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S. T. COLERIDGE, ESQ.
PRINTED FOR JOHN MURRAY, ALBEMARLE-STREET,
BY WILLIAM BULMER AND CO. CLEVELAND-ROW,
THE first part of the following poem was written in the year one thousand seven hundred and ninety seven, at Stowey in the county of Somerset. The second part, after my return from Germany, in the year one thousand eight hundred, at Keswick, Cumberland. Since the latter date, my poetic powers have been, till very lately, in a state of suspended animation. But as, in my very first conception of the tale, I had the whole present to my mind, with the wholeness, no less than with the liveliness of a vision; I trust that I shall be able to embody in
verse the three parts yet to come, in the course of the present year.
It is probable, that if the poem had been finished at either of the former periods, or if even the first and second part had been published in the year 1800, the impression of its originality would have been much greater than I dare at present expect. But for this, I have only my own indolence to blame. The dates are mentioned for the exclusive purpose of precluding charges of plagiarism or servile imitation from myself. For there is among us a set of critics, who seem to hold, that every possible thought and image is traditional; who have no notion that there are such things as fountains in the world, small as well as great; and who would therefore charitably derive every rill, they behold flowing, from a perforation made in some other man's tank. I am confident however, that as far as the present poem is concerned, the celebrated poets whose writings I might be suspected of having imitated, either in particular passages, or
in the tone and the spirit of the whole, would be among the first to vindicate me from the charge, and who, on any striking coincidence, would permit me to address them in this doggrel version of two monkish Latin hexameters :
"Tis mine and it is likewise your's,
Let it be mine, good friend! for I
I have only to add, that the metre of the Christabel is not, properly speaking, irregular, though it may seem so from its being founded on a new principle: namely, that of counting in each line the accents, not the syllables. Though the latter may vary from seven to twelve, yet in each line the accents will be found to be only four. Nevertheless this occasional variation in the number of syllables is not introduced wantonly, or for the mere ends of convenience, but in correspondence with some transition in the nature of the imagery or passion.