Chapter 128

_Who_ well remembers _what_ he well can do; The _Faith_ lives only where the _faith_ doth breed.

4

SIR JOHN DAVIES

ON THE IMMORTALITY OF THE SOUL

(Sect. iv. Stanzas 12-14.)

Doubtless, this could not be, but that she turns Bodies to spirits, by sublimation strange; As fire converts to fire the things it burns; As we our meats into our nature change.

From their gross matter she abstracts the forms, 5 And draws a kind of quintessence from things; Which to her proper nature she transforms, To bear them light, on her celestial wings.

This doth she, when, from things particular, She doth abstract the universal kinds, 10 Which bodiless and immaterial are, And can be only lodg'd within our minds.

Stanza 12 Doubtless, &c. l. 2 Bodies to _spirit_, &c. l. 4. As we our _food_, &c.

Stanza 13, l. 1 From their gross matter she abstracts _their_ forms.

Stanza 14

_Thus doth she, when from individual states_ She doth abstract the universal kinds; _Which then re-clothed in divers names and_ fates _Steal access through our senses to our_ minds.

_Biog. Lit._, Cap. xiv, 1817, II, 12; 1847, II, Cap. i, pp. 14-15. The alteration was first noted in 1847.

5

DONNE

ECLOGUE. 'ON UNWORTHY WISDOM'

So reclused Hermits oftentimes do know More of Heaven's glory than a worldly can: As Man is of the World, the Heart of Man Is an Epitome of God's great Book Of Creatures, and Men need no further look.

These lines are quoted by Coleridge in _The Friend_, 1818, i. 192; 1850, i. 147. The first two lines run thus:

_The_ recluse _Hermit oft'_ times _more doth_ know _Of the world's inmost wheels_, than worldlings can, &c.

The alteration was first pointed out in an edition of _The Friend_ issued by H. N. Coleridge in 1837.

6

LETTER TO SIR HENRY GOODYERE

Stanzas II, III, IV, and a few words from Stanza V, are prefixed as the motto to Essay XV of _The Friend_, 1818, i. 179; 1850, i. 136.

For Stanza II, line 3--

But he which dwells there is not so; for he _With him_ who dwells there 'tis not so; for he

For Stanza III--

So had your body her morning, hath her noon, And shall not better, her next change is night: But her fair larger guest, t'whom sun and moon Are sparks, and short liv'd, claims another right.--

The motto reads:

_Our bodies had their_ morning, have their noon, And shall not better--the next change is night, But _their_ fair larger guest, t'whom sun and moon Are sparks and short liv'd, claims another right.

The alteration was first noted in 1837. In 1850 line 3 of Stanza III 'fair' is misprinted 'far'.

7

BEN JONSON

A NYMPH'S PASSION

I love, and he loves me again, Yet dare I not tell who; For if the nymphs should know my swain, I fear they'd love him too; Yet if it be not known, 5 The pleasure is as good as none, For that's a narrow joy is but our own.

I'll tell, that if they be not glad, They yet may envy me; But then if I grow jealous mad, 10 And of them pitied be, It were a plague 'bove scorn, And yet it cannot be forborne, Unless my heart would, as my thought, be torn.

He is, if they can find him, fair, 15 And fresh and fragrant too, As summer's sky or purged air, And looks as lilies do That are this morning blown; Yet, yet I doubt he is not known, 20 And fear much more, that more of him be shown.

But he hath eyes so round and bright, As make away my doubt, Where Love may all his torches light Though hate had put them out; 25 But then, t'increase my fears, What nymph soe'er his voice but hears, Will be my rival, though she have but ears.

I'll tell no more, and yet I love, And he loves me; yet no 30 One unbecoming thought doth move From either heart, I know; But so exempt from blame, As it would be to each a fame, If love or fear would let me tell his name. 35

_Underwoods_ No. V.

MUTUAL PASSION

ALTERED AND MODERNIZED FROM AN OLD POET

I love, and he loves me again, Yet dare I not tell who: For if the nymphs should know my swain, I fear they'd love him too. _Yet while my joy's unknown, 5 Its rosy buds are but half-blown: What no one with me shares, seems scarce my own._

I'll tell, that if they be not glad, They yet may envy me: But then if I grow jealous mad, 10 And of them pitied be, _'Twould vex me worse than_ scorn! And yet it cannot be forborn, Unless my heart would _like_ my _thoughts_ be torn.

He is, if they can find him, fair 15 And fresh, and fragrant too; _As after rain the summer air_, And looks as lilies do, That are this morning blown! Yet, yet I doubt, he is not known, 20 _Yet, yet I fear to have him fully shewn_.

But he hath eyes so _large_, and bright. _Which none can see, and_ doubt _That_ Love _might thence_ his torches light Tho' Hate had put them out! 25 But then to _raise_ my fears, _His voice--what maid so ever_ hears Will be my rival, tho' she have but ears.

I'll tell no more! _yet I love him_, And ho loves me; _yet so, 30 That never one low wish did dim Our love's pure light, I know-- In each so free from_ blame, _That both of us would gain new_ fame, If love's _strong fears_ would let me tell his name! 35

First published in _The Courier_, September 21, 1811; included in the supplementary sheet to _Sibylline Leaves_; reprinted in _Essays on His Own Times_, iii. 995, 996, and in the Appendix to _P. W._, 1863. It was first pointed out by W. E. Henley that 'Mutual Passion' is an adaptation of 'A Nymph's Passion', No. V of Ben Jonson's _Underwoods_.

8

UNDERWOODS

No. VI. THE HOUR-GLASS.

Consider this small dust, here in the glass By atoms moved: Could you believe that this the body was Of one that loved; And in his mistress' flame playing like a fly, 5 Was turned to cinders by her eye: Yes; and in death, as life unblest, To have 't exprest, Even ashes of lovers find no rest.

THE HOUR-GLASS

O think, fair maid! these sands that pass In slender threads adown this glass, Were once the body of some swain, Who lov'd too well and lov'd in vain, And let one soft sigh heave thy breast, 5 That not in life alone unblest E'en lovers' ashes find no rest.

First published in _The Courier_, August 30, 1811; included in _Essays on His Own Times_, iii. 994. Now collected for the first time.

The original is a translation of a Latin Epigram, 'Horologium Pulvereum, Tumulus Alcippi,' by Girolamo Amaltei.

9

THE POETASTER. Act I, Scene 1.

O my Tibullus, Let us not blame him; for against such chances The heartiest strife of virtue is not proof. We may read constancy and fortitude To other souls; but had ourselves been struck 5 With the like planet, had our loves, like his, Been ravished from us by injurious death, And in the height and heat of our best days, It would have cracked our sinews, shrunk our veins, And made our very heart-strings jar like his. 10

* * * * *

Let us not blame him: for against such chances The heartiest strife of _manhood_ is _scarce_ proof. We may read constancy and fortitude To other souls--but had ourselves been struck _Even_ in the height and heat of our _keen wishing_, _It might have made_ our heart-strings jar, like his.

First published as a quotation in the _Historie and Gestes of Maxilian_ contributed to _Blackwood's Edinburgh Magazine_, January, 1822. Reprinted as Fragment No. 59, _P. W._, 1893, p. 460.

10

SAMUEL DANIEL

EPISTLE TO SIR THOMAS EGERTON, KNIGHT

Stanza 5

Must there be still some discord mix'd among, The harmony of men; whose mood accords Best with contention, tun'd t' a note of wrong? That when war fails, peace must make war with words, And b' armed unto destruction ev'n as strong 5 As were in ages past our civil swords: Making as deep, although unbleeding wounds; That when as fury fails, wisdom confounds.

Stanza 14

Seeing ev'n injustice may be regular; And no proportion can there be betwixt 10 Our actions, which in endless motion are, And th' ordinances, which are always fix'd: Ten thousand laws more cannot reach so far But malice goes beyond, or lives immix'd So close with goodness, as it ever will 15 Corrupt, disguise, or counterfeit it still.

Stanza 15

And therefore did those glorious monarchs (who Divide with God the style of majesty, &c.

Stanza 5

Must there be still some discord mix'd among The harmony of men; whose mood accords Best with contention tun'd _to notes_ of wrong? That when War fails, Peace must make war with words, _With words_ unto destruction _arm'd more_ strong 5 _Than ever were our foreign Foeman's swords_; Making as deep, _tho' not yet bleeding_ wounds? _What War left scarless, Calumny_ confounds.

Stanza 14

_Truth lies entrapp'd where Cunning finds no bar_: _Since_ no proportion can there be betwixt 10 Our actions, which in endless motion are, And ordinances, which are always fixt. Ten thousand Laws more cannot reach so far But Malice goes beyond, or lives _commixt_ So close with Goodness, _that_, it ever will 15 Corrupt, disguise, or counterfeit it still.

Stanza 15

And therefore _would our glorious Alfred, who Join'd with the King's the good man's Majesty, Not leave Law's labyrinth without a clue-- Gave to deep skill its just authority_,-- 20

* * * * *

_But the last Judgement (this his Jury's plan)-- Left to the natural sense of Work-day Man_

_Adapted from an elder Poet._

Motto to _The Friend_, Essay xiii, 1818, i. 149; 1850, i. 113. Coleridge's alteration of, and addition to the text of Daniel's poem were first pointed out in an edition of _The Friend_, issued by H. N. Coleridge in 1837.

11

MUSOPHILUS

STANZA CXLVII.

Who will not grant, and therefore this observe, No state stands sure, but on the grounds of right, Of virtue, knowledge, judgment to preserve, And all the powers of learning requisite? Though other shifts a present turn may serve, Yet in the trial they will weigh too light.

* * * * *

_Blind is that soul which from this truth can swerve_ No state stands sure, &c.

Motto to Essay xvi of _The Friend_, 1818, i. 190; 1850, i. 145. The alteration was first noted in 1837.

12

STANZAS XXVII, XXIX, XXX.

Although the stronger constitution shall Wear out th' infection of distemper'd days, And come with glory to out-live this fall, Recov'ring of another spring of praise, &c.

For these lines are the veins and arteries And undecaying life-strings of those hearts, That still shall pant, and still shall exercise The motion, spir't and nature both imparts, And shall with those alive so sympathize, As nourish'd with stern powers, enjoy their parts.

O blessed letters! that combine in one All ages past, and make one live with all: By you we do confer with who are gone, And the dead-living unto council call: By you the unborn shall have communion Of what we feel, and what does us befall.

* * * * *

O blessed letters, &c.

Since Writings are the Veins, the Arteries, And undecaying Life-strings of those Hearts, They still shall pant and still shall exercise Their mightiest powers when Nature none imparts: And the strong constitution of their Praise Wear out the infection of distemper'd days

_Motto_ to 'The Landing-Place', Essay i, _The Friend_, 1818, i. 215; 1850, 165. The piecing together of the lines in the second stanza of the motto was first noted by J. D. Campbell, in _The Athenæum_, art. 'Coleridge's Quotations,' Aug. 20, 1892.

13

CHRISTOPHER HARVEY

THE SYNAGOGUE

THE NATIVITY OR CHRISTMAS DAY.

Unfold thy face, unmask thy ray, Shine forth, bright sun, double the day; Let no malignant misty fume Nor foggy vapour, once presume To interpose thy perfect sights, 5 This day which makes us use thy lights For ever better that we could That blessed object once behold, Which is both the circumference And centre of all excellence, &c. 10

Substitute the following for the fifth to the eighth line.

To sheath or blunt one happy ray, That wins new splendour from the day,-- This day that gives thee power to rise, And shine on hearts as well as eyes: This birth-day of all souls, when first On eyes of flesh and blood did burst That primal great lucific light, That rays to thee, to us gave sight. [S. T. C.]

First published in 'Notes on Harvey's Synagogue', _Notes and Lectures_, &c., 1849, ii. 263. Now first collected.

Coleridge's notes to _The Synagogue_, including these original lines, were reprinted in the notes to _The Complete Poems_ of Christopher Harvey, 1874, p. 47.

14

MARK AKENSIDE

BLANK VERSE INSCRIPTIONS

No. III.

[For Elegy Imitated from one of Akenside's 'Blank Verse Inscriptions', vide _ante_, p. 69.]

Whoe'er thou art whose path in Summer lies Through yonder village, turn thee where the Grove Of branching oaks a rural palace old Embosoms--there dwells Albert, generous lord Of all the harvest round. And onward thence 5 A low plain chapel fronts the morning light Fast by a silent rivulet. Humbly walk, O stranger, o'er the consecrated ground; And on that verdant Hillock, which thou seest Beset with osiers, let thy pious hand 10 Sprinkle fresh water from the brook, and strew Sweet-smelling flowers--for there doth Edmund rest, The learned shepherd; for each rural art Famed, and for songs harmonious, and the woes Of ill-requited love. The faithless pride 15 Of fair Matilda sank him to the grave In manhood's prime. But soon did righteous Heaven With tears, with sharp remorse, and pining care Avenge her falsehood. Nor could all the gold And nuptial pomp, which lured her plighted faith 20 From Edmund to a loftier husband's home, Relieve her breaking heart, or turn aside The strokes of death. Go, traveller, relate The mournful story. Haply some fair maid May hold it in remembrance, and be taught 25 That riches cannot pay for truth or love.

15

W. L. BOWLES

----I yet remain To mourn the hours of youth (yet mourn in vain) That fled neglected: wisely thou hast trod The better path--and that high meed which God Assign'd to virtue, tow'ring from the dust, 5 Shall wait thy rising, Spirit pure and just!

O God! how sweet it were to think, that all Who silent mourn around this gloomy ball Might hear the voice of joy;--but 'tis the will Of man's great Author, that thro' good and ill 10 Calm he should hold his course, and so sustain His varied lot of pleasure, toil and pain!

1793

['These lines,' which 'were found in Mr. Coleridge's handwriting in one of the Prayer Books in the Chapel of Jesus College, Cambridge,' were first published in _Lit. Rem._, 1836, i. 34. They were first collected in _P. W._, 1885, i. 127. The first six lines are (see _P. W._, 1893, p. 474) taken from Bowles's elegy 'On the Death of Henry Headley'. J. D. Campbell surmised that the last six lines 'practically belonged to the same poem', but of this there is no evidence. The note of the elegy is a lament for the 'untimely sorrow' which had befallen an innocent sufferer, and the additional lines, which Coleridge composed or quoted, moralized the theme.

_Note._ Bowles wrote, I, alas, remain (l. 1), and 'Ordain'd for virtue' (l. 5).]

16

NAPOLEON

Then we may thank ourselves, Who spell-bound by the magic name of Peace Dream golden dreams. Go, warlike Britain, go, For the grey olive-branch change thy green laurels: Hang up thy rusty helmet, that the bee 5 May have a hive, or spider find a loom! Instead of doubling drum and thrilling fife Be lull'd in lady's lap with amorous flutes: But for Napoleon, know, he'll scorn this calm: The ruddy planet at _his_ birth bore sway, 10 Sanguine adust his humour, and wild fire His ruling element. Rage, revenge, and cunning Make up the temper of this Captain's valour.

_Adapted from an old Play._

First published in _The Friend_, 1818, ii. 115. In later editions the word 'Adapted' was omitted. First collected in 1893.

J. D. Campbell (_P. W._, 1893, p. 473) suggests that the 'calm' was, probably, the 'Peace of Amiens'.

APPENDIX VI

ORIGINALS OF TRANSLATIONS

A

[Vide _ante_, p. 307]

MILESISCHES MÄHRCHEN

Ein milesisches Mährchen, Adonide: Unter heiligen Lorbeerwipfeln glänzte Hoch auf rauschendem Vorgebirg ein Tempel. Aus den Fluthen erhub, von Pan gesegnet, In Gedüfte der Ferne sich ein Eiland. 5 Oft, in mondlicher Dämmrung, schwebt' ein Nachen Vom Gestade des heerdenreichen Eilands, Zur umwaldeten Bucht, wo sich ein Steinpfad Zwischen Mirten zum Tempelhain emporwand. Dort im Rosengebüsch, der Huldgöttinnen 10 Marmorgruppe geheiligt, fleht' oft einsam Eine Priesterin, reizend wie Apelles Seine Grazien malt, zum Sohn Cytherens, Ihren Kallias freundlich zu umschweben Und durch Wogen und Dunkel ihn zu leiten, 15 Bis der nächtliche Schiffer, wonneschauernd, An den Busen ihr sank.

The German original of the translation was published in _Poems_, 1852, Notes, pp. 387-9.

B

[Vide _ante_, p. 307]

SCHILLER

DER EPISCHE HEXAMETER

Schwindelnd trägt er dich fort auf rastlos strömenden Wogen; Hinter dir siehst du, du siehst vor dir nur Himmel und Meer.

DAS DISTICHON

Im Hexameter steigt des Springquells flüssige Säule; Im Pentameter drauf fällt sie melodisch herab.

See _Poems_, 1844, p. 372.

C

[Vide _ante_, p. 308]

STOLBERG

ON A CATARACT

Unsterblicher Jüngling! Du strömest hervor Aus der Felsenkluft. Kein Sterblicher sah Die Wiege des Starken; 5 Es hörte kein Ohr Das Lallen des Edlen im sprudelnden Quell.

Dich kleidet die Sonne In Strahlen des Ruhmes! Sie malet mit Farben des himmlischen Bogens 10 Die schwebenden Wolken der stäubenden Fluth.

See _Poems_, 1844, pp. 371-2.

D

[Vide _ante_, p. 309]

STOLBERG

BEI WILHELM TELLS GEBURTSSTÄTTE IM KANTON URI

Seht diese heilige Kapell! Hier ward geboren Wilhelm Tell, Hier wo der Altar Gottes steht Stand seiner Eltern Ehebett!

Mit Mutterfreuden freute sich 5 Die liebe Mutter inniglich, Die gedachte nicht an ihren Schmerz Und hielt das Knäblein an ihr Herz.

Sie flehte Gott: er sei dein Knecht, Sei stark und muthig und gerecht. 10 Gott aber dachte: ich thu' mehr Durch ihn als durch ein ganzes Heer.

Er gab dem Knaben warmes Blut, Des Rosses Kraft, des Adlers Muth, Im Felsennacken freien Sinn, 15 Des Falken Aug' und Feuer drin!

Dem Worte sein' und der Natur Vertraute Gott das Knäblein nur; Wo sich der Felsenstrom ergeusst Erhub sich früh des Helden Geist. 20

Das Ruder und die Gemsenjagd Hatt' seine Glieder stark gemacht; Er scherzte früh mit der Gefahr Und wusste nicht wie gross er war.

Er wusste nicht dass seine Hand, 25 Durch Gott gestärkt, sein Vaterland Erretten würde von der Schmach Der Knechtschaft, deren Joch er brach.

FRIEDRICH LEOPOLD GRAF ZU STOLBERG, 1775

The German original is supplied in the Notes to _P. W._, 1893, pp. 618, 619.

E

[Vide _ante_, p. 310]

SCHILLER

DITHYRAMBE

Nimmer, das glaubt mir, Erscheinen die Götter, Nimmer allein. Kaum dass ich Bacchus, den Lustigen, habe, Kommt auch schon Amor, der lächelnde Knabe, 5 Phöbus, der Herrliche, findet sich ein! Sie nahen, sie kommen-- Die Himmlischen alle, Mit Göttern erfüllt sich Die irdische Halle. 10

Sagt, wie bewirth' ich, Der Erdegeborne, Himmlischen Chor? Schenket mir euer unsterbliches Leben, Götter! Was kann euch der Sterbliche geben? 15 Hebet zu eurem Olymp mich empor. Die Freude, sie wohnt nur In Jupiters Saale; O füllet mit Nektar, O reicht mir die Schale! 20

Reich' ihm die Schale! Schenke dem Dichter, Hebe, nur ein! Netz' ihm die Augen mit himmlischem Thaue, Dass er den Styx, den verhassten, nicht schaue, 25 Einer der Unsern sich dünke zu seyn. Sie rauschet, sie perlet, Die himmlische Quelle: Der Busen wird ruhig, Das Auge wird helle. 30

The German original is printed in the Notes to _P. W._, 1893, p. 619.

F

[Vide _ante_, p. 311]

GOETHE

_Wilhelm Meister_, Bk. III, Cap. 1.--_Sämmtliche Werke_, 1860, iii, p. 194.

Kennst du das Land, wo die Citronen blühn, Im dunkeln Laub die Goldorangen glühn, Ein sanfter Wind vom blauen Himmel weht, Die Myrte still und hoch der Lorbeer steht Dahin! Dahin 5 Möcht' ich mit dir, o mein Geliebter, ziehn.

G

[Vide _ante_, p. 311]

FRANÇOIS-ANTOINE-EUGÈNE DE PLANARD

'BATELIER, DIT LISETTE'

_Marie, opéra-comique en trois actes_, 1826, p. 9.

SUSETTE, _assise dans la barque_.

Batelier, dit Lisette, Je voudrais passer l'eau, Mais je suis bien pauvrette Pour payer le bateau: --Venez, venez, toujours . . . 5 Et vogue la nacelle Qui porte mes amours!

(_Ils abordent. Lubin reste sur la rive à attacher sa barque._)

SUSETTE, _s'avancant en scène_.

Je m'en vais chez mon père, Dit Lisette à Colin. --Eh bien! Crois-tu, ma chère, 10 Qu'il m'accorde ta main? --Ah! répondit la belle, Osez, osez toujours. --Et vogue la nacelle Qui porte mes amours! 15

LUBIN et SUSETTE

Après le mariage, Toujours dans son bateau Colin fut le plus sage Des maris du hameau. A sa chanson fidèle, 20 Il répète toujours: Et vogue la nacelle Qui porte mes amours!

H

[Vide _ante_, p. 313]

DES KNABEN WUNDERHORN

Wenn ich ein Vöglein wär Und auch zwei Flüglein hätt', Flög' ich zu dir; Weil's aber nicht kann sein, Weil's aber nicht kann sein, 5 Bleib' ich allhier.

Bin ich gleich weit von dir, Bin ich doch im Schlaf bei dir Und red' mit dir; Wenn ich erwachen thu', 10 Wenn ich erwachen thu', Bin ich allein.

Es vergeht keine Stund' in der Nacht Da mein Herz nicht erwacht Und an dich gedenkt. 15 Wie du mir viel tausendmal, Wie du mir viel tausendmal, Dein Herz geschenkt.

I

STOLBERG

Lied eines deutschen Knaben.--_Gesammelte Werke_, Hamburg, 1827, i. 42.

Mein Arm wird stark und gross mein Muth, Gieb, Vater, mir ein Schwert! Verachte nicht mein junges Blut; Ich bin der Väter werth!

Ich finde fürder keine Ruh 5 Im weichen Knabenstand! Ich stürb', O Vater, stolz, wie du, Den Tod für's Vaterland!

Schon früh in meiner Kindheit war Mein täglich Spiel der Krieg! 10 Im Bette träumt' ich nur Gefahr Und Wunden nur und Sieg.

Mein Feldgeschrei erweckte mich Aus mancher Türkenschlacht; Noch jüngst ein Faustschlag, welchen ich 15 Dem Bassa zugedacht!

Da neulich unsrer Krieger Schaar Auf dieser Strasse zog, Und, wie ein Vogel, der Husar Das Haus vorüberflog, 20

Da gaffte starr und freute sich Der Knaben froher Schwarm: Ich aber, Vater, härmte mich, Und prüfte meinen Arm!

Mein Arm ist stark und gross mein Muth, 25 Gieb, Vater, mir ein Schwert! Verachte nicht mein junges Blut; Ich bin der Väter werth!

The German original is printed in the Notes to _P. W._, 1893, pp. 617, 618.

J

[Vide _ante_, p. 318]

LESSING

_Sämmtliche Schriften_, vol. i, p. 50, ed. Lachmann-Maltzahn, Leipzig, 1853.

DIE NAMEN.

Ich fragte meine Schöne: Wie soll mein Lied dich nennen? Soll dich als Dorimana, Als Galathee, als Chloris, Als Lesbia, als Doris, 5 Die Welt der Enkel kennen? Ach! Namen sind nur Töne; Sprach meine holde Schöne, Wähl' selbst. Du kannst mich Doris, Und Galathee und Chloris 10 Und ---- wie du willst mich nennen: Nur nenne mich die deine.

The German original is printed in the Notes to _P. W._, 1893, pp. 619, 620.

K

[Vide _ante_, p. 327]

STOLBERG

HYMNE AN DIE ERDE.

Erde, du Mutter zahlloser Kinder, Mutter und Amme! Sei mir gegrüsst! Sei mir gesegnet im Feiergesange! Sieh, O Mutter, hier lieg' ich an deinen schwellenden Brüsten! Lieg', O Grüngelockte, von deinem wallenden Haupthaar Sanft umsäuselt und sanft geküsst von thauenden Lüften! 5 Ach, du säuselst Wonne mir zu, und thauest mir Wehmuth In das Herz, dass Wehmuth und Wonn' aus schmelzender Seele Sich in Thränen und Dank und heiligen Liedern ergiessen! Erde, du Mutter zahlloser Kinder, Mutter und Amme! Schwester der allesfreuenden Sonne, des freundlichen Mondes 10 Und der strahlenden Stern', und flammenbeschweiften Kometen, Eine der jüngsten Töchter der allgebärenden Schöpfung, Immer blühendes Weib des segenträufelnden Himmels! Sprich, O Erde, wie war dir als du am ersten der Tage Deinen heiligen Schooss dem buhlenden Himmel enthülltest? 15 Dein Erröthen war die erste der Morgenröthen, Als er im blendenden Bette von weichen schwellenden Wolken Deine gürtende Binde mit siegender Stärke dir löste! Schauer durchbebten die stille Natur und tausend und tausend Leben keimten empor aus der mächtigen Liebesumarmung. 20 Freudig begrüssten die Fluthen des Meeres neuer Bewohner Mannigfaltige Schaaren; es staunte der werdende Wallfisch Ueber die steigenden Ströme die seiner Nasen entbrausten; Junges Leben durchbrüllte die Auen, die Wälder, die Berge, Irrte blökend im Thal, und sang in blühenden Stauden. 25

The German original is printed in the Notes to _P. W._, 1893, p. 615.

L

[Vide _ante_, p. 376]

FRIEDERIKE BRUN

CHAMOUNY BEYM SONNENAUFGANGE

(Nach Klopstock.)

'Aus tiefem Schatten des schweigenden Tannenhains Erblick' ich bebend dich, Scheitel der Ewigkeit, Blendenden Gipfel, von dessen Höhe Ahndend mein Geist ins Unendliche schwebet!

'Wer senkte den Pfeiler tief in der Erde Schooss, 5 Der, seit Jahrtausenden, fest deine Masse stützt? Wer thürmte hoch in des Aethers Wölbung Mächtig und kühn dein umstrahltes Antlitz?

'Wer goss Euch hoch aus des ewigen Winters Reich, O Zackenströme, mit Donnergetös' herab? 10 Und wer gebietet laut mit der Allmacht Stimme: "Hier sollen ruhen die starrenden Wogen"?

'Wer zeichnet dort dem Morgensterne die Bahn? Wen kränzt mit Blüthen des ewigen Frostes Saum? Wem tönt in schrecklichen Harmonieen, 15 Wilder Arveiron, dein Wogengetümmel?

'Jehovah! Jehovah! Kracht's im berstenden Eis: Lawinendonner rollen's die Kluft hinab: Jehovah Rauscht's in den hellen Wipfeln, Flüstert's an rieselnden Silberbächen.' 20

See _Poems_, 1844, p. 572.

M

[Vide _ante_, p. 392]

_Opere del Cavalier Giambattista Marino_, with introduction by Giuseppe Zirardini. Napoli, 1861, p. 550.

ALLA SUA AMICA

_Sonetto._

Donna, siam rei di morte. Errasti, errai; Di perdon non son degni i nostri errori, Tu che avventasti in me sì fieri ardori Io che le fiamme a sì bel sol furai.

Io che una fiera rigida adorai, 5 Tu che fosti sord' aspra a' miei dolori; Tu nell' ire ostinata, io negli amori: Tu pur troppo sdegnasti, io troppo amai.

Or la pena laggiù nel cieco Averno Pari al fallo n'aspetta. Arderà poi, 10 Chi visse in foco, in vivo foco eterno.

Quivi: se Amor fia giusto, amboduo noi, All' incendio dannati, avrem l' inferno, Tu nel mio core, ed io negli occhi tuoi.

The Italian original is printed in the Notes to _P. W._, 1893, p. 632.

N

[Vide _ante_, p. 409]

In diesem Wald, in diesen Gründen Herrscht nichts, als Freyheit, Lust und Ruh. Hier sagen wir der Liebe zu, Im dichtsten Schatten uns zu finden: Da find' ich dich, mich findest du. 5

The German original is translated from an MS. Notebook of ? 1801.

O

[Vide _ante_, p. 414]

THE MADMAN AND THE LETHARGIST

+Koinê par klisiê lêthargikos êde phrenoplêx keimenoi, allêlôn nouson apeskedasan. exethore klinês gar ho tolmêeis hypo lyssês, kai ton anaisthêton pantos etypte melous. plêgai d' amphoterois egenont' akos, hais ho men autôn 5 egreto, ton d' hypnô poulys eripse kopos.+

_Anthologia Græca_, Lib. 1, Cap. 45.

See Lessing's 'Zerstreute Anmerkungen über das Epigramm', _Sämmtliche Werke_, 1824, ii. 22.

P

[Vide _ante_, p. 427]

MADRIGALI DEL SIGNOR CAVALIER GUARINI

DIALOGO

FEDE, SPERANZA, CARITÀ.

FEDE.

Canti terreni amori Chi terreno hà il pensier, terreno il zelo; Noi Celesti Virtù cantiam del Cielo.

CARITÀ.

Mà chi fia, che vi ascolti Fuggirà i nostri accenti orecchia piena 5 De le lusinghe di mortal Sirena?

SPERANZA.

Cantiam pur, che raccolti Saran ben in virtù di chi li move; E suoneran nel Ciel, se non altrove.

FE. SP. CA.

Spirane dunque, eterno Padre, il canto, 10 Che già festi al gran Cantor Ebreo, Che poi tant' alto feo Suonar la gloria del tuo nomine santo.

CA. FE.

Noi siam al Ciel rapite E pur lo star in terra è nostra cura, 15 A ricondur à Dio l' alme smarrite.

FE. SP.

Così facciamo, e 'n questa valle oscura L' una sia scorta al sol d' l' intelletto, L' altra sostegno al vacillante affetto.

CA.

E com' è senz' amor l' anima viva? 20

SP. FE.

Come stemprata cetra, Che suona sì, mà di concento priva.

CA. SP.

Amor' è quel, ch' ogni gran dono impetra.

FE.

Mà tempo è, che le genti Odan l' alta virtù de' nostri accenti. 25

FE. SP. CA.

O mondo--eco la via; Chi vuol salir' al Ciel, creda, ami, e spetti. O félici pensieri Di chi, per far in Dio santa armonia E per ogn' altro suon l'anima hà sorda, 30 FEDE, SPERANZA, e CARITATE accenda.

Il Pastor Fido

Con le Rime del Signor Cavalier Battista Guarini In Amstelodami

Madrigali 138, 139. 1663 or 9.

Q

[Vide _ante_, p. 435]

STOLBERG

'_An das Meer._'

Der blinde Sänger stand am Meer, Die Wogen rauschten um ihn her, Und Riesenthaten goldner Zeit Umrauschten ihn im Feierkleid.

Es kam zu ihm auf Schwanenschwung 5 Melodisch die Begeisterung, Und Iliad und Odyssee Entsteigen mit Gesang der See.

The German original is printed in the Notes to _P. W._, 1893, p. 639. See, too, Prefatory Memoir to the Tauchnitz edition of Coleridge's _Poems_, by P. Freiligrath (1852).

BIBLIOGRAPHY

OF THE

POETICAL WORKS OF SAMUEL TAYLOR COLERIDGE

1794-1834

I

The / FALL / of / ROBESPIERRE. / An / HISTORIC DRAMA. / By S. T. COLERIDGE, / Of Jesus College, Cambridge. / [=Cambridge=]: / Printed by Benjamin Flower, / For W. H. Lunn, and J. and J. Merrill; and Sold / By J. March, Norwich. / 1794. / [Price One Shilling.] [8{o}.

_Collation._--Title, one leaf, p. [i], [Dedication] To H. Martin, _Esq._, Of Jesus College, Cambridge (dated, September 22. 1794), p. [3]; Text, pp. [5]-37.

II

POEMS / on / VARIOUS SUBJECTS, /By S. T. COLERIDGE, / Late of Jesus College, Cambridge. / Felix curarum, cui non Heliconia cordi / Serta, nec imbelles Parnassi e vertice laurus! / Sed viget ingenium, et magnos accinctus in usus / Fert animus quascunque vices.--Nos tristia vitae / Solamur cantu. / STAT. _Silv._ Lib. iv. 4.[1135:1] / LONDON: / Printed for G. G. and J. Robinsons, and / J. Cottle, Bookseller, Bristol. / 1796. / [8{o}.

_Collation._--Half-title, Poems / on Various Subjects, / By / S. T. Coleridge, / Late / Of Jesus College, Cambridge. /, one leaf, p. [i]; Title, one leaf, p. [iii]; Preface, pp. [v]-xi; Contents, pp. [xiii]-xvi; Text, pp. [1]-168; Notes on _Religious Musings_, pp. [169]-175; Notes, pp. [177]-188; Errata, p. [189].[1135:2]

_Contents._--

PREFACE

Poems on various subjects written at different times and prompted by very different feelings; but which will be read at one time and under the influence of one set of feelings--this is an heavy disadvantage: for we love or admire a poet in proportion as he developes our own sentiments and emotions, or reminds us of our own knowledge.

Compositions resembling those of the present volume 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 an 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 solace and can find it in employment alone; but full of its late sufferings it can endure no employment not connected with those sufferings. Forcibly to turn away our attention to other subjects is a painful and in general an unavailing effort.

"But O how grateful to a wounded heart The tale of misery to impart; From others' eyes bid artless sorrows flow And raise esteem upon the base of woe!"[1136:1]

The communicativeness of our nature leads us to describe our own sorrows; in the endeavor to describe them intellectual activity is exerted; and by a benevolent law of our nature from intellectual activity a pleasure results 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 a personal unity to imaginary aggregates. What is the PUBLIC but a term for a number of scattered individuals 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!"

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 love-verses, is an Egotist; and your sleek favourites 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. With what anxiety every fashionable author avoids the word _I_!--now he transforms himself into a third person,--"the present writer"--now multiplies himself and swells into "_we_"--and all this is the watchfulness of guilt. Conscious that this said _I_ is perpetually intruding on his mind and that it monopolizes his heart, he is prudishly solicitous that it may not escape from his lips.

This disinterestedness of phrase is in general commensurate with selfishness of feeling: men old and hackneyed in the ways of the world are scrupulous avoiders of Egotism.

Of the following Poems a considerable number are styled "Effusions," in defiance of Churchill's line

"Effusion on Effusion _pour_ away."[1136:2]

I could recollect no title more descriptive of the manner and matter of the Poems--I might indeed have called the majority of them Sonnets--but they do not possess that _oneness_ of thought which I deem indispensible (sic) in a Sonnet--and (not a very honorable motive perhaps) I was fearful that the title "Sonnet" might have reminded my reader of the Poems of the Rev. W. L. Bowles--a comparison with whom would have sunk me below that mediocrity, on the surface of which I am at present enabled to float.

Some of the verses allude to an intended emigration to America on the scheme of an abandonment of individual property.

The Effusions signed C. L. were written by Mr. CHARLES LAMB, of the India House--independently of the signature their superior merit would have sufficiently distinguished them. For the rough sketch of Effusion XVI, I am indebted to Mr. FAVELL. And the first half of Effusion XV was written by the Author of "Joan of Arc", an Epic Poem.

NOTES ATTACHED TO A FIRST DRAFT OF THE PREFACE TO THE FIRST EDITION [_MS. R_]

(i)

I cannot conclude the Preface without expressing my grateful acknowledgments to Mr. Cottle, Bristol, for the liberality with which (with little probability I know of remuneration from the sale) he purchased the poems, and the typographical elegance by which he endeavoured to recommend them, (or)--the liberal assistance which he afforded me, by the purchase of the copyright with little probability of remuneration from the sale of the Poems.

[This acknowledgement, which was omitted from the Preface to the First Edition, was rewritten and included in the 'Advertisement' to the 'Supplement' to the Second Edition.]

(ii)

To EARL STANHOPE

A man beloved of Science and of Freedom, these Poems are respectfully inscribed by The Author.

[In a letter to Miss Cruikshank (? 1807) (_Early Recollections_, 1837,