By M. Gibson
This paintings explores Yeats' vast ranging absorption with S.T. Coleridge. Gibson explores the constant and densely woven allusions to Coleridge in Yeats' prose and poetry, frequently at the side of different Romantic figures, arguing that the sooner poet supplied him with either a version of thinker "the sage" and an interpretation of metaphysical principles that have been to have a convincing impression on his later poetry, and upon his rewriting of "A Vision".
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Example text
It also gave him a philosophical basis for his main method of literary criticism, which was to read the work by describing the personality – the embodied anti-self or ‘Mask’ – as perceived in an artist’s work: from now on the exact opposite of the habitual self. 18 Another problem was the distinction between those Daimons in the Aereal region, and those who exist in the Aethereal conditions, having become purified beyond all form: for More, these higher beings were not Daimons at all, but the Gods as Plato understood them in Timaeus, the ‘Inhabitants of the Heavens’, since Daimons exist only in the Aereal region before ascending to the state of the Gods (More, p.
Yeats’s reason for linking Wordsworth and Coleridge to Synge probably stems from the similar passivity with which they (more properly, Wordsworth) used in writing the Lyrical Ballads, surrendering themselves to the imaginations of those noble savages who peopled the Quantocks and Cumberland. However, the appearance of their names here also owes something to the same reason why Yeats had used them in ‘Literature and the Living Voice’, meaning that he saw in their work an attempt to create a greater simplicity of language that reflects a more fundamental culture, which is what Synge himself achieved.
In the Preface to the second edition of the book, Wordsworth described a language derived from men who ‘hourly communicate with the best objects, from which the best parts of language are derived’ (WP, II, 366),12 and which is ‘plainer and more emphatic’, eschewing ‘traditional associations’, a phrase echoed in Yeats’s praise of the language of the uncorrupted peasantry for having less ‘mechanical specialisations and traditions’ (Ex 211). 13 Yeats’s view of Coleridge here was therefore dependent upon his association with Wordsworth in writing Lyrical Ballads.