Classic and Contemporary Poetry: Explained

"Coleridge and Richard II" by Robert Lowell draws a comparison between the Romantic poet Samuel Taylor Coleridge and the deposed English monarch Richard II. Through this comparison, the poem explores themes of self-awareness, failure, and the consequences of an overactive imagination coupled with a lack of practical action.

Lowell begins by stating that Coleridge "wasn't flatter-blinded by / his kinship with Richard II," suggesting that Coleridge was aware of the similarities between himself and the ill-fated king, but did not delude himself with flattery or self-deception. Both figures are characterized by a "feminine friendism," a term Lowell uses to describe a tendency toward emotionality and perhaps a lack of assertive leadership, which is often historically associated with traditional feminine traits. This "constant overflow of imagination" in both Coleridge and Richard II is contrasted with a "dwindling will to act," highlighting a key theme of the poem: the disparity between grand thoughts or emotions and the failure to translate them into effective action.

The poem describes Richard II, who was deposed and ultimately died in captivity, as seeing "shipwreck in the mirror, not the King." This vivid metaphor suggests that Richard, like a shipwreck, was a once-great entity now reduced to ruin. The phrase "womanlike, he feared he must see himself more frequently to exist" reflects Richard's narcissistic need for self-reflection and validation, perhaps to the point of obsession. The "white glittering inertia of the iceberg" symbolizes Richard's cold, immobile state—beautiful and grand on the surface but ultimately dangerous and destructive beneath.

Lowell then shifts focus to Coleridge, who had the "cheering fancy only blacks would cherish slavery for two thousand years." This statement reflects Coleridge's misguided and simplistic views on complex social issues, likely a reflection of the racial attitudes prevalent in his time. It underscores the disparity between his imaginative capacity and his understanding of real-world issues. The line also serves as a critique of Coleridge's detachment from reality, as he misinterprets the desires and conditions of others, in this case, the enslaved Black population.

The poem continues by noting that "most negroes in 1800 London were onwardlooking and further exiled / from the jungle of dead kings than Coleridge." This statement contrasts the forward-thinking aspirations of Black Londoners with Coleridge's fascination with the past and his own failures. The "jungle of dead kings" refers to the historical and metaphorical weight of failed leadership and the burdens of history that both Richard II and Coleridge seem unable to escape.

In concluding, Lowell describes Coleridge as "the one poet who blamed his failure on himself." This self-awareness sets Coleridge apart from Richard II, who perhaps failed to fully acknowledge his shortcomings. Coleridge's acknowledgment of his own failings suggests a depth of introspection and a tragic understanding of his inability to realize his potential.

"Coleridge and Richard II" by Robert Lowell is a contemplative exploration of two figures marked by grand imagination and a lack of practical efficacy. The poem delves into the complex relationship between self-perception, imagination, and action, illustrating the pitfalls of an overly introspective and passive approach to life. Through the comparison, Lowell reflects on the nature of failure and the importance of self-awareness, while also critiquing the limitations of both historical and personal idealism.

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