27 Samuel Taylor Coleridge Quotes on Poetry

Samuel Taylor Coleridge quotes on poetry

2. Blest hour! it was a luxury - to be!

3. With what deep worship I have still adored The spirit of divinest Liberty.

4. The frost performs its secret ministry, Unhelped by any wind.

6. Forth from his dark and lonely hiding place (Portentous-sight!) the owlet Atheism, Sailing an obscene wings athwart the noon, Drops his blue-fringed lids, and holds them close, And hooting at the glorious sun in Heaven, Cries out, 'Where is it?'

7. And the Devil did grin, for his darling sin Is pride that apes humility.

8. Strongly it bears us along in swelling and limitless billows, Nothing before and nothing behind but the sky and the ocean.

9. In the hexameter rises the fountain's silvery column; In the pentameter aye falling in melody back.

10. All thoughts, all passions, all delights, Whatever stirs this mortal frame, All are but ministers of Love, And feed his sacred flame.

15. Trochee trips from long to short; From long to long in solemn sort Slow Spondee stalks.

23. With Donne, whose muse on dromedary trots, Wreathe iron pokers into true-love knots; Rhyme's sturdy cripple, fancy's maze and clue, Wit's forge and fire-blast, meaning's press and screw.

24. The Eighth Commandment was not made for bards.

31. Beneath this sod A poet lies, or that which once seemed he - Oh, lift a thought in prayer for S.T.C! That he, who many a year, with toil of breath, Found death in life, may here find life in death.

80. Amid whose swift half-intermitted burst Huge fragments vaulted like rebounding hail, Or chaffy grain beneath the thresher's flail : And 'mid these dancing rocks at once and ever It flung up momently the sacred river.

84. A damsel with a dulcimer In a vision once I saw: It was an Abyssinian maid, And on her dulcimer she played, Singing of Mount Abora. Could I revive within me Her symphony and song, To such a deep delight 'twould win me, That with music loud and long, I would build that dome in air, That sunny dome! those caves of ice! And all who heard should see them there, And all should cry, Beware! Beware! His flashing eyes, his floating hair! Weave a circle round him thrice, And close your eyes with holy dread, For he on honey-dew hath fed, And drunk the milk of Paradise.

98. Not the poem which we have read, but that to which we return, with the greatest pleasure, possesses the genuine power, and claims the name of essential poetry.

102. Milton had a highly imaginative, Cowley a very fanciful mind.

111. Our conversations turned frequently on the two cardinal points of poetry, the power of exciting the sympathy of the reader by a faithful adherence to the truth of nature, and the power of giving the interest of novelty by the modifying colours of imagination.

112. That willing suspension of disbelief for the moment, which constitutes poetic faith.

129. I wish our clever young poets would remember my homely definitions of prose and poetry; that is, prose = words in their best order; poetry = the best words in their best order.

133. Poetry is certainly something more than good sense, but it must be good sense at all events; just as a palace is more than a house, but it must be a house, at least.

135. The book of Job is pure Arab poetry of the highest and most antique cast.

136. Shakespeare is the Spinosistic deity - an omnipresent creativeness. Milton is the deity of prescience; he stands ab extra, and drives a fiery chariot and four, making the horses feel the iron curb which holds them in. Shakspeare's poetry is characterless; that is, it does not reflect the individual Shakspeare; but John Milton himself is in every line of the Paradise Lost. Shakspeare's rhymed verses are excessively condensed, - epigrams with the point every where; but in his blank dramatic verse he is diffused, with a linked sweetness long drawn out.

140. A poet ought not to pick nature's pocket: let him borrow, and so borrow as to repay by the very act of borrowing. Examine nature accurately, but write from recollection; and trust more to your imagination than to your memory.

155. I take unceasing delight in Chaucer. His manly cheerfulness is especially delicious to me in my old age. How exquisitely tender he is, and yet how perfectly free from the least touch of sickly melancholy or morbid drooping! The sympathy of the poet with the subjects of his poetry is particularly remarkable in Shakspeare and Chaucer; but what the first effects by a strong act of imagination and mental metamorphosis, the last does without any effort, merely by the inborn kindly joyousness of his nature. How well we seem to know Chaucer! How absolutely nothing do we know of Shakspeare!

166. Metaphisics is a word that you, my dear Sir! are no great friend to / but yet you will agree, that a great Poet must be, implicite if not explicite, a profound Metaphysician. He may not have it in logical coherence, in his Brain & Tongue; but he must have it by Tact / for all sounds, & all forms of human nature he must have the ear of a wild Arab listening in the silent Desart, the eye of a North American Indian tracing the footsteps of an Enemy upon the Leaves that strew the Forest - ; the Touch of a Blind Man feeling the face of a darling Child.

167. But metre itself implies a passion, i.e. a state of excitement, both in the Poet's mind, & is expected in that of the Reader.

178. He was the first poet I ever knew. His genius at that time had angelic wings, and fed on manna. He talked on for ever; and you wished him to talk on for ever. His thoughts did not seem to come with labour and effort; but as if borne on the gusts of genius, and as if the wings of his imagination lifted him from off his feet.