Specimens of the Table Talk of Samuel Taylor Coleridge

Yet all such instances may be nominatives; for I cannot find an example of the accusative absolute in the masculine or feminine gender, where the difference of inflexion would show the case.—ED.]

The inflections of the tenses of a verb are formed by adjuncts of the verb substantive. In Greek it is obvious. The E is the prefix significative of a past time.

June 15. 1827

MAGNETISM.—ELECTRICITY.—GALVANISM

Perhaps the attribution or analogy may seem fanciful at first sight, but I am in the habit of realizing to myself Magnetism as length; Electricity as breadth or surface; and Galvanism as depth.

June 24. 1827

SPENSER.—CHARACTER Of OTHELLO.—HAMLET.—POLONIUS.—PRINCIPLES AND MAXIMS.—LOVE.—MEASURE FOR MEASURE.—BEN JONSON.—BEAUMONT AND FLETCHER.– VERSION OF THE BIBLE.—SPURZHEIM.—CRANIOLOGY

Spenser's Epithalamion is truly sublime; and pray mark the swan-like movement of his exquisite Prothalamion.[25 - How well I remember this Midsummer-day! I shall never pass such another. The sun was setting behind Caen Wood, and the calm of the evening was so exceedingly deep that it arrested Mr. Coleridge's attention. We were alone together in Mr. Gillman's drawing-room, and Mr. C. left off talking, and fell into an almost trance-like state for ten minutes whilst contemplating the beautiful prospect before us. His eyes swam in tears, his head inclined a little forward, and there was a slight uplifting of the fingers, which seemed to tell me that he was in prayer. I was awestricken, and remained absorbed in looking at the man, in forgetfulness of external nature, when he recovered himself, and after a word or two fell by some secret link of association upon Spenser's poetry. Upon my telling him that I did not very well recollect the Prothalamion: "Then I must read you a bit of it," said he; and, fetching the book from the next room, he recited the whole of it in his finest and most musical manner. I particularly bear in mind the sensible diversity of tone and rhythm with which he gave:—"Sweet Thames! run softly till I end my song,"the concluding line of each of the ten strophes of the poem.When I look upon the scanty memorial, which I have alone preserved of this afternoon's converse, I am tempted to burn these pages in despair. Mr. Coleridge talked a volume of criticism that day, which, printed verbatim as he spoke it, would have made the reputation of any other person but himself. He was, indeed, particularly brilliant and enchanting; and I left him at night so thoroughly magnetized, that I could not for two or three days afterwards reflect enough to put any thing on paper,—ED.] His attention to metre and rhythm is sometimes so extremely minute as to be painful even to my ear, and you know how highly I prize good versification.

* * * * *

I have often told you that I do not think there is any jealousy, properly so called, in the character of Othello. There is no predisposition to suspicion, which I take to be an essential term in the definition of the word. Desdemona very truly told Emilia that he was not jealous, that is, of a jealous habit, and he says so as truly of himself. Iago's suggestions, you see, are quite new to him; they do not correspond with any thing of a like nature previously in his mind. If Desdemona had, in fact, been guilty, no one would have thought of calling Othello's conduct that of a jealous man. He could not act otherwise than he did with the lights he had; whereas jealousy can never be strictly right. See how utterly unlike Othello is to Leontes, in the Winter's Tale, or even to Leonatus, in Cymbeline! The jealousy of the first proceeds from an evident trifle, and something like hatred is mingled with it; and the conduct of Leonatus in accepting the wager, and exposing his wife to the trial, denotes a jealous temper already formed.

* * * * *

Hamlet's character is the prevalence of the abstracting and generalizing habit over the practical. He does not want courage, skill, will, or opportunity; but every incident sets him thinking; and it is curious, and at the same time strictly natural, that Hamlet, who all the play seems reason itself, should he impelled, at last, by mere accident to effect his object. I have a smack of Hamlet myself, if I may say so.

* * * * *

A Maxim is a conclusion upon observation of matters of fact, and is merely retrospective: an Idea, or, if you like, a Principle, carries knowledge within itself, and is prospective. Polonius is a man of maxims. Whilst he is descanting on matters of past experience, as in that excellent speech to Laertes before he sets out on his travels, he is admirable; but when he comes to advise or project, he is a mere dotard.[26 - Act i. sc. 3] You see Hamlet, as the man of ideas, despises him.

* * * * *

A man of maxims only is like a Cyclops with one eye, and that eye placed in the back of his head.

* * * * *

In the scene with Ophelia, in the third act,[27 - Sc. 1.] Hamlet is beginning with great and unfeigned tenderness; but, perceiving her reserve and coyness, fancies there are some listeners, and then, to sustain his part, breaks out into all that coarseness.

Love is the admiration and cherishing of the amiable qualities of the beloved person, upon the condition of yourself being the object of their action. The qualities of the sexes correspond. The man's courage is loved by the woman, whose fortitude again is coveted by the man. His vigorous intellect is answered by her infallible tact. Can it be true, what is so constantly affirmed, that there is no sex in souls?—I doubt it, I doubt it exceedingly.[28 - Mr. Coleridge was a great master in the art of love, but he had not studied in Ovid's school. Hear his account of the matter:—"Love, truly such, is itself not the most common thing in the world, and mutual love still less so. But that enduring personal attachment, so beautifully delineated by Erin's sweet melodist, and still more touchingly, perhaps, in the well-known ballad, 'John Anderson, my Jo, John,' in addition to a depth and constancy of character of no every-day occurrence, supposes a peculiar sensibility and tenderness of nature; a constitutional communicativeness and utterancy of heart and soul; a delight in the detail of sympathy, in the outward and visible signs of the sacrament within,—to count, as it were, the pulses of the life of love. But, above all, it supposes a soul which, even in the pride and summer-tide of life, even in the lustihood of health and strength, had felt oftenest and prized highest that which age cannot take away, and which in all our lovings is the love; I mean, that willing sense of the unsufficingness of the self for itself, which predisposes a generous nature to see, in the total being of another, the supplement and completion of its own; that quiet perpetual seeking which the presence of the beloved object modulates, not suspends, where the heart momently finds, and, finding again, seeks on; lastly, when 'life's changeful orb has passed the full,' a confirmed faith in the nobleness of humanity, thus brought home and pressed, as it were, to the very bosom of hourly experience; it supposes, I say, a heartfelt reverence for worth, not the less deep because divested of its solemnity by habit, by familiarity, by mutual infirmities, and even by a feeling of modesty which will arise in delicate minds, when they are conscious of possessing the same, or the correspondent, excellence in their own characters. In short, there must be a mind, which, while it feels the beautiful and the excellent in the beloved as its own, and by right of love appropriates it, can call goodness its playfellow; and dares make sport of time and infirmity, while, in the person of a thousand-foldly endeared partner, we feel for aged virtue the caressing fondness that belongs to the innocence of childhood, and repeat the same attentions and tender courtesies which had been dictated by the same affection to the same object when attired in feminine loveliness or in manly beauty." (Poetical Works, vol. ii. p. 120.)—ED.]

Measure for Measure is the single exception to the delightfulness of Shakspeare's plays. It is a hateful work, although Shakspearian throughout. Our feelings of justice are grossly wounded in Angelo's escape. Isabella herself contrives to be unamiable, and Claudio is detestable.

* * * * *

I am inclined to consider The Fox as the greatest of Ben Jonson's works. But his smaller works are full of poetry.

* * * * *

Monsieur Thomas and the little French Lawyer are great favourites of mine amongst Beaumont and Fletcher's plays. How those plays overflow with wit! And yet I scarcely know a more deeply tragic scene any where than that in Rollo, in which Edith pleads for her father's life, and then, when she cannot prevail, rises up and imprecates vengeance on his murderer.[29 - Act iii. sc. 1.:—"ROLLO. Hew off her hands!HAMOND. Lady, hold off!EDITH. No! hew 'em;Hew off my innocent hands, as he commands you!They'll hang the faster on for death's convulsion.—Thou seed of rocks, will nothing move thee, then?Are all my tears lost, all my righteous prayersDrown'd in thy drunken wrath? I stand up thus, then,Thou boldly bloody tyrant,And to thy face, in heav'n's high name defy thee!And may sweet mercy, when thy soul sighs for it,—When under thy black mischiefs thy flesh trembles,—When neither strength, nor youth, nor friends, nor gold,Can stay one hour; when thy most wretched conscience,Waked from her dream of death, like fire shall melt thee,—When all thy mother's tears, thy brother's wounds,Thy people's fears, and curses, and my loss,My aged father's loss, shall stand before thee—ROLLO. Save him, I say; run, save him, save her father;Fly and redeem his head!EDITH. May then that pity," &c.]

* * * * *

Our version of the Bible is to be loved and prized for this, as for a thousand other things,—that it has preserved a purity of meaning to many terms of natural objects. Without this holdfast, our vitiated imaginations would refine away language to mere abstractions. Hence the French have lost their poetical language; and Mr. Blanco White says the same thing has happened to the Spanish.

* * * * *

I have the perception of individual images very strong, but a dim one of the relation of place. I remember the man or the tree, but where I saw them I mostly forget.[30 - There was no man whose opinion in morals, or even in a matter of general conduct in life, if you furnished the pertinent circumstances, I would have sooner adopted than Mr. Coleridge's; but I would not take him as a guide through streets or fields or earthly roads. He had much of the geometrician about him; but he could not find his way. In this, as in many other peculiarities of more importance, he inherited strongly from his learned and excellent father, who deserves, and will, I trust, obtain, a separate notice for himself when his greater son's life comes to be written. I believe the beginning of Mr. C.'s liking for Dr. Spurzheim was the hearty good humour with which the Doctor bore the laughter of a party, in the presence of which he, unknowing of his man, denied any Ideality, and awarded an unusual share of Locality, to the majestic silver-haired head of my dear uncle and father-in-law. But Mr. Coleridge immediately shielded the craniologist under the distinction preserved in the text, and perhaps, since that time, there may be a couple of organs assigned to the latter faculty.—ED.]

* * * * *

Craniology is worth some consideration, although it is merely in its rudiments and guesses yet. But all the coincidences which have been observed could scarcely be by accident. The confusion and absurdity, however, will be endless until some names or proper terms are discovered for the organs, which are not taken from their mental application or significancy. The forepart of the head is generally given up to the higher intellectual powers; the hinder part to the sensual emotions.

* * * * *

Silence does not always mark wisdom. I was at dinner, some time ago, in company with a man, who listened to me and said nothing for a long time; but he nodded his head, and I thought him intelligent. At length, towards the end of the dinner, some apple dumplings were placed on the table, and my man had no sooner seen them, than he burst forth with—"Them's the jockies for me!" I wish Spurzheim could have examined the fellow's head.

* * * * *

Some folks apply epithets as boys do in making Latin verses. When I first looked upon the Falls of the Clyde, I was unable to find a word to express my feelings. At last, a man, a stranger to me, who arrived about the same time, said:—"How majestic!"—(It was the precise term, and I turned round and was saying—"Thank you, Sir! that is the exact word for it"—when he added, eodem flatu)—"Yes! how very pretty!"

* * * * *

July 8. 1827

BULL AND WATERLAND.—THE TRINITY

Bull and Waterland are the classical writers on the Trinity.[31 - Mr. Coleridge's admiration of Bull and Waterland as high theologians was very great. Bull he used to read in the Latin Defensio Fidei Nicaenae, using the Jesuit Zola's edition of 1784, which, I think, he bought at Rome. He told me once, that when he was reading a Protestant English Bishop's work on the Trinity, in a copy edited by an Italian Jesuit in Italy, he felt proud of the church of England, and in good humour with the church of Rome.—ED.]

In the Trinity there is, 1. Ipseity. 2. Alterity. 3. Community. You may express the formula thus:—

God, the absolute Will or Identity, = Prothesis. The Father = Thesis. The Son = Antithesis. The Spirit = Synthesis.

* * * * *

The author of the Athanasian Creed is unknown. It is, in my judgment, heretical in the omission, or implicit denial, of the Filial subordination in the Godhead, which is the doctrine of the Nicene Creed, and for which Bull and Waterland have so fervently and triumphantly contended; and by not holding to which, Sherlock staggered to and fro between Tritheism and Sabellianism. This creed is also tautological, and, if not persecuting, which I will not discuss, certainly containing harsh and ill-conceived language.

* * * * *

How much I regret that so many religious persons of the present day think it necessary to adopt a certain cant of manner and phraseology as a token to each other. They must improve this and that text, and they must do so and so in a prayerful way; and so on. Why not use common language? A young lady the other day urged upon me that such and such feelings were the marrow of all religion; upon which I recommended her to try to walk to London upon her marrow-bones only.

* * * * *

July 9. 1827

SCALE OF ANIMAL BEING

In the very lowest link in the vast and mysterious chain of Being, there is an effort, although scarcely apparent, at individualization; but it is almost lost in the mere nature. A little higher up, the individual is apparent and separate, but subordinate to any thing in man. At length, the animal rises to be on a par with the lowest power of the human nature. There are some of our natural desires which only remain in our most perfect state on earth as means of the higher powers' acting.[32 - These remarks seem to call for a citation of that wonderful passage, transcendant alike in eloquence and philosophic depth, which the readers of the Aids to Reflection have long since laid up in cedar:—"Every rank of creatures, as it ascends in the scale of creation, leaves death behind it or under it. The metal at its height of being seems a mute prophecy of the coming vegetation, into a mimic semblance of which it crystallizes. The blossom and flower, the acme of vegetable life, divides into correspondent organs with reciprocal functions, and by instinctive motions and approximations seems impatient of that fixture, by which it is differenced in kind from the flower-shaped Psyche that flutters with free wing above it. And wonderfully in the insect realm doth the irritability, the proper seat of instinct, while yet the nascent sensibility is subordinate thereto,—most wonderfully, I say, doth the muscular life in the insect, and the musculo-arterial in the bird, imitate and typically rehearse the adaptive understanding, yea, and the moral affections and charities of man. Let us carry ourselves back, in spirit, to the mysterious week, the teeming work-days of the Creator, as they rose in vision before the eye of the inspired historian "of the generations of the heaven and earth, in the days that the Lord God made the earth and the heavens." And who that hath watched their ways with an understanding heart, could, as the vision evolving still advanced towards him, contemplate the filial and loyal bee; the home building, wedded, and divorceless swallow; and, above all, the manifoldly intelligent ant tribes, with their commonwealth and confederacies, their warriors and miners, the husband-folk, that fold in their tiny flocks on the honied leaf, and the virgin sisters with the holy instincts of maternal love, detached and in selfless purity, and not say to himself, Behold the shadow of approaching Humanity, the sun rising from behind, in the kindling morn of creation! Thus all lower natures find their highest good in semblances and seekings of that which is higher and better. All things strive to ascend, and ascend in their striving. And shall man alone stoop? Shall his pursuits and desires, the reflections of his inward life, be like the reflected image of a tree on the edge of a pool, that grows downward, and seeks a mock heaven in the unstable element beneath it, in neighbourhood with the slim water-weeds and oozy bottom-grass that are yet better than itself and more noble, in as far as substances that appear as shadows are preferable to shadows mistaken for substance? No! it must be a higher good to make you happy. While you labour for any thing below your proper humanity, you seek a happy life in the region of death. Well saith the moral poet:—'Unless above himself he canErect himself, how mean a thing is man!'"P. 105. 2d ed.—ED.]

July 12. 1827

POPEDOM.—SCANDERBEG.—THOMAS À BECKET.—PURE AGES OF GREEK, ITALIAN, AND ENGLISH.—LUTHER.—BAXTER.—ALGERNON SIDNEY'S STYLE.—ARIOSTO AND TASSO.– PROSE AND POETRY.—THE FATHERS.—RHENFERD.—JACOB BEHMEN