Coleridge's Ancient Mariner and Select Poems Part 14

17, 407--*honey-dew*. See note on "Kubla Khan," line 53.

416--*His great bright eye*, etc. Dorothy Wordsworth in her Journal, February 27, 1798, describes the look of the sea by moonlight, "big and white, swelled to the very sh.o.r.es, but round and high in the middle."

20, 512--*shrieve*. To hear confession and p.r.o.nounce absolution, one of the duties of the priesthood in the Catholic church. The word is more often spelled _shrive. Shrift_ is the abstract noun derived from it.

21, 523--*skiff-boat*. A pleonastic compound; a skiff is a boat.

Coleridge is fond of such formations. See for example II. 41, 77, 472 of this poem and II. 46, 649 of "Christabel" (Cooper).

535--*ivy-tod*. A clump or bush of ivy. Cf. Spenser's "Shepheards Calender," March, II. 67 ff.:

"At length within an Yvie todde (There shrouded was the little G.o.d) I heard a busie bustling."

23, 607--*While each to his great Father bends*, etc. Cf. the 148th Psalm (Prayer-Book Version) v. 12: "Young men and maidens, old men and children, praise the name of the Lord: for his name only is excellent, and his praise above heaven and earth."

CHRISTABEL

25,6-7--This couplet ran as follows in the first edition:

"Sir Leoline, the Baron rich, Hath a toothless mastiff b.i.t.c.h."

In the editions of 1828 and 1829 Coleridge changed it to the form printed in the text; "but _b.i.t.c.h_ has been restored in all subsequent editions except Mr. Campbell's" (Garnett).

16--*thin gray cloud*, etc. The "thin gray cloud," as also the dancing leaf of ll. 49-52, was observed at Stowey. They are noted in Dorothy Wordsworth's Journal, January 31 and March 7, 1798.

26, 54--*Jesu*. This form of the word is nearer to the Hebrew original than the more familiar _Jesus_. It is often (though not exclusively) used in e.j.a.c.u.l.a.t.i.o.n and prayer, as here, and was perhaps supposed to be the vocative form.

27, 92--*I wis.* This is a misinterpretation of Middle English _iwis_, from Old English _gewis_, "certainly."

29, 129--*The lady sank,* etc. The threshold of a house is, in folk-lore, a sacred place, and evil things cannot cross but have to be carried over it.

142--*I cannot speak,* etc. Geraldine blesses "her gracious stars"

(l. 114), but cannot join in praise to the Holy Virgin.

30, 167--*And jealous of the listening air*. This line was not in the first edition, but was added in the edition of 1828.

32, 252--*Behold! her bosom and half her side*, etc. There exist at least three versions of this pa.s.sage. The text is that of the 1828 edition. The edition of 1816 lacked ll. 255-61, having only these lines between 253 and 262:

"And she is to sleep by Christabel.

She took two paces, and a stride," etc.

The third form is that of a MS. copy of the poem once the property of Wordsworth's sister-in-law, Sarah Hutchinson, and recently published in facsimile by Mr. E.H. Coleridge, which gives this reading for ll. 253-4:

"Are lean and old and foul of hue, And she is to sleep by Christabel."

Coleridge seems to have tried both ways, that of revealing Geraldine's loathsome secret and that of leaving it an unknown and nameless horror, and finally to have chosen the latter, just as he rejected in later editions the charnel-house particulars in the description of Death in "The Ancient Mariner." Unquestionably he was right. The horror that is merely suggested and left shrouded in mystery for the imagination to work on is more powerful than that which is known. The suppressed line, however, helps us in an age less familiar with notions of the supernatural to understand what Geraldine is. The character is conceived upon the general lines of Duessa in the first book of "The Faerie Queene;" a being of great external loveliness, but within "full of all uncleanness." Observe also that the thought, shrouded here, is half revealed later (l. 457).

35, 344--*Bratha Head, Wyndermere, Langdale Pike*, etc. For the relation of the Second Part of the poem to the Lake country see Introduction. All of the places named in these lines are near the border-line between c.u.mberland and Westmoreland and within a dozen miles of the Wordsworths' home at Grasmere. Keswick, which was the home of Coleridge from 1800 to 1804, and of his wife and children for many years thereafter, is on Derwent Water, in c.u.mberland, some ten miles north of Grasmere. The little river Bratha runs into the upper or northern end of Windermere, a larger lake lying about three miles below Grasmere and connected with it by another stream. Langdale Pike (or Pikes, for there are more than one) is the name of the steep hills at the head of Langdale, on the c.u.mberland border. Dungeon-Ghyll is a ravine in Langdale (see Wordsworth's "The Idle Shepherd Boys; or, Dungeon-Ghyll Force"). Borrowdale lies over the border in c.u.mberland and slopes the other way, toward Derwent Water.

37, 407--*Lord Roland de Vaux of Tryermaine*. Sir Leoline lives at "Langdale Hall," a supposed castle in the immediate vicinity of the poets' homes; the friend of his youth, whose daughter Geraldine claims to be, is given the name of a real family and an historical estate in eastern c.u.mberland, Tryermaine in Gilsland, on the River Irthing, which forms part of the boundary between c.u.mberland and Northumberland. Scott in his notes to "The Bridal of Triermain" quotes as follows from Burns's "Antiquities of Westmoreland and c.u.mberland": "After the death of Gilmore, Lord of Tryermaine and Torcrossock, Hubert Vaux gave Tryermaine and Torcrossock to his second son, Ranulph Vaux.... Ranulph, being Lord of all Gilsland, gave Gilmore's land to his younger son, named Roland.... And they were named Rolands successively, that were lords thereof, until the reign of Edward the Fourth."

44--*The Conclusion to Part the Second*. Campbell thought it "highly improbable" that these lines were originally composed as a part of "Christabel." In a letter to Southey, May 6, 1801, Coleridge speaks of his eldest boy, Hartley, then in his fifth year: "Dear Hartley! we are at times alarmed by the state of his health, but at present he is well.

If I were to lose him, I am afraid it would exceedingly deaden my affection for any other children I may have." Then he writes the lines that we now have as the Conclusion to Part the Second; and adds: "A very metaphysical account of fathers calling their children rogues, rascals, and little varlets, etc."

KUBLA KHAN

Kubla Khan, grandson of Genghis Khan, was a Mongolian conqueror who stretched his empire from European Russia to the eastern sh.o.r.es of China in the thirteenth century. His exploits, like those of his grandfather and those of the Mohammedan Timur in the next century, made a deep impression on the imagination of Western Europe. Compilers of travellers's tales, like Hakluyt and Purchas, caught up eagerly whatever they could find, history or legend, concerning the extent of his domain, the methods of his government, or the splendors of his court. The pa.s.sage in "Purchas his Pilgrimage" to which Coleridge refers is as follows:

"In Xamdu did Cublai Can build a stately Palace, encompa.s.sing sixteene miles of plaine ground with a wall, wherein are fertile Meddowes, pleasant Springs, delightfull Streames, and all sorts of beasts of chase and game, and in the middest thereof a sumptuous house of pleasure" (quoted in the Notes of the Globe edition).

Coleridge's poem, however, contains suggestions and reminiscences from another part of Purchas's book, and probably from other books as well.

"It reads like an arras of reminiscences from several accounts of natural or enchanted parks, and from various descriptions of that elusive and danger-fraught garden which mystic geographers have studied to locate from Florida to Cathay" (Cooper).

The earthly paradise, which was closed to man indeed, but not destroyed, when Adam and Eve were driven from its gates, has exercised the imagination of the Christian world from the early Middle Ages.

Lactantius described it in the fourth century; the author of the "Phoenix," probably in the eighth century, translated Lactantius' Latin into Anglo-Saxon verse; Sir John Mandeville, in the fourteenth century, though he did not reach it himself because he "was not worthy," gives an account of it from what he has "heard say of wise Men beyond;" Milton described it enchantingly in "Paradise Lost;" Dr. Johnson used a modification of it in "Ra.s.selas;" and William Morris in our own time made it the framework for a delightful series of world-old tales. The idea, indeed, is not peculiar to Christianity, but is probably to be found in every civilization. Christian Europe has naturally located it in the East; and since the Crusades, which brought Western Europe more in contact with the East, various eastern legends have been attached to or confounded with the original notion. One of these is the Abyssinian legend of the hill Amara (cf. l. 41, where Coleridge's "Mount Abora"

seems to stand for Purchas's Amara). Amara in Purchas's account is a hill in a great plain in Ethiopia, used as a prison for the sons of Abyssinian kings. Its level top, twenty leagues in circuit and surrounded by a high wall, is a garden of delight. "Heauen and Earth, Nature and Industrie, have all been corriuals to it, all presenting their best presents, to make it of this so louely presence, some taking this for the place of our Forefathers Paradise." The sides of the hill are of overhanging rock, "bearing out like mushromes, so that it is impossible to ascend it" except by a pa.s.sageway "cut out within the Rocke, not with staires, but ascending little by little," and closed above and below with gates guarded by soldiers. "Toward the South" of the level top "is a rising hill ... yeelding ... a pleasant spring which pa.s.seth through all that Plaine ... and making a Lake, whence issueth a River, which having from these tops espied Nilus, never leaves seeking to find him, whom he cannot leave both to seeke and to finde.... There are no Cities on the top, but palaces, standing by themselves ...

s.p.a.cious, sumptuous, and beautifull, where the Princes of the Royall blood have their abode with their families."

This legend looks backward to Mandeville, with whose account of the Terrestrial Paradise it has much in common, and forward to Milton, who used some of its elements in his description of Paradise in the fourth book of "Paradise Lost." (See Professor Cooper's article in "Modern Philology," III., 327 ff., from which this is condensed.)

Mr. E.H. Coleridge (the poet's grandson) has recently shown that in the winter of 1797-8 Coleridge read and made notes from a book, "Travels through ... the Cherokee Country," by the American botanist William Bartram. Chapter VII. of Bartram's book contains an account of some natural wonders in the Cherokee country that almost certainly afforded part of the imagery of "Kubla Khan." Bartram, says Mr. Coleridge, "speaks of waters which 'descend by slow degrees through rocky caverns into the bowels of the earth, whence they are carried by subterraneous channels into other receptacles and basons.' He travels for several miles over 'fertile eminences and delightful shady forests.' He is enchanted by a 'view of a dark sublime grove;' of the grand fountain he says that the 'ebullition is astonis.h.i.+ng and continual, though its greatest force of fury intermits' (note the word 'intermits') 'regularly for the s.p.a.ce of thirty seconds of time: the ebullition is perpendicular upward, from a vast rugged orifice through a bed of rock throwing up small particles of white sh.e.l.ls.' He is informed by 'a trader' that when the Great Sink was forming there was heard 'an inexpressible rus.h.i.+ng noise like a mighty hurricane or thunderstorm,' that 'the earth was overflowed by torrents of water which came wave after wave rus.h.i.+ng down, attended with a terrific noise and tremor of the earth,' that the fountain ceased to flow and 'sank into a huge bason of water;' but, as he saw with his own eyes, 'vast heaps of fragments of rock' (Coleridge writes 'huge fragments'), 'white chalk, stones, and pebbles had been thrown up by the original outbursts and forced aside into the lateral valleys.'"

From these and from other like sources Coleridge's mind was no doubt stored with suggestions of tropical wonder and loveliness, which fell together--if his own account of the making of the poem is to be relied on--into the kaleidoscopic beauty of "Kubla Khan." It is not unlikely, too (cf. ll. 12-13), that the ash-tree dell at Stowey, which he had already used for a scene of supernatural terror in "Osorio," bears some part in his avowed dream of Xanadu.

45, 3--*Alph, the sacred river.* This name seems to be of Coleridge's own invention; at least it has not been pointed out where he found it.

16--*demon-lover.* The demon-lover (or more often, with s.e.xes reversed, the fairy mistress) is a favorite theme of romance, taken from folk-lore, where it appears in many forms. Cf. the ballads of "Thomas Rymer," "Tam Lin," and "The Demon Lover," in Child's "English and Scottish Popular Ballads," and Scott's "William and Helen" (a translation of Burger's "Lenore").

46, 39, 41--*Abyssinian maid, Mount Abora.* See introductory note above.

53--*honey-dew.* A sweet sticky substance found on plants, deposited there by the aphis or plant-louse. It was supposed to be the food of fairies. Not improbably Coleridge was thinking of manna, a saccharine exudation found upon certain plants in the East. Mandeville describes it as found in "the Land of Job:" "This Manna is clept Bread of Angels. And it is a white Thing that is full sweet and right delicious, and more sweet than Honey or Sugar. And it Cometh of the Dew of Heaven that falleth upon the Herbs in that Country. And it congealeth and becometh all white and sweet. And Men put it in Medicines."

53-4--*For he on honey-dew hath fed, And drunk the milk of Paradise.*

Professor Cooper, in the article cited in the introductory note above, points out that this part of the poem contains perhaps reminiscences of the stories told of the Old Man of the Mountain. This was the t.i.tle popularly given to the head of a fanatical sect of Mohammedans in Syria in the eleventh and twelfth centuries, whose method of getting rid of their enemies has given us the word _a.s.sa.s.sin_. To quote from Mandeville's "Travels," which has the essentials of the story, though the chief is here called Gatholonabes, and his domain is not in Syria but in the island Mistorak, "in the Lords.h.i.+p of Prester John:"

"He had a full fair Castle and a strong in a Mountain, so strong and so n.o.ble, that no Man could devise a fairer or a stronger. And he had made wall all the Mountain about with a strong Wall and a fair. And within those Walls he had the fairest Garden that any Man might behold....

"And he had also in that Place, the fairest Damsels that might be found, under the Age of fifteen Years, and the fairest young Striplings that Men might get, of that same Age. And they were all clothed in Cloths of Gold, full richly. And he said that those were Angels.

"And he had also made 3 Wells, fair and n.o.ble, and all environed with Stone of Jasper, and of Crystal, diapered with Gold, and set with precious Stones and great orient Pearls. And he had made a Conduit under the Earth, so that the 3 Wells, at his List, should run, one Milk, another Wine, and another Honey. And that Place he clept Paradise.

"And when that any good Knight, that was hardy and n.o.ble, came to see this Royalty, he would lead him into his Paradise, and show him these wonderful Things for his Sport, and the marvellous and delicious Song of divers Birds, and the fair Damsels, and the fair Wells of Milk, Wine and Honey, plenteously running. And he would make divers Instruments of Music to sound in an high Tower, so merrily, that it was Joy to hear; and no Man should see the Craft thereof. And those, he said, were Angels of G.o.d, and that Place was Paradise, that G.o.d had promised to his Friends, saying, '_Dabo vobis Terram fluentem Lacte et Melle_' ('I shall give thee a Land flowing with Milk and Honey'). And then would he make them to drink of certain Drink [has.h.i.+sh, a narcotic drug, whence their name of a.s.sa.s.sins], whereof anon they should be drunk. And then would they think it greater Delight than they had before. And then would he say to them, that if they would die for him and for his Love, that after their Death they should come to his Paradise; and they should be of the Age of the Damsels, and they should play with them, and yet be Maidens.

And after that should he put them in a yet fairer Paradise, where that they should see the G.o.d of Nature visibly, in His Majesty and in His Bliss. And then would he show them his Intent, and say to them, that if they would go slay such a Lord, or such a Man that was his Enemy or contrarious to his List, that they should not therefore dread to do it and to be slain themselves. For after their Death, he would put them in another Paradise, that was an 100-fold fairer than any of the tother; and there should they dwell with the most fairest Damsels that might be, and play with them ever-more.

"And thus went many divers l.u.s.ty Pachelors to slay great Lords in divers Countries, that were his Enemies, and made themselves to be slain, in Hope to have that Paradise."