Sara Coleridge - Career

Career

In 1822, Sara Coleridge published Account of the Abipones, a translation in three large volumes of Martin Dobrizhoffer, undertaken in connexion with Southey's Tale of Paraguay, which had been suggested to him by Dobrizhoffer's volumes; and Southey alludes to his niece, the translator (canto, iii, stanza 16), where he speaks of the pleasure the old missionary would have felt if "…he could in Merlin's glass have seen/By whom his tomes to speak our tongue were taught."

In less grandiloquent terms, Charles Lamb, writing about the Tale of Paraguay to Southey in 1825, says, "How she Dobrizhoffered it all out, puzzles my slender Latinity to conjecture." In 1825 her second work appeared, a translation from the medieval French of the Loyal Serviteur, The Right Joyous and Pleasant History of the Feats, Jests, and Prowesses of the Chevalier Bayard, the Good Knight without Fear and without Reproach: By the Loyal Servant.

In September 1829, at Crosthwaite Church, Keswick, after an engagement of seven years duration, Sara Coleridge was married to her cousin, Henry Nelson Coleridge (1798–1843), younger son of Captain James Coleridge. He was then a chancery barrister in London.

The first eight years of her married life were spent in a little cottage in Hampstead. There four of her children were born, of whom two survived. In 1834 Mrs. Coleridge published her Pretty Lessons in Verse for Good Children; with some Lessons in Latin in Easy Rhyme. These were originally written for the instruction of her own children, and became very popular.

In 1837 the Coleridges moved to Chester Place, Regents Park; and in the same year appeared Phantasmion, a Fairy Tale, Sara Coleridge's longest original work, described by critic Mike Ashley as "the first fairytale novel written in English". Historian of literature Dennis Butts describes Phantasmion as a "remarkable pioneering fantasy" and "an extraordinary momument to her talent". The songs in Phantasmion were much admired at the time by Leigh Hunt and other critics. Some of them, such as Sylvan Stay and One Face Alone, are extremely graceful and musical, and the whole fairy tale is noticeable for the beauty of the story and the richness of its language. Some historians of the fantasy genre believe Phantasmion may have influenced the work of George MacDonald.