By Heidi Thomson
This booklet examines how Coleridge staged his deepest woes within the public house of the newspaper. It seems at his courses within the Morning Post, which first released considered one of his most famed poems, Dejection. An Ode. It unearths how he chanced on a socially sanctioned public outlet for poetic disappointments and private frustrations which he couldn't potentially articulate in the other means. that includes clean, contextual readings of demonstrated significant poems; unique readings of epigrams, sentimental ballads, and translations; analyses of political and human-interest tales, this e-book unearths the extraordinary volume to which Coleridge used the general public medium of the newspaper to expose his advanced and ambivalent inner most feelings approximately his marriage, his dating with the Wordsworths and the Hutchinsons, and the impression of those dynamics on his personal poetry and poetics.
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Additional info for Coleridge and the Romantic Newspaper: The 'Morning Post' and the Road to 'Dejection'
13) In the Courier the poem appeared in a condensed form in the middle of a group of five two-line epigrams collected under the title ‘On an Epigrammatist’: You hesitate if you should take a wife; Do as your father did—live single all your life. 581) On 9 November 1799 Coleridge was, totally unbeknownst to his wife, in the north with the Hutchinsons and Wordsworths. The newspaper version diverges from the original notebook transcription with a subtle twist. While the notebook transcription of this fatherly advice advises clearly—‘marry not’—the newspaper version does not so much advise against marriage as provide a more general recommendation for a single lifestyle, regardless of marital status, an option which coincided entirely with Coleridge’s way of life already.
These references intensified after Sara Coleridge joined Coleridge in London and became pregnant during their brief period of cohabitation. THE RETURN FROM GERMANY 43 NOTES 1. Detailed biographical accounts of this period include, in alphabetical order, Rosemary Ashton’s The Life of Samuel Taylor Coleridge; Stephen Gill’s William Wordsworth: A Life (156–75); Richard Holmes’s Coleridge: Early Visions (238–71); Kenneth R. Johnston, The Hidden Wordsworth: Poet, Lover, Rebel, Spy (609–720); Mary Moorman, William Wordsworth: A Biography.
582). Most importantly, for this study, Stuart valued both prose and verse contributions by Coleridge, and Coleridge himself thought more highly of his newspaper poetry than is usually indicated. Stuart’s unstinting support of Coleridge was no doubt empowering: it bolstered Coleridge’s confidence as a public man of letters. Ironically, that public position gave him at the same time the confidence to broadcast his private woes. The juxtaposition of prose journalism and newspaper poetry is sometimes taken out of its print culture context and redefined in terms of a genre classification which either values the more elevated pursuit of poetry over the production of transient or sensationalist newspaper fodder, or validates hard-nosed, news-driven prose reporting over the luxury of poetry.