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'hee only God! and thou shalt not despise iven me, the priest of this poor sacrifice. *

What boots to tell how o'er his grave
She wept that would have died to save ;
Little they know the heart who deem
Her sorrow but an infant's dream

Of transient love begotten;
A passing gale that as it blows
Just shakes the ripe drop from the rose

That dies, and is forgotten.

Oh woman! nurse of hopes and fears,
All lovely in thy spring of years,

Thy soul in blameless mirth possessing ;
Most lovely in affliction's tears,

More lovely still those tears suppressing.t

So Mr. Baker heart did pluck

And did a-courting go!
And Mr. Baker is a buck;

For why ? he needs the doe. I

Lines in a German Student's Album. [The Germans, of all mortals the most imaginative, take extraordinary delight in their albums; and Coleridge being a noticeable Englander, and a poet withal, was not unfrequently requested to favour with a scrap of verse persons who had no very particular claims

* Letters, Conversations and Recollections of S. T. C., vol. i. P. 144. + Ib., vol. ii. p. 75.

* IV., vol. ii. p. 21.

upon his muse. As a specimen of the playful scintil-
lations of this gifted man upon such occasions, I sub-
join the following quatrain, which he wrote when
about to leave the University in the Stammbuch of a
Göttingen student who had the same course of lectures
(Collegium) with him *) :-
“We both attended the same College,

Where sheets of paper we did blur many,
And now we're going to sport our knowledge,

In England I, and you in Germany."

EPIGRAM ON KEPLER.

From the German,
No mortal spirit yet had clomb so high
As Kepler-yet his Country saw him

die
For very want ! the Minds alone he fed,
And so the Bodies left him without bread.t

Whene'er the mist that stands 'twixt God and thee
Defecates to a pure transparency
That intercepts no light and adds no stain,-
There Reason is, and then begins her reign !

DISTICH,

From the Greek. Jack finding gold left a rope on the ground; Bill missing his gold used the rope, which he found.

* Carlyon's Early Years and Late Recollections. + The Friend, p. 231.

On the Constitution of the Church and State, by S. T. Coleridge. Lond. 1830, p. 227.

$ Omniana, 1812, vol. ii. p. 123.

[The lines “To a Lady offended by a sportive obser

vation that women have no souls” (vide suprà, p. 308), also originally appeared in Omniana, vol. i. p. 238.]

NOTES.

Note to VOL. I. P. 29.

The Raven. This poem on its original appearance in The Morning Post, was preceded by the following mock epistle:

“Sir,-I am not absolutely certain that the following Poem was written by Edmund Spenser, and found by an Angler buried in a fishing-box :««Under the foot of Mole, that mountain hoar,

Mid the green alders, by the Mulla's shore'; “but a learned Antiquarian of my acquaintance has given it as his opinion that it resembles Spenser's minor Poems as nearly as Vortigern and Rowena the Tragedies of William Shakespeare.—This Poem must be read in recitative, in the same manner as the Ægloga Secunda of the Shepherd's Calendar.

“ CUDDY.”

Note To Vol. I. PP. 129-132.

Introduction to the Sonnets. This Introduction originally appeared as the Preface to a privately-printed pamphlet of sixteen pages (1796), containing a selection of twenty-eight Sonnets from various Authors, made “for the purpose of binding them up with the Sonnets of the Rev. W. L.

Bowles.” The concluding paragraph, which afterwards gave way to that printed in the text, ran as follows in the pamphlet :

“Miss Seward, who has perhaps succeeded the best in these laborious trifles, and who most dogmatically insists on what she calls the sonnet-claim, has written a very ingenious although unintentional burlesque on her own system, in the following lines prefixed to the Poems of a Mr. Carey.” (And then the lines are quoted.)

The selection that follows contains three Sonnets of Bowles, “not in any edition,” notes Coleridge in MS., “since the first quarto pamphlet of his Sonnets"; four of Southey; four of Charles Lloyd; two of Charlotte Smith; one specimen each of Thomas Warton, Bamfylde, Henry Brooke (the author of The Fool of Quality), Sotheby, Thomas Russell, Thomas Dermody, and Anna Seward; and last, but not least, four of Charles Lamb, and four of Coleridge's own, which it will be worth while to particularize. Of those of Lamb two had appeared as Effusions XI. and XIII. in the first edition of Coleridge's Poems : the other two were those beginning

We were two pretty babes, the youngest she,” and

“When last I roved these winding wood-walks

green,”

both of which afterwards appeared, together with others, in the second edition of 1797. But in the pamphlet Coleridge has appended the following printed editorial footnote to the line in the former Sonnet

“And hid in deepest shades her awful head !”
• Innocence, which while we possess it, is playful as

us.

a babe, becomes AWFUL when it has departed from

This is the sentiment of the linea fine sentiment and nobly expressed.-EDITOR."

The four Sonnets of his own which Coleridge has included in this little Selection are as follows :

To the River Otter.
On a discovery made too late.
Sweet Mercy! how my very heart has bled.

To the Author of the Robbers. In the last-named Sonnet, as it appears in the pamphlet, Coleridge took occasion to remove a 'bull' which had been pointed out to him in his first edition, where he wishes to die “ Lest in some after moment aught more mean

Might stamp me mortal !” In doing this he transposed the four opening lines, and altered the word “mortal” to “human,” thus :“That fearful voice, a famish'd father's cry,

From the dark dungeon of the tower time-rent,
If thro’ the shuddering midnight I had sent,
Schiller! that hour I would have wish'd to die-
That in no after moment aught less vast

Might stamp me human ! &c. In the second edition, while the other alterations are adopted, the opening lines are redistributed into their original places, and the word “human ” is altered back to “ mortal.”

At the end of this Sonnet, in a copy of the pamphlet now lying before me, Coleridge has written :-“I affirm, John Thelwall ! that the six last lines of this Sonnet to Schiller are strong and fiery; and you are

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