Coleridge and opium
Encyclopedia
Samuel Taylor Coleridge
(October 21, 1772–July 25, 1834) was an English poet, critic, and philosopher who was, along with his friend William Wordsworth
, one of the founders of the Romantic Movement
in England and one of the Lake Poets
. He is probably best known for his poems The Rime of the Ancient Mariner
and Kubla Khan
, as well as his major prose work Biographia Literaria
.
Coleridge was widely known to have been a regular user of opium
as a relaxant, analgesic and antidepressant and to treat numerous health concerns. The degree to which he experimented with the drug as a creative enhancement is not clear. Although Coleridge largely kept his addiction as hidden as possible from those close to him, it became public knowledge with the 1822 publication of Confessions of an English Opium Eater by his close friend Thomas de Quincey
. The Confessions painted a rather negative picture of Coleridge and his reputation suffered accordingly.
However, most scholars agree that Coleridge had resorted to the use of Laudanum
(the tincture form of opium) before this date, particularly during times of nervousness and stress. Because Laudanum was widely available and widely used as an analgesic as well as a general sedative, many people were given the drug for all sorts of medical and nervous complaints. Coleridge was probably given the drug numerous times in his youth during several bouts of rheumatic illness. Small medicinal dosages seldom lead to full-blown addiction but for Coleridge, who experienced the painful return of the symptoms many times in his life, it surely introduced him to the use of the drug much earlier than his story to Cottle admits.
Regardless of when and where Coleridge’s opium addiction began, it is clear that the more reliant on the drug he became, the more his work suffered, the less he was able to focus and concentrate, and the more strained his relations became. In fact, it is arguable that any analysis of Coleridge’s life must be done against the constant background of opium usage. But as important as the issue of opium is in Coleridge’s life, it is never a straightforward issue because he often hid it from public and familial view and at other times he exaggerated its importance to his work. In the 1816 publication of this major ‘opium’ poems Coleridge purposely drew a connection between his creative work and his opium usage. Desperate for some financial success with his poetry, Coleridge intentionally attempted to portray himself as a dreamy opium eater because he, perhaps rightly, believed that it would draw a morbid fascination to his work. Opium played an interesting role in the public image of Romantic literature. There was, for a long time, a kind of cult glamorization of the drug and a morose allure to stories of its usage for respectable members of the bourgeoisie who were titillated by such taboo subjects. It was with this in mind that Coleridge generated an image of himself as dreamy poet who created drug induced fantasies.
This dreamy image of himself began even before he was widely known to have been addicted to opium. In one of a series of biographical letters written to his friend Thomas Poole Coleridge painted this picture of himself, a picture that would always endure. Coleridge writes:
This slothful image was one that endured even with some of Coleridge’s close friends and may have been consciously created by Coleridge in the earlier part of his career in order to draw attention away from his addiction. It was only later that Coleridge perceived an advantage to drawing attention not to himself as simply a slothful scholar but a dreamy opium eater.
The most popular story that connects Coleridge’s work with his opium usage was told by Coleridge in his well known preface to the poem Kubla Khan
. Coleridge wrote:
The sleep of this story is said by Coleridge to be a sleep of opium, and Kubla Khan may be read as an early poetic description of this drug experience. The fact that the poem is generally regarded as one of Coleridge's best is one of the reasons for the continuing interest and debate about the role that opium may have played in his creative output, and in Romanticism in general
.
Coleridge, in his lucid moments, understood the problems with which he struggled better than most. In an 1814 letter to his friend John Morgan, Coleridge wrote about his difficulties.
In some respects, Coleridge's life bears a resemblance to that of a modern opiate
addict. Unfortunately, as much as Coleridge had some grasp of his addictions and its results, as well as an unusually sharp sense of how this addiction might be treated, many of his closest friends and peers did not understand. The people who might have served him best, like Southey and Wordsworth, were far too willing to maintain his image as slothful and selfish; this despite the professional help that he constantly bestowed upon them. Men like Robert Southey, naturally conservative in outlook were not forward looking enough to comprehend the possibility of Coleridge’s addiction being a largely physical dependence, despite the fact that Coleridge himself, as well as a growing number of professionals like his friend Gillman, were aware of the physical aspect of drug reliance. On more than one occasion Coleridge pointed to the fact that physical restraint might eventually lead to a cure, and on several occasions under the treatment of Dr. Gillman, he was led thus to the edge of freedom from the drug on which he had formed such a dependence. Southey wrote from the position of moral indignation and explicitly denied the physical aspect of the drug issue. Southey wrote to Cottle:
doctor named James Gillman with the intention of placing Coleridge in his full-time care and effect a cure to his addiction problems. Although Gillman initially had no intention of taking this stranger into his household, he was so charmed by the poet on their first meeting that he agreed to take him in and attempt a cure. Coleridge spent most of the rest of his life in the Gillman house with only brief periods away. James Gillman was ahead of his time as a physician of addiction and although he was never able to entirely stop Coleridge’s intake of opium, he managed to bring it under greater control for many years. It is surely to Gillman’s treatment and friendship that we owe much of Coleridge’s later prose works, particularly his Biographia Literaria, Lay Sermons, and Opus Maximum.
Coleridge virtually became a member of the Gillman family and even accompanied them on annual vacations. On a number of occasions when Coleridge was away from the Gillman household, he fell back into excessive opium use. Each time Gillman managed to step in and return Coleridge to his home and to controlled, less harmful opium dosages. The pharmacy where the poet obtained his prescribed supply (and sometimes, an illicit addition to it) still exists in the High Street, though moved a few dozen yards from the original premises. Gillman later became one of the great champions of Coleridge’s reputation and commonly defended his friend in polite society and in print with one of the earliest biographies of Coleridge.
Coleridge’s reputation was somewhat restored during his years at Highgate and in his lucid periods he became a kind of elder-statesman of the literary establishment and was visited by many of the period’s most important writers and thinkers. Despite Gillman’s care, however, Coleridge was overcome with respiratory problems and enlargement of the heart typical of prolonged opium usage. Coleridge died at the age of 61.
Samuel Taylor Coleridge
Samuel Taylor Coleridge was an English poet, Romantic, literary critic and philosopher who, with his friend William Wordsworth, was a founder of the Romantic Movement in England and a member of the Lake Poets. He is probably best known for his poems The Rime of the Ancient Mariner and Kubla...
(October 21, 1772–July 25, 1834) was an English poet, critic, and philosopher who was, along with his friend William Wordsworth
William Wordsworth
William Wordsworth was a major English Romantic poet who, with Samuel Taylor Coleridge, helped to launch the Romantic Age in English literature with the 1798 joint publication Lyrical Ballads....
, one of the founders of the Romantic Movement
Romanticism
Romanticism was an artistic, literary and intellectual movement that originated in the second half of the 18th century in Europe, and gained strength in reaction to the Industrial Revolution...
in England and one of the Lake Poets
Lake Poets
The Lake Poets are a group of English poets who all lived in the Lake District of England at the turn of the nineteenth century. As a group, they followed no single "school" of thought or literary practice then known, although their works were uniformly disparaged by the Edinburgh Review...
. He is probably best known for his poems The Rime of the Ancient Mariner
The Rime of the Ancient Mariner
The Rime of the Ancient Mariner is the longest major poem by the English poet Samuel Taylor Coleridge, written in 1797–98 and was published in 1798 in the first edition of Lyrical Ballads. Modern editions use a later revised version printed in 1817 that featured a gloss...
and Kubla Khan
Kubla Khan
Kubla Khan is a poem by Samuel Taylor Coleridge, completed in 1797 and published in Christabel, Kubla Khan, and the Pains of Sleep in 1816...
, as well as his major prose work Biographia Literaria
Biographia Literaria
Biographia Literaria, or in full Biographia Literaria; or Biographical Sketches of MY LITERARY LIFE and OPINIONS, is an autobiography in discourse by Samuel Taylor Coleridge, which he published in 1817. The work is long and seemingly loosely structured, and although there are autobiographical...
.
Coleridge was widely known to have been a regular user of opium
Opium
Opium is the dried latex obtained from the opium poppy . Opium contains up to 12% morphine, an alkaloid, which is frequently processed chemically to produce heroin for the illegal drug trade. The latex also includes codeine and non-narcotic alkaloids such as papaverine, thebaine and noscapine...
as a relaxant, analgesic and antidepressant and to treat numerous health concerns. The degree to which he experimented with the drug as a creative enhancement is not clear. Although Coleridge largely kept his addiction as hidden as possible from those close to him, it became public knowledge with the 1822 publication of Confessions of an English Opium Eater by his close friend Thomas de Quincey
Thomas de Quincey
Thomas Penson de Quincey was an English esssayist, best known for his Confessions of an English Opium-Eater .-Child and student:...
. The Confessions painted a rather negative picture of Coleridge and his reputation suffered accordingly.
Coleridge and opium
Where Coleridge first developed his opium habit is an issue of some scholarly dispute but it clearly dates from a fairly youthful period in his life. Coleridge’s own explanation is clearly laid out in a letter to Joseph Cottle;However, most scholars agree that Coleridge had resorted to the use of Laudanum
Laudanum
Laudanum , also known as Tincture of Opium, is an alcoholic herbal preparation containing approximately 10% powdered opium by weight ....
(the tincture form of opium) before this date, particularly during times of nervousness and stress. Because Laudanum was widely available and widely used as an analgesic as well as a general sedative, many people were given the drug for all sorts of medical and nervous complaints. Coleridge was probably given the drug numerous times in his youth during several bouts of rheumatic illness. Small medicinal dosages seldom lead to full-blown addiction but for Coleridge, who experienced the painful return of the symptoms many times in his life, it surely introduced him to the use of the drug much earlier than his story to Cottle admits.
Regardless of when and where Coleridge’s opium addiction began, it is clear that the more reliant on the drug he became, the more his work suffered, the less he was able to focus and concentrate, and the more strained his relations became. In fact, it is arguable that any analysis of Coleridge’s life must be done against the constant background of opium usage. But as important as the issue of opium is in Coleridge’s life, it is never a straightforward issue because he often hid it from public and familial view and at other times he exaggerated its importance to his work. In the 1816 publication of this major ‘opium’ poems Coleridge purposely drew a connection between his creative work and his opium usage. Desperate for some financial success with his poetry, Coleridge intentionally attempted to portray himself as a dreamy opium eater because he, perhaps rightly, believed that it would draw a morbid fascination to his work. Opium played an interesting role in the public image of Romantic literature. There was, for a long time, a kind of cult glamorization of the drug and a morose allure to stories of its usage for respectable members of the bourgeoisie who were titillated by such taboo subjects. It was with this in mind that Coleridge generated an image of himself as dreamy poet who created drug induced fantasies.
This dreamy image of himself began even before he was widely known to have been addicted to opium. In one of a series of biographical letters written to his friend Thomas Poole Coleridge painted this picture of himself, a picture that would always endure. Coleridge writes:
This slothful image was one that endured even with some of Coleridge’s close friends and may have been consciously created by Coleridge in the earlier part of his career in order to draw attention away from his addiction. It was only later that Coleridge perceived an advantage to drawing attention not to himself as simply a slothful scholar but a dreamy opium eater.
The most popular story that connects Coleridge’s work with his opium usage was told by Coleridge in his well known preface to the poem Kubla Khan
Kubla Khan
Kubla Khan is a poem by Samuel Taylor Coleridge, completed in 1797 and published in Christabel, Kubla Khan, and the Pains of Sleep in 1816...
. Coleridge wrote:
The sleep of this story is said by Coleridge to be a sleep of opium, and Kubla Khan may be read as an early poetic description of this drug experience. The fact that the poem is generally regarded as one of Coleridge's best is one of the reasons for the continuing interest and debate about the role that opium may have played in his creative output, and in Romanticism in general
Opium and Romanticism
Readers of Romantic poetry usually come into contact with literary criticisms about the influence of opium on its works. Whether or not opium had a direct effect is still up for debate, however the literary criticisms that have emerged throughout the years suggest very compelling things about...
.
Coleridge, in his lucid moments, understood the problems with which he struggled better than most. In an 1814 letter to his friend John Morgan, Coleridge wrote about his difficulties.
In some respects, Coleridge's life bears a resemblance to that of a modern opiate
Opiate
In medicine, the term opiate describes any of the narcotic opioid alkaloids found as natural products in the opium poppy plant.-Overview:Opiates are so named because they are constituents or derivatives of constituents found in opium, which is processed from the latex sap of the opium poppy,...
addict. Unfortunately, as much as Coleridge had some grasp of his addictions and its results, as well as an unusually sharp sense of how this addiction might be treated, many of his closest friends and peers did not understand. The people who might have served him best, like Southey and Wordsworth, were far too willing to maintain his image as slothful and selfish; this despite the professional help that he constantly bestowed upon them. Men like Robert Southey, naturally conservative in outlook were not forward looking enough to comprehend the possibility of Coleridge’s addiction being a largely physical dependence, despite the fact that Coleridge himself, as well as a growing number of professionals like his friend Gillman, were aware of the physical aspect of drug reliance. On more than one occasion Coleridge pointed to the fact that physical restraint might eventually lead to a cure, and on several occasions under the treatment of Dr. Gillman, he was led thus to the edge of freedom from the drug on which he had formed such a dependence. Southey wrote from the position of moral indignation and explicitly denied the physical aspect of the drug issue. Southey wrote to Cottle:
Coleridge in Highgate
In April 1816 Coleridge's friend and physician, Joseph Adams, put him in touch with a HighgateHighgate
Highgate is an area of North London on the north-eastern corner of Hampstead Heath.Highgate is one of the most expensive London suburbs in which to live. It has an active conservation body, the Highgate Society, to protect its character....
doctor named James Gillman with the intention of placing Coleridge in his full-time care and effect a cure to his addiction problems. Although Gillman initially had no intention of taking this stranger into his household, he was so charmed by the poet on their first meeting that he agreed to take him in and attempt a cure. Coleridge spent most of the rest of his life in the Gillman house with only brief periods away. James Gillman was ahead of his time as a physician of addiction and although he was never able to entirely stop Coleridge’s intake of opium, he managed to bring it under greater control for many years. It is surely to Gillman’s treatment and friendship that we owe much of Coleridge’s later prose works, particularly his Biographia Literaria, Lay Sermons, and Opus Maximum.
Coleridge virtually became a member of the Gillman family and even accompanied them on annual vacations. On a number of occasions when Coleridge was away from the Gillman household, he fell back into excessive opium use. Each time Gillman managed to step in and return Coleridge to his home and to controlled, less harmful opium dosages. The pharmacy where the poet obtained his prescribed supply (and sometimes, an illicit addition to it) still exists in the High Street, though moved a few dozen yards from the original premises. Gillman later became one of the great champions of Coleridge’s reputation and commonly defended his friend in polite society and in print with one of the earliest biographies of Coleridge.
Coleridge’s reputation was somewhat restored during his years at Highgate and in his lucid periods he became a kind of elder-statesman of the literary establishment and was visited by many of the period’s most important writers and thinkers. Despite Gillman’s care, however, Coleridge was overcome with respiratory problems and enlargement of the heart typical of prolonged opium usage. Coleridge died at the age of 61.