Blackwood's Edinburgh Magazine — Volume 57, No. 351, January 1845

And I have drunk the blood since then
Of thrice three hundred thousand men."

Good: But the sting of the hornet lies in the conclusion. If this quadriliteral man had done so much for them, (though really, we think, 6s. 8d. might have settled his claim,) what, says Fire, setting her arms a-kimbo, would they do for him? Slaughter replies, rather crustily, that, as far as a good kicking would go — or (says Famine) a little matter of tearing to pieces by the mob — they would be glad to take tickets at his benefit. "How, you bitches!" says Fire, "is that all?

"I alone am faithful; I

Cling to him everlastingly."

The sentiment is diabolical. And the question argued at the London dinner-table was — Could the writer have been other than a devil? The dinner was at the late excellent Mr Sotheby's, known advantageously in those days as the translator of Wieland's Oberon. Several of the great guns amongst the literary body were present; in particular, Sir Walter Scott; and he, we believe, with his usual good-nature, took the apologetic side of the dispute. In fact, he was in the secret. Nobody else, barring the author, knew at first whose good name was at stake. The scene must have been high. The company kicked about the poor diabolic writer's head as if it had been a tennis-ball. Coleridge, the yet unknown criminal, absolutely perspired and fumed in pleading for the defendant; the company demurred; the orator grew urgent; wits began to smoke the case, as active verbs; the advocate to smoke, as a neuter verb; the "fun grew fast and furious;" until at length delinquent arose, burning tears in his eyes, and confessed to an audience, (now bursting with stifled laughter, but whom he supposed to be bursting with fiery indignation,) "Lo! I am he that wrote it."

For our own parts, we side with Coleridge. Malice is not always of the heart. There is a malice of the understanding and the fancy. Neither do we think the worse of a man for having invented the most horrible and old-woman-troubling curse that demons ever listened to. We are too apt to swear horribly ourselves; and often have we frightened the cat, to say nothing of the kettle, by our shocking [far too shocking!] oaths.

There were other celebrated men whom Coleridge detested, or seemed to detest — Paley, Sir Sidney Smith, Lord Hutchinson, (the last Lord Donoughmore,) and Cuvier. To Paley it might seem as if his antipathy had been purely philosophic; but we believe that partly it was personal; and it tallies with this belief, that, in his earliest political tracts, Coleridge charged the archdeacon repeatedly with his own joke, as if it had been a serious saying, viz. — "that he could not afford to keep a conscience;" such luxuries, like a carriage, for instance, being obviously beyond the finances of poor men.

With respect to the philosophic question between the parties, as to the grounds of moral election, we hope it is no treason to suggest that both were perhaps in error. Against Paley, it occurs at once that he himself would not have made consequences the practical test in valuing the morality of an act, since these can very seldom be traced at all up to the final stages, and in the earliest stages are exceedingly different under different circumstances; so that the same act, tried by its consequences, would bear a fluctuating appreciation. This could not have been Paley's revised meaning. Consequently, had he been pressed by opposition, it would have come out, that by test he meant only speculative test: a very harmless doctrine certainly, but useless and impertinent to any purpose of his system. The reader may catch our meaning in the following illustration. It is a matter of general belief, that happiness, upon the whole, follows in a higher degree from constant integrity, than from the closest attention to self-interest. Now happiness is one of those consequences which Paley meant by final or remotest. But we could never use this idea as an exponent of integrity, or interchangeable criterion, because happiness cannot be ascertained or appreciated except upon long tracts of time, whereas the particular act of integrity depends continually upon the election of the moment. No man, therefore, could venture to lay down as a rule, Do what makes you happy; use this as your test of actions, satisfied that in that case always you will do the thing which is right. For he cannot discern independently what will make him happy; and he must decide on the spot. The use of the nexus between morality and happiness must therefore be inverted; it is not practical or prospective, but simply retrospective; and in that form it says no more than the good old rules hallowed in every cottage. But this furnishes no practical guide for moral election which a man had not, before he ever thought of this nexus. In the sense in which it is true, we need not go to the professor's chair for this maxim; in the sense in which it would serve Paley, it is absolutely false.

On the other hand, as against Coleridge, it is certain that many acts could be mentioned which are judged to be good or bad only because their consequences are known to be so, whilst the great catholic acts of life are entirely (and, if we may so phrase it, haughtily) independent of consequences. For instance, fidelity to a trust is a law of immutable morality subject to no casuistry whatever. You have been left executor to a friend — you are to pay over his last legacy to X, though a dissolute scoundrel; and you are to give no shilling of it to the poor brother of X, though a good man, and a wise man, struggling with adversity. You are absolutely excluded from all contemplation of results. It was your deceased friend's right to make the will; it is yours simply to see it executed. Now, in opposition to this primary class of actions stands another, such as the habit of intoxication, which are known to be wrong only by observing the consequences. If drunkenness did not terminate, after some years, in producing bodily weakness, irritability in the temper, and so forth, it would not be a vicious act. And accordingly, if a transcendent motive should arise in favour of drunkenness, as that it would enable you to face a degree of cold, or contagion, else menacing to life, a duty would arise, pro hâc vice, of getting drunk. We had an amiable friend who suffered under the infirmity of cowardice; an awful coward he was when sober; but, when very drunk, he had courage enough for the Seven Champions of Christendom. Therefore, in an emergency, where he knew himself suddenly loaded with the responsibility of defending a family, we approved highly of his getting drunk. But to violate a trust could never become right under any change of circumstances. Coleridge, however, altogether overlooked this distinction; which, on the other hand, stirring in Paley's mind, but never brought out to distinct consciousness, nor ever investigated, nor limited, has undermined his system. Perhaps it is not very important how a man theorizes upon morality; happily for us all, God has left no man in such questions practically to the guidance of his understanding; but still, considering that academic bodies are partly instituted for the support of speculative truth as well as truth practical, we must think it a blot upon the splendour of Oxford and Cambridge that both of them, in a Christian land, make Paley the foundation of their ethics; the alternative being Aristotle. And, in our mind, though far inferior as a moralist to the Stoics, Aristotle is often less a pagan than Paley.

Coleridge's dislike to Sir Sidney Smith and the Egyptian Lord Hutchinson fell under the category of Martial's case.

"Non amo te, Sabidi, nec possum dicere quare,

Hoc solum novi — non amo te, Sabidi."

Against Lord Hutchinson, we never heard him plead any thing of moment, except that he was finically Frenchified in his diction; of which he gave this instance — that having occasion to notice a brick wall, (which was literally that, not more and not less,) when reconnoitring the French defences, he called it a revêtement. And we ourselves remember his using the French word gloriole rather ostentatiously; that is, when no particular emphasis attached to the case. But every man has his foibles; and few, perhaps, are less conspicuously annoying than this of Lord Hutchinson's. Sir Sidney's crimes were less distinctly revealed to our mind. As to Cuvier, Coleridge's hatred of him was more to our taste; for (though quite unreasonable, we fear) it took the shape of patriotism. He insisted on it, that our British John Hunter was the genuine article, and that Cuvier was a humbug. Now, speaking privately to the public, we cannot go quite so far as that. But, when publicly we address that most respectable character, en grand costume, we always mean to back Coleridge. For we are a horrible John Bull ourselves. As Joseph Hume observes, it makes no difference to us — right or wrong, black or white — when our countrymen are concerned. And John Hunter, notwithstanding he had a bee in his bonnet,[26 - Vide, in particular, for the most exquisite specimen of pig-headedness that the world can furnish, his perverse evidence on the once famous case at the Warwick assizes, of Captain Donelan for poisoning his brother-in-law, Sir Theodosius Boughton.] was really a great man; though it will not follow that Cuvier must, therefore, have been a little one. We do not pretend to be acquainted with the tenth part of Cuvier's performances; but we suspect that Coleridge's range in that respect was not much greater than our own.

Other cases of monomaniac antipathy we might revive from our recollections of Coleridge, had we a sufficient motive. But in compensation, and by way of redressing the balance, he had many strange likings — equally monomaniac — and, unaccountably, he chose to exhibit his whimsical partialities by dressing up, as it were, in his own clothes, such a set of scarecrows as eye has not beheld. Heavens! what an ark of unclean beasts would have been Coleridge's private menagerie of departed philosophers, could they all have been trotted out in succession! But did the reader feel them to be the awful bores which, in fact, they were? No; because Coleridge had blown upon these withered anatomies, through the blowpipe of his own creative genius, a stream of gas that swelled the tissue of their antediluvian wrinkles, forced colour upon their cheeks, and splendour upon their sodden eyes. Such a process of ventriloquism never has existed. He spoke by their organs. They were the tubes; and he forced through their wooden machinery his own Beethoven harmonies.

First came Dr Andrew Bell. We knew him. Was he dull? Is a wooden spoon dull? Fishy were his eyes; torpedinous was his manner; and his main idea, out of two which he really had, related to the moon — from which you infer, perhaps, that he was lunatic. By no means. It was no craze, under the influence of the moon, which possessed him; it was an idea of mere hostility to the moon. The Madras people, like many others, had an idea that she influenced the weather. Subsequently the Herschels, senior and junior, systematized this idea; and then the wrath of Andrew, previously in a crescent state, actually dilated to a plenilunar orb. The Westmoreland people (for at the lakes it was we knew him) expounded his condition to us by saying that he was "maffled;" which word means "perplexed in the extreme." His wrath did not pass into lunacy; it produced simple distraction; an uneasy fumbling with the idea; like that of an old superannuated dog who longs to worry, but cannot for want of teeth. In this condition you will judge that he was rather tedious. And in this condition Coleridge took him up. Andrew's other idea, because he had two, related to education. Perhaps six-sevenths of that also came from Madras. No matter, Coleridge took that up; Southey also; but Southey with his usual temperate fervour. Coleridge, on the other hand, found celestial marvels both in the scheme and in the man. Then commenced the apotheosis of Andrew Bell; and because it happened that his opponent, Lancaster, between ourselves, really had stolen his ideas from Bell, what between the sad wickedness of Lancaster and the celestial transfiguration of Bell, gradually Coleridge heated himself to such an extent, that people, when referring to that subject, asked each other: "Have you heard Coleridge lecture on Bel and the Dragon?"

The next man glorified by Coleridge was John Woolman, the Quaker. Him, though we once possessed his works, it cannot be truly affirmed that we ever read. Try to read John, we often did; but read John we did not. This however, you say, might be our fault, and not John's. Very likely. And we have a notion that now, with our wiser thoughts, we should read John, if he were here on this table. It is certain that he was a good man, and one of the earliest in America, if not in Christendom, who lifted up his hand to protest against the slave-trade. But still, we suspect, that had John been all that Coleridge represented, he would not have repelled us from reading his travels in the fearful way that he did. But, again, we beg pardon, and entreat the earth of Virginia to lie light upon the remains of John Woolman; for he was an Israelite, indeed, in whom there was no guile.

The third person raised to divine honours by Coleridge was Bowyer, the master of Christ's Hospital, London — a man whose name rises into the nostrils of all who knew him with the gracious odour of a tallow-chandler's melting-house upon melting day, and whose memory is embalmed in the hearty detestation of all his pupils. Coleridge describes this man as a profound critic. Our idea of him is different. We are of opinion that Bowyer was the greatest villain of the eighteenth century. We may be wrong; but we cannot be far wrong. Talk of knouting indeed! which we did at the beginning of this paper in the mere playfulness of our hearts — and which the great master of the knout, Christopher, who visited men's trespasses like the Eumenides, never resorted to but in love for some great idea which had been outraged; why, this man knouted his way through life, from bloody youth up to truculent old age. Grim idol! whose altars reeked with children's blood, and whose dreadful eyes never smiled except as the stern goddess of the Thugs smiles, when the sound of human lamentations inhabits her ears. So much had the monster fed upon this great idea of "flogging," and transmuted it into the very nutriment of his heart, that he seems to have conceived the gigantic project of flogging all mankind; nay worse, for Mr Gillman, on Coleridge's authority, tells us (p. 24) the following anecdote: —

"'Sirrah, I'll flog you,' were words so familiar to him, that on one occasion some female friend of one of the boys," (who had come on an errand of intercession,) "still lingering at the door, after having been abruptly told to go, Bowyer exclaimed — 'Bring that woman here, and I'll flog her.'"

To this horrid incarnation of whips and scourges, Coleridge, in his Biographia Literaria, ascribes ideas upon criticism and taste, which every man will recognise as the intense peculiarities of Coleridge. Could these notions really have belonged to Bowyer, then how do we know but he wrote The Ancient Mariner? Yet, on consideration, no. For even Coleridge admitted that, spite of his fine theorizing upon composition, Mr Bowyer did not prosper in the practice. Of which he gave us this illustration; and as it is supposed to be the only specimen of the Bowyeriana which now survives in this sublunary world, we are glad to extend its glory. It is the most curious example extant of the melodious in sound: —

"'Twas thou that smooth'd'st the rough-rugg'd bed of pain."

"Smooth'd'st!" Would the teeth of a crocodile not splinter under that word? It seems to us as if Mr Bowyer's verses ought to be boiled before they can be read. And when he says, 'Twas thou, what is the wretch talking to? Can he be apostrophising the knout? We very much fear it. If so then, you see (reader!) that, even when incapacitated by illness from operating, he still adores the image of his holy scourge, and invokes it as alone able to smooth "his rough-rugg'd bed." Oh, thou infernal Bowyer! upon whom even Trollope (History of Christ's Hospital) charges "a discipline tinctured with more than due severity;" — can there be any partners found for thee in a quadrille, except Draco, the bloody lawgiver, Bishop Bonner, and Mrs Brownrigg?

The next pet was Sir Alexander Ball. Concerning Bowyer, Coleridge did not talk much, but chiefly wrote; concerning Bell, he did not write much, but chiefly talked. Concerning Ball, however, he both wrote and talked. It was in vain to muse upon any plan for having Ball blackballed, or for rebelling against Bell. Think of a man, who had fallen into one pit called Bell, secondly falling into another pit called Ball. This was too much. We were obliged to quote poetry against them: —

"Letters four do form his name;
He came by stealth and unlock'd my den;
And the nightmare I have felt since then
Of thrice three hundred thousand men."

Not that we insinuate any disrespect to Sir Alexander Ball. He was about the foremost, we believe, in all good qualities, amongst Nelson's admirable captains at the Nile. He commanded a seventy-four most effectually in that battle; he governed Malta as well as Sancho governed Barataria; and he was a true practical philosopher — as, indeed, was Sancho. But still, by all that we could ever learn, Sir Alexander had no taste for the abstract upon any subject; and would have read, as mere delirious wanderings, those philosophic opinions which Coleridge fastened like wings upon his respectable, but astounded, shoulders.

We really beg pardon for having laughed a little at these crazes of Coleridge. But laugh we did, of mere necessity, in those days, at Bell and Ball, whenever we did not groan. And, as the same precise alternative offered itself now, viz., that, in recalling the case, we must reverberate either the groaning or the laughter, we presumed the reader would vote for the last. Coleridge, we are well convinced, owed all these wandering and exaggerated estimates of men — these diseased impulses, that, like the mirage, showed lakes and fountains where in reality there were only arid deserts, to the derangements worked by opium. But now, for the sake of change, let us pass to another topic. Suppose we say a word or two on Coleridge's accomplishments as a scholar. We are not going to enter on so large a field as that of his scholarship in connexion with his philosophic labours, scholarship in the result; not this, but scholarship in the means and machinery, range of verbal scholarship, is what we propose for a moment's review.

For instance, what sort of a German scholar was Coleridge? We dare say that, because in his version of the Wallenstein there are some inaccuracies, those who may have noticed them will hold him cheap in this particular pretension. But, to a certain degree, they will be wrong. Coleridge was not very accurate in any thing but in the use of logic. All his philological attainments were imperfect. He did not talk German; or so obscurely — and, if he attempted to speak fast, so erroneously — that in his second sentence, when conversing with a German lady of rank, he contrived to assure her that in his humble opinion she was a — . Hard it is to fill up the hiatus decorously; but, in fact, the word very coarsely expressed that she was no better than she should be. Which reminds us of a parallel misadventure to a German, whose colloquial English had been equally neglected. Having obtained an interview with an English lady, he opened his business (whatever it might be) thus — "High-born madam, since your husband have kicked de bucket" — "Sir!" interrupted the lady, astonished and displeased. "Oh, pardon! — nine, ten tousand pardon! Now, I make new beginning — quite oder beginning. Madam, since your husband have cut his stick" — It may be supposed that this did not mend matters; and, reading that in the lady's countenance, the German drew out an octavo dictionary, and said, perspiring with shame at having a second time missed fire, — "Madam, since your husband have gone to kingdom come" — This he said beseechingly; but the lady was past propitiation by this time, and rapidly moved towards the door. Things had now reached a crisis; and, if something were not done quickly, the game was up. Now, therefore, taking a last hurried look at his dictionary, the German flew after the lady, crying out in a voice of despair — "Madam, since your husband, your most respected husband, have hopped de twig" — This was his sheet-anchor; and, as this also came home, of course the poor man was totally wrecked. It turned out that the dictionary he had used (Arnold's, we think,) — a work of a hundred years back, and, from mere ignorance, giving slang translations from Tom Brown, L'Estrange, and other jocular writers — had put down the verb sterben (to die) with the following worshipful series of equivalents — 1. To kick the bucket; 2. To cut one's stick; 3. To go to kingdom come; 4. To hop the twig.

But, though Coleridge did not pretend to any fluent command of conversational German, he read it with great ease. His knowledge of German literature was, indeed, too much limited by his rare opportunities for commanding any thing like a well-mounted library. And particularly it surprised us that Coleridge knew little or nothing of John Paul (Richter.) But his acquaintance with the German philosophic masters was extensive. And his valuation of many individual German words or phrases was delicate and sometimes profound.

As a Grecian, Coleridge must be estimated with a reference to the state and standard of Greek literature at that time and in this country. Porson had not yet raised our ideal. The earliest laurels of Coleridge were gathered, however, in that field. Yet no man will, at this day, pretend that the Greek of his prize ode is sufferable. Neither did Coleridge ever become an accurate Grecian in later times, when better models of scholarship, and better aids to scholarship, had begun to multiply. But still we must assert this point of superiority for Coleridge, that, whilst he never was what may be called a well-mounted scholar in any department of verbal scholarship, he yet displayed sometimes a brilliancy of conjectural sagacity, and a felicity of philosophic investigation, even in this path, such as better scholars do not often attain, and of a kind which cannot be learned from books. But, as respects his accuracy, again we must recall to the reader the state of Greek literature in England during Coleridge's youth; and, in all equity, as a means of placing Coleridge in the balances, specifically we must recall the state of Greek metrical composition at that period.

To measure the condition of Greek literature even in Cambridge, about the initial period of Coleridge, we need only look back to the several translations of Gray's Elegy by three (if not four) of the reverend gentlemen at that time attached to Eton College. Mathias, no very great scholar himself in this particular field, made himself merry, in his Pursuits of Literature, with these Eton translations. In that he was right. But he was not right in praising a contemporary translation by Cook, who (we believe) was the immediate predecessor of Porson in the Greek chair. As a specimen of this translation,[27 - It was printed at the end of Aristotle's Poetics, which Dr Cook edited.] we cite one stanza; and we cannot be supposed to select unfairly, because it is the stanza which Mathias praises in extravagant terms. "Here," says he, "Gray, Cook, and nature, do seem to contend for the mastery." The English quatrain must be familiar to every body: —

"The boast of heraldry, the pomp of pow'r,
And all that beauty, all that wealth e'er gave,
Await alike the inevitable hour;
The paths of glory lead but to the grave."

And the following, we believe, though quoting from a thirty-three years' recollection of it, is the exact Greek version of Cook: —

Ἁ χαρις εὐγενεων, χαρις ἁ βασιληιδος ἀρχας,
Δωρα τυχης χρυσεης, Ἀφροδιτης καλα τα δωρα,
Πανθ’ ἁμα ταυτα τεθνηκε, και εἰδεν μορσιμον ἁμαρ·
Ἡρωων κλε’ ὀλωλε, και ὠχετο ξυνον ἐς Ἀδην.

Now really these verses, by force of a little mosaic tesselation from genuine Greek sources, pass fluently over the tongue; but can they be considered other than a cento? Swarms of English schoolboys, at this day, would not feel very proud to adopt them. In fact, we remember (at a period say twelve years later than this) some iambic verses, which were really composed by a boy, viz. son of Dr Prettyman, (afterwards Tomline,) bishop of Winchester, and, in earlier times, private tutor to Mr Pitt; they were published by Middleton, first bishop of Calcutta, in the preface to his work on the Greek article; and for racy idiomatic Greek, self-originated, and not a mere mocking-bird's iteration of alien notes, are so much superior to all the attempts of these sexagenarian doctors, as distinctly to mark the growth of a new era and a new generation in this difficult accomplishment, within the first decennium of this century. It is singular that only one blemish is suggested by any of the contemporary critics in Dr Cook's verses, viz. in the word ξυνον, for which this critic proposes to substitute ὡοινον, to prevent, as he observes, the last syllable of ὠχετο from being lengthened by the ξ. Such considerations as these are necessary to the trutinæ castigatio, before we can value Coleridge's place on the scale of his own day; which day, quoad hoc, be it remembered, was 1790.

As to French, Coleridge read it with too little freedom to find pleasure in French literature. Accordingly, we never recollect his referring for any purpose, either of argument or illustration, to a French classic. Latin, from his regular scholastic training, naturally he read with a scholar's fluency; and indeed, he read constantly in authors, such as Petrarch, Erasmus, Calvin, &c., whom he could not then have found in translations. But Coleridge had not cultivated an acquaintance with the delicacies of classic Latinity. And it is remarkable that Wordsworth, educated most negligently at Hawkshead school, subsequently by reading the lyric poetry of Horace, simply for his own delight as a student of composition, made himself a master of Latinity in its most difficult form; whilst Coleridge, trained regularly in a great Southern school, never carried his Latin to any classical polish.

There is another accomplishment of Coleridge's, less broadly open to the judgment of this generation, and not at all of the next — viz. his splendid art of conversation, on which it will be interesting to say a word. Ten years ago, when the music of this rare performance had not yet ceased to vibrate in men's ears, what a sensation was gathering amongst the educated classes on this particular subject! What a tumult of anxiety prevailed to "hear Mr Coleridge" — or even to talk with a man who had heard him! Had he lived till this day, not Paganini would have been so much sought after. That sensation is now decaying; because a new generation has emerged during the ten years since his death. But many still remain whose sympathy (whether of curiosity in those who did not know him, or of admiration in those who did) still reflects as in a mirror the great stir upon this subject which then was moving in the world. To these, if they should enquire for the great distinguishing principle of Coleridge's conversation, we might say that it was the power of vast combination "in linked sweetness long drawn out." He gathered into focal concentration the largest body of objects, apparently disconnected, that any man ever yet, by any magic, could assemble, or, having assembled, could manage. His great fault was, that, by not opening sufficient spaces for reply or suggestion, or collateral notice, he not only narrowed his own field, but he grievously injured the final impression. For when men's minds are purely passive, when they are not allowed to re-act, then it is that they collapse most, and that their sense of what is said must ever be feeblest. Doubtless there must have been great conversational masters elsewhere, and at many periods; but in this lay Coleridge's characteristic advantage, that he was a great natural power, and also a great artist. He was a power in the art, and he carried a new art into the power.

But now, finally — having left ourselves little room for more — one or two words on Coleridge as an opium-eater.

We have not often read a sentence falling from a wise man with astonishment so profound, as that particular one in a letter of Coleridge's to Mr Gillman, which speaks of the effort to wean one's-self from opium as a trivial task. There are, we believe, several such passages. But we refer to that one in particular which assumes that a single "week" will suffice for the whole process of so mighty a revolution. Is indeed leviathan so tamed? In that case the quarantine of the opium-eater might be finished within Coleridge's time, and with Coleridge's romantic ease. But mark the contradictions of this extraordinary man. Not long ago we were domesticated with a venerable rustic, strongheaded, but incurably obstinate in his prejudices, who treated the whole body of medical men as ignorant pretenders, knowing absolutely nothing of the system which they professed to superintend. This, you will remark, is no very singular case. No; nor, as we believe, is the antagonist case of ascribing to such men magical powers. Nor, what is worse still, the co-existence of both cases in the same mind, as in fact happened here. For this same obstinate friend of ours, who treated all medical pretensions as the mere jest of the universe, every third day was exacting from his own medical attendants some exquisite tour-de-force, as that they should know or should do something, which, if they had known or done, all men would have suspected them reasonably of magic. He rated the whole medical body as infants; and yet what he exacted from them every third day as a matter of course, virtually presumed them to be the only giants within the whole range of science. Parallel and equal is the contradiction of Coleridge. He speaks of opium excess, his own excess, we mean — the excess of twenty-five years — as a thing to be laid aside easily and for ever within seven days; and yet, on the other hand, he describes it pathetically, sometimes with a frantic pathos, as the scourge, the curse, the one almighty blight which had desolated his life.

This shocking contradiction we need not press. All readers will see that. But some will ask — was Mr Coleridge right in either view? Being so atrociously wrong in the first notion, (viz. that the opium of twenty-five years was a thing easily to be forsworn,) where a child could know that he was wrong, was he even altogether right, secondly, in believing that his own life, root and branch, had been withered by opium? For it will not follow, because, with a relation to happiness and tranquillity, a man may have found opium his curse, that therefore, as a creature of energies and great purposes, he must have been the wreck which he seems to suppose. Opium gives and takes away. It defeats the steady habit of exertion, but it creates spasms of irregular exertion; it ruins the natural power of life, but it developes preternatural paroxysms of intermitting power.

Let us ask of any man who holds that not Coleridge himself but the world, as interested in Coleridge's usefulness, has suffered by his addiction to opium; whether he is aware of the way in which opium affected Coleridge; and secondly, whether he is aware of the actual contributions to literature — how large they were — which Coleridge made in spite of opium. All who were intimate with Coleridge must remember the fits of genial animation which were created continually in his manner and in his buoyancy of thought by a recent or by an extra dose of the omnipotent drug. A lady, who knew nothing experimentally of opium, once told us, that she "could tell when Mr Coleridge had taken too much opium by his shining countenance." She was right; we know that mark of opium excesses well, and the cause of it; or at least we believe the cause to lie in the quickening of the insensible perspiration which accumulates and glistens on the face. Be that as it may, a criterion it was that could not deceive us as to the condition of Coleridge. And uniformly in that condition he made his most effective intellectual displays. It is true that he might not be happy under this fiery animation, and we fully believe that he was not. Nobody is happy under laudanum except for a very short term of years. But in what way did that operate upon his exertions as a writer? We are of opinion that it killed Coleridge as a poet. "The harp of Quantock" was silenced for ever by the torment of opium. But proportionably it roused and stung by misery his metaphysical instincts into more spasmodic life. Poetry can flourish only in the atmosphere of happiness. But subtle and perplexed investigations of difficult problems are amongst the commonest resources for beguiling the sense of misery. And for this we have the direct authority of Coleridge himself speculating on his own case. In the beautiful though unequal ode entitled Dejection, stanza six, occurs the following passage:

"For not to think of what I needs must feel,
But to be still and patient all I can;
And haply by abstruse research to steal
From my own nature all the natural man—
This was my sole resource, my only plan;
Till that, which suits a part, infects the whole,
And now is almost grown the habit of my soul."

Considering the exquisite quality of some poems which Coleridge has composed, nobody can grieve (or has grieved) more than ourselves, at seeing so beautiful a fountain choked up with weeds. But had Coleridge been a happier man, it is our fixed belief that we should have had far less of his philosophy, and perhaps, but not certainly, might have had more of his general literature. In the estimate of the public, doubtless, that will seem a bad exchange. Every man to his taste. Meantime, what we wish to show is, that the loss was not absolute, but merely relative.

It is urged, however, that, even on his philosophic speculations, opium operated unfavourably in one respect, by often causing him to leave them unfinished. This is true. Whenever Coleridge (being highly charged, or saturated, with opium) had written with distempered vigour upon any question, there occurred soon after a recoil of intense disgust, not from his own paper only, but even from the subject. All opium-eaters are tainted with the infirmity of leaving works unfinished, and suffering reactions of disgust. But Coleridge taxed himself with that infirmity in verse before he could at all have commenced opium-eating. Besides, it is too much assumed by Coleridge and by his biographer, that to leave off opium was of course to regain juvenile health. But all opium-eaters make the mistake of supposing every pain or irritation which they suffer to be the product of opium. Whereas a wise man will say, suppose you do leave off opium, that will not deliver you from the load of years (say sixty-three) which you carry on your back. Charles Lamb, another man of true genius, and another head belonging to the Blackwood Gallery, made that mistake in his Confessions of a Drunkard. "I looked back," says he, "to the time when always, on waking in the morning, I had a song rising to my lips." At present, it seems, being a drunkard, he has no such song. Ay, dear Lamb, but note this, that the drunkard was fifty-six years old, the songster was twenty-three. Take twenty-three from fifty-six, and we have some reason to believe that thirty-three will remain; which period of thirty-three years is a pretty good reason for not singing in the morning, even if brandy has been out of the question.