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things; as political economists say, their labors are of the most “unproductive class” in the community of thinkers. The next step of our poet in a life which seems to have had no settled object, but to have been steered compassless along, was to undertake the political and literary departments of the Morning Post newspaper, and in the duties of this situation he was engaged in the spring of 1802. No man was less fitted for a popular writer; and, in common with his early connexions, Coleridge seems to have had no fixed political principles that the public could understand, though he perhaps was able to reconcile in his own bosom all that others might imagine contradictory, and no doubt he did so conscientiously. His style and manner of writing, the learning and depth of his disquisitions for ever came into play, and rendered him unintelligible, or, what is equally fatal, unreadable to the mass. It was singular, too, that he disclosed in his biography so strongly his unsettled political principles, which showed that he had not studied politics as he had studied poetry, Kant, and theology. The public of each party looks upon a political writer as a sort of champion around whom it rallies, and feels it impossible to trust the changeable leader, or applaud the addresses of him who is inconsistent or wavering in principles: it will not back out any but the firm unflinching partisan. In truth, what an ill compliment do men pay to their own judgment, when they run counter to, and shift about from points they have declared in indelible ink are founded on truth and reason irrefutable and eternal: They must either have been superficial smatterers in what they first promulgated, and have appeared prematurely in print, or they must be tinctured with something like the hue of uncrimsoned apostasy. The members of what is called the “Lake School” have been more or less strongly marked with this reprehensible change of political creed, but Coleridge the least of them. In truth he got nothing by any change he ventured upon, and, what is more, he expected nothing; the world is therefore bound to say of him what cannot be said of his friends, if it be true, that it believes most cordially in his sincerity—and that his obliquity in politics was caused by his superficial knowledge of them, and his devotion of his high mental powers to different questions. Notwithstanding this, those who will not make a candid allowance for him, have expressed wonder how the author of the “Consciones ad Populum,” and the “Watchman,” the friend of freedom, and one of the founders of the Pantisocracy, could afterwards regard the drivelling and chicanery of the pettifogging minister, Perceval, as glorious in British political history, and he himself as the “best and wisest” of ministers! Although Coleridge has avowed his belief that he is not calculated for a popular writer, he has en

deavored to show that his own writings in the Morning Post were greatly influential on the public mind. Coleridge himself confesses that his Morning Post essays, though written in defence or furtherance of the measures of the government, added nothing to his fortune or reputation. How should they be effective, when their writer, who not long before addressed the people, and echoed from his compositions the principles of freedom and the rights of the people, now wrote with scorn of “mob-sycophants,” and of the “half-witted vulgar 7" It is a consolation to know that our author himself laments the waste of his manhood and intellect in this way. What might he not have given to the world that is enduring and admirable, in the room of these misplaced political lucubrations ! Who that has read his better works will not subscribe to this truth 7 His translation of Schiller's Wallenstein may be denominated a free one, and is finely executed It is impossible to give in the English language a more effective idea of the work of the great German dramatist. This version was made from a copy which the author himself asterwards revised and altered, and the translator subsequently republished his version in a more correct form, with the additional passages and alterations of Schiller. This translation will long remain as the most effective which has been achieved of the works of the German dramatists in the British tongue. The censure which has been cast upon our poet for not writing more which is worthy of his reputation, has been met by his enumeration of what he has done in all ways and times; and, in truth, he has written a vast deal which has passed unnoticed, upon fleeting politics, and in newspaper columns, literary as well as political. To the world these last go for nothing, though their author calculates the thought and labor they cost him at full value. He concedes something, however, to this prevailing idea respecting him, when he says, “On my own account, I may perhaps have had sufficient reason to lament my deficiency in selfcontrol, and the neglect of concentrating my powers to the realization of some permanent work. But to verse, rather than to prose, if to either, belongs ‘the voice of mourning,' for

Keen pangs of love awakening as a babe
Turbulent, with an outcry in the heart,
And fears self-will'd that shunn'd the eye of hope,
And hope that scarce could know itself from fear;
Sense of past youth, and manhood come in vain,
And genius given and knowledge won in vain,
And all which I had cull'd in wood-walks wild,
And all which patient toil had rear'd, and all
Commune with thee had open'd out—but flowers
Strew'd on my corpse, and borne upon my bier,
In the same coffin, for the self-same grave!
S. T. C.”

In another part of his works, Coleridge says,

speaking of what in poetry he had written, “as to

myself, I have published so little, and that little of so little importance, as to make it almost ludicrous to mention my name at all.” It is evident, therefore, that a sense of what he might have done for fame, and of the little he has done, is felt by the poet; and yet, the little he has produced has among it gems of the purest lustre, the brilliancy of which time will not deaden until the universal voice of nature be heard no longer, and poetry perish beneath the dull load of life's hackneyed realities. The poem of “Christabel,” Coleridge says, was composed in consequence of an agreement with Mr. Wordsworth, that they should mutually produce specimens of poetry which should contain “the power of exciting the sympathy of the reader, by a faithful adherence to the truth of nature, and the power of giving the interest of novelty by the modifying colors of imagination. The sudden charm, which accidents of light and shade, which moon-light or sun-set diffused over a known and familiar landscape, appeared to represent the practicability of combining both.” Further he observes on this thought, “that a series of poems might be composed of two sorts. In the one, the incidents and agents were to be, in part at least, supernatural; and the excellence to be aimed at was to consist in the interesting of the affections by the dramatic truth of such emotions as would naturally accompany such situations, supposing them real, etc. For the second class, subjects were to be chosen from ordinary life.” Thus, it appears, originated the poems of the “Ancient Mariner,” and “Christabel,” by Coleridge, and the “Lyrical Ballads” of Wordsworth. Perhaps there is no English writer living who understood better than Coleridge the elements of poetry, and the way in which they may be best combined to produce certain impressions. His definitions of the merits and differences in style and poetic genius, between the earliest and latest writers of his country, are superior to those which any one else has it in his power to make; for, in truth, he long and deeply meditated upon them, and no one can be dissatisfied by the reasons he gives, and the examples he furnishes, to bear out his theories and opinions. These things he does as well or better in conversation than in writing. His conversational powers are indeed unrivalled, and it is to be feared that, to excel in these, he has sacrificed what are more durable; and that he has resigned, for the pleasure of gratifying an attentive listening circle, and pleasing thereby his self-love by its applause, much that would have delighted the world. His flow of words, delivery, and variety of information, are so great, and he finds it so captivating to enchain his auditors to the car of his triumphant eloquence, that he has sacrificed to this gratification what might have sufficed to confer upon him a celebrity a thousand times more to be coveted by a spirit akin to his own.

It is equally creditable to the taste and judgment of Coleridge, that he was one of the first to point out, with temper and sound reasoning, the fallacy of a great portion of Wordsworth's poetic theory, namely, that which relates to low life. Wordsworth contends that a proper poetic diction is a language taken from the mouths of men in general, in their natural conversation under the influence of natural feelings. Coleridge wisely asserts, that philosophers are the authors of the best parts of language, not clowns; and that Milton's language is more that of real life than the language of a cottager. This subject he has most ably treated in chapter 17 of his Biographia Literaria.

Two years after he had abandoned the Morning Post, he set off for Malta, where he most unexpectedly arrived on a visit to his friend Dr. Stodart, then king's advocate in that island, and was introduced by him to the Governor, Sir Alexander Ball, who appointed him his secretary. He remained in the island fulfilling the duties of his situation, for which he seems to have been but indifferently qualified, a very short period. One advantage, however, he derived from his official employ: that of the pension granted by Government to those who have served in similar situations. On his way home he visited Italy; entered Rome, and examined its host of ancient and modern curiosities, and added fresh matter for thought to his rapidly accumulating store of ideas. Of this visit he gives several anecdotes; among them one respecting the horns of Moses on Michael Angelo's celebrated statue of that lawgiver, intended to elucidate the character of Frenchmen. Coleridge has been all his life a hater of France and Frenchmen, arising from his belief in their being completely destitute of moral or poetical feeling. A Prussian, who was with him while looking upon the statue, observed that a Frenchman was the only animal, “in the human shape, that by no possibility can lift itself up to religion or poetry.” A foolish and untrue remark on the countrymen of Fenelon and Pascal, of Massillon and Corneille. Just then, however, two French officers of rank happened to enter the church, and the Goth from the Elbe remarked that, the first things they would notice would be the “horns and beard” (upon which the Prussian and Coleridge had just been rearing theories and quoting history), and that the associations the Frenchmen would connect with them “would be those of a he-goat and a cuckold.” It happened that the Prus-Goth was right: the officers did pass some such joke upon the figure. Hence, by inference, would the poet have his readers deduce the character of a people, whorliterature, science, and civilization are perhap. only not the very first in the world.

Another instance of his fixed and absurd dislike of every thing French, occurred during the delivery of a course of Lectures on Poetry, at the

Royal Institution, in the spring of 1808; in one of which he astonished his auditory by thanking his Maker, in the most serious manner, for so ordering events, that he was totally ignorant of a single word of “that frightful jargon, the French language!” And yet, notwithstanding this public avowal of his entire ignorance of the language, Mr. C. is said to have been in the habit, while conversing with his friends, of expressing the utmost contempt for the literature of that country :

Whelmed in the wild mazes of metaphysics, and for ever mingling its speculations with all he does or says, Coleridge has of late produced nothing equal to the power of his pen. A few verses in an annual, or a sonnet in a magazine, are the utmost of his efforts. He resides at Hampstead, in the house of a friend having a good garden, where he walks for hours together enwrapped in visions of new theories of theology, or upon the most abstruse of meditations. He goes into the world at times, to the social dinner-party, where he gratifies his self. love by pouring out the stores of his mind in conversation to admiring listeners. Were he not apt to be too profound, he would make an excellent talker, or rather un grand causeur for a second Madame de Sévigné, if such an accomplished female is to be found in the nineteenth century, either in England or France. The fluency of Coleridge's language, the light he throws upon his subjects, and the pleasure he feels in communicating his ideas, and his knowledge, innate or acquired, are equally remarkable to the stranger. He has been accused of indolence, not perhaps with reason: the misdirection of his distinguished talents would be a better explanation of that for which he has been blamable. He attempts to justify himself on the score of quantity, by asserting that some of his best things were published in newspapers. The world differs with him upon

this question, and always will do so, when it is recollected what he has had the power to effect. It will not forgive him for writing upon party, and in support of principles that even now are pretty nearly exploded, “what was meant for mankind.” Coleridge mistook his walk when he set up for a politician, and it is to be feared the public have a great deal to regret on account of it. He will not be known hereafter by his Morning Post articles, but by his verses. Whatever pains his political papers may have cost him, and from his own account they were laboriously composed, they will avail him nothing with posterity. The verses of Coleridge give him his claim to lasting celebrity, and it is in vain that he would have the world think otherwise. He says, “Would that the criterion of a scholar's utility were the number and moral value of the truths which he has been the means of throwing into the general circulation, or the number and value of the minds whom, by his conversation or letters, he has excited into activity, and supplied with the germs of their after-growth : A distinguished rank might not indeed then be awarded to my exertions, but I should dare look forward to an honorable acquittal.”

In temper and disposition Coleridge is kind and amiable. His person is bulky and his physiognomy is heavy, but his eye is remarkably fine; and neither envy nor uncharitableness have made any successful impression in attacking his moral character. His family have long resided with Mr. Southey's in the north of England; the narrow pecuniary circumstances of our poet are assigned as the reason. It is ardently desired by all lovers of the Muses, that the author of the “Ancient Mariner,” and of “Genevieve,” may see life protracted to a green old age, and yet produce works which may rival those of his departed years.

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Compositions resembling those here collected are not unfrequently condemned for their querulous Egotism. But Egotism is to be condemned then only when it offends against time and place, as in a History or an Epic Poem. To censure it in a Monody or Sonnet is almost as absurd as to dislike a circle for being round. Why then write Sonnets or Monodies? Because they give me pleasure when perhaps nothing else could. After the more violent emotions of Sorrow, the mind demands amusement, and can find it in employment alone: but, full of its late sufferings, it can endure no employment not in some measure connected with them. Forcibly to turn away our attention to general subjects is a painful and most often an unavailing effort. But 0: how grateful to a wounded heart The tale of Misery to impartFrom others’ eyes bid artless sorrows flow, And raise esteem upon the base of Woe! Shaw. The communicativeness of our Nature leads us to describe our own sorrows; in the endeavor to describe them, intellectual activity is exerted; and from intellectual activity there results a pleasure, which is gradually associated, and mingles as a corrective, with the painful subject of the description. - True!" (it may be answered) “but how are the Public interested in your sorrows or your Description " We are for ever attributing personal Unities to imaginary Aggregates. What is the Public, but a term for a number of scattered individuals l of whom as many will be interested in these sorrows, as have experienced the same or similar. Holy be the lay Which mourning soothes the mourner on his way. If I could judge of others by myself, I should not hesitate to affirm, that the most interesting passages are those in which the Author develops his own feelings The sweet voice of Cona" never sounds so sweetly, as when it speaks of itself; and I should almost suspect that man of an unkindly heart, who could read the opening of the third book of the Paradise Lost without peculiar emotion. By a Law of our Nature, he, who labors under a strong feeling, is

* Ossian.

impelled to seek for sympathy; but a Poet's feelings are all strong. Quicquid amet valde amat. Akenside therefore speaks with philosophical accuracy when he classes Love and Poetry, as producing the same effects:

Love and the wish of Poets when their tongue

Would teach to others'.bosoms, what so charms

Their own.

Pleasures of Imagination. There is one species of Egotism which is truly disgusting; not that which leads us to communicate our feelings to others but that which would reduce the feelings of others to an identity with our own. The Atheist, who exclaims “pshaw!” when he glances his eye on the praises of Deity, is an Egotist: an old man, when he speaks contemptuously of Loveverses, is an Egotist: and the sleek Favorites of Fortune are Egotists, when they condemn all “melancholy, discontented” verses. Surely, it would be candid not merely to ask whether the poem pleases ourselves, but to consider whether or no there may not be others, to whom it is well calculated to give an innocent pleasure. I shall only add, that each of my readers will, I

hope, remember, that these Poems on various subjects, which he reads at one time and under the influence of one set of feelings, were written at different times and prompted by very different feelings; and therefore that the supposed inferiority of one Poem to another may sometimes be owing to the temper of mind in which he happens to peruse it.

My poems have been rightly charged with a profusion of double-epithets, and a general turgidness. I have pruned the double-epithets with no sparing hand; and used my best efforts to tame the swell and glitter both of thought and diction.* This latter

* Without any feeling of anger, I may yet be allowed to express some degree of surprise, that after having run the critical gauntlet for a certain class of faults, which I had, viz. a too ornate and elaborately poetic diction, and nothing having come before the judgment-seat of the Reviewers during the long interval, I should for at least seventeen years, quarte, after quarter, have been placed by them in the foremost rank of the proscribed, and made to abide the brunt of abuse and ridicule for faults directly opposite, viz. bald and prosaic language, and an affected simplicity both of matter and manner —faults which assuredly did not enter into the character of

my compositions.—Literary Life, i. 51. Published 1817.

fault however had insinuated itself into my Religious Musings with such intricacy of union, that sometimes I have omitted to disentangle the weed from the fear of snapping the flower. A third and heavier accusation has been brought against me, that of obscurity; but not, I think, with equal justice. An Author is obscure, when his conceptions are dim and imperfect, and his language incorrect, or unappropriate, or involved. A poem that abounds in allusions, like the Bard of Gray, or one that impersonates high and abstract truths, like Collins's Ode on the poetical character, claims not to be popular— but should be acquitted of obscurity. The deficiency is in the Reader. But this is a charge which every poet, whose imagination is warm and rapid, must expect from his contemporaries. Milton did not escape it; and it was adduced with virulence against Gray and Collins. We now hear no more of it: not that their poems are better understood at present, than they were at their first publication; but their fame is established; and a critic would accuse himself of frigidity or inattention, who should profess not to understand them. But a living writer is yet subjudice; and if we cannot follow his conceptions or enter into his feelings, it is more consoling to our pride to consider him as lost beneath, than as soaring above us. If any man expect from my poems the same easiness of style which he admires in a drinkIng-song, for him I have not written. Intelligibilia, non intellectum adfero. I expect neither profit nor general fame by my writings ; and I consider myself as having been amply repaid without either. Poetry has been to me its own “exceeding great reward:” it has soothed my afflictions; it has multiplied and resined my enjoyments; it has endeared solitude; and it has given me the habit of wishing to discover the Good and the Beautiful in all that meets and surrounds me.

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And when thou lovest thy pale orb to shroud
Behind the gather'd blackness lost on high ;
And when thou dartest from the wind-rent cloud
Thy placid lightning o'er the awaken'd sky.
Ah such is Hope' as changeful and as fair!
Now dimly peering on the wistful sight;
Now hid behind the dragon-wing'd Despair
But soon emerging in her radiant might,
She o'er the sorrow-clouded breast of Care
Sails, like a meteor kindling in its flight.

TIME, REAL AND IMAGINARY.

AN ALLEGORY.

ON the wide level of a mountain's head (I knew not where, but 't was some faery place Their pinions, ostrich-like, for sails outspread, Two lovely children run an endless race, A sister and a brother This far outstript the other; Yet ever runs she with reverted face, And looks and listens for the boy behind: For he, alas ! is blind O'er rough and smooth with even step he pass'd, And knows not whether he be first or last.

MONODY ON THE DEATH OF CHATTERTON.

O what a wonder seems the fear of death,
Seeing how gladly we all sink to sleep,
Babes, Children, Youths and Men,
Night following night for threescore years and tel
But doubly strange, where life is but a breath
To sigh and pant with, up Want's rugged steep.

Away, Grim Phantom" Scorpion King, away!
Reserve thy terrors and thy stings display
For coward Wealth and Guilt in robes of state :
Lo! by the grave I stand of one, for whom
A prodigal Nature and a niggard Doom
(That all bestowing, this withholding all)
Made each chance knell from distant spire or domie
Sound like a seeking Mother's anxious call,
Return, poor Child' Home, weary Truant, home !

Thee, Chatterton' these unblest stones protect
From want, and the bleak freezings of neglect.
Too long before the vexing Storm-blast driven,
Here hast thou found repose! beneath this sod :
Thou! O vain word! thou dwell'st not with the clod!
Amid the shining Host of the Forgiven
Thou at the throne of Mercy and thy God
The triumph of redeeming Love dost hymn
(Believe it, O my soul!) to harps of Seraphim.

Yet ost, perforce ('tis suffering Nature's call,)
I weep, that heaven-born Genius so shall fall;
And oft, in Fancy's saddest hour, my soul
Averted shudders at the poison'd bowl.
Now groans my sickening heart, as still I view
Thy corse of livid hue ;
Now indignation checks the feeble sigh,
Or flashes through the tear that glistens in mine eye.

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