Samuel Taylor Coleridge made quite a splash with his first book, a small volume of Poems on Various Subjects printed and published in Bristol in the spring of 1796. He was a young man, 23 years of age, well-known in the Bristol area as a lecturer and dissenting lay preacher, and notorious as a political radical, or–to use the language of the time–a “democrat” and “liberty man.” He now took the opportunity to expatiate in verse on his commitment to “equality,” his “joy” at the blood-red French Revolution, his longing to live in a community without “individual property” and his hopes of moving to America with his democratic friends to “follow the sweet dream,/Where Susquehannah pours his untam’d stream.” He compounded the provocation with a long philosophical poem in which his energetic Christianity was harnessed to the heretical themes of Unitarianism and pantheism and further onslaughts on private ownership as the root of all evil. But what really stirred up Coleridge’s readers, at a time when poetry was debated with as much passion as politics or religion, was his peculiar literary style.
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