Introduction
This essay seeks to explore a unique aspect of Romanticism by focusing on the contrasting treatments of nature and the supernatural in the works of Samuel Taylor Coleridge and William Wordsworth, two pivotal figures of the Romantic movement. Specifically, it examines Wordsworth’s portrayal of nature as a source of spiritual and emotional renewal in *Lines Composed a Few Miles Above Tintern Abbey* (1798), alongside Coleridge’s engagement with the supernatural and imagination in *Kubla Khan* (1816). Both poets reflect core Romantic ideals, yet their approaches differ significantly: Wordsworth grounds his vision in the tangible beauty of the natural world, while Coleridge ventures into the mysterious and otherworldly. This analysis will consider how these themes are developed in the selected poems and briefly extend to other works by each poet, such as Wordsworth’s *The Prelude* and Coleridge’s *The Rime of the Ancient Mariner*. By evaluating these elements, the essay aims to illuminate the diversity within Romanticism, highlighting how nature and the supernatural serve as vehicles for personal and imaginative exploration.
Wordsworth’s Treatment of Nature in *Tintern Abbey*
William Wordsworth’s *Tintern Abbey* epitomises the Romantic reverence for nature as a transformative and restorative force. The poem, set against the backdrop of the Wye Valley, reflects Wordsworth’s deep emotional connection to the landscape, which he revisits after a five-year absence. Nature is portrayed not merely as a physical entity but as a spiritual guide, offering solace and wisdom during periods of personal turmoil. Wordsworth writes of “sensations sweet, / Felt in the blood, and felt along the heart” (Wordsworth, 1798, lines 27-28), suggesting that the natural world has the power to heal and uplift the human spirit. This intimate bond with nature contrasts with the alienation often experienced in urban or industrial settings, a recurring concern in Romantic literature.
Moreover, in Tintern Abbey, nature assumes a pedagogical role, teaching Wordsworth moral and philosophical lessons. He describes how the “beauteous forms” of the landscape have provided him with a “gift of aspect” that shapes his moral being (Wordsworth, 1798, lines 88, 122). This idea of nature as a teacher is further developed in The Prelude, where Wordsworth recounts how childhood experiences in the Lake District instilled in him a profound sense of awe and interconnectedness with the world (Wordsworth, 1850). While his approach is not without limitations—critics such as Hartman (1964) note that Wordsworth sometimes idealises nature, overlooking its harsher realities—the poet’s vision remains grounded in personal experience and observation. Indeed, his treatment offers a tangible counterpoint to the more ethereal concerns of other Romantics, revealing nature’s capacity to anchor the human soul amidst life’s uncertainties.
Coleridge’s Engagement with the Supernatural in *Kubla Khan*
In stark contrast, Samuel Taylor Coleridge’s *Kubla Khan* delves into the realm of the supernatural and the boundless potential of the imagination, embodying a different facet of Romanticism. Subtitled *A Vision in a Dream*, the poem recounts a fantastical vision of an exotic landscape commanded by the historical figure of Kubla Khan. The imagery is otherworldly, featuring “caverns measureless to man” and a “chasm, with ceaseless turmoil seething” (Coleridge, 1816, lines 12, 17), which evoke a sense of the sublime—an awe-inspiring mixture of beauty and terror that transcends ordinary human experience. This fascination with the supernatural allows Coleridge to explore the limits of reality, presenting a world that exists beyond rational comprehension.
The supernatural in Kubla Khan is closely tied to the power of imagination, a theme Coleridge develops as both a creative and destructive force. The speaker’s vision is fragmented and incomplete, reflecting the fleeting nature of inspiration; he laments his inability to fully recapture the “symphony and song” of the Abyssinian maid (Coleridge, 1816, line 43). This concept of the imagination’s elusive potency is also evident in The Rime of the Ancient Mariner, where supernatural elements—ghostly ships, spectral figures, and cursed seamen—drive the narrative and underscore the consequences of transgressing natural boundaries (Coleridge, 1798). As Abrams (1971) suggests, Coleridge’s use of the supernatural often serves as a metaphor for the inner workings of the mind, revealing hidden fears and desires. While this approach demonstrates a remarkable depth of creativity, it lacks the grounded immediacy of Wordsworth’s nature-focused poetry, relying instead on abstraction and mystery.
Comparative Analysis: Divergent Romantic Ideals
When comparing Wordsworth’s treatment of nature with Coleridge’s exploration of the supernatural, it becomes clear that each poet represents a distinct strand of Romantic thought. Wordsworth’s focus on the natural world is rooted in sensory experience and emotional authenticity, reflecting a belief in nature’s capacity to renew and instruct. His poetry often conveys a sense of stability, as seen in *Tintern Abbey* when he envisions nature as a “guardian” for his sister Dorothy (Wordsworth, 1798, line 110). By contrast, Coleridge’s supernatural visions are inherently unstable, embodying the Romantic fascination with the unknown and the irrational. His work in *Kubla Khan* challenges conventional boundaries, embracing ambiguity and fragmentation as essential to the creative process.
Furthermore, these differences highlight broader tensions within Romanticism itself. Wordsworth’s perspective aligns with a more accessible, democratic view of nature as a universal source of inspiration, whereas Coleridge’s supernaturalism appeals to the esoteric, prioritising individual imagination over collective experience. As Beer (1977) argues, Coleridge’s reliance on dreamlike and otherworldly imagery can sometimes alienate readers, lacking the direct emotional resonance of Wordsworth’s landscapes. Nevertheless, both poets contribute to a richer understanding of Romantic ideals, demonstrating how diverse approaches to nature and the supernatural can coexist within the same literary movement.
Conclusion
In conclusion, the treatment of nature in Wordsworth’s *Tintern Abbey* and the supernatural in Coleridge’s *Kubla Khan* reveal contrasting yet complementary dimensions of Romanticism. Wordsworth’s portrayal of nature as a restorative and moral force, evident in both *Tintern Abbey* and *The Prelude*, offers a grounded perspective that anchors human emotion in the physical world. Conversely, Coleridge’s engagement with the supernatural and imagination, as seen in *Kubla Khan* and *The Rime of the Ancient Mariner*, ventures into uncharted territories of the mind, embracing the mysterious and the sublime. While Wordsworth’s approach arguably provides greater emotional immediacy, Coleridge’s work captures the boundless potential of human creativity, albeit with less accessibility. Together, these perspectives underscore the complexity of Romanticism, illustrating how nature and the supernatural serve as powerful conduits for exploring the human condition. Ultimately, this analysis suggests that Romanticism’s strength lies in its diversity, accommodating both the tangible and the transcendent in its quest for meaning.
References
- Abrams, M. H. (1971) Natural Supernaturalism: Tradition and Revolution in Romantic Literature. New York: W. W. Norton & Company.
- Beer, J. (1977) Coleridge’s Poetic Intelligence. London: Macmillan Press.
- Coleridge, S. T. (1798) The Rime of the Ancient Mariner. In Lyrical Ballads, edited by W. Wordsworth and S. T. Coleridge. London: J. & A. Arch.
- Coleridge, S. T. (1816) Kubla Khan. In Christabel; Kubla Khan, a Vision; The Pains of Sleep. London: John Murray.
- Hartman, G. H. (1964) Wordsworth’s Poetry, 1787-1814. New Haven: Yale University Press.
- Wordsworth, W. (1798) Lines Composed a Few Miles Above Tintern Abbey. In Lyrical Ballads, edited by W. Wordsworth and S. T. Coleridge. London: J. & A. Arch.
- Wordsworth, W. (1850) The Prelude, or Growth of a Poet’s Mind. London: Edward Moxon.
