(VOLUMES I-III) Walter B. and Ann M. Crawford


(The Coleridge Bulleti  New Series No 5 (Spring 1995), pp50-58)


This is the first in what is intended to be an annual series of supplements to Samuel Taylor Coleridge: An Annotated Bibliography of Criticism and Scholarship. Volume 1, 1793-1899, by Richard and Josephine Haven & Maurianne S. Adams, Boston: G.K.Hall, 1796. Volume II, 1900-39 (with additional entries for 1795-1899), by Walter B. Crawford and Edward S. Lauterbach, with the assistance of Ann M.Crawford, Boston: G.K.Hall, 1983. Volume III: Part I, 1793-1994, including Supplement to Volumes I and II, 1793-1939; Comprehensive Bibliography, 1940-1965; Selective Bibliography, 1966-1994; and Part II, 1791-1993; by Walter B. Crawford with the research and editiorial assistance of Ann M. Crawford, New York: G.K. Hall & Co., A Division of Simon & Schuster, 1995.


These supplements will be selective, following the principles of inclusion and exclusion explained in the Preface to volume III. In that volume, the enormous amount of eligible material required a cut-off of most Part I items at the end of the year 1965. Fortunately, from the 1960s onward the principal annual literary bibliographies became increasingly more inclusive. On the other hand, even the best of these follow a policy of excluding some categories of material that we have by policy included ( see Crawford, Coleridge Bulletin [W 1992-93], 2-4).


Because we believe that new critical editions (complete or selected) of Coleridge's works should be known, and that the best of them are essential in Coleridge studies, we include them. Because pedagogical treatments of Coleridge's works




are pertinent to the everyday work of a large majority of students of Coleridge, and are often valuable, we include them. Because we believe that translations, artists' treatments, and musical settings are all modes of interpretation that often yield insights into Coleridge's poems as valuable as the verbal interpretation of conventional literary criticism, we include them also.


Our basic general rationale is to include post-1965 Part items essential or important for basic Coleridge research and study, highly unusual or unique items, and items not likely to be listed in other bibliographies under Coleridge but containing substantial Coleridge-related material. More particularly, we include items in the overlapping categories set forth in detail in the Preface to volume III.


Of Part II items, these supplements will include any new items we learn about in categories 11.5 (continuations, completions), 11.7-1 (music), 11.10 (works of art), and 11.8 (audio and audiovisual productions). Only the more unusual or substantial items in other Part II categories will be included.


Finally, it should be understood that these supplements will not be based on systematic research on our part. We will list only serendipitous findings of our own and items about which we are informed by interested Coleridgeans. These supplements will be made much more extensive and interesting by such help from others, and their contributions

will be acknowledged as seen below. Copies of items sent to us (at Clevedon Cottage, 14271 Blackpool Road, Westminster, CA 92693) to facilitate our annotations will be deposited in the Crawford Coleridge Collection (abbreviated "CCn" below) in the Special Collections Department, University Library, California State University, Long Beach, CA 90840, and will be gratefully acknowledged by the Director, University Library and Learning Resources.




Items will be arranged alphabetically by author in each supplement and for easy reference will be numbered in a single sequence running from supplement to supplement, numbers preceded by "A" for "Added item." Otherwise, format and style will be as followed in volume III.




[Al] ANON. "Love Letters Stored on an Old Trunk." Daily Telegraph (30 D 1991), 15.

In a wood on his farm near Scarborough in North Yorkshire, Michael Harrison chanced upon the gouged initials C and A on the trunk of an old beech tree. This is not far from the Hutchinsons' Gallows Hill Farm. Harrison believes the letters refer to C himself and to Asra, and to support his claim points to C's A Day-dream 10: "Two dear names carved upon the tree." He "is making plans to allow visitors to view the beech tree."

From partial clipping from Rosemary E. Coleridge Middleton.


[A2] ANON, ed. The RAM and Other Poems. (Dover Thrift Edn) NY: Dover (1992). iv,76pp. One of 9-volume paper-boxed paperback set with box title Nine Great English Poets.

"Republication of [23] selections from" CPW. Only editiorial matter is "Note" (p.iii ), brief commentary on background of some of the principal selections.


[A3] GARDNER, Martin,ed. Best remembered Poems. Ed and Annotated by Martin Gardner. NY: Dover (1992). xi,210 pp.

KK preceded by half-page condensation of C's preface to the poem and note referring to the Xanadu of Citizen Kane (1941,gv in Part 11.1) and the parody "The Astrodome" (1966, qv in Part 11.4).




[A4] ALEXANDER, Caroline. The Way to Xanadu. Weidenfeld & Nicolson (1993); NY: Knopf (1994), xvi, 206 pp. No index.

A blend of travel writing and literary scholarship. From the jacket blurb: she "reconstructs the origins of C's haunting images as she leads us across three continents - from the windswept steppes of Inner Mongolia, where the great Khan held sway, to North Florida with its 'mighty fountains,' to Kashmir's mystical and holy cave of ice, to sacred 'Mount Abora' in Ethiopia."

Review: Annette Kobak, "On the Trail of KK," Weekend Telegraph (1 Ja 1994 ),19.

Gift to CCn by Stephen H Ford.


[A5] HUGHES-HALLETT, Penelope. The Wordsworths and the Lakes: Home at Grasmere. L: Collins & Brown (1993). 160 pp. II. 190 x 250mm.

Extensive biographical treatment of C, even beyond his relationship with the Ws and the Lakes. Profusely illustrated with relevant maps, facsimiles, drawings, engravings, and color reproductions of mostly contemporary art, the captions often quoting or otherwise referring to C. Included are the 1795 Hancock, 1804 Dance, 1804 Northcote, and 1833 Maclise portraits of C; the Wilkie portrait of Hartley C at age 10; the Edward Nash drawing of Edith Southey and Sara C as children; facsimiles of C's Prospectus for The Friend, W's note to Wrangham on the back of one, and the front cover of The Friend; a small engraving of Greta Hall (design by W J Palmer); and a watercolor by Caroline Southey of part of Southey's Greta Hall study with a distant view of Keswick seen through the south window.


[A6] MOTION, Andrew. Philip Larkin: A Writer's Life. NY: Farrar Straus Giroux (1993). xx, 570 pp.

Kingsley Amis knew Larkin at Oxford. Larkin was "'an almost aggressively normal undergraduate of the non-




highbrow sort...' His dislike of tutorial work grew week by week. 'We paid special attention to the Romantic poets,' Amis remembers. 'They all signed on as Bill Wordsworth and his Hot Six -W(tmb) with "Lord" Byron (tpt), Percy Shelley (sop), Johnny Keats (alto and clt), Sam "Tea" C (pno), Jimmy Hogg(bs), Bob Southey (ds)"' (p 58)

Discovered and book lent by Arnold T Schwab.


[A7] SAVIGNEAU, Josyane. Maguerite Yourcenar:Inventing a Life. Translated by Joan E Howard. Chicago & L: U of Chicago P (1993). xvii,527 pp. Originally pub as Maguerite Yourcenar: L'Invention d'une vie. Paris: Editions Gallimard (1990).

There exist two versions of the first meeting of French author Yourcenar and the American academic Grace Frick in a bar in 1937 (both were born in 1903). Florence Codman gives Grace's version of the scene:"'Grace was in fact alone in the bar and Marguerite was engaged in conversation with a man. They were talking about literature, about C in particular. "They were saying things that were so inaccurate, indeed so stupid, that I intervened to tell them they had it all wrong," Grace told me' " (p 115).

Discovered and book lent by Arnold T Schwab.


[A8] BISHOP, Elizabeth. One Art. Letters, selected and Ed by Robert Giroux. NY: Farrar, Straus, Giroux (1994). xxv, 668 pp.

To Randall Jarrell, Pearl Kazin, and Robert Lowell, on 7 Oc, 30 N, and 2 D 1956, reports being completely absorbed by Letters         (1956 -C4766) of C, "that adorable man. ...I'd never realized how wonderful the letters could be in bulk like that, and how contemporary he sounds." Reading C's account of wet weather, worsening health, and hopeless finances, "I could scarcely believe that I was dry, had no symptoms of anything at all,, and was at least solvent... I feel as if I could scarcely be said to exist, beside C [sic]. ... I




want very much to write some sort of piece, mostly about C, but bringing in Fitzgerald's The Crack-Up, Dylan Thomas, Hart Crane, etc. - but don't know whether I know enough, or have enough material at hand." On 28 My 1975, she begins her response to a request for advice on how to develop as a poet:" Read a lot of poetry - all the time - and not 20th century poetry.Read Campion, Herbert, Pope, Tennyson, C - anything at all almost that's any good, from the past."

Discovered and book lent by Arnold T Schwab.


[A9] MONETTE, Paul. Last watch of the Night: Essays Too Personal and Otherwise. NY, San Diego, L: Harcourt Brace (1994). ix, 309 pp. No index

The last of this award-winning author's autobiographical works tracing his tortuous path from the stigmas of homosexuality and his five-year struggle with AIDS [he died 10 F 1995].

Interprets C's feelings expressed in This Lime-Tree Bower, and concludes:" Unexpectedly, the loving contemplation of his friend's adventure restores to him the beauty of his garden. The sublime is in every leaf, the dappled light on the walnut-tree: No plot so narrow, be but Nature there. Nothing so exalted in Room 404 of the Park Hyatt, but I felt the same heartening connection to the gathering of the tribe [homosexual demonstrators] along the Mall [in Washington,DC]- as if I myself were there. AIDS was my prison. Not very leafy, but sufficient to free the sympathetic imagination. Even in the throes of the viral assault, losing my body electric organ by organ, I could still make contact - no yielding yet to the isolation of dying.// And as the evening deepened and the rally stage was dismantled, I wondered how many had watched it all from the closet - that black garden where nothing grows, deathin-life"(pp 164-5).

"I remember sitting with Stephen in the music room, reading C to him,' Frost at Midnight.' Craig poked his head




in, saw right away the lay of the land, and turned to go - over our protests, especially Stevie's, who'd had his fill of C"(p 298).

Discovered and book lent by Arnold T Schwab.


[A10] NICHOLS, Dixie. "You Cannot Put a Price on Fame." Daily Telegraph (13 Jy 1994), 31.11.

With byline:"Celebrity status brings publicity but no guarantee the house will sell, finds Dixie Nichols." Sketches the C/Southey link to Greta Hall, parties interested in purchasing it, and the estate agent's efforts to sell it at the highest price possible.

From clipping from Rosemary E Coleridge Middleton.


[A11] WILSON, Jenny. The Lakeland Poets. An Illustrated Collection. Photographs by Bob Talbot. Edison, NJ: Chartwell Bks (1994). 112 pp. This edn produced for sale in the USA only. Phototypeset by Keyspools Ltd, Colborne, Lancs. Printed and Bound in Italy. Word and pictures in this form copyright George Weidenfeld & Nicolson, 1991. Photographs copyright Talbot-Whiteman, 1991. Design by Peter Bridgewater. First pub in Great Britain by Weidenfeld & Nicolson Ltd, 1991.

Preface (p 7) refers briefly to C, quoting "C's 'varied scene/ of wood, hill,dale, and sparkling brook between'." C on pp 8-9 (with painting), 12 (photo),34 (photo),46-7, 70-1,74-5,80-1,82-3 (photo),88-9 (drawing),and 98-9.




[Al2] KENT, David A, and D R Ewen, eds. Romantic Parodies,1797-1831. Rutherford, Madison, Teaneck, NJ: Fairleigh Dickinson UP; L & Toronto: Associated UPs, 1992. 409 pp. Frontispiece is Gillray engraving.

C in introductions to Hogg's Isabelle (pp 129ff); extracts from Peacock's Nightmare Abbey (pp 156ff); Moir's Christabel, Part Third (pp 185ff); J H Reynolds, The Dead




Asses (pp 203ff); Anon, The Nose-Drop: A Physiological Ballad (pp 249ff). Index also enters: "parodies of:self-parody, 32-33; ,in "Bards of the Lake," 64; "Playhouse Musings" (from Rejected Addresses), 91; "The Resurrection Tragedy" (from Leaves of Laurel), 98; "Isabelle" (from The Poetic Mirror), 129; from Nightmare Abbey, 158; "The Rime of the Auncient Waggonere," 163; "Christabel, Part Third," 186. All are in volume III.


[A13] PRITCHETT, Oliver. "The Hype Is All Around." Sunday Telegraph (25 Jy 1993), 26. II.

"There is one thing that does not ring true today about C's poem The RAM.... The obvious flaw is that the Wedding Guest would instantly recognize that in the grey-beard loon he was looking at a highly marketable media package. ... I have now written a companion piece to C's poem, to help people see the story in a clearer perspective. Mine is called The Rime of the Ancient Publicist. Not, of course, that he is all that ancient, but he works for the august organisation Xanadu International Management Inc."

Author then gives prose synopsis of his parody-imitation, beginning:" One day, on his way to a showbusiness wedding at the Hello! Chapel of Deep Happiness and Fulfilment, he catches sight of the ragged, wild-eyed Mariner loitering in the street. 'Hang on a sec,' he says to his chums. 'I bet that old cove has an interesting tale to tell.'// He goes over to the man, who wants nothing to do with him. He takes him by the elbow in a friendly way, but the Mariner cries out:'Hold off! unhand me, grey-toppered dude!'// Pressed by the Publicist, the Mariner makes a reluctant admission. 'There was a ship,' quoth he.// Now the Publicist has the Mariner's attention. He holds him with his glittering offer. He proposes a major newspaper serialisation -'My Voyage to Hell and Back: Lone Mariner's Astonishing Story.' He suggests selling an exclusive interview to breakfast television." (Cartoon shows the AM seated in front of the TV




interviewer, who asks, " Ancient Mariner, what was your worst moment?") Synopsis continues with considerable detail and ends:" At the end of my version, one of the other wedding guests meets the Mariner in the street.// 'God save thee, ancient Mariner!/ From the fiends that plague like this!/ Why look'st thou so?"With my cross-bow/ I shot the Publicist'."

From clipping from Rosemary E Coleridge Middleton.




[A14] LLOYD, Richard. Dormi, Jesu. SATB. Text: English paraphrase by STC, Music: Richard Lloyd. Rattlesden, Bury St. Edmunds, Suffolk: Kevin Mayhew Ltd; and Charlotte, NC: Brodt Music Co (1991). 4 pp.

C's The Virgin's Cradle-hymn. English words printed below the Latin words, without variants. Sopranos sing lines 1-3, satb sing 1-3; sopranos sing 4-6, satb sing 4-6; sopranos conclude with 1-3. With pf accompaniment.

Gift to CCn by Stephen H Ford.