COLERIDGE'S CONTRIBUTION AS A POET
Coleridge is indeed a
romantic poet of gigantic genius. Yet he is beyond doubt, one of the most
learned person of his age and has become immortal only by writing half a dozen
of very remarkable poems- a unique feature in the history of English
Literature.
With Wordsworth, Coleridge is the co-founder of the Romantic
Movement for his contribution to Lyrical ballads (1978) was numerically small
but esthetically sublime. Coleridge produced mainly three types of poetry-
personal, political and romantic. Some of his personal poems are- ‘Frost and
Midnight’, ‘The Eolian Harp’, ‘An Ode to Dejection’, ‘Youth and Age’, ‘War
without Hope’ and ‘This Lime-tree
Bower my Prison’. Some of his famous political poems are- ‘France’, ‘An Ode’, ‘Ode
on the Departing Year’. His three romantic and supernatural poems are- ‘The
Rime of Ancient Mariner’, ‘Kubla Khan’ and ‘Christable’. For his simple,
sensuous and impatient poetry, Coleridge is rightly hailed as the harbinger of
romanticism.
Love in liberty, interest in supernatural and the
mysterious, his celebration of humanized love for Nature, expression of
melancholy and revolutionary zeal- all these romantic qualities make his poetry
the purest and the most ethereal of the romantic spirit. His poetry is marked
by love for Nature. In ‘Frost at Midnight’, Coleridge refers to a divine nature
and the moral and educated influence which he exercises on those who truly love
her. In ‘Ode to Dejection’, he informs us that we receive from nature only that
which we give her:
“In our life alone does Nature live:
Ours is her wedding garment, Ours her shroud.”
Ours is her wedding garment, Ours her shroud.”
As a poet of supernatural, he avoids gruesome and
terrifying use of supernaturalism and makes it symbolic and suggested. He handles
supernaturalism in a psychological manner and gives it supreme strength through
a marvelous dream faculty. Coleridge occupied an important place among the
Nature poets of England. Like Wordsworth, he was an acute observer of natural
scenes but unlike Wordsworth, he described them not directly but through a veil
of mystery. He treated nature as an animate, living and having an intelligence
of its own.
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