Comparision of Wordsworth and Coleridge

5/21/2018 Comparision of Wordsworth and Coleridge

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nglish project

On

COMP RISION OF WORDSWORTHI N

ND COLERIDGI N POETRY

Submitted to: Dr Pratyush Kaushik

Submitted by: Deepesh Kumar

Roll No: 922

B.A. LL.B. (Hons.), 2nd

Semester.


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2COMPARISION OF POETIC

WORKS OF WORDSWORTH AND

COLERIDGE.

Submitted by Deepesh Kumar Page 2

COMP RISION OF POETIC WORKS OF WORDSWORTH ND

COLERIDGE


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COLERIDGE.


CKNOWLEDGEMENT

It is not possible to prepare a project report without the assistance & encouragement of other

people. This one is certainly no exception.

On the very outset of this report, I would like to extend my sincere & heartfelt obligation towards

all the personages who have helped me in this endeavor. Without their active guidance, help,

cooperation & encouragement, I would not have made headway in the project. .

I am extremely thankful and pay my gratitude to my faculty Dr Pratyush Kaushik for his

valuable guidance and support and, who took keen interest in my project work and guided me all

along, till the completion of my project work by providing all the necessary information fordeveloping a good system.

I extend my gratitude to Chanakya National Law University for giving me this opportunity. I

also acknowledge with a deep sense of reverence, my gratitude towards my parents and member

of my family, who has always supported me morally as well as economically.

My gratitude goes to all of my friends who directly or indirectly helped me to complete this

project report.

At last but not least I would like to thank Almighty God who gave me the strength and resolve to

complete this project.

Any omission in this brief acknowledgement does not mean lack of gratitude.

Thanking You

Deepesh Kumar.


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COLERIDGE.


TABLE OF CONTENTS

Topic Page No:

1)

INTRODUCTION6 AIM AND OBJECTIVE...11

RESEARCH METHODOLOGY.11

2) CHAPTERIZATION:

a) Poetic Styles of Wordsworth and Coleridge12

b) Comparative study of Wordsworthian and Coleridgian poetry...20

c) Analysis of William Wordsworths Ode: Intimations of Immortality from

Recollections of Early Childhood and Samuel Coleridges Dejection: An Ode ...29

d) Conclusion ..34

3) BIBLIOGRAPHY...35


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COLERIDGE.


INTRODUCTION

The 19th century was heralded by a major shift in the conception and emphasis of literary art

and, specifically, poetry. During the 18th century the catchphrase of literature and art was reason.

Logic and rationality took precedence in any form of written expression. Ideas of validity and

aesthetic beauty were centered on concepts such as the collective "we" and the eradication of

passion in human behavior. In 1798 all of those ideas about literature were challenged by the

publication of Lyrical Ballads, which featured the poetry of William Wordsworth and Samuel

Taylor Coleridge. Wordsworth and Coleridge both had strong, and sometimes conflicting,

opinions about what constituted well-written poetry. Their ideas were centered around the

origins of poetry in the poet and the role of poetry in the world, and these theoretical concepts

led to the creation of poetry that is sufficiently complex to support a wide variety of critical

readings in a modern context.1

Wordsworth wrote a preface to Lyrical Ballads in which he puts forth his ideas about poetry. His

conception of poetry hinges on three major premises. Wordsworth asserts that poetry is the

language of the common man:

To this knowledge which all men carry about with them, and to these sympathies in which

without any other discipline than that of our daily life we are fitted to take delight, the poet

principally directs his attention.2

Poetry should be understandable to anybody living in the world. Wordsworth eschews the use of

lofty, poetic diction, which in his mind is not related to the language of real life. He sees poetry

as acting like Nature, which touches all living things and inspires and delights them. Wordsworth

calls for poetry to be written in the language of the "common man," and the subjects of the

poems should also be accessible to all individuals regardless of class or position. Wordsworth

also makes the points that "poetry is the spontaneous overflow of powerful feelings: it takes its

origin from emotion recollected in tranquility". These two points form the basis for

Wordsworth's explanation of the process of writing poetry. First, some experience triggers a

1http://www.preservearticles.com/2012031126558/compare-wordsworth-and-coleridge-as-theorists-of-

poetry.html2 http://www.nationalgreatbooks.com/symposium/issue1/Wilson.asp


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COLERIDGE.


transcendent moment, an instance of the sublime. The senses are overwhelmed by this

experience; the "spontaneous overflow of powerful feelings" leaves an individual incapable of

articulating the true nature and beauty of the event. It is only when this emotion is "recollected in

tranquility" that the poet can assemble words to do the instance justice. It is necessary for the

poet to have a certain personal distance from the event or experience being described that he can

compose a poem that conveys to the reader the same experience of sublimity. With this distance

the poet can reconstruct the "spontaneous overflow of powerful feelings" the experience caused

within himself.3

Wordsworth's critical ideas are manifested in his writing. He uses the language and subjects of

the common man to convey his ideas. As he writes in "The Tables Turned," "One impulse from a

vernal wood / May teach you more of man, / Of moral evil and of good, / than all the sages.

These lines show that Wordsworth places little stock in the benefit of education or

institutionalized wisdom. He implies that any person with exposure to Nature can learn the

secrets of the world, regardless of social or economic considerations. In "I wandered lonely as a

cloud," Wordsworth uses the sonnet form to express his ideas about poetry being the

spontaneous overflow of emotion recollected in tranquility:

For oft when on my couch I li e

I n vacant or in pensive mood,

They flash upon that inward eye

Whi ch is the bli ss of soli tude;

And then my heart wi th pleasure fil ls,

And dances with the daffodils.4

This stanza comes after Wordsworth has described experiencing in the natural world the

wonderment that the night creates. In the poem he meditates on the stars and the light bouncing

off waves on the water. He is unable to truly comprehend the beauty and importance of the

3 http://uh-engl-2306.blogspot.in/2007/10/comparison-of-william-wordsworth-and.html

4 http://www.free-essays.us/dbase/b6/tda7.shtml


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COLERIDGE.


experience until he is resting afterward, and he is able to reconstruct the event in his mind. This

remembrance brings him a wave of emotion, and it is out of this second flood of feeling that the

poem is born. In Wordsworth's poetry, these ebbs of emotion are spurred on by his interaction

with Nature. In "Tintern Abbey" he writes that "Nature never did betray / the heart that loved

her". Indeed, Wordsworth is continually inspired and led into transcendent moments by his

experiences in Nature. These experiences bring to his mind a wide variety of contemplations and

considerations that can only be expressed, as he writes in "Expostulation and Reply," in "a wise

passiveness".5

While Wordsworth's critical ideas obviously worked for his poetry, Coleridge differed in his take

on the art. Coleridge did not agree that poetry is the language of the common man. He thought

that lowering diction and content simply made it so that the poet had a smaller vocabulary of

both words and concepts to draw from. Coleridge focused mainly on imagination as the key to

poetry. He divided imagination into two main components: primary and secondary imagination.

In Biographia Literaria, one of his significant theoretical works, he writes:

The primary imagination I hold to be the living power and prime agent of all human

perception, and as a repetition in the finite of the eternal act of creation of the infinite I AM. The

secondary I consider as an echo of the former, coexisting with the conscious will, yet still

identical with the primary in the kind of its agency, and differing only in degree, and in the mode

of its operation.6

It is the imagination involved in the poetry that produces a higher quality verse. The primary

imagination is a spontaneous creation of new ideas, and they are expressed perfectly. The

secondary imagination is mitigated by the conscious act of imagination; therefore, it is hindered

by not only imperfect creation, but also by imperfect expression. To further subdivide the act of

imagination, Coleridge introduces his concept of fancy. Fancy is the lowest form of imagination

because it "has no other counters to play with but fixities and definites". With fancy there is no

creation involved; it is simply a reconfiguration of existing ideas. Rather than composing a

completely original concept or description, the fanciful poet simply reorders concepts, putting

5 http://flash.lakeheadu.ca/~emurray/1112RomanticismOutline.htm

6 Ibid.


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COLERIDGE.


them in a new and, possibly, fresh relationship to each other. Coleridge also writes that poetry

"reveals itself in the balance or reconciliation of opposite or discordant qualities". Through

juxtaposition ideas, concepts, and descriptions are made clear. The more imaginative the

juxtaposition is, the more exciting the poem becomes.7

As with Wordsworth, Coleridge also combines his theoretical ideas in his poetry. He abandons

Wordsworth's notion of poetry for the common man, and uses lofty language, poetic diction, and

subject matter that is specialized. While he still holds a reverence for Nature inherent to romantic

literature, his poems are not exclusively based around the natural. He makes use of primary

imagination in his work, because it is the kind of imagination he values most, and avoids

secondary imagination or fancy as much as possible. "Kubla Kahn" illustrates his use of primary

imagination

The poem is the manifestation of a drug-induced vision. The lines have come to Coleridge

unbidden, and represent the creation of a previously nonexistent setting. He creates these

instances throughout the poem. Especially notable is the vision he describes in the last stanza, "A

damsel with a dulcimer / In a vision I once saw: / It was an Abyssinian maid, / And on her

dulcimer she played". Both of these segments create entirely new scenes in the reader's mind.

Coleridge also uses highly imaginative images to create juxtaposition in the poem. He writes, "A

sunny pleasure dome with caves of ice!" and uses this image twice in the poem. The

"reconciliation of opposites" manifests itself in lines such as these. The adjective "sunny" implies

warmth, while "ice" is cold. Together they hint at a darker side to the surfacially idyllic pleasure

dome. The simple fact that it is Kubla Kahn's pleasure dome is juxtaposition as well. The leader

of the Mongols is not colloquially thought of as a kind or benevolent man. This discordance, too,

hints at the underlying darkness of the poem, thereby exposing a truth that all is not perfect in

neither the pleasure dome nor Coleridge's hallucination.8

Coleridge and Wordsworth valued artful poetry. Although they had some different theoretical

opinions, both of them succeeded at making poetry that is complex and dense enough to

7 http://www.inforefuge.com/compare-contrast-coleridge-wordsworth

8 http://classprojects.kenyon.edu/engl/exeter/Kenyon%20Web%20Site/Sid/Coleridge_Wordsworth_Final.html


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withstand two centuries of analysis, and modern critical practice has not yet fully distilled the

potential meaning to be found in their work. It is easy to see how their work places them firmly

in the realm of the Romantics, but it is quite difficult to come up with a single form of modern

criticism that can fully deal with these two poets. Mimetic forms of criticism, including

contemporary Platonists and Aristotelians, could offer observations about how the poetry of

Wordsworth seeks to imitate Nature and the effects of Nature on the individual. He works to

reconstruct an experience for the reader. Likewise, these same critics could say that Coleridge's

imitation of human beings in poems like "Christabel" and "The Rime of the Ancient Mariner"

teaches us something about human nature and behavior. Unfortunately, purely mimetic criticism

would miss much of the rhetorical devices and aesthetic qualities embedded in the work.

Pragmatic forms of criticism, which focus on the rhetorical purpose of the author, could offer

insight as to how the poetry of Coleridge and Wordsworth seek to instruct the reader, and could

also elucidate the rhetorical structure of their works. Both of the poets seek to reinforce the

individual, the glory and value of Nature, and induce revelations in their readers. Also, as with

all of the Romantics, Coleridge and Wordsworth are constantly seeking the sublime. This period

follows the rediscovery of Longinus' ideas about the sublime, which describe how rhetorical

structure is used to gain the same feeling of transcendence as Nature promotes. The work of

Coleridge and Wordsworth is also rhetorically constructed to express their critical theories,

which a pragmatic reading of the text would pick up. The expressive forms of criticism could

offer valuable insights into the poems of Coleridge and Wordsworth by focusing on the texts as

products of the poets. Certainly forms of psychoanalytical criticism would have much to say

about Wordsworth's constant overflow of emotion and Coleridge's chemically altered

imagination. Objective critics like the New Critics and formalists could shed light on the synergy

created by the interaction of the various parts of Coleridge and Wordsworth's poems. In

Biographia Literaria, Coleridge wrote that a poem must be a cohesive unit, with every part

working together to build into a whole. Both poets pay close attention to form and diction in their

work, and create poems that are independent units of thought. Especially the work of

Wordsworth seems to precipitate Marxist criticism, which could provide insight about the

elements of class in his poems, and could also discuss the connection between form and content

in the poetry. Postmodern critics would especially enjoy looking at the fierce individuality of


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Coleridge and Wordsworth, who each create their own micro-narrative of the world while

rejecting the meta-narratives of their time.9

AIM AND OBJECTIVE

To have a detailed study on Poetic works of Wordsworth and Coleridge.

To acquaint the researcher with poetic style of Wordsworth and Coleridge.

To compare and contrast the poetic style of Wordsworth and Coleridge.

RESEARCH METHODOLOGY

For the purpose of research work, doctrinal method is used.

Doctrinal Method includes conventional methods of research like library research, writings or

documents or through surfing the web.

The research is based on relevant text books, journals and web sources.

9 Fifteen Poets, Oxford University Press, First Edition, 1941


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COLERIDGE.


POETIC STYLE OF WORDSWORTH AND COLERIDGE

William Wordsworths Poetic Style:

Wordsworth had a belief that poetic style should be as simple and sincere as the language of

everyday life and that the more the poet draws on elemental feelings and primal simplicities the

better for his art. He advocated the use of simple language in poetry. He said that poetry should

be written in a language really used by men in humble and rustic. He set himself to the task of

freeing poetry from all its conceits and its inane phraseology. He made certain very effective

and striking experiments in the use of simple language.10

Wordsworth was the first poet who fully recognized and deliberately practiced the beauties of

extreme simplicity; and this achievement constitutes his most obvious claim to fame. Hardly

any interested reader misses the beauty of his simplicity.11

One could quote numerous examples of the successful and effective manner in which

Wordsworth handled simple language. All Lucy poems offer striking examples. A poem like the

one on daffodils represents the successful simple style too.12

Wordsworths use of the nobly-plain style has something unique and unmatchable. Wordsworth

feels his subjects with profound sincerity and, at the same time, his subject itself has a

profoundly sincere and natural character. His expression may often be called bald as, for

instance, in the poem Resolution and Independence; but it is bald as the bare mountain tops are

bald, with a baldness which is full of grandeur.13

Wordsworth prefers generally to employ an unostentatious, ascetic style. It demands a mature

and thoughtful reader to appreciate the power and comprehensiveness.14

But many are the occasions when Wordsworths simplicitydeteriorates into triviality. While thedaring simplicity is often highly successful, there is also the other kind of simplicity which has

10http://www.nationalgreatbooks.com/symposium/issue1/Wilson.asp

11 Ibid.

12http://www.nationalgreatbooks.com/symposium/issue1/Wilson.asp

13 http://www.free-essays.us/dbase/b6/tda7.shtml



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been called the bleat, as of an old, half-witted sheep. This creates a strange inequality in

Wordsworths verse, an inequality which has been noted and commented upon by almost every

critic.

His deficient sense of humour is responsible for many banalities, but the chief reason for this

mixture of puerility and grandeur is his poetic theory. According to this theory, Wordsworth was

to use a selection of the language really used by men in humble and rustic life, while at the

same time he was to throw a certain colouring of imagination over his subjects.15

Wordsworths experiments in a simple style were intended to arouse the ordinary mans

sympathy for his fellow men. He sacrifices the idiomatic order of words to preserve simplicity of

diction and the demands of rhyme. He undermines his purpose with amazing effects. Sometimes

he offends merely by the use of such metre as

Poor Susan moans, poor Susan groans.

Fortunately Wordsworths splendid imagination was often too powerful for his theory; and in his

best work he unconsciously ignores it altogether.

In Tintern Abbey Wordsworth is far more willing than his theories would suggest to use the full

resources of the English vocabulary. In the more exalted passages of this, as of most of the

reflective blank verse poems, the influence of Milton is apparent. We sometimes find

Wordsworth using a Latinised and abstract vocabulary, commonly supposed to be most

uncharacteristic of his work, and directly due to Miltonic influence.16

The journals of Dorothy Wordsworth show what pains Wordsworth took to find the right

expression. Few poets spent more time searching for the right word or revising their poems. The

result of such strenuous application was often exhaustion leading to dull prosaic verse; but the

same labour produced the wonderful poetry of Tintern Abbey which was written in a few hours

and hardly altered, and great extempore works, even in his declining years, such as the 1835

effusion on the death of James Hogg.


16 Ibid.


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The famous dullness of Wordsworth which measures the grave in The Thorn and finds it three

feet long and two feet wide is all part of his fearless search for a diction which should bypass; the

pomposity of literature, and take a sort of photograph or recording of experience itself, not just

the scene but the emotion connected with the scene.

Wordsworth was right in his banalities, given the premises from which he started. Only the metre

and the inversions employed to contain ordinary conversation in short lines create an unhappy

effect in some of the ballad poems.

Wordsworth often used imagery which is more visual, especially in similes from Nature. But

generally, he demands more of the readers imagination than most poets do. His poems

frequently echo Milton, Shakespeare, Burns, the Elizabethan poet Daniel, Pope, Thomson, and

Gray; but not a single work had as lasting an influence on him as Paradise Lost. Instead of being

dazzled with words, he had looked steadily at his subject. The imagery he used is derived from

his own experience and thought.

Wordsworths style can be summed up thus: Wordsworths language is usually worthy of his

themes. At its best it has restraint, quietness and integrity, a refusal to be clever or fanciful in

order to attract the reader. But there are other times when it is not so much serious.17

Wordsworth was practicing his theory that poetry should be written in a selection of language

really used by men; but not paying enough attention to selection. Again, when his powers

failed, he fell back on bombast as a substitute.

Wordsworth never seriously believed that a poets means of expression should coincide

altogether with those of the most familiar speech. He does not try to identify entirely the

language of poetry with that of conversation among men of the low or of the middle class.18

He was the exemplar of plain living and high thinking. He lived fairly humbly and insisted

that he spoke for the common man, but he expressed the exalted. This humble yet exalted

combination exemplified what became an enduring notion of what the poet is.


18 Ibid.


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COLERIDGE.


He was seen as a great poet of nature, and he made the Lake District a tourist spot.

Lake District, which became Wordsworthssource of inspiration, for his poetry.

Wordsworth was a close friend of, and worked and published with Samuel Taylor Coleridge.

Together they produced a new style and a new spirit in poetry. Later the two fell out.

Wordsworth as a young man was living in France during the year of the storming of the Bastille,

1789. He admired the impulse for change in the French Revolution, but later was horrified by

the excesses of it and suspicious of Napoleon. He became increasingly conservative over the

years.

Poetry of the preceding period suffered from the artificiality of a language in which the means of

conveying intensity had been worn out by the deadening effect of custom and had lost all their

power of suggestion. To shake off these chains, to dare to employ the language of pure passion,

such a step meant a return to the practice of the old masters. Their style, when compared withthat of the eighteenth century at its close, was of a relatively simple quality, just as it was ever

racy, frank, and spontaneous.19



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COLERIDGE.


The cult of Chaucer, Spenser, and Shakespeare is part and parcel of the faith animating the

literary reform of which the Lyrical Ballads are the symbol. To the pages of these writers,

Wordsworth and Coleridge go in quest of materials for the making of a permanent style.

Although unequal, and full of flaws, of lapses into the prosaic or into a tedious accuracy of

statement, Wordsworths shorter poems of the best period undoubtedly possess a unique value,

however mixed they may be. Among them are pure masterpieces, in which the tension of the

style is delightfully relaxed: an ecstatic or divinely childlike spontaneity replaces the effort of

concentration. These poems bring to a decisive realisation the revival towards which the previous

literary transition was tending.

Wordsworth broke the spell of an antiquated tradition, and his work inaugurated the reign of

liberty. England awoke to this fact, not indeed at once, but by degrees, and in the course of a

generation. All the English poets o f the nineteenth century are indirectly his heirs.20

Samuel Coleridges Poetic Style:

Coleridges different perception of poetry is what sets him aside from Wordsworth. In fact,

Coleridge even reflected on the difference between his contributions and those of Wordsworth in

Lyrical Ballads. He stated, my endeavors would be directed to persons and characters

supernaturalMr. Wordsworth, on the other hand, wasto give charm of novelty to thingsof

everyday(Biographia, ch. xiv). Although Coleridges retrospective interpretation of this work

could be viewed as an overly simplistic division of labor, it nonetheless proves that Coleridge

viewed his poetic style as different as that of Wordsworth. Moreover, Coleridges retrospective

interpretation insinuated that he dealt with complex subject matter (supernatural), while

Wordsworth gave the ordinary a revitalizing freshness. Even though they worked together

successfully on the publication Lyrical Ballads, Coleridge and Wordsworth clearly had

contrasting opinions about what constituted well written poetry.21


21 Ibid.


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COLERIDGE.


In the views of Coleridge, it is imagination that is vital to poetry, and imagination is also central

to his poetic style. He believed that high quality poetry is the result of imagination being

involved in the process. The imagination is broken into two sectors, according to Coleridge, the

primary imagination and the secondary imagination. In the workBiographia Literaria he

commented on his theory of the imagination: The primary imagination I hold to be the living

power and prime agent of all human perceptionthe secondary I consider as an echo of the

formeridentical with the primary in the kind of its agency, differing only in degree, and in the

mode of its operation. The primary imagination is spontaneous, while the secondary

imagination, aware of the conscious act of the imagination, is thus hindered and imperfect in

expression22

. In particular, it was the chemically altered imagination uponwhich the addicted

Coleridge grew to rely. One of Coleridges most notorious poems, Kubla Khan, was a

manifestation of a drug-induced vision.23

The liquid opium, known laudanum, was a double edge sword for Coleridge; it was the source of

his tragic addiction and the potion that enthused his imagination. This was because the drug

increases blood flow to certain parts of the brain, inducing a creative nature and often causing

hallucinations. This is an explanation as to why Coleridge concentrated on the power of the

imagination. The poem Kubla Khan was inspired by opium use, and this is evident because

Coleridge devised a completely original setting that had an undertone of darkness. The setting

was described with very innovative images, in lines such as, A damsel with a dulcimer/ In a

vision [he] once saw24

. The event is described in the context of a vision, not a dream or a

thought, and this implies that the opium caused the vision. Moreover, the poem refers to an

evil Mongol ruler,Kubla Khan, who does not represent peace or joy. That creates an under tone

of darkness, and with opium the visions may have been glorious but the reality of the addiction

was very dark.25

Coleridge asserts that a poets heart and intellect should be combined with appearances in

Naturenot held inloose mixture in the shapeof formal similes. This quote comes from his

22Barfield 28.

23Newlyn 91

24Kubla Khan.

25Homer 71


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COLERIDGE.


criticism of Bowles, but can also be applied to Wordsworth because his experiences with nature

are based on mood, such as in the aforementioned Tintern Abbey. Passion, to Coleridge, was

much more important than language that was polished and artificial26

.

Coleridge can thus be summed up:

For Coleridge the creative work of every poet springs from an imaginative power at once

available for analysis yet mysterious in its sources. He sees a poem as organic [Nortons

emphasis], true to itself, acquiring it shape like a plant from a seed and thereby growing

according to its own internal law of development.27

This theory honoursthe creative capacity of persons while remaining steadfast to the primacy of

God. Coleridge was serious about his religion.

For Coleridge, allegory is mechanical, merely human-made, while symbol is organically

unified, fusing the particular and the general, the temporal and the eternal.28

Coleridge distinguishes between fancy and imagination, and sees imagination as far

superior.

The first is the primary imagination, the living power of God, in the eternal act of creation, it

is also the power of creation in each person.29

The secondary imagination echoes the primary; in conjunction with the will and

understanding, it dissolves in order to re-create, making whole and harmonizing as a synthetic

and magical power.30

For Coleridge, fancy, incontrast, is an inferior ability. It merely associates fixities and

definites. It simply reproduces what one has already seen, in memory, without creativity.

26Newlyn 89

27Barfield 28

28Newlyn 89

29http://uh-engl-2306.blogspot.in/2007/10/comparison-of-william-wordsworth-and.html

30Ibid.


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COLERIDGE.


Coleridge criticized Wordsworths occasional exploitations of nature, and Wordsworth showed

disdain for Coleridges laboriously concise diction in Ancient Mariner. However, apart from

differences in their poetic diction and the ways in which they derived poetic inspiration, the two

poets also had different outlooks on religion.31

Especially in his later years, Coleridge concerned himself a great deal with God, religion and

faith. His ill health had led him to read the New Testament in a new light, and he then began to

look for proof of God inthe natural world32

. He believed that men habitually needed to look

into their own souls instead of always looking out, both of themselves and their nature33

.

Coleridge not only examined the Bible, but he also studied the Trinitarian view of Christianity

along with the works of St. Theresa. On the contrary, Wordsworth was an Anglican, as well as a

pantheist. Although he did focus on God through nature as a pantheist, Wordsworth differed

from Coleridge in that he did emphasize religious symbolism.34

The poem Spots in the Sunis an example of how Coleridge incorporated God into his poetry.

The poem is filled with constant religious references, and begins My father confessor is strict

and holy35

. Coleridge goes on to say, Good father, I would fain not do thee wrong36

. The

stress Coleridge placed on religion and God is ironic because this poem intended to address the

strain on his relationship with Wordsworth. This poem addressed God and referenced religious

anecdotes (i.e. Mi fili peccare noli or Sin not, my son)37

, and overall the poem is referred to

the strain in his relationship with Wordsworth; yet Coleridge incorporates religious symbolism

that essentially contrasted the ideals of Wordsworth. One would imagine that if Coleridge were

addressing the problematic relationship he would use language that is partial to Wordsworth, and

refrain from involving ideology different from that of Wordsworth. On a very deep level, this

may be an attempt by Coleridge to use juxtaposed concepts to convey his point. However, it is

important to note that Coleridge integrated God into this poem. It displayed that even though he

31Newlyn 89

32Holmes 72

33Ibid.

34Barfield 28

35Romanticism, 511

36Romanticism, 511

37Ibid.


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COLERIDGE.


was concerned about his relations with Wordsworth, a very worthwhile topic, he felt that he

could best address the situation by incorporating religious references.38

COMPARATIVE STUDY OF WORDSWORTHIAN AND COLERIDGIAN POETRY

Romanticism, generally speaking is the expression in terms of art of sharpened sensibilities and

heightened imaginative feeling. Emotion and imagination are the bedrock of Romanticism.

Romanticism stands for freedom and liberty, and has therefore been designated as 'Liberalism in

Literature'. The poetry of this age was marked by intense human sympathy and a consequent

understanding of the human heart.

On impulse fr om a vernal wood

May teach you more of man

of moral evil and of good

Then all the sages can.

- William Wordsworth

Off , wander ing mother ! peak and pine !

I have power to bid thee fl ee !

Off , woman, off ! this how is mine -

Though thou her guardin spir it be,

Off , woman of f ! tis given to me.

- Samuel Taylor Coler idge

Wordsworth and Coleridge were the two great poets of Romanticism and it was by their joint

efforts that the romantic revival in poetry was brought about during the nineteenth century. The

38http://uh-engl-2306.blogspot.in/2007/10/comparison-of-william-wordsworth-and.html


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COLERIDGE.


meeting of Coleridge and Wordsworth in 1797 at Nether Stowey was a momentous meeting in

the history of English poetry. This meeting made, then intimate friends. Both the friends decided

to transform the old currents of classicism and give a new turn and form to poetry.39

Wordsworth (1770-1850) and Coleridge (1772-1834) were unhappy with the decorative

language of the eighteenth century poets and were completely dissatisfied with the kind of poetry

that was written by the pseudo - classical poets of the eighteenth century. Both the poets felt that

the type of poetry produced was neither desirable nor pleasing to the heart and soul of man. Both

the poets were gifted with the qualities of imagination, sensibility and creative power of course,

there were some notable differences in their temperament.

"Coleridge's intellect was quick, versatile, and penetrating. Wordsworth was less versatile but

more deeply meditative Coleridge was idealistic and ranged for in the realms of abstract thought;

Wordsworth though he changed them by the imagination, sought his inspiration among the

things of everyday life".40

The first piece of work of their close association was the 'Lyrical Ballads'. The publication of the

'Lyrical Ballads' was a land-mark in the history of English poetry. Their joint venture brought

about a transformation in poetry and introduced a new way in poesy thought. Myres humorously

calls. The Lyrical Ballads as the Lyrical Blasts since its publication created a profound sensation

in the mind of the contemporary poetry reading public.41

Studying the Lyrical Ballads minutely shows some similarities and contrasts in the outlook of

Wordsworth and Coleridge as poets. William Wordsworth studied the simple objects of nature

and gave them the imaginative colors. It wasn't his business to make excursions in the world of

supernaturalism. It was left to Coleridge to introduce the world of supernaturalism, mystery and

magic in poetry in this way, Wordsworth liked to give to the objects of Nature, the color of his

imagination, it was left to Coleridge to make the supernatural natural. As Coleridge remarks : "It

was agreed that my endeavors should be directed to persons and characters

39 Wordsworth, William. Preface to Lyrical Ballads. Norton Anthology of English Literature: The Major Authors.

Sixth Edition40

http://uh-engl-2306.blogspot.in/2007/10/comparison-of-william-wordsworth-and.html41

http://www.inforefuge.com/compare-contrast-coleridge-wordsworth


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COLERIDGE.


supernatural.Wordsworth, on the other hand was to propose to himself as his subject to give

the charm of novelty to things of everyday" so he aimed at representing "Perfectly that side of

the romantic imagination which seeks to lose itself in dream and marvel" Coleridge introduced

the dream-like quality which Romanticism upheld and clarified By the power of his imagination

he created a world a supernaturalism, magic and mystery in 'The Ancient Mariner, Christabel

and Kubla Khan. Some of his verses are -

" Holds him with h is gitteri ng eye -

The wedding Guest stood sti l l

And listens li ke a thr ee year' s chil d:

The Mariner hath his will

The wedding Guest set on a stone

He cannot choose but hear"

- The Rime of Ancient M ariner

" The lady sank, beli ke through pain

And chr istable with might and main

L if ted her up, a weary weight

over the threshold of the gate."

- Chr istabel


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COLERIDGE.


" I n Xanadu did Kubla Khan

A stately pleasur e - dome decree;

Where Alph, the sacred river, run

Through caverns measur eless to man

Down to a sunless sea

-Kubla Khan

Wordsworth, on the other hand, presented the common and simple life of peasants and

shepherds, and realistically described what he felt and experienced in his own life. Instead of

going to the world of imagination, mystery and magic, Wordsworth lived on the plan of common

life concentrating on the life that he saw around him, some of him. Some of his wonderful verses

are -

" F ive years have passed; f ive summers with the length

of f ive long winters! and again I hear

These waters, rolli ng f rom their mountain-springs

with a soft inland murmur"

- L ines


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COLERIDGE.


The hope, the fear, the jealous care,

The exalted portion of the pain

And power of love I cannot share,

But wear the chain.

- On th is Day I complete

My Thir ty - Sixth Year

Fair seedtime had my soul , and I grew up

Fostered ali ke by beauty and by Fear;

Much favored in my bir thplace and no less

I n that beloved vale to which erelong.

- F rom The prelude.

Coleridge went to the medieval period for creating the atmosphere of magic and mystery.

Wordsworth lived on the pain of common life concentrating on the life that he saw around. He

did not leave the earth and his own times. The call of the Middle Ages was not for Wordsworth,

it was purely for Coleridge.42

"In Wordsworth's poems we find an imaginative record of the pastoral life as well as the pastoral

beauties of place he lived in. This is not so in the case of Coleridge. He lived in a world of his

own thoughts and fancies, and did not take care of the external suggestions"

One special thing about Wordsworth and Coleridge was that both of them always loved and

appreciated Nature. Wordsworth saw the spirit of joy in Nature and at least in the early poems of

42http://flash.lakeheadu.ca/~emurray/1112RomanticismOutline.htm


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COLERIDGE.


Coleridge the spirit of joy in nature is represented. Wordsworth felt the divine spirit pervading

the objects of Nature. Coleridge also noticed the spirit of God permeating the objects of Nature.

In April, 1802, Wordsworth visited Coleridge at Keswick and read to him the first four stanzas ofhis Immortality ode, Coleridge replied with the ode. On Dejection, Structurally the ode on

Dejection is a magnificent performance in a very difficult kind, finer even than the ode to France.

But it marks a parting of the ways. In the Nether Stowey days Coleridge had accepted

Wordsworth's view of Nature as living being and a Divine Figure; sense that Nature Figure;

since that time he had learned from kant that Nature Furnishes its own forms of thought.

O Wi ll iam! we receive but what we give,

And in our li fe alone does Natur e li ve.

He tells Wordsworth that the celestial light in which he had once seen the earth appareled came

from the eyes of the beholder.

Joy, Wil li am, is the spir it and the power,

which wedding Natur e to us gives in dower

A new Earth and new Heaven for Wordsworth, Germany winter was crucial That melancholy

dream, as he calls it, thought him that his passion for Annette and for France was dead. He

yearned for England and his first love; The Lucy poems were born of that yearning. He

possessed above all poets the ear for silence -

That is not qu iet, is not ease,

Bu t something deeper f ar than these,

a silence beyond sil ence

Of silent h il ls, and more than sil ent sky;

next, that he could here, or beli eved he could hear,


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COLERIDGE.


The ghostly language of the ancient earth; and finally that he had a sense of space so remarkable

that he seems almost to have felt the earth as a solid globe and sensed its divrnal rotation: he sees

Lucy in death.

" Rolled round in earth' s diurnal course,

wi th r ocks, and stones, and trees"

Such perceptions made up, or contributed to, that sense of the material sublime in which

Wordsworth comes near to Milton.

Wordsworth continued to believe throughout his life that the spirit of God lived through the

objects of Nature and formed the fountain of joy to humanity. A change came in the attitude ofColeridge towards Nature in the latter period of his life. Coleridge later on started believing that

Nature had no life of its own, nor there was a soul moving in the objects in Nature. He puts Forth

this idea in one of his odes where he says -

" O Lady! we receive but what we give

And in our l if e does Natur e li ve"

Wordsworth was a teacher throughout his life holding out moral lesson for the guidance of

humanity. The teaching element in Coleridge's poetry is almost nominal. Coleridge was greater

artist than Wordsworth and the claims of art were more on this poet than the climes of morality

and teaching. In this respect he stands apart from Wordsworth.43

The touch of humanitarianism marked both Coleridge and Wordsworth. Like Wordsworth,

Coleridge, dreamt of the political regeneration of mankind and hoped that humanity will advance

on the path of nobility and virtue. Wordsworth's love for humanity is present almost in all his

poems of human life Coleridge's love for humanity is expressed in 'Reflections on Having. Left a

place of Retirement' Where he bids farewell to his cottage in order to go to the city and work for

the relief of human distress. He condemns those theoretical lovers of mankind who do nothing

practically for humanity.

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COLERIDGE.


Coleridge excelled Wordsworth in melody. Coleridge was a master of sound. He has been called

an 'epicure - in sounds. The Ancient Mariner is one of the best examples of the witchery of his

music. The Rime of the Ancient Mariner contains a series of cunning sound pattern Quiller

Couch speaks highly of the lyrical genius of Coleridge. Wordsworth on the other hand was

deficient in music. He did not have that ear for fine sounds as Coleridge exhibited in the Rime

of The Ancient Mariner

" Water , water, everywhere

And all the boards did sink

Water, water, everywhere

Nor any drop to dri nk ...."

Al one, alone all , all alone

Alone, on a wide wide sea....."

Wordsworth did not have the high imaginative power which Coleridge had his poems of

supernaturalism. The imaginative power of Wordsworth was on a lower level particularly

because he had not to deal with themes of imaginative character, but was mainly concerned with

the life of the simple people. The imagination of Wordsworth was of a high character in poems

concerning philosophy, but in poems of Nature, Coleridge was for superior to Wordsworth.

Coleridge was the master of narration verse. The Ancient Mariner is a fine example of narrative

perfection. Wordsworth lacked the narrative skill. The ballads of Wordsworth do not have the

fire and till of Scott and the free flow of Coleridge.

" The stars of midnight shall be dear

To her , and she shal l l ean her ear

I n many a secret place

Where ri vulets dance their wayward round,


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COLERIDGE.


And beauty born of murmur ing sound

Shall pass in to her f ace" .

Wordsworth believed in the simplicity of diction and brought poetry to the level of the common

speech of common life. Coleridge disagreed with Wordsworth's theory of poetic diction and

considered that the kind of language that Wordsworth found to implement for the composition in

the poetry was not the fitting vesture for poetic thought.44

Whatever difference between Wordsworth and Coleridge, the two poets considerably influenced

each other. It is a question whether Coleridge owed more to Wordsworth or Wordsworth to

Coleridge. Wordsworth was ideal for Coleridge. He always spoke of Wordsworth with great

honor and felt a 'little man' by his side.

If we give little attention to the chronological study it will show that Coleridge gave more to

Wordsworth than he actually received from him. In 1797 Coleridge wrote 'this lime tree bower'

and 'Frost at Midnight'. The following lines are from the two poems.

Yet still the soli tary humble - bee

Sings in the bean fl ower! Hencefor th I shall know

That natu re ne'er deser ts the wise and pur e

... thou my babe! shal l wander li ke a breeze.

By lakes and a sandy shores, beneath the crags,

of ancient mountain, and beneath the clouds....

Great un iversal Teacher! He shal l li ke a breeze

Thy spir it, and by giving make it ask

Therefore all seasons shall be sweet to thee.

In certain respects it was Coleridge who had a better flowering of genius than Wordsworth.

Unfortunately the poetic imagination of Coleridge soon came to an end and the poet felt that he

44


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COLERIDGE.


could not write much Wordsworth continued to compose poems with the result that before his

mighty production, Coleridge poems appeared to be very feeble and slender. Still in the little

gold that Coleridge has left behind, there is much to find than in the whole mass of the poems

that Wordsworth has left for posterity, leaving a few great poems the ode on the Intimations of

Immortality, Laodamia, character of the happy warrior, Lines composed above Intern Abbey etc.

Both the poets contributed to the healthy growth of poetry in brining Romanticism to English

poetry. Wordsworth steady nature and moral preoccupations had given effect on Coleridge's

wavering will and rambling tendencies. Yet, Wordsworth could not stop the decline in

Coleridge's poetic power, but one can say that their contribution to English was a landmark for

the Romance in English poetry.45

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COLERIDGE.


COMPARISON OF WILLIAM WORDSWORTHS

ODE: INTIMATIONS OF IMMORTALITY FROM RECOLLECTIONS OF

EARLY CHILDHOOD

AND SAMUEL COLERIDGES DEJECTION: AN ODE

The two odes cited herein share similar characteristics of style, genre, and conflict; however,

even within this context the two works differ greatly in their exposition of these qualities. The

style of each is an ode with the base meter in iambic pentameter and they were both written inthe English romantic period. William Wordsworth composed his Ode: Intimations of Immortality

from Recollections of Early Childhood between the years 1802 and 1804 and Samuel Coleridge

wrote and published Dejection: An Ode in 1802. Both writers engage the idea of reflecting upon

ones self, and the conflict in each work is that of the poems speaker struggling with the loss of

his youthful creative energy. One way to say this is that he is struggling against himself and the

aging process with ultimate resolution coming when he realizes that nature continues to exist

around us and youth is, in a way, eternal.

Wordsworth begins his work this way:

There was a time when meadow, grove, and stream,

The earth, and every common sight,

To me did seem

Appareled in celestial light,

The glory and the freshness of a dream.

It is not now as it hath been of yore --

Turn wheresoer I may,


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COLERIDGE.


By night or by day,

The things which I have seen I now can see no more.

(Wordsworth, 796-797)

Caesurae in the first two lines emphasize the natural elements meadow, grove, stream, earth, and

every common sight; this sets the tone as reflective upon nature. The second main clause states

that he no longer sees the world in the same way immediately shifting the tone from celestial

light and freshness of a dream to that of loss. Similarly echoed in the second stanza, The

sunshine is a glorious birth; But yet I know, Whereer I go, That there hath passed away a gloryfrom the earth. (Wordsworth, 797) the awe inspiring impact of natural beauty is lost on the aged

and jaded speaker.

Beginning this way, the poet sets the tone as reminiscent of youth and builds a frame of reference

within which he reflects upon his past and his present feelings. Iambic meter is used consistently

throughout the first two stanzas. In the middle of the third stanza the meter shifts as the subject

shifts away from the speakers introspective and depressed thoughts back to nature:

Land and sea

Give themselves up to jollity,

And with the heart of May

Doth every Beast keep holiday

Thou Child of Joy,

Shout round me, let me hear thy shouts, thou happy Shepherd-boy!

(Wordsworth, 797)

Emphasis is dramatically changed here. Trochaic meter and catalectic emphasis are placed on

Land and sea and spondaic emphasis is used with Give themselves up and Shout round me


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COLERIDGE.


noting the change from introspective thoughts back to nature and youth, the dominant theme.

Nature is emphasized and personified throughout the poem by similarly changing the meter.

Changing the meter in this way, Wordsworth very effectively adds importance to the main ideas

he is expressing.

Samuel Coleridge also adeptly employs the technique of changing meter to express his meaning.

His theme is similar, that of losing his youthful perspective and becoming jaded to natural

beauty; however, the mood of his poem and presentation of this idea varies greatly from

Wordsworths. In contrast to Wordsworth, Coleridge uses the tempo to accentuate the meaning

of his words. Extensive use of caesurae and enjambment in the beginning of his work imitates

the gathering storm that he is referring to:

Well! If the bard was weather-wise, who made

The grand old ballad of Sir Patrick Spence,

This night, so tranquil now, will not go hence

Unroused by winds, that ply a busier trade

Than those which mold yon cloud in lazy flakes,

Or the dull sobbing draft, that moans and rakes

Upon the strings of this Aeolian lute,

Which better far were mute.

(Coleridge, 828)

The rising meter of this iambic pentameter is hastened by the enjambment of lines, punctuated

intermittently by the medial caesurae. Nature is again the theme, but Coleridge illustrates the

idea with feelings more than words. The feeling here is expressed by allusion to the Ballad of Sir

Patrick Spence and foreshadowing the coming storm.


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COLERIDGE.


Another theme that is common to both Wordsworth and Coleridge is the ennui that comes with

age; Coleridge engages this theme directly in the second and third stanzas, A grief without a

pang, void, dark, and drear, A stifled, drowsy, unimpassioned grief, My genial spirits fail;

And what can these avail To lift the smothering weight from off my breast? (Coleridge, 828-

829). This explicit statement of dark feelings is a direct contrast to Wordsworths emphasis on

nature and his indirect treatment of his personal disposition.

Meter is also used by the poets in different ways. Coleridge creates a mood and feeling with his

use of spondee and pyrrhic whereas Wordsworth highlights particular words. Employed

throughout the poem, this technique indicates a changing mood as in the fifth stanza:

O pure of heart! Thou needst not ask of me

What this strong music in the soul may be!

What, and wherein it doth exist,

This light, this glory, this fair luminous mist,

This beautiful and beauty-making power.

(Coleridge, 829)

At this point in the poem, or just before this passage at the end of stanza four, the mood changes

from dark and introspective to light and reverent of nature. Oscillating back and forth in the

middle of the poem between iambic and trochaic meter parallels the rise and fall of gusting wind

until the last two stanzas. Trochaic and dactylic lines indicate the passage of the storm near the

end of the seventh stanza:


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COLERIDGE.


But hush! There is a pause of deepest silence!

And all that noise, as of a rushing crowd,

With groans, and tremulous shudderingsall is over --

It tells another tale, with sounds less deep and loud!

(Coleridge, 831)

Again, the use of changing meter indicates a change in mood.

Coleridge uses the changing meter and tempo very effectively to indicate change in mood, while

Wordsworth uses this technique to emphasize a thought. Both poets have similar themes in these

works and they achieve their goal using similar methods; however, they have created drastically

different effects. On first reading these two odes, they appear to have very little in common.

When looking further into their theme and style, however, it becomes clear how similar they are.

The two poets acknowledge the intrinsic beauty of nature but they attain this goal by entirely

different means.46

46http://classprojects.kenyon.edu/engl/exeter/Kenyon%20Web%20Site/Sid/Coleridge_Wordsworth_Final.html


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COLERIDGE.


CONCLUSION

Although Wordsworth and Coleridge are both romantic poets, they describe nature in different

ways. Coleridge underlines the tragic, supernatural and sublime aspect of nature, while

Wordsworth uses anecdotes of everyday life and underlines the serene aspect of nature. In order

to imply a connection between nature and the human mind, Wordsworth uses the technique of

identification and comparison whereas Coleridge does the opposite in "The Ancient Mariner"

and "Kubla Khan". Both admire nature's healing strength and hope that their children will grow

up in a natural environment instead of growing up in cities.

For Wordsworth nature seems to sympathize with the love and suffering of the persona. The

landscape is seen as an interior presence rather than an external scene. His idea is that emotions

are reflected in the tranquility of nature. On the contrary, Coleridge says that poetry is clearly

distinguished from nature. Reading the poems of both Wordsworth and Coleridge, one

immediately notes a difference in the common surroundings presented by Wordsworth and the

bizarre creations of Coleridge. Thus they develop their individual attitudes towards life.

At its best, Wordsworths poetry is ofstunning purity and power. One example comes from the

Lucy poems, included in later reprints of Lyrical Ballads. Breathtakingly simple and with only

eight lines, the poem nonetheless conveys compelling emotion. Coleridges agenda was

different. In The Rime of the Ancient Mariner, the first work in Lyrical Ballads, he compacts

into short-lined, four-line stanzas an amazingly pregnant and mystical narrative of the condition

of man in an incomprehensible natural universe. A religious order exists in this universe, but it is

an order that is enigmatic, although, mysteriously, meanings may be sensed. In writing this

poem, Coleridge drew on gothic fiction and an extraordinary range of reading in theology,

philosophy, and travel. His descriptions of the arctic regions are almost photographic.. The

narrative of The Rime is simple. The Rime of the Ancient Mariner indicates the new directionsthat poetry would take over the next two centuries. A revolution had taken place and, arguably, is

still taking place in English literature as a result of Lyrical Ballads.


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COLERIDGE.


BIBLIOGRAPHY

Books:

1) Coleridge, Samuel Taylor. Dejection: An Ode. Norton Anthology of Poetry, Fifth

Edition, 2005.

2) Wordsworth, William. Ode: Intimations of Immortality from Recollections of Early

Childhood. Norton Anthology of Poetry, Fifth Edition,2005.

3) Coleridge, Samuel Taylor. Biographia Literaria.Norton Anthology of English Literature:

The Major Authors. Sixth Edition, M. H. Abrams. New York: Norton, 1996.

4) Wordsworth, William. Preface toLyrical Ballads. Norton Anthology of English

Literature: The Major Authors. Sixth Edition, M. H.Abrams. New York: Norton, 1996.

5) Fifteen Poets, Oxford University Press, First Edition, 1941

Websites:

1) http://www.preservearticles.com/2012031126558/compare-wordsworth-and-coleridge-as-

theorists-of-poetry.html

2)

http://www.nationalgreatbooks.com/symposium/issue1/Wilson.asp

3) http://uh-engl-2306.blogspot.in/2007/10/comparison-of-william-wordsworth-and.html

4) http://www.free-essays.us/dbase/b6/tda7.shtml

5) http://flash.lakeheadu.ca/~emurray/1112RomanticismOutline.htm

6) http://www.inforefuge.com/compare-contrast-coleridge-wordsworth

7) http://classprojects.kenyon.edu/engl/exeter/Kenyon%20Web%20Site/Sid/Coleridge_Wor

dsworth_Final.html
http://www.preservearticles.com/2012031126558/compare-wordsworth-and-coleridge-as-theorists-of-poetry.htmlhttp://www.preservearticles.com/2012031126558/compare-wordsworth-and-coleridge-as-theorists-of-poetry.htmlhttp://www.preservearticles.com/2012031126558/compare-wordsworth-and-coleridge-as-theorists-of-poetry.htmlhttp://www.preservearticles.com/2012031126558/compare-wordsworth-and-coleridge-as-theorists-of-poetry.htmlhttp://www.preservearticles.com/2012031126558/compare-wordsworth-and-coleridge-as-theorists-of-poetry.htmlhttp://www.nationalgreatbooks.com/symposium/issue1/Wilson.asphttp://www.nationalgreatbooks.com/symposium/issue1/Wilson.asphttp://uh-engl-2306.blogspot.in/2007/10/comparison-of-william-wordsworth-and.htmlhttp://uh-engl-2306.blogspot.in/2007/10/comparison-of-william-wordsworth-and.htmlhttp://www.free-essays.us/dbase/b6/tda7.shtmlhttp://www.free-essays.us/dbase/b6/tda7.shtmlhttp://flash.lakeheadu.ca/~emurray/1112RomanticismOutline.htmhttp://flash.lakeheadu.ca/~emurray/1112RomanticismOutline.htmhttp://www.inforefuge.com/compare-contrast-coleridge-wordsworthhttp://www.inforefuge.com/compare-contrast-coleridge-wordsworthhttp://classprojects.kenyon.edu/engl/exeter/Kenyon%20Web%20Site/Sid/Coleridge_Wordsworth_Final.htmlhttp://classprojects.kenyon.edu/engl/exeter/Kenyon%20Web%20Site/Sid/Coleridge_Wordsworth_Final.htmlhttp://classprojects.kenyon.edu/engl/exeter/Kenyon%20Web%20Site/Sid/Coleridge_Wordsworth_Final.htmlhttp://classprojects.kenyon.edu/engl/exeter/Kenyon%20Web%20Site/Sid/Coleridge_Wordsworth_Final.htmlhttp://classprojects.kenyon.edu/engl/exeter/Kenyon%20Web%20Site/Sid/Coleridge_Wordsworth_Final.htmlhttp://classprojects.kenyon.edu/engl/exeter/Kenyon%20Web%20Site/Sid/Coleridge_Wordsworth_Final.htmlhttp://classprojects.kenyon.edu/engl/exeter/Kenyon%20Web%20Site/Sid/Coleridge_Wordsworth_Final.htmlhttp://www.inforefuge.com/compare-contrast-coleridge-wordsworthhttp://flash.lakeheadu.ca/~emurray/1112RomanticismOutline.htmhttp://www.free-essays.us/dbase/b6/tda7.shtmlhttp://uh-engl-2306.blogspot.in/2007/10/comparison-of-william-wordsworth-and.htmlhttp://www.nationalgreatbooks.com/symposium/issue1/Wilson.asphttp://www.preservearticles.com/2012031126558/compare-wordsworth-and-coleridge-as-theorists-of-poetry.htmlhttp://www.preservearticles.com/2012031126558/compare-wordsworth-and-coleridge-as-theorists-of-poetry.html

Comparision of Wordsworth and Coleridge

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