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Coleridge’s “Fire, Famine, Slaughter”: The Vendée, Rage, and Hypostasized Allegory

Largely ignored, Coleridge’s “Fire, Famine, Slaughter: A War Eclogue” is a powerful attack on Pitt’s policy in the Vendée in northwest France, 1793–96, congruent with Coleridge’s reports on the Vendée in The Watchman. It is a venture into dramatic allegory where the hypostasized figures seek the unutterable name of the human instigator of the policy. The poem experiments with voices, exclamations, vituperations, and spells; among a mixture of forms it may be the comic epic Coleridge promised. Coleridge’s allegory learns from Milton’s Sin and Death and from Bunyan’s Pilgrim’s Progress; its hellish imagery anticipates Walter Benjamin’s speculations on allegory. Coleridge minimizes the fervor of his poem in the prologue added in 1817, while showing pride in the work of his younger self.