time in the higher moments of conversation, when occasion, and mood, and person, begot an exalted crisis. More than once has Mr Coleridge said that, with pen in hand, he felt a thousand checks and difficulties in the expression of his meaning; but that-authorship aside-he never found the smallest hitch or impediment in the fullest utterance of his most subtle fancies by word of mouth. His abstrusest thoughts became rhythmical and clear when chanted to their own music.'* Mr Coleridge died at Highgate on the 25th of July 1834. In the preceding winter he had written the following epitaph, striking from its simplicity and humility, for himself: in a passage of Shelvocke, one of the classical circumnavigators of the earth, who states that his second captain, being a melancholy man, was possessed by a fancy that some long season of foul weather was owing to an albatross which had steadily pursued the ship, upon which he shot the bird, but without mending their condition. Coleridge makes the ancient mariner relate the circumstances attending his act of inhumanity to one of three wedding guests whom he meets and detains on his way to the marriage feast. He holds him with his glittering eye,' and invests his narration with a deep preternatural character and interest, and with touches of exquisite tenderness and energetic deStop, Christian passer-by! Stop, child of God! scription. The versification is irregular, in the style And read with gentle breast. Beneath this sod of the old ballads, and most of the action of the piece A poet lies, or that which once seemed he is unnatural; yet the poem is full of vivid and original Oh! lift a thought in prayer for S. T. C.! imagination. There is nothing else like it,' says That he, who many a year, with toil of breath, one of his critics; 'it is a poem by itself; between Found death in life, may here find life in death! it and other compositions, in pari materia, there is a Mercy for praise-to be forgiven for fame, chasm which you cannot overpass. The sensitive He asked and hoped through Christ-do thou the same. reader feels himself insulated, and a sea of wonder and mystery flows round him as round the spellImmediately on the death of Coleridge, several comstricken ship itself.' Coleridge further illustrates his pilations were made of his table-talk, correspondence, theory of the connection between the material and the and literary remains. His fame had been gradually spiritual world in his unfinished poem of Christabel,' extending, and public curiosity was excited with respect to the genius and opinions of a man who a romantic supernatural tale, filled with wild imagery combined such various and dissimilar powers, and and the most remarkable modulation of verse. The who was supposed capable of any task, however versification is founded on what the poet calls a new gigantic. Some of these Titanic fragments are valu- principle (though it was evidently practised by able-particularly his Shakspearian criticism. They in each line the number of accentuated words, not Chaucer and Shakspeare), namely, that of counting attest his profound thought and curious erudition, the number of syllables. 'Though the latter,' he and display his fine critical taste and discernment. In penetrating into and embracing the whole mean-line the accents will be found to be only four.' This says, may vary from seven to twelve, yet in each ing of a favourite author-unfolding the nice shades irregular harmony delighted both Scott and Byron, and distinctions of thought, character, feeling, or melody-darting on it the light of his own creative by whom it was imitated. We add a brief specimind and suggestive fancy--and perhaps linking the whole to some glorious original conception or image, Coleridge stands unrivalled. He does not appear as a critic, but as an eloquent and gifted expounder of kindred excellence and genius. He seems like one who has the key to every hidden chamber of profound and subtle thought and every ethereal conception. We cannot think, however, that he could ever have built up a regular system of ethics or criticism. He wanted the art to combine and arrange his materials. He was too languid and irresolute. He had never attained the art of writing with clearness and precision; for he is often unintelligible, turgid, and verbose, as if he struggled in vain after perspicacity and method. His intellect could not subordinate the 'shaping spirit' of his imagination. The poetical works of Coleridge have been collected and published in three volumes. They are various in style and manner, embracing ode, tragedy, and epigram, love poems, and strains of patriotism and superstition-a wild witchery of imagination, and, at other times, severe and stately thought and intellectual retrospection. His language is often rich and musical, highly figurative and ornate. Many of his minor poems are characterised by tenderness and beauty, but others are disfigured by passages of turgid sentimentalism and puerile affectation. The most original and striking of his productions is his well-known tale of The Ancient Mariner. According to De Quincy, the germ of this story is contained * Quarterly Review, vol. lii. p. 5. With one so impulsive as Coleridge, and liable to fits of depression and to ill-health, these appearances must have been very unequal. We have known three men of genius, all poets, who frequently listened to him, and yet described him as generally obscure, pedantic, and tedious. In his happiest moods he must, however, have been great and overwhelming. His voice and countenance were harmonious and beautiful. men: A The night is chill; the forest bare; She foldeth her arms beneath her cloak, There she sees a damsel bright, finer passage is that describing broken friend- Alas! they had been friends in youth; And life is thorny; and youth is vain: Doth work like madness in the brain. Each spake words of high disdain And insult to his heart's best brother: But never either found another The marks of that which once hath been. This metrical harmony of Coleridge exercises a sort of fascination even when it is found united to incoherent images and absurd conceptions. Thus, in Khubla Khan, a fragment written from recollections of a dream, we have the following melodious rhapsody: The shadow of the dome of pleasure A sunny pleasure-dome with caves of ice! A damsel with a dulcimer In a vision once I saw : It was an Abyssinian maid, And on her dulcimer she played, To such deep delight 'twould win me, And all who heard should see them there, The odes of Coleridge are highly passionate and elevated in conception. That on France was considered by Shelley to be the finest English ode of modern times. The hymn on Chamouni is equally lofty and brilliant. His 'Genevieve' is a pure and exquisite love-poem, without that gorgeous diffuseness which characterises the odes, yet more chastely and carefully finished, and abounding in the delicate and subtle traits of his imagination. Coleridge was deficient in the rapid energy and strong passion necessary for the drama. The poetical beauty of certain passages would not, on the stage, atone for the paucity of action and want of interest in his two plays, though, as works of genius, they vastly excel those of a more recent date which prove highly successful in representation. The Rime of the Ancient Mariner. He holds him with his glittering eye- The wedding-guest sat on a stone, He cannot choose but hear; And thus spake on that ancient man, The ship was cheered, the harbour cleared, Below the kirk, below the hill, The sun came up upon the left, And he shone bright, and on the right Higher and higher every day, The wedding-guest here beat his breast, The bride hath paced into the hall, Nodding their heads before her goes The wedding-guest he beat his breast, And now the storm-blast came, and he He struck with his o'ertaking wings, With sloping masts and dripping prow, The ship drove fast, loud roared the blast, And now there came both mist and snow, And ice mast-high came floating by, And through the drifts the snowy cliffs Nor shapes of men nor beasts we ken- The ice was here, the ice was there, It cracked and growled, and roared and howled, At length did cross an albatross, It ate the food it ne'er had eat, And a good south wind sprung up behind, The albatross did follow, And every day for food or play, Came to the mariner's hollo! In mist or cloud, on mast or shroud, It perched for vespers nine; Whiles all the night, through fog-smoke white, Glimmered the white moonshine. 64 The sun now rose upon the right, Out of the sea came he; Still hid in mist, and on the left Went down into the sea. And the good south-wind still blew behind, Nor any day for food or play And I had done a hellish thing, For all averred I had killed the bird Ah wretch, said they, the bird to slay Nor dim nor red, like God's own head, Then all averred I had killed the bird 'Twas right, said they, such birds to slay The fair breeze blew, the white foam flew, We were the first that ever burst Down dropt the breeze, the sails dropt down, 'Twas sad as sad could be; And we did speak only to break The silence of the sea! All in a hot and copper sky, The bloody sun at noon Right up above the mast did stand, Day after day, day after day We stuck, nor breath nor motion; Water, water everywhere, And all the boards did shrink; Nor any drop to drink. The very deep did rot; O Christ! Yea, slimy things did crawl with legs About, about, in reel and rout And every tongue, through utter drought, We could not speak, no more than if Ah, well-a-day! what evil looks PART III. There passed a weary time. Each throat At first it seemed a little speck, It moved and moved, and took at last A speck, a mist, a shape, I wist! As if it dodged a water-sprite, It plunged, and tacked, and veered. With throats unslaked, with black lips baked, We could nor laugh nor wail; Through utter drought all dumb we stood; I bit my arm, I sucked the blood, And cried, A sail! a sail! With throats unslaked, with black lips baked, Agape they heard me call; Gramercy they for joy did grin, And all at once their breath drew in, As they were drinking all. See! see! I cried, she tacks no more, Without a breeze, without a tide, And straight the sun was flecked with bars, As if through a dungeon-grate he peered Alas! thought I, and my heart beat loud, Are those her sails that glance in the sun Are those her ribs through which the sun Did peer, as through a grate; And is that woman all her crew? Is that a death, and are there two! Is death that woman's mate? Her lips were red, her looks were free, The naked hulk alongside came, 'The game is done! I've won, I've won!' Quoth she, and whistles thrice. The sun's rim dips, the stars rush out, We listened and looked sideways up; Fear at my heart, as at a cup, My life-blood seemed to sip. The stars were dim, and thick the night, The steersman's face by his lamp gleamed white; From the sails the dew did drip Till clomb above the eastern bar The horned moon, with one bright star wiki One after one, by the star-dogged moon, Too quick for groan or sigh, Each turned his face with a ghastly pang, Four times fifty living men The souls did from their bodies fly— PART IV. 'I fear thee, ancient mariner, I fear thy skinny hand! And thou art long, and lank, and brown, As is the ribbed sea-sand. I fear thee and thy glittering eye, Fear not, fear not, thou wedding-guest, Alone, alone, all, all alone, The many men so beautiful! And a thousand thousand slimy things I looked upon the rotting sea, I looked to heaven, and tried to pray; I closed my lids, and kept them close, And the balls like pulses beat; For the sky and the sea, and the sea and the sky, Lay like a load on my weary eye, And the dead were at my feet. The cold sweat melted from their limbs, Nor rot nor reek did they; The look with which they looked on me An orphan's curse would drag to hell A spirit from on high; But oh! more horrible than that Is a curse in a dead man's eye! Seven days, seven nights, I saw that curse, The moving moon went up the sky, And nowhere did abide: Her beams bemocked the sultry main, But where the ship's huge shadow lay Beyond the shadow of the ship They moved in tracks of shining white, Within the shadow of the ship O happy living things! no tongue A spring of love gushed from my heart, Sure my kind saint took pity on me, The self-same moment I could pray; And from my neck so free The albatross fell off, and sank PART V. O sleep! it is a gentle thing, To Mary Queen the praise be given ! The silly buckets on the deck, I dreamt that they were filled with dew; My lips were wet, my throat was cold, Sure I had drunken in my dreams, I moved, and could not feel my limbs: I was so light-almost I thought that I had died in sleep, And soon I heard a roaring wind: It did not come anear; But with its sound it shook the sails, The upper air burst into life! To and fro they were hurried about! And to and fro, and in and out, The wan stars danced between. And the coming wind did roar more loud, And the sails did sigh like sedge; And the rain poured down from one black cloud; The moon was at its edge. The thick black cloud was cleft, and still The moon was at its side: Like waters shot from some high crag, The lightning fell with never a jag, A river steep and wide. The loud wind never reached the ship, They groaned, they stirred, they all uprose, It had been strange, even in a dream, The helmsman steered, the ship moved on, Yet never a breeze up blew; The mariners all 'gan work the ropes They raised their limbs like lifeless tools→→→→ 339 The body of my brother's son Stood by me, knee to knee: The body and I pulled at one rope, But he said nought to me. 'I fear thee, ancient mariner!" Be calm thou wedding-guest! 'Twas not those souls that fled in pain, For when it dawned, they dropped their arms, Sweet sounds rose slowly through their mouths, Around, around, flew each sweet sound, Slowly the sounds came back again, Sometimes, a-dropping from the sky, How they seemed to fill the sea and air, And now 'twas like all instruments, Now like a lonely flute; And now it is an angel's song, That makes the heavens be mute. It ceased; yet still the sails made on That to the sleeping woods all night Till noon we quietly sailed on, Under the keel nine fathom deep, The sails at noon left off their tune, And the ship stood still also. The sun, right up above the mast, Then, like a pawing horse let go, But ere my living life returned, Is it he?'.quoth one 'Is this the man? With his cruel bow he laid full low The harmless albatross. The spirit who bideth by himself In the land of mist and snow, He loved the bird that loved the man Who shot him with his bow.' The other was a softer voice, As soft as honey-dew; Quoth he, 'The man hath penance done, PART VI. First Voice. But tell me! tell me! speak again, What makes that ship drive on so fast? Second Voice. Still as a slave before his lord, If he may know which way to go; First Voice. But why drives on that ship so fast, Without or wave or wind? Second Voice. The air is cut away before, Fly, brother, fly! more high, more high! For slow and slow that ship will go, I woke, and we were sailing on As in a gentle weather; "Twas night, calm night, the moon was high; The dead men stood together. All stood together on the deck, The pang, the curse, with which they died, I could not draw my eyes from theirs, And now this spell was snapt; once more I viewed the ocean green, And looked far forth, yet little saw Of what had else been seen Like one that on a lonesome road Doth walk in fear and dread, And having once turned round, walks on, And turns no more his head; Doth close behind him tread. But soon there breathed a wind on me, Nor sound nor motion made; Its path was not upon the sea, It raised my hair, it fanned my cheek It mingled strangely with my fears, Swiftly, swiftly flew the ship, Oh! dream of joy! is this indeed Is this the hill? is this the kirk? We drifted o'er the harbour bar, |