The Complete Dramatic Works of Samuel Taylor Coleridge. Samuel Taylor Coleridge

with supreme dominion

       Through the azure deep of air,"

      sinks down on the ground, breathless, exhausted, powerless, inactive; or if it must have some vent to its feelings, seeks the most easy and obvious; is soothed by friendly flattery, lulled by the murmur of immediate applause, thinks as it were aloud, and babbles in its dreams! A scholar (so to speak) is a more disinterested and abstracted character than a mere author. The first looks at the numberless volumes of a library, and says, "All these are mine:" the other points to a single volume (perhaps it may be an immortal one) and says, "My name is written on the back of it." This is a puny and groveling ambition, beneath the lofty amplitude of Mr. Coleridge's mind. No, he revolves in his wayward soul, or utters to the passing wind, or discourses to his own shadow, things mightier and more various!—Let us draw the curtain, and unlock the shrine.

      Learning rocked him in his cradle, and, while yet a child,

      "He lisped in numbers, for the numbers came."

      At sixteen he wrote his Ode on Chatterton, and he still reverts to that period with delight, not so much as it relates to himself (for that string of his own early promise of fame rather jars than otherwise) but as exemplifying the youth of a poet. Mr. Coleridge talks of himself, without being an egotist, for in him the individual is always merged in the abstract and general. He distinguished himself at school and at the University by his knowledge of the classics, and gained several prizes for Greek epigrams. How many men are there (great scholars, celebrated names in literature) who having done the same thing in their youth, have no other idea all the rest of their lives but of this achievement, of a fellowship and dinner, and who, installed in academic honours, would look down on our author as a mere strolling bard! At Christ's Hospital, where he was brought up, he was the idol of those among his school-fellows, who mingled with their bookish studies the music of thought and of humanity; and he was usually attended round the cloisters by a group of these (inspiring and inspired) whose hearts, even then, burnt within them as he talked, and where the sounds yet linger to mock Elia on his way, still turning pensive to the past! One of the finest and rarest parts of Mr. Coleridge's conversation, is when he expatiates on the Greek tragedians (not that he is not well acquainted, when he pleases, with the epic poets, or the philosophers, or orators, or historians of antiquity)—on the subtle reasonings and melting pathos of Euripides, on the harmonious gracefulness of Sophocles, tuning his love-laboured song, like sweetest warblings from a sacred grove; on the high-wrought trumpet-tongued eloquence of Æschylus, whose Prometheus, above all, is like an Ode to Fate, and a pleading with Providence, his thoughts being let loose as his body is chained on his solitary rock, and his afflicted will (the emblem of mortality)

      "Struggling in vain with ruthless destiny."

      As the impassioned critic speaks and rises in his theme, you would think you heard the voice of the Man hated by the Gods, contending with the wild winds as they roar, and his eye glitters with the spirit of Antiquity!

      Next, he was engaged with Hartley's tribes of mind, "etherial braid, thought-woven,"—and he busied himself for a year or two with vibrations and vibratiuncles and the great law of association that binds all things in its mystic chain, and the doctrine of Necessity (the mild teacher of Charity) and the Millennium, anticipative of a life to come—and he plunged deep into the controversy on Matter and Spirit, and, as an escape from Dr. Priestley's Materialism, where he felt himself imprisoned by the logician's spell, like Ariel in the cloven pine-tree, he became suddenly enamoured of Bishop Berkeley's fairy-world^[1], and used in all companies to build the universe, like a brave poetical fiction, of fine words—and he was deep-read in Malebranche, and in Cudworth's Intellectual System (a huge pile of learning, unwieldy, enormous) and in Lord Brook's hieroglyphic theories, and in Bishop Butler's Sermons, and in the Duchess of Newcastle's fantastic folios, and in Clarke and South and Tillotson, and all the fine thinkers and masculine reasoners of that age—and Leibnitz's Pre-established Harmony reared its arch above his head, like the rainbow in the cloud, covenanting with the hopes of man—and then he fell plump, ten thousand fathoms down (but his wings saved him harmless) into the hortus siccus of Dissent, where he pared religion down to the standard of reason and stripped faith of mystery, and preached Christ crucified and the Unity of the Godhead, and so dwelt for a while in the spirit with John Huss and Jerome of Prague and Socinus and old John Zisca, and ran through Neal's History of the Puritans, and Calamy's Non-Conformists' Memorial, having like thoughts and passions with them—but then Spinoza became his God, and he took up the vast chain of being in his hand, and the round world became the centre and the soul of all things in some shadowy sense, forlorn of meaning, and around him he beheld the living traces and the sky-pointing proportions of the mighty Pan—but poetry redeemed him from this spectral philosophy, and he bathed his heart in beauty, and gazed at the golden light of heaven, and drank of the spirit of the universe, and wandered at eve by fairy-stream or fountain,

      " ———— When he saw nought but beauty,

       When he heard the voice of that Almighty One

       In every breeze that blew, or wave that murmured"—

      and wedded with truth in Plato's shade, and in the writings of Proclus and Plotinus saw the ideas of things in the eternal mind, and unfolded all mysteries with the Schoolmen and fathomed the depths of Duns Scotus and Thomas Aquinas, and entered the third heaven with Jacob Behmen, and walked hand in hand with Swedenborg through the pavilions of the New Jerusalem, and sung his faith in the promise and in the word in his Religious Musings—and lowering himself from that dizzy height, poised himself on Milton's wings, and spread out his thoughts in charity with the glad prose of Jeremy Taylor, and wept over Bowles's Sonnets, and studied Cowper's blankverse, and betook himself to Thomson's Castle of Indolence, and sported with the wits of Charles the Second's days and of Queen Anne, and relished Swift's style and that of the John Bull (Arburthnot's we mean, not Mr. Croker's) and dallied with the British Essayists and Novelists, and knew all qualities of more modern writers with a learned spirit, Johnson, and Goldsmith, and Junius, and Burke, and Godwin, and the Sorrows of Werter, and Jean Jacques Rousseau, and Voltaire, and Marivaux, and Crebillon, and thousands more—now "laughed with Rabelais in his easy chair" or pointed to Hogarth, or afterwards dwelt on Claude's classic scenes or spoke with rapture of Raphael, and compared the women at Rome to figures that had walked out of his pictures, or visited the Oratory of Pisa, and described the works of Giotto and Ghirlandaio and Massaccio, and gave the moral of the picture of the Triumph of Death, where the beggars and the wretched invoke his dreadful dart, but the rich and mighty of the earth quail and shrink before it; and in that land of siren sights and sounds, saw a dance of peasant girls, and was charmed with lutes and gondolas,—or wandered into Germany and lost himself in the labyrinths of the Hartz Forest and of the Kantean philosophy, and amongst the cabalistic names of Fichtè and Schelling and Lessing, and God knows who—this was long after, but all the former while, he had nerved his heart and filled his eyes with tears, as he hailed the rising orb of liberty, since quenched in darkness and in blood, and had kindled his affections at the blaze of the French Revolution, and sang for joy when the towers of the Bastile and the proud places of the insolent and the oppressor fell, and would have floated his bark, freighted with fondest fancies, across the Atlantic wave with Southey and others to seek for peace and freedom—

      "In Philarmonia's undivided dale!"

      Alas! "Frailty, thy name is Genius!"—What is become of all this mighty heap of hope, of thought, of learning, and humanity? It has ended in swallowing doses of oblivion and in writing paragraphs in the Courier.—Such, and so little is the mind of man!

      It was not to be supposed that Mr, Coleridge could keep on at the rate he set off; he could not realize all he knew or thought, and less could not fix his desultory ambition; other stimulants supplied the place, and kept up the intoxicating dream, the fever and the madness of his early impressions. Liberty (the philosopher's and the poet's bride) had fallen a victim, meanwhile, to the murderous practices of the hag, Legitimacy. Proscribed by court-hirelings, too romantic for the herd of vulgar politicians, our enthusiast stood at bay, and at last turned on the pivot of a subtle casuistry to the unclean side: but his discursive reason would not let him trammel himself into a poet-laureate or stamp-distributor, and he stopped, ere he had quite passed that well-known "bourne