. . . Humble and rustic life was usually chosen" (Wordsworth 434).
This is light-years different from Coleridge's poetic posture, which uncharacteristic of Wordsworth, explores the supernatural to achieve his poetic effects. Coleridge elaborates on his contribution to Lyrical Ballads in his Biographia Literaria: "In this idea originated the plan of the 'Lyrical Ballads'; in which it was agreed, that my endeavours should be directed to persons and characters supernatural or at least romantic; yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith. Mr. Wordsworth, on the other hand, was to propose to himself as his object, to give the charm of novelty to things of every day . . . " (Coleridge, "Biographia" 452).
Coleridge then, in comparison to Wordsworth, seems quite uncharacteristic in his use of the supernatural in the selection of poems with which this essay is concerned.
GOOD AND EVIL IN 'THE ANCIENT MARINER' AND 'CHRISTABEL'
Cleanth Brooks speaks of wonder and irony in his critical book The Well Wrought Urn: "Wonder and irony merge in many of the lyrics of Blake; they merge in Coleridge's Ancient Mariner . . . I am interested rather in seeing that the paradoxes spring from the very nature of the poet's language: it is a language in w