"To Priestley" is a sonnet by Samuel Taylor Coleridge first published in the 11 December 1794 Morning Chronicle . Like most of the Sonnets on Eminent Characters , "To Priestley" addresses an individual Coleridge particularly admired; Joseph Priestley held many political and theological beliefs that Coleridge adopted during this time.
Coleridge completed "To Priestley" at the beginning of December 1794. Following "To Burke", "To Priestley was published in the 11 December 1794 Morning Chronicle as the third poem in the Sonnets on Eminent Characters series. The poem was later included in Coleridge's 1796 collection of poems and collections printed after with few changes. [1]
After a mob burned Priestley's Birmingham house during the summer of 1791, he left England for America. [2] The mob that drove Priestley away were motivated by Priestley's support of the French Revolution. Coleridge's own views were similar to Priestley's and even Priestley's ideas expressed in Experiments and Observations on Different Kinds of Air and Disquisitions relating to Matter and Spirit were discussed in part in Coleridge's poetry. [3]
Coleridge was also corresponding with Priestley at the time, to discuss Coleridge and Robert Southey's idea of Pantisocracy. During this time, Priestley's sons were working with Thomas Cooper to find an appropriate location for Coleridge to start up his community. [4] In general, Coleridge viewed Priestley as both a spiritual and intellectual leader, and Coleridge's political life was to spread Priestley's views after Priestley left for America. However, Coleridge was to abandon Priestley's ideas about Unitarianism and religion a decade later as he turned to Anglicanism. [5]
Though rous'd by that dark Vizir Riot rude
Have driven our Priestly o'er the Ocean swell;
Though Superstition and her wolfish brood
Bay his mild radiance, impotent and fell;
Calm in his halls of brightness he shall dwell!
For lo! Religion at his strong behest
Starts with mild anger from the Papal spell,
And flings to Earth her tinsel-glittering vest,
Her mitred State and cumbrous Pomp unholy;
And Justice wakes to bid th' Oppressor wail
Insulting aye the wrongs of patient Folly;
And from her dark retreat by Wisdom won
Meek Nature slowly lifts her matron veil
To smile with fondness on her gazing Son! [6]
The original first line read "Tho' King-bred rage, with lawless uproar rude", the original seventh line read "Disdainful rouses from the Papal spell", and the original eleventh line read "That ground th' ensnared soul of patient Folly". [7]
Like many of the Sonnets on Eminent Characters, "To Priestley" was dedicated to an individual that Coleridge viewed as one of his heroes. [8] The imagery within the poem corresponds to the ideas in "To Burke" with an emphasis on Priestley being a defender of freedom and without flaws. The original line 1 of the poem described the royalty's role in the events leading up to the destruction of Priestley's home. The revised version describes John Reeves as the "dark Vizir" or, in the 1796 edition, describes Pitt. [2]
Coleridge's views on Priestley appear in many of his works, including Religious Musings written at the end of 1794. [3] John Bowring, in an 1830 review for the Westminster Review, emphasized how the poem served to represent a transitional stage in Coleridge's poetic career: "Happily he soon ascended into a purer region of fancy; and that not without leaving the print of his steps in the clay from which he sprung. The personifications in his Sonnet on the expatriation of Dr. Priestley, are as good as such things can be. The concluding reference to Priestley's philosophical discoveries, might suggest a noble group for the sculptor." [9]
The Destruction of the Bastile was composed by Samuel Taylor Coleridge in 1789. The poem describes Coleridge's feelings of hopes for the French Revolution as a catalyst for political change.
On Receiving an Account that his only Sister's Death was Inevitable was composed by Samuel Taylor Coleridge in 1794. It was written for Coleridge's friend Charles Lamb and seeks to comfort him after his loss.
"To the River Otter" is a poem by Samuel Taylor Coleridge. Though its date of creation is uncertain, it was possibly composed in 1793. The poem deals with the image of the River Otter, near Coleridge's childhood home in Devon.
The Destiny of Nations was composed by Samuel Taylor Coleridge as part of Robert Southey's Joan of Arc epic poem. The lines were later isolated from Southey's and expanded. The new poem includes Coleridge's feelings on politics, religion, and humanity's duty to helping each other.
"On Quitting School" is a sonnet written by Samuel Taylor Coleridge in 1791. It describes Coleridge's feelings of leaving school for Cambridge in an optimistic manner quite contrary to the views he expressed later in life.
The Eolian Harp is a poem written by Samuel Taylor Coleridge in 1795 and published in his 1796 poetry collection. It is one of the early conversation poems and discusses Coleridge's anticipation of a marriage with Sara Fricker along with the pleasure of conjugal love. However, The Eolian Harp is not a love poem and instead focuses on man's relationship with nature. The central images of the poem is an Aeolian harp, an item that represents both order and wildness in nature. Along with the harp is a series of oppositional ideas that are reconciled with each other. The Eolian Harp also contains a discussion on "One Life", Coleridge's idea that humanity and nature are united along with his desire to try to find the divine within nature. The poem was well received for both its discussion of nature and its aesthetic qualities.
Frost at Midnight is a poem by Samuel Taylor Coleridge, written in February 1798. Part of the conversation poems, the poem discusses Coleridge's childhood experience in a negative manner and emphasizes the need to be raised in the countryside. The poem expresses hope that Coleridge's son, Hartley, would be able to experience a childhood that his father could not and become a true "child of nature". The view of nature within the poem has a strong Christian element in that Coleridge believed that nature represents a physical presence of God's word and that the poem is steeped in Coleridge's understanding of Neoplatonism. Frost at Midnight has been well received by critics, and is seen as the best of the conversation poems.
Sonnets on Eminent Characters or Sonnets on Eminent Contemporaries is an 11-part sonnet series created by Samuel Taylor Coleridge and printed in the Morning Chronicle between 1 December 1794 and 31 January 1795. Although Coleridge promised to have at least 16 poems within the series, only one addition poem, "To Lord Stanhope", was published.
"To Erskine" or "To the Hon Mr Erskine" was written by Samuel Taylor Coleridge in November 1794. The subject of the poem is Thomas Erskine, a lawyer and member of the Whig party that successfully served in the defense of three political radicals during the 1794 Treason Trials. Coleridge admired Erskine's defense and praised Erskine's refusal to accept money for his service. The poem was published in the 1 December 1794 Morning Chronicle as part of the Sonnets on Eminent Characters series. It was later included in various collections of Coleridge's poetry published later.
"To Burke" is a sonnet by Samuel Taylor Coleridge first published in the 9 December 1794 Morning Chronicle. Unlike most of the Sonnets on Eminent Characters, "To Burke" describes a person whom Coleridge disagreed with; he felt Edmund Burke abused the idea of freedom within various speeches and turned his back on liberty.
"To Fayette" was written by Samuel Taylor Coleridge and published in the 26 December 1794 Morning Chronicle as part of the Sonnets on Eminent Characters series. Coleridge, like other Romantic poets, viewed Gilbert du Motier, marquis de Lafayette as a hero of liberty for his part in the American and French revolutions. The poem coincides with Fayette's imprisonment in Austria, and he is treated as a martyr for liberty. The language Coleridge uses within the poem to describe Fayette and revolutions appears in many of his later works.
France an Ode was written by Samuel Coleridge in April 1798. The poem describes his development from supporting the French Revolution to his feelings of betrayal when they invaded Switzerland. Like other poems by Coleridge, it connects his political views with his religious thoughts. The Gothic elements of the poem connect the poem's style to many of his early poetic works.
"To Kosciusko" is the name shared by three sonnets written by Samuel Taylor Coleridge, Leigh Hunt, and John Keats. Coleridge's, the original, was written in December 1794 and published in the 16 December 1794 Morning Chronicle as the fifth of his Sonnets on Eminent Characters series. Hunt and Keats were inspired to follow his poem with their own versions in November 1815 and December 1816, respectively. The sonnets were dedicated to heroism of Tadeusz Kościuszko, leader of the 1794 Polish rebellion against Prussian and Russian control.
"To Pitt" was written by Samuel Taylor Coleridge and published in the 26 December 1794 Morning Chronicle as part of the Sonnets on Eminent Characters series. Describing William Pitt the Younger and his role as Prime Minister of Great Britain, the poem is one of the few in the series that is not about a hero of Coleridge. Instead, Pitt is described as Judas, the betrayer of Christ, because of, among other issues, his treatment of political dissidents.
"To Bowles" was written by Samuel Taylor Coleridge and published in the 26 December 1794 Morning Chronicle as part of the Sonnets on Eminent Characters series. William Lisle Bowles's poetry was introduced to Coleridge in 1789 and Bowles had an immediate impact on Coleridge's views of poetry. The sonnet celebrates Bowles's status as a poet. The poem also discusses Bowles's political beliefs, as these views also help shaped Coleridge's ideas on government and politics.
"To Mrs Siddons" was written by Samuel Taylor Coleridge and published in the 29 December 1794 Morning Chronicle as part of the Sonnets on Eminent Characters series. It describes Sarah Siddons, an actress that Coleridge became fond of during his visits to London during college. The poem celebrates watching Siddons perform her various roles on stage. It is uncertain as to the actual authorship of the poem, since it was attributed to Charles Lamb in various works. It is possible that Lamb and Coleridge worked on the poem together, and it would represent one of Lamb's earliest works.
"To Godwin" or "To William Godwin" was written by Samuel Taylor Coleridge and published in the 10 January 1795 Morning Chronicle as part of the Sonnets on Eminent Characters series. William Godwin was admired by Coleridge for his political beliefs. However, Coleridge did not support Godwin's atheistic views, which caused tension between the two. Although the poem praises Godwin, it invokes an argument that the two shared over theological matters. After the poem was written, the relationship between Coleridge and Godwin cooled and the poem was not reprinted.
"To Southey" or "To Robert Southey" was written by Samuel Taylor Coleridge and published in the 14 January 1795 Morning Chronicle as part of his Sonnets on Eminent Characters series. Robert Southey became a close friend of Coleridge during the summer of 1794 and the two originally formed a plan to start an ideal community together. Although the plan fell apart, Coleridge dedicated the poem to his friend and emphasized Southey's poetic abilities. Following the poem, Coleridge further drifted from Southey and the poem was not republished.
"To Sheridan" or "To Richard Brinsley Sheridan" was written by Samuel Taylor Coleridge and published in the 29 January 1795 Morning Chronicle. As the last poem running as part of the Sonnets on Eminent Characters series, it describes Coleridge's appreciation of Richard Brinsley Sheridan and his theatre talents. Coleridge, unlike most, preferred Sheridan's somber works over his comedies and emphasizes them within the poem. Coleridge also respects Sheridan's political actions.
"To Lord Stanhope" is a poem written by Samuel Taylor Coleridge. It was published in his 1796 collection of poems. The subject, Charles Stanhope, 3rd Earl Stanhope, had originally shared political views with Coleridge, but as time passed, Coleridge's views gradually shifted. By 1803, Coleridge was claiming that he did not want the poem published anymore and that it was originally intended to mock those who held the beliefs which Coleridge had held years earlier. It is part of the Sonnets on Eminent Characters series, although it was not published in the Morning Chronicle unlike the others in the series. There is, however, a possible predecessor sonnet to the 1796 version that some editors have attributed to Coleridge.