Coleridge, Revision, and Public Self-Fashioning: Versioning the Poems of “Lyric Improvisation”
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Samuel Taylor Coleridge’s poems of imaginative failure lay thematic emphasis on the immediacy of emotional response; but an examination of their publishing history and the author’s conflicting motives for rewriting them challenges the received accounts of the poems as a deeply meditative genre in which Coleridge describes a moment of personal crisis confessing private, lyrical impulses at the breakdown of creative power. Employing a biblio-textual method focusing on the production of literary works and the process (rather than end product) of writing, this article compares multiple authoritative versions of Coleridge’s poems of “lyric improvisation.” The essay reads Coleridge’s tropes of containment and lyric failure as a vehicle for not merely subjective, aesthetic affairs, but also pragmatic and social ones, illustrating discontinuities in the Romantic poet’s social circumstances figured prominently in the revising process of his metapoetic discourse.
Abstract
Samuel Taylor Coleridge’s poems of imaginative failure lay thematic emphasis on the immediacy of emotional response; but an examination of their publishing history and the author’s conflicting motives for rewriting them challenges the received accounts of the poems as a deeply meditative genre in which Coleridge describes a moment of personal crisis confessing private, lyrical impulses at the breakdown of creative power. Employing a biblio-textual method focusing on the production of literary works and the process (rather than end product) of writing, this article compares multiple authoritative versions of Coleridge’s poems of “lyric improvisation.” The essay reads Coleridge’s tropes of containment and lyric failure as a vehicle for not merely subjective, aesthetic affairs, but also pragmatic and social ones, illustrating discontinuities in the Romantic poet’s social circumstances figured prominently in the revising process of his metapoetic discourse.
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