The "Conversational Lyric" In Coleridge And Wordsworth: A Study Of Artistic And Philosophical Contexts
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Date
2004-06
Authors
Basil Qahtan, Muhammad
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Abstract
Samuel Taylor Coleridge (1772-1834) was a philosopher as well as a poet;
but he expressed some of his philosophical views in his poetry long before he
stated them philosophically. Among these views is his conception of the
process of gaining knowledge, which complies with his later-stated universal
process that he called "individuation". Here, man's perception widens
centrifugally, to coalesce with Nature or the object contemplated, and then goes
back centripetally to the limits of the self, bringing about new awareness both of
the self and of the object contemplated. For the poetic expression of this
process, Coleridge needed to devise a poetic form that would display
knowledge-acquisition; and before long he modified the older "loco-descriptive"
poetic tradition for his purpose, coming up with a new poetic mode that is
termed, in this study, the "conversational lyric".
This study examines in-depth Coleridge's artistic and philosophical
application in his eight "conversational lyrics", and then uses its findings to
examine the four such lyrics written by his friend William Wordsworth (1770-
1850). The aims of the study are: setting a clear cut definition of the
"conversational lyric" mode; comparing between Coleridge's and Wordsworth's
poetic practices in this mode; tracing some of the influences they had on each
other; highlighting their personal traits in a case where both handled the same
poetic mode and showing the need for a better recognition of Coleridge's
philosophy in the interpretation of Wordsworth's poetry The "conversational lyric" is a dramatic monologue whereby a speaker, the
poet himself, discloses to an intimate addressee, in a warm and confiding tone
and in suitably relaxed poetry, usually in blank verse. The poem begins with a
close opening description of the surrounding landscape, at times joined by a
specific localisation of time and place. Then, the speaker sets off on a
meditative journey that carries him from the observation of the outer scene to
inner meditation beyond time and place and physical sense, and then. brings
him back to himself in the outer scene. The speaker's imaginative reconciliation
with the object contemplated, usually in the form of unity with Nature, brings
about realisations of the "one Life" or God. The final result is new knowledge
gained, which is further confirmed by the use of prayer and the language of
benediction. The poem's structure rounds upon itself to end where it began, but
on a higher level of insight.
The study finds that Coleridge and Wordsworth share not only the
consistent application of the "conversational lyric" features, but also variations
that each of them invented within the mode. Yet, Wordsworth's four
"conversational lyrics" are found to be more self-asserting than imitating,
through the modifications Wordsworth made within them. Interestingly,
Coleridge is found imitating Wordsworth's variations in a number of instances.
Ultimately, Wordsworth'st use of his friend' invented mode is found to be
loaded with many messages passed onto Coleridge, especially at a time when
the latter succumbed to devastating dejection.
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Language and Literature