 (Ja 1996), 46.


[S I 1995] SOTHEBY'S, London. English Literature and History and a Collection of Continental Incunables. Sale LN5749, Monday, 18th December, 1995, . . . In the Aeolian Hall, Bloomfield Place, London, W1. Sotheby's (1995). [216] pp. Il. 543 items. 270 x 210mm.

  • Item 145: "COLERIDGE (S.T.) PORTRAIT OF COLERIDGE, English school, oil on panel, head and shoulders, in dark coat and wearing a white cravat, c. 8½ x 6½ inches, in [nineteenth-century] gilt frame // £600-800". Portrait reproduced (85 x 55mm).
  • For more on item 145, see [S II.9 1978] below.
  • Item 172 "COLERIDGE (S.T.) AUTOGRAPH LETTER SIGNED, to John Anster, explaining, in characteristically whimsical fashion and with various puns, in his own defence, that he was 'Not Guilty, my Lord!' for confusion and misunderstandings concerning an invitation . . . . 2 pages, 4to, integral address leaf, postal marks, seal tear, patches of browning, traces of mounting, Highgate, 21 June 1822 // Apparently unpublished (not in the Collected Letters, ed. E.L. Griggs). // £400-500".
  • Item 173 "COLERIDGE (S.T.) AUTOGRAPH LETTER SIGNED, to George Frere, politely declining an invitation, referring to his son and to Curtis and Fennor (publishers of his poem Zapolya) . . . . 2 pages, 8vo, traces of mounting, 20 August 1817, together with an autograph letter by Mrs Southey, to Messrs Longman, 17 May 1845 // Printed in Collected Letters, ed. E.L. Griggs, vol. IV (1959), pp. 1073-4 [error for pp 764-5], No. 1074. // £300-400".
  • Item 250 "COLERIDGE (SAMUEL TAYLOR) BIOGRAPHIA LITERARIA; or Biographical Sketches of My Literary Life and Opinions, FIRST EDITIONS, 2 volumes in one, without half-titles, publisher's advertisements at the end of volume 2, contemporary polished speckled calf, rebacked, slightly rubbed [Wise 40], 8vo, Rest Fenner, 1817 // £200-300".
  • Item 251 "COLERIDGE (SAMUEL TAYLOR) COMPREHENSIVE COLLECTION OF APPROXIMATELY 160 VOLUMES BY OR ABOUT COLERIDGE AND OTHER MEMBERS OF HIS FAMILY, including" Christabel , Kubla Khan &c 1816; BL 2 vols, 2d edn, 1847 (several copies); Notes, Theological . . . 1853; Confessions 1840; PW 3 vols 1836; Osorio 1873; Specimens of the Table Talk 2d edn 1836; Letters, Conversations & Recollections of S.T.C 2 vols 1836; Aids 1825; Friend 1875; Notes and Lectures on Shakespeare et al 2 vols 1849; Essays on His Own Times 2 vols 1836; The Dramatic Works, new edn 1852; The Collected Works vols 4, 5, 12, Routledge, 1969-84 (with duplicate copies); The Annotated AM 1965; Minnow Among Tritons 1934; Hartley C's Poems, original boards, Leeds, 1833; EHC's Poems 1898; The Worthies of Yorkshire and Lancashire 1836; Hall Caine, Life of STC 1887; Fausset, STC 1926 (2 copies); Lowes, Road to Xanadu, 2d edn 1951; Charpentier, The Supreme Somnambulist 1929; Cottle, Reminiscences of STC and Robert Southey 1848; Towle, Eleanor A, A Poet's Children: Hartley and Sara C 1912; E L Griggs, Hartley C: His Life and Work 1929, "together with similar works, SOME FIRST EDITIONS; original cloth or various leather bindings (some dust-jackets); 8vo (a quantity) // £600-900".
  • Catalog a gift to CCC from Rosemary Elizabeth Coleridge Middleton.


[S I 1995] SULLIVAN, Betty, ed. Dreams. (Keepsakes) Edison, NJ: Chartwell Bks (1995). 44 pp. Color ils. 147 x 105mm.

  • Anthology of poems, prose, and illustrations includes A Day-dream 1-6, titled "Sweet Dreams" (with lines from Shelley and T H Bayly), facing reproduction of unidentified painting of willow beside lake, four ducks feeding (105 x 82mm); and KK 1-22 facing reproduction of unidentified, ragged-edged page from an old Arabic(?) book, with three illustrations: towers, wall, peacock; seated man with stringed instrument, being ministered to by two females; two swans in pool facing a small tower (fountain?). The paintings are matched by the editor, not the artists, to the facing verse.


[S I 1995] TALBOT, Rob, photographs, and Robin Whiteman, text. English Landscapes. George Weidenfeld & Nicolson (1995). Paperback edn, L: Phoenix Illustrated, Orion Pubg Group (1997), 160 pp. 290 x 260mm.

  • In the section on "The North-West," C is included among the Lake poets (p 43) and among those who carved their names on the "Rock of Names" (p 48), and as visiting Castlerigg Stone Circle above Keswick in 1799. Photographs of scenes that C knew include Loughrigg Tarn, Loweswater, Buttermere and Crummock Water, Derwentwater and the Jaws of Borrowdale, Ullswater, Grasmere Island, Grasmere, Rydal Water, Dove Cottage, Castlerigg Stone Circle, Little Langdale, and Eskdale.


[S I 1995] WELLS, John, ed. STC: Four Letters to Anna and Basil Montagu. Ed with an Introd and Commentary. Norwich: Mandeville P (1995). iii, vi, 22 pp. Ils. 210 x 148mm. Paper.

  • Hitherto unpublished letters: 17 D 1808 (having to do with Montagu's role in precipitating the quarrel with W), one undated but watermark 1809 (friendly relations beginning to resume), 12 My 1820 (resumed), and 14 Je 1826. Detailed introduction and commentary.
  • Frontispiece is the Phillips portrait (1818--C9219) lithographed by Louis Haghe for John Murray (1835). The entire cover "shows a detail of a view of London from Highgate, by C. Marshall, c. 1840."


[S I 1995] WILLIAMS, Audrey, ed. Spring. (Keepsakes) Edison, NJ: Chartwell Bks (1995). 44 pp. Color ils. 147 x 105mm.

  • Anthology of "poems, [prose] pieces and illustrations" includes To a Primrose 1-4 (with a Charles d'Orleans poem translated by Longfellow) facing reproduction of unidentified painting of flowering trees, etc (65 x 82mm)--the painting matched by the editor, not the artist, to the facing verse.