The Coleridge Collection Part I: 1793 to 1965

An Annotated Bibliography of Criticism and Scholarship 
Volumes I-III 

Walter B. Crawford 
With the research and editorial assistance of 
Ann M. Crawford

PART I 1793 to 1965

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[S I 1863?] (C450) PATON, J[oseph] Noel, il. C's RAM. Il by J Noel Paton, R.S.A. [Lithographed by W H McFarlane.] Art-Union of London (1863). 12 pp. Drawings on 20 plates within ruled border 238 x 305mm on 317 x 435mm. Rpt Bost: J H Bufford's Sons (nd, 1863?). Bordered drawings 140 x 178mm on 233 x 281mm. Text in first 12 two-column pages. BM has one issue with plates printed with buff background within ruled border 238 x 305mm, another issue on cheaper paper with border 245 x 325mm and no colored background. New edn (1875--C517), qv,

  • Two of the plates were exhibited (Nos 974 and 984) at the Royal Academy in 1863 (Graves [1905--C1245], VI, 74). The drawings illustrate The RAM 1-4, 17-20, 33-6, 63-8, 71-4, 81-2, 139-42, 143-61, 187-98, 216-23, 288-91, 391-7, 402-5, 410-29, 486-99, 523-30, 560-9, 574-7, 593-4, and 601-9.
  • Plate 11 captioned with lines 288-91 was separately issued within ruled border 123 x 158mm on 165 x 215mm card, undated and signed "J.S.R." Some of these frequently reproduced competition-winning designs (especially plates 18 and 20) are reminiscent of some by David Scott (1837--C188) (especially 24 and 25), but most are clearly original and superior.
  • Review: Anon, Art J, 26 (1864), 91.
  • The plate signed "J.S.R." given to CCC by Rosemary Elizabeth Coleridge Middleton.

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[S I 1871?] (C488) ROSSETTI, William Michael, ed. The Poetical Works of S T. C. With a critical memoir. Il Thomas [Strong] Seccombe. E Moxon, Son, & Co (nd, 1871?). xxxii, 424 pp. Front (port), engr tp, ils. Often rptd, including by Ward, Lock & Co, and by Collins. Ward 1912 edn, xxviii, 392 pp.

  • The "Prefatory Notice" by Rossetti (pp ix-xxvii) ends with editorial note: "The present edition of C contains all his miscellaneous poems of high celebrity, or indeed of any considerable standing or attraction; also his dramas, original [Remorse] and translated [Wallenstein, with notes], with the exception of Zapolya. In lieu of this, The Fall of Robespierre, which had never as yet been reprinted in England, is introduced." The "Preface to Miscellaneous Works," signed S.T.C. [sic] (pp xxix-xxxii) is followed by editor's note giving sources of these "prefaces" in various editions of C's works. The 91 poems include both the later and the original version of The RAM with notes on the latter. The "Preface to Dramatic Works" (pp 202-6), signed "Derwent Coleridge. | St. Mark's College, Chelsea, July, 1852," is from his edition of The Dramatic Works of STC (1852--C346).
  • See H1294 for annotation of memoir[: "criticizes C's lack of character, finds insufficient substance in the poetry."] For more on the memoir, see annotation of the 188? edition, below.
  • Frontispiece is delicately engraved bust after the 1814 Allston portrait. Engraved title page vignette shows Alhadra kneeling on brink of chasm (Remorse IV.iii.75-6). The 6 plates include a facsimile of 8 lines Imitated from the Welsh and captioned engravings illustrating The RAM 214-15, Lines Written at Shurton Bars 58-60 (a poem not in this edition!--the engraving shows sinking ship and drowning man in tempest-torn sea; it faces The RAM 253-91), Christabel 55-7, Piccolomini II.xiv.84, and Wallenstein IV.iv.36-7.


Gustave Doré graphic of ship at sea

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[S I 1879] SAINT-JUIRS [pseudonym of René Delorme]. Gustave Doré, peintre, sculpteur, dessinateur et graveur. Photographies Goupil et cie. (Librairie d'Art) Paris: L. Baschet, 1879. 98 p. 80 ils. 43 cm.

Includes (p 7) one other completed engraving that Doré did for The RAM (not in the folio editions of 1875+). It is a pleasing full-page engraving of the ship in a (dare I say it) "moderately tempestuous sea." So far as I know, it has never been reproduced.
Discovered and annotated by William Gwynne, Melbourne, Australia.
A graphic enlargement is available.
Gustave Doré graphic of ship at sea

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[S I 188?] (Cf C488) ROSSETTI, W[illiam] M[ichael], ed. The Poetical Works of S. T. Coleridge. With biographical sketch by W M Rossetti. NY: A L Burt, Pubr (nd, but 188?). i, i-xxiii, 609 pp. Front (port). No index.

  • Rossetti's substantial critical memoir (so titled in the edition of 1871--C488, here inadequately titled "Biographical Sketch," pp v-xx), offers a sympathetic, anecdotal account of C's childhood, youth, early literary tendencies, and friendships with Southey and W. He shows less sympathy for the adult C's management of his life. "There are ample evidences in his writings of deep-seated dissatisfaction with himself, and with the comparatively slight lifelong results of his spacious, splendid, and various intellect. Not indeed that the bulk of his published writings is, properly speaking, insignificant, nor their fabric flimsy: but he was sadly conscious of projects lapsed, energies waning, and opportunities lost, never to recur."
  • As for C's poetry, "his most important and famous works appear to me to suffer from a want of central good sense . . . [despite] their exalted beauties of execution . . . . That tenuity of mental substance should be the defect of works produced by so rich a mind as C's may appear unlikely or strange: perhaps tenuity of character, a want of grasp of realities in life as realities, is the true secret." From this point of view, Rossetti faults even The RAM, KK, Christabel, and The Three Graves.
  • Of C's alterations in political and religious views, Rossetti writes: "The pantisocrat developed into a Tory. It would be equally needless and unfair, at this distance of time, to denounce C as a turncoat, or ascribe his altered Tone of mind to any moral obliquity; he never made Toryism pay to an extent worth mentioning, as did Southey . . . . This change of political opinion in C was gradually, though more slowly, accompanied by a similar change of religious opinion. . . . [Ultimately, becoming a Trinitarian, and] without setting himself to speak in an uncharitable spirit of his opponents, C ceased to regard as any genuine Christianity at all that form of Christianity which is without belief in Christ as God. It is not altogether easy--not at any rate for those who approach the subject without holding the touchstone of the like form of faith--to enter into the workings of C's mind on this subject. . . . The most obvious result of C's Trinitarian conversion is a flood of eloquence and verbiage about 'the Logos;' and perhaps its most persistently operative effect upon the reader is to make him glance rapidly over the page of prose to see whether that word appears upon it, and to turn the leaf decisively when he perceives that it does."
  • C's "Preface"[s] (xxi-xxiii) precede 129 poems (pp 1-185), including 41 "Early Poems--1803" [p 1-]; 22 "Sonnets" [58-]; The RAM; Christabel; "Sibylline Leaves": 4 "Poems Occasioned by Political Events" [97-], 18 "Love Poems" [111-], 10 "Meditative Poems" [131-], 16 "Odes and Miscellaneous Poems" [152-], 16 "Prose in Rhyme: Or, Epigrams, Moralities, and Things without a Name" [170-]. The dramas: Zapolya (186-265); Remorse (266-334); The Fall of Robespierre (335-58); and Piccolomini and The Death of Wallenstein (359-609). The frontispiece plate is the 1818 Phillips portrait, coarsely engraved or poorly printed. National Union Catalog, Pre-1956, NC0533621, lists an identically paged issue as in "The Home Library" series, which NUC Pre56 NH0486392 (in volume 253) dates as beginning in 1881.

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[S I 1885] CHASE, Geo[rge] A, ed. Selections from Coleridge's Poems and Macaulay's Essay on Warren Hastings. Prescribed for Matriculation into the University of Toronto, and for Teachers' Examinations 1886. Annotated by Geo. A. Chase. (Gage & Co's English School Classics) Toronto: W J Gage & Co (1885). iv, 5-238 pp. 162 x 110mm. Also 3d edn (1885). Preface (pp iii-iv):

  • "In the [extensive] notes appended to C's poems, the annotator has had in view only the poems themselves, for he considers that the aim of the study of literature will be missed if extraneous matter is introduced any farther than is absolutely required for the full understanding of the work in hand. The introductory remarks [heading the poems] are different in character from the explanatory notes, and arise from a study of the poem as a whole; they should be taken up only after the poem has been gone over carefully. "Some critical remarks have been added along with a sketch of the author's life; but the best criticism will be found in a study of the author's works. A sketch of literary history is inserted, not because the annotator thinks such history is of value in education, but because the departmental examinations seem to require it. Such a study is almost worthless when unaccompanied with a personal knowledge of the works of the authors referred to." "Introduction" begins with headnote of pedagogical advice (p 5); then "I.--Life of C" (pp 5-8), "Chief Works" (pp 8-12), "II.--The Eighteenth Century" (pp 12-18). No table of contents, but prints The RAM, Ode to the Departing Year, France, Dejection, To WW, and Youth and Age (pp 19-82).
  • Gift to CCC from Stephen H. Ford.

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[S I 1885] (C3241) LUNGREN, Fernand [Harvey], il. Heroines of the Poets. Drawings by Fernand Lungren. Bost: D Lothrop & Co (c1886). 183 gilt-edged pp incl plates with 15 illustrations. 230 x 170mm. The 1885 publication date in C3241 is from the only entry in NUC Pre56, but this copy is "Copyright, 1886."

  • Prints Love(pp 93-7) preceded (p 92) by drawing (151 x 105mm) of "C's Genevieve," shown, in long white gown, with slight smile, hat in hand, leaning against pedestal of statue of knight with shield (seen only from waist down) (cf Love13-16, 25-8).
  • Gift to CCC from Stephen H. Ford.

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[S I 1888] (H1616) SANDFORD, Mrs Henry [Elizabeth Margaret]. Thomas Poole and His Friends. 2 vols. L & NY: Macmillan (1888). Rpt with a new introd by Reginald Watters, Over Stowey, Somerset: The Friarn P (1996), 320 pp, il, 257 x 180mm, paperback. Index.

  • See H1616 for annotation of first edition.
  • Introduction, "'Thomas Poole and his Friends': The Making of the Book" (pp 9-19), gives detailed account of the development of Mrs Sandford's book from inception to publication. Prints the recently discovered Oc 1884 letter to her from Alfred Percival Graves, an Inspector of Schools, remarking on the neglect of the memory of Poole in the West Country and urging her to undertake a biography of him, which seems to mark its inception. Recounts her difficulties in gathering material and her increasingly "strong sense of the book's final shape and likely impact."
  • Appendix A, local accounts of Tom Poole (pp 316-17). Appendix B, extracts from two previously unpublished Poole letters (p 317). Color illustrations (plates between pp 20 and 21): Thomas Poole in 1798, by W Shuter; Poole in middle age, M Gauci after T Barber, lith.; Poole in old age, anon; Mrs Elizabeth Margaret Sandford as a headmistress, 1899, by T Walmsley Price.
  • The Gauci/Barber color portrait was reproduced on a postcard 152 x 102mm by Coleridge Books [ie, C Reginald Watters], Nether Stowey, Somerset (nd but 1996).


Front cover of Elbert Hubbard's Anima Poetae

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  • [S I 1895] (C3289) HUBBARD, Elbert. Marginalia in Anima Poetae, ed EHC (1895--C734).
  • See C3289 for brief description of inscriptions and marginalia in Hubbard's distinctive hand in his copy of Anima Poetae. Query: Has anyone ever studied and published these marginalia?
  • The book was given to the CCC by Stephen H Ford.
  • Click here to see the graphic enlarged.

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[S I 1903] (C3338) PEATTIE, Elia Wilkinson, ed. Poems You Ought to Know. Illustrated by Ellsworth Young. Chicago & NY: Fleming H Revell (1903), vi, ix, 17-233; index, [i]-vi. First pub Chicago: Jamieson-Higgins (1902), viii, 233 pp. Text rptd from a series of columns, including poems and biographical sketches, that ran from 17 Ap 1902 through 1903 in the Chicago Daily Tribune. (See also C3333.)

  • Kubla Khan (1903, pp 190-1) with 100-word biographical headnote, and drawing (85 x 38mm) of domes and minarets rising above massed greenery sloping down to low stone wall bordering stream in foreground (KK 6-13).
  • Gift to the CCC from Stephen H Ford.

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[S I 1906] (cf C773) GEORGE, Andrew J[ackson], ed. The Ancient Mariner . Ed with Introduction and Notes. Boston: D C Heath, 1906, ©1897. xxxvi, 60 pp. Front (port). 168 x 110mm.

  • The table of contents of this 1906 edition is that of 1897-C773, but this edition lacks the pages following page 60, including the 1798 edition of the poem, and the appendix of "Alterations in Text of 1800."
  • Gift to the CCC from Stephen H Ford.

[S I 1906] TRAUBEL, Horace. With Walt Whitman in Camden. 9 vols. Boston: Small, Maynard, 1906.

  • C's name rarely appears in Whitman's utterances. But as he lay on his sick bed a year before his death, during what I would call his Sick-Bed Talk (in contrast to C's Table Talk), he voiced his distaste for what he called "glitter" in literature and asserted its absence in Leaves of Grass. Then he said: "I think that C was the first man to give 'Imagination' an efficient application the new way. I have no objection to the word--on the contrary I like it--it attracts me, is grand, clusters a world of meanings." (In VIII, 43, recorded 27 F 1891.) However, Whitman preferred to use the word "fancy" to designate the shaping power of his imagination.
  • Discovered and annotated by Harold Aspiz.

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[S I 1910] (C1486) POGANY, Willy, ed & il. The RAM. In Seven Parts. Presented by Willy Pogany. George G Harrap (1910). 92 leaves. 320 x 230mm. Ltd edn of 525. Another issue, NY: Thomas Y Crowell (1910). Smaller edn 1926--C2043. See also the Gramercy below.

  • The most elaborate edition of The RAM ever published. Presented like an illuminated MS with additional illustrations. Hand-lettered text with decorative backgrounds and borders (printed in 2, 3, and 4 colors) interspersed with 70 line drawings up to full-page size and with 20 four-color plates (of paintings) mounted within borders on the text pages. Various bindings and illustrated lining papers. The illustrations range from realistic to fantastic to highly symbolic, always expressive. No editorial matter, but 3 additions to C's text: (1) facing the title page, last stanza of W's Stanzas Written in My Pocket-Copy of Thomson's "Castle of Indolence" ("He [C] would entice that other Man [W] to hear His music, and to view his imagery: And, sooth, these two were each to the other dear"); (2) on leaf 47v, following Part IV, ending "The selfsame moment I could pray," etc, the Latin prayer "De profundis clamavi ad te, Domine: Domine, ex audi vocem meam"; and (3) on leaf 92r, the Latin prayer "Pater noster," etc. Text includes the Burnet motto, 1798 Argument, and gloss. Colophon: "The Letterpress and Line Illustrations Printed by Vincent Brooks, Day and Son, Ltd., and the Four-Colour Plates by Bemrose Dalziel, Ltd. at London" in 1910.

[S I 1910/1994] POGANY, Willy, il. The RAM: In Seven Parts. Illustrated by Willy Pogany. NY & Avenel, NJ: Gramercy Books, distributed by Random House Value Publishing (1994). 60 leaves (120 unnumb pp). 216 x 140mm. "Designed by Kathryn W. Plosica, Production supervised by Roméo Enriquez, Printed and bound in Singapore" (copyright page, leaf 3v). First edn, London: Harrap, 1910--S1001 (C1486); reprinted 1926--C2043.

  • The introduction by Gail Harvey, dated 1994, synopsizes the poem and praises it and the illustrations by "award-winning artist" Pogany, "who was influenced by the decorative, exotic styles of Art Deco, and Oriental and Hungarian peasant art." Here are some comparisons of this Gramercy edition (G) with the 1910 Harrap edition (H) (above). The body of the pages in G is reduced 20% from the size in H. G shortens the book to 60 leaves from the 92 in H. In H, all text is printed from hand-lettered originals, with elaborate underlying designs in color. In G, all text is typeset in a small Roman font, only occasionally above a small vignette in black or a small design in the one other color, a grayish-blue. In H, the glosses are printed with the corresponding stanzas, but in G all glosses for a Part are printed together on the leaf following the Part headpiece.
  • Reduction in length is also achieved by omission of illustrations. G includes 19 of H's 20 four-color plates (repeating one on the front cover) and all the headpieces to the 7 Parts. In addition, whereas H has 61 full- or part-page vignettes, each main vignette supported by an elaborate secondary design in color, G uses only 21 of these main vignettes and without the supporting designs. In H, the four-color illustrations are mounted on the pages; G prints them on the pages, in the same colors as in H. Of the other colors in H, G reproduces only those on the half-title page, title page, and page with the excerpt from a WW poem. G uses some of the 29 page-border designs in H but puts them around different material; G prints them in a light grayish blue, whereas H prints them in black or yellowish-green or mauve-beige.

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[S I 1912] (C3426) ANICHKOV, E[vgenii] V[asil'evich]. "Angliiskie poety iz strany ozer" [English Poets of the Lake Country]. Istoriia zapadnoi literatury (1800-1910 gg.) [A History of Western Literature (1800-1910)]. . . . [3 vols] Moskva: Izdanie t-va "Mir" (1912-14). Tom' I [kniga 1] (1912), 412-62.

  • In the C section (I, 434-46) is a facsimile of a piece of MS signed S. T. C and beginning, "I well remember old Jemmy Hospital." Any users of the C Bibliography not trained in Latin or familiar with Latin authors might appreciate some elucidation. Cassell's Latin Dictionary, NY: Funk & Wagnalls (1959): "plagosus -a -um, fond of flogging; Orbilius, Hor." Horace's father "provided for his education by bringing him to Rome where he was placed under the care of the famous 'flogger' Orbilius, when he was from ten to sixteen years of age"--Horace: Odes and Art of Poetry, In English Verse With Introduction and Notes by John B. Quinn, St. Louis: Blackwell Wielandy Co (1938), p xv.

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[S I 1912] (C1569) [COLERIDGE, Ernest Hartley, ed.] The Works of STC. With an Introduction by Martin Corner, and Bibliography. (Wordsworth Poetry Library) Wordsworth Edns Ltd (1994). ix, xi-xxix, 1-614 pp. Paper.

  • The nowhere-acknowledged source is EHC's The Poems of STC (1912--C1569) of which this is a photographic reprint from Preface through indexes. The "Introduction" is on pp v-ix, the promised "Bibliography" being a "Further Reading" list of 6 hardly basic or representative books.

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[S I 1915] NAN'NICH, Kotaro, ed & tr. Eibun Moshiogusa [Collected English Writings]. Tokyo: Hokuseido Shoten (1915). [ix], 283 pp. (Preface, v-viii.) 195 x 125mm. On front flyleaf: is written "Kei'chi"--the author's name but a familiar form or nickname, per NT.

  • An anthology of English prose with Japanese translations on facing pages, with explanatory footnotes in English and Japanese. The C section (pp [38]-49) has a 5-line headnote on C in relation to WW, The RAM, and his Table Talk. Includes 4 extracts from C's Table Talk, titled: 1. Music (pp 38-9, TT 5 Oc 1830 [282]); 2. Definition of Poetry (pp 38-41, TT 12 Jy 1827 [106] ); 3. Characterless Women (p 40-1, TT 27 S 1830 [279]); and 4. The Power of Conscience (pp 40-9, TT 1 My 1823 [47, the "story of the Phantom Portrait"]).

[S I 1915] SHIOTANI, Sakae, ed. Sozoro aruki [English Romantic Writers]. Tokyo: Shibundo Shoten (1915). [i], 1-4, 250 pp, copyright/colophon p. Plates. 162 x 122mm.

  • Anthology with selections in English, notes and commentary in Japanese. Coleridge section begins with the portrait by Allston (1814--C9215), followed by C's poem Love, with 15 substantial explanatory notes interspersed (pp 147-57), commentary (pp 157-66).

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[S I 1919] (C1796) WATSON, Albert Durrant. The Twentieth Plane: A Psychic Revelation. Phila: George W Jacobs & Co (1919); L & Edin: Sampson & Low (1919). 312 pp. Jacobs edition reprinted by Belle Fourche, SD: Kessinger Publishing (June 1998), 265 x 198mm, paperback.

  • In summer 2002, Stephen H Ford, York University, Toronto, commissioned photographs, by Toronto photographer Gavin McMurray, of the residence of Dr Watson, a prominent dentist, at 10 Euclid Avenue (still a private residence), where a number of the seances reported in this book were held. Included here are a view of the house as a whole [click here to see the to see the first image enlarged], a closer view of the doorway [click here to see the second image enlarged], and a close-up of the stained glass transom with the inscription, "Dr. A. D. Watson" [click here to see the third image enlarged].
  • Photographs (11 x 17 inches) a gift to the CCC from Stephen H Ford.
  • Extracts from C1796, the long annotation of the original edition:
  • The revelation in this book "is the fruit of a sincere and sacred effort made by a group of living souls on the Twentieth Astral Plane, to bring light and comfort to those especially who have asked the question: ‘What ensues after death?'"
  • "The Twentieth Plane is the home of great thinkers and lovers who are not interested in the old garments of religion, but in truth and life which are its very fibre." The earth is the 5th plane; the 20th is about 500 miles from the earth. One of the illuminati on the 20th says, "There is no end of progress, but we cannot comprehend beyond the 1000th."
  • The communications recorded in this book began on 20 Ja 1918 and occurred on 52 days, 45 of them to 6 Jy 1918 and 7 thereafter to 14 Ja 1919, all in Toronto. The communications were mostly in answers to questions, mostly from "reporter" Watson, mediated by the "Instrument" on the ouija board, by automatic writing, or in trance address.
  • The direct communicators number 53, of whom C is the most frequent after Watson's mother and DW.
  • Watson says that when subtle questions were asked, the illuminati referred them to specialists, "so when I asked for definitions of terms in psychology C was the one who answered me." When Watson says, "C is great," his mother responds, "We call him here, ‘the brilliant mind.' Once we saw flames belch from his eyes," indicating "that he was a volcano of truth."
  • C discusses at some length life on the 20th Plane, including their dietary (distinguished from that of earth by vibrations), their sixth sense ("sensitive to the odours of all things, even thought"), their mode of travel (in the body but usually by thought projection), their way of finding one another (by mental telegraphy and astral instruments), and the law of vibration. One of their most important avocations, he says, is "to be the ego to enter into the consciousness" of, and to be "vehicles of the wider light of knowledge to, the greater souls" on earth (geniuses are reincarnations from higher planes). After C and W discourse on love, C discourses on the difference between man and woman: man a cruder machine, woman a finer with "closer‑meshed channels of expression. Now, if the soul, which is sexless, desires to express itself in more bold and massive thought‑action," that soul may be reincarnated in the body of a man. This happens rarely, but C names ten women on the earth plane who were formerly men, including Dante's Beatrice, Joan of Arc, and DW, who was once the Black Prince and who will be reincarnated again.
  • C delivers a compact message on sculpture, ten aphorisms on "Life Principles," and outlines the curriculum the illuminati study: "Political Wisdom, Art, Music, Literature, Eugenics ["the posthumous aspect .... which develops after the ego reaches the mature part of its climb"], Aura History, Sex relationship, Discordant elements in human nature."
  • Most important are C's metaphysical discourses in the chapters "The Quest for Reality" and "Realization of God." Most of the questions on these subjects are directed by Dr A H Abbott, Associate Professor of Philosophy, U of Toronto. C explains at length the metaphysics underlying the principle that the Universe is God, divided into three strata, "the passive, latent physical world; the great area of imagination; and at the apex, the serene, rare, pure inspirational centre of God‑intelligence." C's definition, "God is the totality of all experience, thought, knowledge, and substance or essence, which is all there is or ever will be," Abbott says is similar to Spinoza's.


Side by side drawings of the Ancient Mariner and the Wanderi

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[S I 1927] MacKAYE, Percy. Epoch: The Life of Steele MacKaye, Genius of the Theatre, in Relation to His Times & Contemporaries. A Memoir by His Son Percy MacKaye. 2 vols. NY: Boni & Liveright [c1927]. Ils, facsims, ports. 225 x 150mm. Rpt Grosse Pointe, MI: Scholarly Press (1968).

  • In S I 1951 MacKaye, the author writes that his adored brother William Payson MacKaye (1868-89), "by far the most gifted of the Macoidh Clan," was the author's "beloved guide" only until the "numbing shock" of Will's death (January 22, 1889), soon after his twentieth birthday. "In the second volume of Epoch, the chapter 'Elegy' is concerned with his last months, the circumstances of his death, some quotations from his letters, fourteen of his drawings and pen-sketches (including one of his illustrations for The Ancient Mariner) . . . (pp xiii-xv). Photo of "Actor, Poet, Artist" Will at age 19 (plate 77, fp II, 180).
  • On Christmas Eve 1888, in the MacKaye's primitive cottage in Shirley, MA: "Among the sofa cushions, climbed over by the two youngest [brothers] (after bulging stockings had been relieved of the magic of Santa Claus), Will would read aloud, The AM, or The Wandering Jew, whose pictures he would draw" (here reproduced) (II, 195). The side-by-side drawings (82 x 50/52mm) are of white-bearded men. In the left drawing the AM stands with his finger-pointing right hand upraised. In the right the cloaked Wandering Jew is walking in the rain with a heavy walking staff.
  • Click here to see the graphic enlarged - 1927
  • See S I 1951 MacKaye for additional background and for Will MacKaye's drawing of the white-bearded AM observing Death and Life-in-Death dicing at a table on the spectre bark.

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[S I 1928] BOOTES, Henry H[edger]. Deep-Sea Bubbles, or The Cruise of the Anna Lombard. Ernest Benn (1928). 263 pp.

  • This book is "simply an account [drawn from the author's memory and his journal] of a voyage in a whaling-ship of the old school, under conditions which were a decided improvement upon the general conditions prevailing[,] under the leadership of a man who may be recognised by some of his surviving friends and acquaintances, but whose name I withhold" (p 12, Author's Introduction, signed from Auckland, New Zealand). Author (called "Mr Hedger" throughout this first-person account) is much influenced by C's Rime of the Ancient Mariner.
  • Mr Hedger joins first officer Mr Haskell and second officer Mr Richester in the officers' saloon for lunch: "They were a strange pair--the venerable ancient mariner and the second officer" (p 28).
  • Author vividly describes, and discusses, the different kinds of albatross they saw in the South Atlantic (p 43); adapts The RAM 615: "all things great and small."
  • The ship took much the same course as the AM's ship, passing through the Straits of Magellan, subject to fog, stupendous seas, and gales (p 98).
  • Chapter 29, "Death," tells of their experience in the North Pacific when the ship was caught in 26 days of calm, the men sick and suffering. [Cf The RAM 107-70.] "Whenever opportunity offered, the men leaned over the rail, staring into the depths until their minds seemed to be filled with horror, and one by one they would turn away and quietly vanish forward as though afraid of what they saw" (p 250). "One hour after midnight, Captain Lombard passed away" (p 251). "As if to confirm the superstitions of the men who firmly believed that the sacrifice of a human life is necessary to break long periods of calm, a light breeze came dancing across the glassy waters with the coming of dawn" (p 252). Then Mr Haskell "assumed the post of Captain, and I was duly appointed chief mate" (p 253).
  • In chapter 30, "The Lay of the Ancient Mariner," the ship reached Honolulu [first glimpses of the shore somewhat echo those in The RAM] and proceeded to San Francisco (pp 254ff). Captain Haskell tells Mr Hedger that "'only a few years ago a large square-rigged ship was found, with all sail standing and at the mercy of the wind, without a guiding hand. [Cf the spectre bark, The RAM 171-84.] Upon closer examination it was discovered that every man on board was dead, and that there was no sign of violence or sickness" (p 258). [Cf the dead crew on the AM's ship, The RAM 16-37.]
  • Looking back on the unusually long period of calm, Mr Hedger says: "All around the ship lay a swarm of ugly living creatures which grew in strength and number as the calm weather became prolonged. [They saw a "faint phosphorescent light" (cf The RAM 127-30; cf also The RAM 123-5, and the whole passage about the dead crew and the "thousand thousand slimy things" which then the AM saw as beautiful: The RAM 236-83).] These creatures resembled nothing that I had previously seen, and Peter Haskell suggested that they represented the first forms of life that appeared on this planet, substantiating the theory of the evolution exponents.
  • "So interested was I that I drew a bucket of water from overside, and poured it on to the after hatchway, that under the microscopic lens produced by [medical officer] Kong, who also was interested, I might examine the creatures with greater ease. Judge my astonishment when I discovered their invisibility. Let me explain that all the time these creatures were in their native element--the sea-water--one could seem them wriggling and sprawling about devouring one another in one gluttonous gobble; but as soon as they were put on to a foreign substance they disappeared, although they could be discerned by the touch of the hands owing to the gelatinous nature of their construction. Viewed under a lens in a ship's bucket, they seemed to possess, or reflect, every shade of colour ever imagined by man." [Cf The RAM 272-81.]
  • "Peter Haskell, standing beside me, repeated part of Coleridge's 'Ancient Mariner', which surely must apply to these things: [quotes The RAM 277-85]" (p 260). The story ends on the next page with further contemplation of these creatures of the deep.
  • Gift to the CCC from Stephen H Ford.

[S I 1928] (C3517) SATO, Kiyoshi, ed. Principles of Criticism from Biographia Literaria . With introduction and notes. (Kenkyûsha English Classics, 35) Tokyo: Kenkyûsha (5 N 1928). xxv, 323 pp. English title only.

  • Textbook for students of English literature. Introduction (pp i-xxv) in Japanese with some romanized names and titles, BL extracts in English (pp 1-185), notes (in Japanese) (pp 187-301), and English index to notes (pp 303-23). (NT)

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[S I 1931] (C3562) KUDÔ, Yoshimi. Kôrurijji Kenkyû [Coleridge Studies]. Tokyo: Iwanami Shoten (1931). vii, 153 pp. In slipcase. In Japanese.

  • A detailed critical study, in a biographical framework, of C's poetry and critical prose and the principal ideas found there (pp 1-83). Frequent quotation, the English often accompanied by Japanese translation (see next paragraph). Fully documented. Chronology of literary and C and non-C biographical events from 1772 to 1834 (pp 85-108). Annotated bibliography in three parts: bibliographies, C's poetry and prose (including editions of selections), and works about C (pp 109-53). Plates: the 1798 Shuter portrait (65 x 50mm) and facsimile of MS of Love.
  • Some of the translations: Christabel 14-22; Dejection 47-9, 76-81, 87-93; The Eolian Harp 9-12, 26-9, 44-8; The Garden of Boccaccio 46-51 (compared to Milton, Comus 476-9); Inscription for a Fountain on a Heath 13-19; KK 49-52; Love 1-4; The RAM 127-30, 232-3, 292-6, 358-62, 478-9; This Lime-tree Bower 23-6, 61; To WW 61-75. \
  • Gift to the CCC from Kazue Katsurada.

[S I 1931] ROBERTSON, W[alford] Graham. Time Was: The Reminiscences of W. Graham Robertson. With a Foreword by Sir Johnston Forbes-Robertson. L: Hamish Hamilton, 1931. xii, 344 pp. Il (plates). Other printings of this work, with the main title Life Was Worth Living, annotated in C3565 (1931), indicate that the pretty grandmamma first encountered Coleridge when she was a girl in Highgate in 1819.

  • His maternal great-grandmother, Mrs Walford, "disliked me extremely and never addressed me if she could possibly help it. Had she known how deeply I admired her she would have held a better opinion of me." One time when her "pretty daughter," his "pretty grandmamma," was being instructed by her formidable parent in domestic duties devolving upon a Young Gentlewoman, she inaugurated her career as housekeeper by taking the keys out on the Common and losing them. // Wildly she searched hither and thither," finally sitting down hopelessly on the grass and crying. // >Why are you weeping, my dear?' suddenly said an elderly gentleman, for all the world like a Fairy Godmother." They searched the Heath together, till dusk. "I must tell her tonight,' wailed grandmamma. // ‘Not to-night,' said the old gentleman--to postpone the unpleasant was characteristic of him. ‘To-morrow will come quite soon enough. And who knows--?' // But grandmamma was past comfort and ran miserably home through the twilight. // Early next morning she received a small packet ‘With Mr. S. T. Coleridge's compliments.' Those keys! The thrice-blessed old gentleman had been up half the night searching the Common with a lantern, and had at last achieved success. // Mr. Coleridge was not as a rule energetic--grandmamma must have been very pretty. // After a few more meetings he undertook to ‘direct her reading,' but this post must have been more or less of a sinecure, for I fancy that pretty grandmamma did not read much. I possess a volume of Sybilline Leaves, containing an early and afterwards revised version of ‘The Ancient Mariner,' in which the author ‘with best Wishes, cheerful Hopes, and most friendly recollections' begs Miss Walford to ‘be so good as to correct this work from the Errata, at page 10 (the leaf before ‘The Ancient Mariner') before reading any of the poems, and to insert the passages added or substituted.' Not a single word has Miss Walford corrected, added or substituted, so, as I am sure she was a sweetly obedient creature, we may conclude that she never read the book. // My only grudge against grandmamma is that on one occasion Coleridge at great length told her of a new idea for the end of ‘Christabel'--and she straightway forgot all about it. I do not want an end to ‘Christabel'; I am sure that Coleridge himself could not have ended it without spoiling it; but I do wish that grandmamma had remembered. // Why did he not confide it to great-grandmother instead? She would probably have told him that it was stuff and nonsense, but she would not have forgotten. And she must have been every bit as pretty as grandmamma." Reminiscence continues with most of a page about portraits of grandmamma: "Grandmamma's prettiness still lingers on many canvases by Andrew Geddes, a Scotch painter of great talent," from her childhood to her mature years as Mrs. Jeremiah Greatorex [plate facing page 6]. . . . When did she find time and opportunity to sit for these surreptitious and surprising portraits? Grandmamma must have been cleverer than her family fancied" (pp 3-7).
  • See C9222 (1826): "On 8 F 1826 C wrote his nephew Edward C that he planned . . . to arrange sittings for a portrait by Geddes; but no such portrait has come to light (CL, VI, 561)."
  • Discovered by Arnold T Schwab.

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[S I 1934] (C3597) SAITÔ, Takeshi, ed. The Rime of the Ancient Mariner: The 1817 and 1798 Texts Printed in Parallel. (Kenkyûsha Pocket English ser) Tokyo: Kenkyûsha (My 1934). 78 pp. Il. New Edn Reset with Enlarged Notes (1966), 84 pp, il, 175 x 115mm, paperback. This enl edn reprinted in 1990.

  • Preface (pp 7-8) in Japanese; drawing of ship on old map (p 9); the two texts, in English (pp 10-63); notes in English and Japanese (pp 67-82); selective bibliography (3 Japanese, 12 English).
  • The 1990 edition given to the CCC by Kazue Katsurada.

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[S I 1937] MILLER, Olive Beaupré. "A Wizard of the Twilight: STC (English, 1772-1834)." Halls of Fame of My Book House. XII of 12 vols of My Book House. Ed Olive Beaupré Miller. Chicago: The Book House for Children (1937). Pp 55-63.

Same biographical sketch as that in Miller's My Bookhouse [sic] (VI of 6 vols, 1921--C1852), ending: "He was indeed a wizard who conjured up goblins with his weird, unearthly melody." Donn P Crane's drawing of the uniformed dragoon C in an office saluting two officers illustrates the sentence that C "was taken before the General and when it was discovered that he had been a student at Cambridge and had run away to enlist, he was given his discharge." Crane also illustrates Songs of the Pixies 26-8 and (imitating Doré) The RAM 272-81. Index to the 12 volumes (pp 226-79) lists Answer to a Child's Question as in II, 142.

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[S I 1939] (C3670) KATSURADA, Rikichi, ed & tr. Sheikusupia-ron [Shakespearean Criticism]. By STC. Ed Thomas Middleton Raysor]. Tokyo: Iwanami Shoten (1939 [Showa 14]). 366 pp. In Japanese. 158 x 105mm. In slipcase, with silk bookmark cord bound in and 2-inch rose-colored publisher's or bookseller's advertising slip wrapped around bottom of paper cover (front and back).

  • Translation (pp 7-229), commentary (pp 233-344), endnotes (pp 345-64), and annotated bibliographical entry for Raysor (1930--C2265) (pp 365-6).
  • Gift to the CCC from Kazue Katsurada.

[S I 1939] (C3679, author's name there romanized as SIOZIRI) SHIOJIRI, Kômei, ed & tr. Bensamu to Kôrurijji [Bentham and Coleridge]. [By John Stuart Mill, from his Dissertations and Discussions . . . (1875)]. (Keizaigaku Meicho Honyaku Sosho, 8) Tokyo: Yûhikaku (Oc 1939). 164, 173 pp. Pls (ports). In Japanese, including page numbers. In slipcase.

  • Discussion of Bentham and C and of Mill's views on their philosophy (164 pp) and translation of his essays (1838--H754 on pp 1-78, 1830--H802 on pp 79-173). Voluminous notes. Annotated bibliography, including 7 pages on C. Portrait of C is the 1832 Haughton.
  • Gift to the CCC from Kazue Katsurada.


Cover of Japanese version 'Selected Poems by Coleridge'

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[S I 1940, 1955] (Cf C3685) SAITO, Takeshi, and Yasuo Yamato, eds & trs. Kôruriddi shisen [Selected Poems by Coleridge]. Tokyo: Kobundo shobo (1940 [Showa 15]). [v], 208 pp. 175 x 105mm. Paperback. Defective: signatures not in order. Fragile, some pages loose.

  • A shorter edition: Tokyo: Iwanami shoten (1955, 1991 printing), 130 pp, 148 x 115mm, paperback (cf C4686). The 1991 printing contains two publisher's bookmarks and an 8-p color illustrated leaflet-catalog of the publisher's recent publications.
  • Translations and commentary in Japanese, titles and quotations in English. The translations: The RAM (with Burnet epigraph, Argument, and gloss) by Saito; France and Hymn before Sun-rise by Yamato; Christabel by Yamato (perhaps his earlier translation of 1934--C3598); and KK by Ryo Mori (first published 1938--C3658; cf his new translation of 1969--C6084). A commentary on the life and works of C (pp 165-9) and a 7-part interpretive essay on Christabel (pp 175-205) by Isamu Saito. Short commentaries by Yamato on the other poems (pp 169-70, 206-8).
  • The shorter 1955 edition has a few slight editorial changes and replaces the long commentary on Christabel by Isamu Saito with a short one by Yamato. Front cover of 1955 has head of 1796 Hancock portrait inset in brief biographical sketch of C in Japanese.
  • The 1940 edition in the CCC, and the 1991 reprint given to the CCC by Kazue Katsurada, were compared and annotated with the help of Nobuo Takayama.
  • Click here to see the graphic enlarged - 1940.

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[S I 1942] (C3814) OKAMOTO, Masao, ed & tr. Kôruriddi Danwa-shû. / Tabl [sic] Talk of STC. By H. N. C. Tokyo: Kôbundo-Shobô (Jy 1942). 193 pp. 148 x 105mm. Paperback in clear acetate wrapper. In Japanese.

  • Translation of HNC's preface (pp 3-24) and of selections from Table Talk and footnotes.
  • Gift to the CCC from Kazue Katsurada.

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[S I 1948] KUDO, Yoshimi. Eibungaku Kenkyu. Tokyo: Asahi Shinbunsha (1948). 433 pp (numbered in Japanese), 24 pp (numbered in Arabic). 184 x 125mm. Stiff paper cover in glassine wrapper. In Japanese. Wartime acidic paper turning brown & fragile. Badly torn pages 410ff.

  • Of the 9 chapters, the first (pp [13-41]) is on C, mostly on his critical ideas, drawing mostly on Biographia Literaria, but also on On Poesy or Art, TT, and Dejection (quoting and translating lines 71-5). Other C references passim in Japanese only. Quotations from English poets are in English followed by Japanese translations. Some of the other authors treated at some length: Poe, Pater, Wilde, Valéry, Arthur Symons, Aldous Huxley, many 19th- and 20th-century English novelists and late 19th- and early 20th-century poets. In the index, the half-page entry for C is all in Japanese characters.

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[S I 1949] DOUBLEDAY, Neal Frank. Studies in Poetry: An Introduction to the Critical Reading of Poems. NY: Harper & Bros (1949). xxv, 380 pp.

  • In the chapter on "Prose Accounts of Poems," prints To Hear an Oriole Sing by Emily Dickinson, and includes among study questions: "What is the plain sense of the poem? Compare" C's Dejection 47-58. Then asks, "Do you find that your statement of the plain sense of 'To hear an oriole sing' will also cover the stanza from C? Which expression is for you the more effective? Can you say why?" (p 40)
  • In the chapter on "Contrasting Techniques," in 6 study questions, asks the student to compare C's Fears in Solitude 86-123 and Eleven-O'Clock News Summary by Phyllis McGinley, both of which deal with the fear of invasion (pp 270-4).

[S I 1949] (C4183) KATSURADA, Rikichi, ed & tr. Biographia Literaria. Tokyo: Shisakusha (D 1949). 482 pp.

  • Japanese translation of 13 chapters (with some omissions): I, III, IV, XIV-XX (pp 13-388). Coleridge's English quotations also translated. Explanatory notes (pp 389-416), additional commentary (pp 419-77), bibliographical note (pp 481-2).
  • Gift to the CCC from Kazue Katsurada.

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[S I 1951] MacKAYE, Percy. Poog's Pasture: The Mythology of a Child. A Vista of Autobiography by Percy MacKaye. New York, Bond Wheelwright (1951). xvi, 187 pp. Ils. 21 cm.

  • The author (1875-1956) is the "Poog--of the pug nose (so named by his brothers)" (p ix)--of this story, age six in April 1881, just moved from New York City to Wilder Farm, "about three miles northwest of Brattleborough Village," Vermont (p ix). His adored, highly imaginative brother Will (William Payson MacKaye, 1868-1889), from whom he is rarely separated, is here age 14. Poog "knew well that Will's slightest move or word was authoritative" (p 181). The story deals mainly with their joint imaginative adventures. "Will, by far the most gifted of the Macoidh Clan, was to be Poog's beloved guide for only eight more years. His death (January 22, 1889), soon after his twentieth birthday, was a numbing shock to all of us" (p xiv).
  • "Spring sunset was flushing . . . the great maple by the window, as Aunt Sadie drew down the last shade of the sitting-room. From there she moved quietly to the red-covered table and lit the student's-lamp, where Will sat drawing pictures in his sketchbook: dark-smooched, eerie pictures of The Ancient Mariner" (p 22). One of those pictures is reproduced (on p xiv, 85 x 113mm) with the caption: "the ancient mariner: part the third | 'The naked hulk alongside came, / And the twain were casting dice; / "The game is done! I've, [sic] I've won! / Quoth she, and whistles thrice." [The RAM 195-8] // One of ten illustrations for Coleridge's poem drawn in his sketchbook by Will MacKaye at the age of fourteen. // (see page 22)." The drawing shows the stern of the ribbed spectre bark with the helmsman's wheel and to left of it Death and Life-in-Death (in long gown) seated at a table dicing. To the right, almost touching the spectre-bark, is the stern of of the AM's ship, with white-bearded AM alone at the very stern, and a bit forward 5 or 6 of the crew.
  • Click here to see the graphic enlarged - 1951.
  • The next afternoon Will and Poog take farmer Wilder's "limping old horse Old Peg ("the ancient, ash-grey derelict") out to the pasture , Poog on Old Peg's back. Will turns it into an imaginative adventure drawing on mythological creatures (including Pegasus) and a Grimm's fairy tale he had read to Poog the night before. As they turn back to the pasture gate they meet Mr Wilder, whom Will has identified to Poog as the mythological character, Atropos. At Mr Wilder's "clucked call," Old Peg came "scuffling towards him, and [Poog] watched in stupefaction where the ashy nozzle was being thrust into the halter straps and buckled in. . . . Will eyed that dumb stupefaction, and while together they slowly followed the old routined man and horse back along the homeward grassy ruts, he began a merry whistling that ended in a solemnly hummed snatch: // "'A sadder and a wiser man / He woke, the morrow morn' [The RAM 624-5].-- // "No [said Will], Mr. Coleridge!--gladder and wiser--that's how we'll be woken. For your wisdom's sad nightcap is a glad morning stirrup-cup; and judging by that red sunset, Poog, it's getting near time for nightcaps. Old Peg has his on already" (pp 126-7).
  • For Will MacKaye's drawing of the white-bearded AM standing alone, with right hand upraised, see S I 1927 MacKaye. For additional background, see the Foreword and the author's Afterword in Poog and the Caboose Man. In Sequel to Poog's Pasture: The Mythology of a Child. A Vista of Autobiography by Percy MacKaye. With a Foreword by Padraic Colum. NY: Bond Wheelwright (1952). xiv, 242 pp. Ils. 210 x 140mm.

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[S I 1956] WHITHAM, John A. The Church of St Mary of Ottery in the County of Devon: A Short History and Guide. Illustrated. With a Foreword [to First Edn] by the Vicar [D Rufus Price, dated S 1956] [1st edn not seen]. Seen: 4th edn, With a Foreword [to First Edn] by the Vicar [D Rufus Price, dated S 1956], [Foreword to 4th edn, by JW, dated Summer 1968,] Gloucester: Designed and Pub by The British Pubg Co Ltd (1968), 44 pp, with plan of church in fold-out back cover. Also seen: 8th edn, With a Foreword by the Vicar [Peter McGee, dated Autumn 1982], [Note to the 8th edn, by JW, dated 1982], Gloucester: Designed and Pub by The British Pubg Co Ltd (1982), 47 pp, with plan of church in fold-out back cover.

  • Both editions seen have same brief account (p 13) of the Rev John C's 1760-81 tenure as Master of the King's School and Vicar (quoting Gillman [1838--H748]), and briefer reference to his youngest child, STC, baptized 30 D 1772.
  • The 4th and 8th editions given to CCC by Rosemary Elizabeth Coleridge Middleton.

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[S I 1960] GOODMAN, Paul. Growing Up Absurd: Problems of Youth in the Organized System. NY: Random House (1960). xvii, 296 pp. No index.

  • Last paragraph of chapter on "The Missing Community": "The best exposition of what I have been trying to say in this chapter is the classic of conservative thinking, C's On the Constitution of the Church and State. His point in that essay is simply this: In order to have citizens, you must first be sure that you have produced men. There must therefore be a large part of the common wealth specifically devoted to cultivating 'freedom and civilization,' and especially to the education of the young growing up" (p 236).
  • Discovered by Arnold T Schwab.

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[S I 1961] BRYANT, Arthur. "Our Note Book." ILN, 238 (8 Ap 1961), 572. Il.

  • This regular column has nothing to do with the unattributed photograph (100 x 127mm) in the middle of the page.
  • The main caption (in caps): "The new coffin in the crypt of Highgate School Chapel in which the remains of the poet, STC, had been placed for removal on March 28 . . . ." Photo shows man on right bent over with hands on edge of the coffin lid as if preparing to lift, and a man at the left squatting beside one corner of the coffin. The second caption (caps & lc) names one of these men: "Mr. Ernest Raymond, the novelist, has been the moving spirit in an appeal launched through the Society of Authors for the removal of the remains of STC from the crypt of Highgate School Chapel to a more suitable and dignified tomb in St. Michael's Church. The poet's remains and those of his wife, his nephew, his nephew's wife and their son were transferred to their new resting-place on March 28. On June 6 the Bishop of London is to dedicate a slate slab above the tomb and the Poet Laureate, Mr. John Masefield, O.M., will give an address. The total cost of the transfer was estimated at £750, of which, at the date of writing, £300 had already been raised."
  • See also volume III: C3356, C5031, C5191, C5291, C5342, C5346, C5419, C5422, C6104.

[S I 1961] (C5400) KATO, Ryotaro. Koururiji no Bungaku-ron [Coleridge's Theory of Literature]. Tokyo: Kenkyûsha (1961). [i] title page; plate: 1795 Vandyke portrait of C, quoting Cottle on reverse; i-iii, 291 pp. In book jacket. In Japanese.

  • Clarifies C's theory mainly with a historical approach, dealing with romanticism, reason and understanding, imagination and fancy, and C's criticism of Shakespeare and Milton. (NT)
  • Much quotation in translation from Aids, Anima Poetae, BL, The Friend, Lay Sermons, Literary Remains, TT and Omniana, Miscellanies, C's Miscellaneous Criticism, C's Shakespearean Criticism, C on Logic and Learning, S. T. C's Treatise on Method, letters and marginalia. Chapter 4 (pp 45-61) quotes (in English with Japanese translation) Christabel 14-22, Lewti 42-8, 63-4, The Nightingale 64-9, The RAM 51-4, 59-60, 111-14, 127-30, 232-3, 263-71, Songs of the Pixies 13-14, 85-8, To the Muse 7-8, and A Wish 1-4. Chapter 7 (pp 107-52) is a somewhat biographically oriented critical commentary (in 39 numbered sections) of C's principal prose works. The many footnotes and the "Selected Bibliography" (pp 285-91) are in English.
  • Review: R Katsurada, SELit, 38 (Mr 1962), 238-41 (in Japanese).
  • Gift to the CCC from Kazue Katsurada.

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[S I 1962] (C5485) BUSH, Eric Wheeler, ed. The Flowers of the Sea: An Anthology of Quotations, Poems and Prose . Allen & Unwin (1962). xxvi, 350 pp.

  • Under title "The Albatross," includes The RAM 41-130 and 139-42, followed by a 185-word note, including anecdote, about the albatross" as a bird of ill-omen." For full details, see Anon, "One Albatross" (1960--C5188); its sequel, Anon, "The Curse" (1961--C5343); and its summary in Gaddis (1965--C5884).
  • Gift to the CCC from Stephen H Ford.

[S I 1962] MILLER, James E[dwin], Jr, and Bernice Slote. The Dimensions of Poetry: A Critical Anthology. NY: Dodd, Mead (1962). xxv, 742 pp. In covered jacket. Accompanied by 32-p pamphlet, Notes for Teaching this book.

  • C section (pp 395-416) begins with 240-word biographical-critical sketch, followed by list of "Introductory Readings"(6 books). Then prints The RAM with Argument and gloss, followed by KK, each with brief vocabulary and explanatory footnotes. Critical commentary on these poems (pp 416-30) consists of Tillyard's essay on The RAM (1948--C4174) and Fogle's essay on KK (1951--C4372).

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[S I 1964] HUTCHINGS, Richard J. Landfalls of the Romantic Poets. A Book for G.C.E. Students. Bath, Somerset: James Brodie (nd, but 1964). viii, 104 pp. Il (pls). 188 x 120mm.

  • "Part I--Prophets of Nature: C and W in Somerset" includes "The Stuff of Dreams: STC" (pp 3-38), "A Detective Calls: WW" (pp 39-50), and extracts from "Alfoxden Journal of DW" (pp 51-9). C poems (with prefatory notes) embedded in text: Frost at Midnight, KK, The RAM, This Lime-tree Bower. C-related illustrations: recent photographs of C Cottage, Nether Stowey; Alfoxden; Holford Village.

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[S I 1965] BEATY, Jerome, and William H Matchett. Poetry from Statement to Meaning. NY: Oxf UP (1965). 353 p. 22 cm.

  • Epigraph to chapter II, "Definition," quotes C on prose as words in their best order, poetry as the best words in their best order (p 48). Chapter IV, "Analogy and Image," quotes The RAM 111-14 as an example of visual images, and lines 363-4 as an example of auditory images. Then author comments that "images rarely appeal to only a single sense. The heat of C's 'bloody Sun' is more than visual" (pp 176-7).

[S I 1965] BENÉT, William Rose, ed. The Reader's Encyclopedia. 2d edn. Deluxe Library Binding including eight portfolios of full page illustrations. 2 vols. NY: Thomas Y Crowell (1965). 252 x 175mm. Previous edns c1948, c1955.

  • Biographical sketch of C (ca 980 words) with facsimile (reduced in size) captioned "Program of C's lectures on Shakespeare (1808)."