NOTES. PAGE 52-MELANCHOLY. First published in the "Morning Chronicle," 1794. The original conclusion, which appears in the edition of 1817, was Bs follows: "that filled her soul, Nor did not whispering spirits roll Mixt with wild shapings of the unborn time." PAGE 53-COMPOSED IN SICKNESS AND IN ABSENCE. This little poem, which first appeared under the above title in the "Watchman," was written in half-mockery of Darwin's style, with its dulcia vitia, but was so seriously admired by some of the Author's friends that he admitted it into the Appendix of his joint publication with Lloyd and Lamb, and afterwards into the edition of 1803. It was withdrawn from the edition of 1828, but re-admitted by his last Editor under the sportive title of "Darwiniana." PAGE 68. THE PAINS OF SLEEP. This poem was first published, with the "Kubla Khan,” in 1816, with the following notice:-"As a contrast to this vision I have annexed a fragment of a very different character, describing with equal fidelity the dream of pain and disease." It has been recently ascertained to have been written in 1803. PAGE 70.-A HYMN. The manuscript of this poem, which is now printed for the first time, was communicated to the Editors by J. W. Wilkins, Esq., of Trinity Hall, Cambridge, with the following memorandum: "The accompanying autograph, dated 1814, and addressed to Mrs. Hood, of Brunswick-square, was given not later than the year 1817, to a relative of my own, who was then residing at Clifton, (and was, at the time at which it passed into his hands, an attendant on Mr. Coleridge's lectures, which were in course of delivery at that place,) either by the lady to whom it is addressed, or by some other friend of Mr. Coleridge. It was subsequently placed among other papers, and its existence was partially forgotten, until last year, when it finally passed into my hands. J. W. WILKINS." PAGE 72.-SEPARATION. The fourth and last stanzas are from Cotton's Chlorinda, with very slight alteration. PAGE 74.-ON TAKING LEAVE OF 1817. "To Mary Morgan and Charlotte Brent. Nov., 1817, St. James's Square, Bristol."-S. T. C. PAGE 77.-YOUTH AND AGE. There has been more difficulty in the chronological arrangement of this last section than in either of the preceding. It has been found impossible to ascertain the date of "Alice du Clos," and of some of the others; but it was thought best to include them in the last division, as they were so placed in the edition of 1834. As a whole, they possess a distinct character which certainly belongs to the Poet's "later life." With respect to the date of the admired composition, "Youth and Age," memories and opinions differ. It is the impression of the writer of this note that the first stanza, from "Verse, a breeze," to "liv'd in't together," was produced as late as 1824, and that it was subsequently prefixed to the second stanza, "Flowers are lovely," which is said to have been composed many years before. It appears, from the Author's own statement, already quoted, that the last verse was not added till 1827, to which period the poem, considered as a whole, may very well be assigned. PAGE 133.-TRANSLATED FROM SCHILLER. The originals of Count Stolberg's poem, of which the lines on a Cataract are an expansion, of Schiller's Homeric and Ovidian couplets, of Mathisson's Hendecasyllables, freely translated in the same metre, page 28, and of the poem of Frederica Brunn, which is supposed to have suggested the Hymn in the Vale of Chamouni, are here given as follows: Unsterblicher Jüngling! Der strömest hervor Kein Sterblicher sah Die Wiege des Starken; Es hörte kein Ohr Das Lallen des Edlen im sprudelnden Quell. Dich kleidet die Sonne In Strahlen des Ruhmes; Sie mahlet mit Farben des himmlischen Bogens Die schwebenden Wolken der staübenden Fluth. 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 Saüle; MILESISCHES MAEHRCHEN Ein milesisches Mährchen, Adonide. Unter heiligen Lorbeerwipfeln glänzte Im Gedüfte der Ferne sich ein Eiland. Oft, in mondlicher Dämmrung, schwebt' ein Nachen. Aus tiefem Schatten des schweigenden Tannenhains Erblick' ich behend dich, Scheitel der Ewigkeit, Blendender Gipfel, von dessen Höhe Ahnend mein Geist ins unendliche schwebet! Wer senkte den Pfeiler tief in der Erde Schooss, 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 der ewigen Winters Reich, Zackenströme, mit Donnergetös herab? Und wer gebietet laut mit der Allmacht Stimme, "Hier sollen ruhen die starrenden Wogen?" Wer zeichnet dort dem Morgensterne die Bahn? Wer kränzt mit Blüthen des ewigen Frostes Saum? Wem tönt in schrecklichen Harmonieen, Wilder Arveiron, dein Wogentiimmel? Jehovah! Jehovah! kracht's im berstenden Eis; Jehovah! rauscht's in den hellen Wipfeln, PAGE 146. “Gently I took that which ungently came," Spenser's Shepherd's Calendar, February, [v. 22.1 REMORSE. Page 199, Scene II., Act II." You are a painter." The following lines I have preserved in this place, not so much as explanatory of the picture of the assassination, as to gratify my own feelings, the passage being no mere fancy portrait; but a slight, yet not unfaithful, profile of the late Sir George Beaumont. Zul. [speaking of Alvar in the third person.] Such was the noble Spaniard's own relation: He told me, too, how in his early youth, And his first travels, 'twas his choice or chance To make long sojourn in sea-wedded Venice; Gave light, depth, substance, bloom, yea thought and motion |