Preface…

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, i. 201), Coleridge maintains that the 'Sonnet to Earl Stanhope', which was published in Poems, 1796 (vide ante, pp. 89, 90), 'was inserted by the fool of a publisher [Cottle prints 'inserted by Biggs, the fool of a printer'] in order, forsooth, that he might send the book and a letter to Earl Stanhope; who (to prove that he is not mad in all things) treated both book and letter with silent contempt.' In a note Cottle denies this statement, and maintains that the 'book (handsomely bound) and the letter were sent to Lord S. by Mr. C. himself'. It is possible that before the book was published Coleridge had repented of Sonnet, Dedication, and Letter, and that the 'handsomely bound' volume was sent by Cottle and not by Coleridge, but the 'Dedication' is in his own handwriting and proves that he was, in the first instance at least, particeps criminis. See Note by J. D. Campbell, P. W., 1893, pp. 575, 576.]

CONTENTS

PAGE Monody to Chatterton 1 To the Rev. W. J. H. 12 Songs of the Pixies 15 Lines on the Man of Ross 26 Lines to a beautiful Spring 28 Epitaph on an Infant 31 Lines on a Friend 32 To a Young Lady with a Poem 36 Absence, a Farewell Ode 40 Effusion 1, to Bowles 45 Effusion 2, to Burke 46 Effusion 3, to Mercy 47 Effusion 4, to Priestley 48 Effusion 5, to Erskine 49 Effusion 6, to Sheridan 50 Effusion 7, to Siddons [signed 'C. L.'] 51 Effusion 8, to Kosciusco 52 Effusion 9, to Fayette 53 Effusion 10, to Earl Stanhope 54 Effusion 11 ['Was it some sweet device'--'C. L.'] 55 Effusion 12 ['Methinks how dainty sweet'--'C. L.'] 56 Effusion 13, written at Midnight ['C. L.'] 57 Effusion 14 59 Effusion 15 60 Effusion 16, to an Old Man 61 Effusion 17, to Genevieve 62 Effusion 18, to the Autumnal Moon 63 Effusion 19, to my own heart 64 Effusion 20, to Schiller 65 Effusion 21, on Brockley Coomb 66 [Effusion 22,] To a Friend with an unfinished Poem 68 Effusion 23, to the Nightingale 71 Effusion 24, in the manner of Spencer 73 Effusion 25, to Domestic Peace 77 Effusion 26, on a Kiss 78 Effusion 27 80 Effusion 28 82 Effusion 29, Imitated from Ossian 84 Effusion 30, Complaint of Ninathoma 86 Effusion 31, from the Welsh 88 Effusion 32, The Sigh 89 Effusion 33, to a Young Ass 91 Effusion 34, to an Infant 94 Effusion 35, written at Clevedon 96 Effusion 36, written in Early Youth 101 Epistle 1, written at Shurton Bars 111 Epistle 2, to a Friend in answer to a Melancholy Letter 119 Epistle 3, written after a Walk 122 Epistle 4, to the Author of Poems published in Bristol 125 Epistle 5, from a Young Lady 129 Religious Musings 139

III

[A SHEET OF SONNETS.]

Collation.--No title; Introduction, pp. [1]-2; Text (of Sonnets Nos. i-xxviii), pp. 3-16. Signatures A. B. B{2}. [1796.] [8{o}.

[There is no imprint. In a letter to John Thelwall, dated December 17, 1796 (Letters of S. T. C., 1895, i, 206), Coleridge writes, 'I have sent you . . . Item, a sheet of sonnets collected by me, for the use of a few friends, who payed the printing.' The 'sheet' is bound up with a copy of 'Sonnets and Other poems, by The Rev. W. L. Bowles A. M. Bath, printed by R. Cruttwell: and sold by C. Dilly, Poultry, London, MDCCXCVI. Fourth Edition,' which was presented to Mrs. Thelwall, Dec. 18, 1796. At the end of the 'Sonnets' a printed slip (probably a cutting from a newspaper) is inserted, which contains the lines 'To a FRIEND who had declared his intention of Writing no more Poetry' (vide ante, pp. 158, 159). This volume is now in the Dyce Collection, which forms part of the Victoria and Albert Museum. See P. and D. W., 1877, ii, pp. 375-9, and P. W., 1893, p. 544.]

Contents.--

[INTRODUCTION]

The composition of the Sonnet has been regulated by Boileau in his Art / of Poetry, and since Boileau, by William Preston, in the elegant preface / to his Amatory Poems: the rules, which they would establish, are founded / on the practice of Petrarch. I have never yet been able to discover either / sense, nature, or poetic fancy in Petrarch's poems; they appear to me all / one cold glitter of heavy conceits and metaphysical abstractions. How/ever, Petrarch, although not the inventor of the Sonnet, was the first / who made it popular; and his countrymen have taken his poems as the / model. Charlotte Smith and Bowles are they who first made the Sonnet / popular among the present English: I am justified therefore by analogy / in deducing its laws from their compositions.

The Sonnet then is a small poem, in which some lonely feeling is de/veloped. It is limited to a particular number of lines, in order that the / reader's mind having expected the close at the place in which he finds it, / may rest satisfied; and that so the poem may acquire, as it were, a Totality,/--in 15 plainer phrase, may become a Whole. It is confined to fourteen lines, / because as some particular number is necessary, and that particular / number must be a small one, it may as well be fourteen as any other / number. When no reason can be adduced against a thing, Custom is a / sufficient reason for it. Perhaps, if the Sonnet were comprized in less / than fourteen lines, it would become a serious Epigram; if it extended to / more, it would encroach on the province of the Elegy. Poems, in which / no lonely feeling is developed, are not Sonnets because the Author has / chosen to write them in fourteen lines; they should rather be entitled / Odes, or Songs, or Inscriptions. The greater part of Warton's Sonnets are / severe and masterly likenesses of the style of the Greek επιγραμματα.

In a Sonnet then we require a developement of some lonely feeling, by / whatever cause it may have been excited; but those Sonnets appear to me / the most exquisite, in which moral Sentiments, Affections, or Feelings, / are deduced from, and associated with, the scenery of Nature. Such / compositions generate a habit of thought highly favourable to delicacy of / character. They create a sweet and indissoluble union between the / intellectual and the material world. Easily remembered from their briefness, / and interesting alike to the eye and the affections, these are the poems / which we can "lay up in our heart, and our soul," and repeat them "when / we walk by the way, and when we lie down, and when we rise up". / Hence the Sonnets of Bowles derive their marked superiority over all / other Sonnets; hence they domesticate with the heart, and become, as it / were, a part of our identity.

Respecting the metre of a Sonnet, the Writer should consult his own / convenience.--Rhymes, many or few, or no rhymes at all--whatever the / chastity of his ear may prefer, whatever the rapid expression of his / feelings will permit;--all these things are left at his own disposal. A same/ness in the final sound of its words is the great and grievous defect of the / Italian language. That rule, therefore, which the Italians have estab/lished, of exactly four different sounds in the Sonnet, seems to have arisen / from their wish to have as many, not from any dread of finding more. But / surely it is ridiculous to make the defect of a foreign language a reason for / our not availing ourselves of one of the marked excellencies of our own. / "The Sonnet (says Preston,) will ever be cultivated by those who write on / tender, pathetic subjects. It is peculiarly adapted to the state of a man / violently agitated by a real passion, and wanting composure and vigor of / mind to methodize his thought. It is fitted to express a momentary burst / of Passion" etc. Now, if there be one species of composition more difficult / and artificial than another, it is an English Sonnet on the Italian Model. / Adapted to the agitations of a real passion! Express momentary bursts / of feeling in it! I should sooner expect to write pathetic Axes or pour / forth Extempore Eggs and Altars![1140:1] But the best confutation of such idle rules / is to be found in the Sonnets of those who have observed them, in their / inverted sentences, their quaint phrases, and incongruous mixture of / obsolete and Spenserian words: and when, at last, the thing is toiled and / hammered into fit shape, it is in general racked and tortured Prose rather / than any thing resembling Poetry. 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 in/genious although unintentional burlesque on her own system, in the / following lines prefixed to the Poems of a Mr. Carey.

"Prais'd be the Poet, who the sonnet-claim, Severest of the orders that belong Distinct and separate to the Delphic song 70 Shall reverence, nor its appropriate name Lawless assume: peculiar is its frame-- From him derived, who spurn'd the city throng, And warbled sweet the rocks and woods among, Lonely Valclusa! and that heir of Fame, 75 Our greater Milton, hath in many a lay Woven on this arduous model, clearly shewn That English verse may happily display Those strict energic measures which alone Deserve the name of Sonnet, and convey 80 A spirit, force, and grandeur, all their own! "ANNE SEWARD."

"A spirit, force, and grandeur, all their own!!"--EDITOR.[1140:2]

[SONNETS]

SONNET

I. TO A FRIEND

'Bereave me not of these delightful Dreams.'--W. L. BOWLES.[1141:1]

II. 'With many a weary step at length I gain.'--R. SOUTHEY.

III. TO SCOTLAND

'Scotland! when thinking on each heathy hill.'--C. LLOYD.

IV. TO CRAIG-MILLAR CASTLE IN WHICH MARY QUEEN OF SCOTS WAS CONFINED.

'This hoary labyrinth, the wreck of Time.'--C. LLOYD.

V. TO THE RIVER OTTER

'Dear native Brook! wild Streamlet of the West.'--S. T. COLERIDGE.

VI. 'O Harmony! thou tenderest Nurse of Pain.'--W. L. BOWLES.

VII. TO EVENING

'What numerous tribes beneath thy shadowy wing.'--BAMFIELD.

VIII. ON BATHING

'When late the trees were stript by winter pale'.--T. WARTON.

IX. 'When eddying Leaves begun in whirls to fly.'--HENRY BROOKS, (the Author of the Fool of Quality.)

X. 'We were two pretty Babes, the younger she'.--CHARLES LAMB.

[Note]. Innocence which while we possess it is playful as a babe, becomes AWFUL, when it departs from us. That is the sentiment of the line, a fine sentiment, and nobly expressed.--THE EDITOR.

XI. 'I knew a gentle maid I ne'er shall view.'--W. SOTHEBY.

XII. 'Was it some sweet device of faery land.'--CHARLES LAMB.

XIII. 'When last I rov'd these winding wood-walks green.'--CHARLES LAMB.

XIV. ON A DISCOVERY MADE TOO LATE.

'Thou bleedest, my poor HEART! and thy distress.'--S. T. COLERIDGE.

XV. 'Hard by the road, where on that little mound.'--ROBERT SOUTHEY.

XVI. THE NEGRO SLAVE

'Oh he is worn with toil! the big drops run.'--ROBERT SOUTHEY.

XVII. 'Sweet Mercy! how my very heart has bled.'--S. T. COLERIDGE.

XVIII. 'Could then the babes from yon unshelter'd cot.'--THOMAS RUSSEL.

XIX. 'Mild arch of promise on the evening sky.'--ROBERT SOUTHEY.

XX. 'Oh! She was almost speechless nor could hold.'--CHARLES LLOYD.

XXI. 'When from my dreary Home I first mov'd on'--CHARLES LLOYD.

XXII. 'In this tumultuous sphere for thee unfit.'--CHARLOTTE SMITH.

XXIII. 'I love the mournful sober-suited NIGHT.'--CHARLOTTE SMITH.

XXIV. 'Lonely I sit upon the silent shore.'--THOMAS DERMODY.

XXV. 'Oh! I could laugh to hear the midnight wind.'--CHARLES LAMB.

XXVI. 'Thou whose stern spirit loves the awful storm.'--W. L. BOWLES.

XXVII. 'INGRATITUDE, how deadly is thy smart.'--ANNA SEWARD.

XXVIII. TO THE AUTHOR OF THE "ROBBERS"

'That fearful voice, a famish'd Father's cry.'--S. T. COLERIDGE.

[At the foot of l. 14. S. T. C. writes--

'I affirm, John Thelwall! that the six last lines of this Sonnet to Schiller are strong and fiery; and you are the only one who thinks otherwise.--There's! a spurt of Author-like Vanity for you!']

IV

ODE / ON THE / DEPARTING YEAR. / BY S. T. COLERIDGE. / Ιου, ιου, ω ω κακα, Υπ' αυ με δεινος ορθομαντειας πονος / Στροβει, ταρασσων φροιμιοις εφημιοις, / . . . . . / το μελλον ηξει· και συ μην ταχει παρων / Αγαν γ' αληθομαντιν μ' ερεις. / ÆSCHYL. AGAMEM. 1225. / BRISTOL; Printed by N. Biggs, / and sold by J. Parsons, Paternoster Row, London. / 1796. / [4{o}.

Collation.--Title, one leaf, p. [1]; Dedication, To Thomas Poole of Stowey, pp. [3]-4; Text, pp. [5]-15; LINES Addressed to a Young Man of Fortune who abandoned himself to an indolent and causeless Melancholy (signed) [=S. T. Coleridge=], p. 16. [Signatures--B (p. 5)--D (p. 13).]

V

POEMS, / By / S. T. COLERIDGE, / Second Edition. / To which are now added / POEMS / By CHARLES LAMB, / And / CHARLES LLOYD. / Duplex nobis vinculum, et amicitiae et similium / junctarumque Camœnarum; quod utinam neque mors / solvat, neque temporis longinquitas! / Groscoll. Epist. ad Car. Utenhov. et Ptol. Lux. Tast. / Printed by N. Biggs, / For J. Cottle, BRISTOL, and Messrs. / Robinsons, London. / 1797. / [8{o}.

Collation.--Title-page, one leaf, p. [i]; Half-title, one leaf, [=Poems=] / by / [=S. T. Coleridge=] / [followed by Motto as in No. II], pp. [iii]-[iv]; Contents, pp. [v]-vi; DEDICATION, To the Reverend GEORGE COLERIDGE of OTTERY St. MARY, / DEVON. Notus in frates animi paterni. Hor. Carm. Lib. II. 2. /, pp. [vii]-xii; Preface to the First Edition, pp. [xiii]-xvi; Preface to the Second Edition, pp. [xvii]-xx; Half-title, [=Ode=] / on the / [=Departing Year=] [with motto (5 lines) from Aeschy. Agamem. 1225], one leaf, pp. [1]-[2]; Argument, pp. [3]-[4]; Text, pp. [5]-278; Errata (four lines) at the foot of p. 278.

[Carolus Utenhovius (Utenhove, or Uyttenhove) and Ptolomœus Luxius Tasteus were scholar friends of the Scottish poet and historian George Buchanan (1506-1582), who prefixes some Iambics 'Carolo Utenhovio F. S.' to his Hexameters 'Franciscanus et Fratres'. In some Elegiacs addressed to Tasteus and Tevius, in which he complains of his sufferings from gout and kindred maladies, he tells them that Groscollius (Professor of Medicine at the University of Paris) was doctoring him with herbs and by suggestion:--'Et spe languentem consilioque juvat'. Hence the three names. In another set of Iambics entitled 'Mutuus Amor' in which he celebrates the alliance between Scotland and England he writes:--

Non mortis hoc propinquitas Non temporis longinquitas Solvet, fides quod nexuit Intaminata vinculum.

Hence the wording of the motto. Groscollius is, of course, a mot à double entente. It is a name and a nickname. The interpretation of the names and the reference to Buchanan's Hexameters were first pointed out by Mr. T. Hutchinson in the Athenaeum, Dec. 10, 1898.]

CONTENTS

[Titles of poems not in 1796 are printed in italics.]

POEMS by S. T. COLERIDGE.

PAGE Dedication vii Preface to the First Edition xiii Preface to the Second Edition xvii Ode to the New Year 1 Monody on Chatterton 17 Songs of the Pixies 29 The Rose 41 The Kiss 43 To a young Ass 45 Domestic Peace 48 The Sigh 49 Epitaph on an Infant 51 Lines on the Man of Ross 52 ---- to a beautiful Spring 54 ---- on the Death of a Friend 57 To a Young Lady 61 To a Friend, with an unfinished Poem 65

SONNETS.

[Introduction to the Sonnets 71-74] To W. L. Bowles 75 On a Discovery made too late 76 On Hope 77 To the River Otter 78 On Brockly Comb 79 To an old Man 81 Sonnet 82 To Schiller 83 On the Birth of a Son 85 On first seeing my Infant 87 Ode to Sara 88 Composed at Clevedon 96 On leaving a Place of Residence 100 On an unfortunate Woman 105 On observing a Blossom 107 The Hour when we shall meet again 109 Lines to C. Lloyd 110 Religious Musings 117

[=Poems=] by CHARLES LLOYD. pp. [151]-189. Second Edition. [=Poems=] on The Death of PRISCILLA FARMER, By her GRANDSON CHARLES LLOYD, pp. [191]-213. Sonnet ['The piteous sobs that choak the Virgin's breath', signed S. T. Coleridge], p. 193. [=Poems=] by CHARLES LAMB of the India-House. pp. [215]-240.

SUPPLEMENT.

Advertisement 243 Lines to Joseph Cottle, by S. T. Coleridge 246 On an Autumnal Evening, by ditto, 249 In the manner of Spencer (sic), by ditto, 256 The Composition of a Kiss, by ditto, 260 To an Infant, by Ditto 264 On the Christening of a Friend's Child, by ditto, 264 To the Genius of Shakespeare, by Charles Lloyd, 267 Written after a Journey into North Wales, by ditto, 270 A Vision of Repentance, by Charles Lamb, 273

PREFACE TO THE FIRST EDITION

[Pp. [xiii]-xvi.]

Compositions resembling those of the present volume are not unfre/quently 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 / amusement, and can find it in employment alone; but full of its late / sufferings, it can endure no employment not in some measure connected / with them. Forcibly to turn away our attention to general subjects is / a painful and most often 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! 15 SHAW.

The communicativeness of our Nature leads us to describe our own / sorrows; in the endeavour to describe them, intellectual activity is exerted; / and from intellectual activity there results a pleasure, 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 personal Unities 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."

If I could judge of others by myself, I should not hesitate to affirm, that / the most interesting passages in our most interesting Poems are those, in / which the Author developes his own feelings. The sweet voice of Cona[1144:1] / never sounds so sweetly as when it speaks of itself; and I should almost / suspect that man of an unkindly heart, who could read the opening of the / third book of the Paradise Lost without peculiar emotion. By a law of / our Nature, he, who labours under a strong feeling, is impelled to seek for / sympathy; but a Poet's feelings are all strong. Quicquid amet valde amat. / Akenside therefore speaks with philosophical accuracy, when he classes / Love and Poetry, as producing the same effects:

"Love and the wish of Poets when their tongue Would teach to others' bosoms, what so charms 40 Their own."--PLEASURES OF IMAGINATION.

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 the sleek Favorites 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.

I shall only add that each of my readers will, I hope, remember that / these Poems on various subjects, which he reads at one time and under / the influence of one set of feelings, were written at different times and / prompted by very different feelings; and therefore that the supposed / inferiority of one Poem to another may sometimes be owing to the temper / of mind, in which he happens to peruse it.

[Pp. [xvii]-xx.]

PREFACE TO THE SECOND EDITION

I return my acknowledgments to the different Reviewers for the / assistance, which they have afforded me, in detecting my poetic deficien/cies. I have endeavoured to avail myself of their remarks: one third of / the former Volume I have omitted, and the imperfections of the republished / part must be considered as errors of taste, not faults of carelessness. My / poems have been rightly charged with a profusion of double-epithets, and / a general turgidness. I have pruned the double-epithets with no sparing / hand; and used my best efforts to tame the swell and glitter both of / thought and diction. This latter fault however had insinuated itself / into my Religious Musings with such intricacy of union, that sometimes / I have omitted to disentangle the weed from the fear of snapping the / flower. A third and heavier accusation has been brought against me, that / of obscurity; but not, I think, with equal justice. An Author is obscure / when his conceptions are dim and imperfect, and his language incorrect, / or unappropriate, or involved. A poem that abounds in allusions, / like the Bard of Gray, or one that impersonates high and abstract / truths, like Collins's Ode on the poetical character, claims not to be / popular--but should be acquitted of obscurity. The deficiency is in the / Reader. But this is a charge which every poet, whose imagination is / warm and rapid, must expect from his contemporaries. Milton did not / escape it; and it was adduced with virulence against Gray and Collins. / We now hear no more of it; not that their poems are better understood / at present, than they were at their first publication; but their fame is / established; and a critic would accuse himself of frigidity or inattention, / who should profess not to understand them. But a living writer is yet / sub judice; and if we cannot follow his conceptions or enter into his / feelings, it is more consoling to our pride to consider him as lost beneath, / than as soaring above, us. If any man expect from my poems the same / easiness of style which he admires in a drinking-song, for him I have not / written. Intelligibilia, non intellectum adfero.

I expect neither profit nor general fame by my writings; and I consider / myself as having been amply repayed without either. Poetry has been to / me its own[1146:1] "exceeding great reward": it has soothed my afflictions: it / has multiplied and refined my enjoyments; it has endeared solitude; / and it has given me the habit of wishing to discover the Good and the / Beautiful in all that meets and surrounds me.

There were inserted in my former Edition, a few Sonnets of my Friend / and old School-fellow, CHARLES LAMB. He has now communicated to me / a complete Collection of all his Poems; quae qui non prorsus amet, illum / omnes et Virtutes et Veneres odere. My friend CHARLES LLOYD has / likewise joined me; and has contributed every poem of his, which he / deemed worthy of preservation. With respect to my own share of the / Volume, I have omitted a third of the former Edition, and added almost / an equal number. The Poems thus added are marked in the Contents by / Italics. S. T. C. STOWEY, May, 1797.

MS. Notes attached to proof sheets of the second Edition.

(a) As neither of us three were present to correct the Press, and as my handwriting is not eminently distinguished for neatness or legibility, the Printer has made a few mistakes. The Reader will consult equally his own convenience, and our credit if before he peruses the volume he will scan the Table of Errata and make the desired alterations. S. T. Coleridge. Stowey, May 1797.

(b) Table of Contents. (N.B. of my Poems)--and let it be printed in the same manner as Southey's Table of Contents--take care to mark the new poems of the Edition by Italics.

Dedication.

Preface to the first Edition. Refer to the Second Edition. Ode on the departing Year. Monody on the death of Chatterton, etc., etc.--

[MS. R.]

P. [69].

[Half-title] [=Sonnets=], / Attempted in the Manner / Of The / Rev. W. L. Bowles. / Non ita certandi cupidus, quam propter amorem / Quod te IMITARI aveo. / LUCRET.

[Pp. 71-74.]

INTRODUCTION TO THE SONNETS

For lines 1-63 vide ante, No. III, The Introduction to the 'Sheet of Sonnets'. Lines 64 to the end are omitted, and the last paragraph runs thus:

The Sonnet has been ever a favourite species of composition with me; but I am conscious that I have not succeeded in it. From a large number I have retained ten only, as seemed not beneath mediocrity. Whatever more is said of them, ponamus lucro. S. T. COLERIDGE.

[Note. In a copy of the Edition of 1797, now in the Rowfant Library, S. T. C. comments in a marginal note on the words 'I have never yet been able to discover sense, nature, or poetic fancy in Petrarch's poems,' &c.--'A piece of petulant presumption, of which I should be more ashamed if I did not flatter myself that it stands alone in my writings. The best of the joke is that at the time I wrote it, I did not understand a word of Italian, and could therefore judge of this divine Poet only by bald translations of some half-dozen of his Sonnets.']

[Pp. 243-245.]

ADVERTISEMENT

I have excepted the following Poems from those, which I had determined to omit. Some intelligent friends particularly requested it, observing, that what most delighted me when I was "young in writing poetry, would probably best please those who are young in reading poetry: and a man must learn to be pleased with a subject, before he can yield that attention to it, which is requisite in order to acquire a just taste." I however was fully convinced, that he, who gives to the press what he does not thoroughly approve in his own closet, commits an act of disrespect, both against himself and his fellow-citizens. The request and the reasoning would not, therefore, have influenced me, had they not been assisted by other motives. The first in order of these verses, which I have thus endeavoured to reprieve from immediate oblivion, was originally addressed "To the Author of Poems published anonymously, at Bristol." A second edition of these poems has lately appeared with the Author's name prefixed; and I could not refuse myself the gratification of seeing the name of that man among my poems, without whose kindness they would probably have remained unpublished; and to whom I know myself greatly and variously obliged, as a Poet, a Man and a Christian.

The second is entitled "An Effusion on an Autumnal Evening; written in early youth." In a note to this poem I had asserted that the tale of Florio in Mr. Rogers' "Pleasures of Memory" was to be found in the Lochleven of Bruce. I did (and still do) perceive a certain likeness between the two stories; but certainly not a sufficient one to justify my assertion. I feel it my duty, therefore, to apologize to the Author and the Public, for this rashness; and my sense of honesty would not have been satisfied by the bare omission of the note. No one can see more clearly the littleness and futility of imagining plagiarisms in the works of men of Genius; but nemo omnibus horis sapit; and my mind, at the time of writing that note, was sick and sore with anxiety, and weakened through much suffering. I have not the most distant knowledge of Mr. Rogers, except as a correct and elegant Poet. If any of my readers should know him personally, they would oblige me by informing him that I have expiated a sentence of unfounded detraction, by an unsolicited and self-originating apology.

Having from these motives re-admitted two, and those the longest of the poems I had omitted, I yielded a passport to the three others, [pp. 256, 262, 264] which were recommended by the greatest number of votes. There are some lines too of Lloyd's and Lamb's in this Appendix. They had been omitted in the former part of the volume, partly by accident; but I have reason to believe that the Authors regard them, as of inferior merit; and they are therefore rightly placed, where they will receive some beauty from their vicinity to others much worse.

VI

FEARS IN SOLITUDE, / Written in 1798, during the Alarm of an Invasion. / To which are added, / France, an Ode; / And / Frost at Midnight. / By S. T. COLERIDGE. / London: / Printed for J. Johnson, in St. Paul's Churchyard. / 1798. / [4{o}.

Collation.--Half-title, Fears in Solitude, . . . Frost at Midnight, (six lines) [Price ONE SHILLING and SIXPENCE.], one leaf, unpaged; Title, one leaf, unpaged; Text, pp. [1]-23; Advertisement of 'Poems, by W. Cowper', p. [24].

VII

The / PICCOLOMINI, / or the / First Part of WALLENSTEIN, / A Drama / In Five Acts. / Translated From The German Of / Frederick Schiller / By / S. T. COLERIDGE. / LONDON: / Printed for T. N. Longman and O. Rees, Paternoster Row. / 1800. / [8{o}.

Collation.--Half-title, Translation from a Manuscript Copy attested by the Author / THE PICCOLOMINI, or the First Part of WALLENSTEIN. / Printed by G. Woodfall, Pater-noster Row /, one leaf, unpaged; Title, one leaf, unpaged; Preface of the Translator, pp. [i]-ii; two pages of Advertisements commencing with: Plays just published, etc.; one leaf unpaged; on the reverse Dramatis Personae; Text, pp. [1]-214; In the Press, and speedily will be published, From the German of Schiller, THE DEATH OF WALLENSTEIN; Also WALLENSTEIN'S CAMP, a Prelude of One Act to the former Dramas; with an Essay on the GENIUS OF SCHILLER. By S. T. COLERIDGE. N.B. The Drama will be embellished with an elegant Portrait of WALLENSTEIN, engraved by CHAPMAN, pp. [215]-[216].

VIII

The / DEATH / of / WALLENSTEIN. A Tragedy / In Five Acts. / Translated from the German of / FREDERICK SCHILLER, / By / S. T. COLERIDGE. / LONDON: / Printed for T. N. Longman and O. Rees, Paternoster Row, / By G. Woodfall, No. 22, Paternoster-Row. / 1800. / [8{o}.

Collation.--Title, one leaf, unpaged; General Title, Wallenstein. / A Drama / In Two Parts. / Translated, &c., ut supra, one leaf, unpaged; Preface of the Translator, two leaves, unpaged; on reverse of second leaf Dramatis Personae; Text, pp. [1]-157; The Imprint, Printed by G. Woodfall, No. 22, Paternoster-Row, London, is at the foot of p. 157; Advertisement of 'Books printed by T. N. Longman', &c., p. [158].

[The Frontispiece (sometimes attached to No. VII) is an engraving in stipple of Wallenstein, by J. Chapman.]

IX

[=Poems=], / By / S. T. COLERIDGE. / Felix curarum, &c. (six lines as on title of No. II). Third edition. / LONDON: / Printed by N. Biggs, Crane-Court, Fleet-street, / For T. N. Longman and O. Rees, Pater- / Noster-Row. / 1803. / [8{o}.

Collation.--Title, one leaf, p. [i]; Contents, pp. [iii]-[iv]; Preface, pp. [v]-xi; Text, pp. [1]-202; The Imprint, Biggs, Printer, Crane-Court, Fleet-street, is at the foot of p. 202.

[The Preface consists of the Preface to the First and Second Editions as reprinted in No. IV, with the following omissions from that to the Second Edition, viz. Lines 1-5, and Lines 37-45. The Preface to the First Edition (pp. [v]-viii) is signed S. T. C. The Preface to the Second Edition (pp. ix-xi) has no heading, but is marked off by a line from the Preface to the First Edition.

The Third Edition contains all the poems published in the First and Second Editions except (1) To the Rev. W. J. H. (1796); (2) Sonnet to Kosciusko (1796); (8) Written after a Walk (1796); (4) From a Young Lady (1796); (5) On the Christening of a Friend's Child (1797); (6) Introductory Sonnet to C. Lloyd's 'Poems on the Death of Priscilla Farmer' (1797). The half-title to the Sonnets, p. [79], omits the words 'Attempted in the Manner, &c. (see No. V).

The Introduction to the Sonnets is reprinted on pp. 81-4, verbatim from the Second Edition.]

X

POEMS, / By / S. T. COLERIDGE, Esq. / [8{o}.

Collation.--Half-title (as above), one leaf, p. [1]; The Imprint, Law and Gilbert, Printers, St. John's Square, London, is at the foot of p. [2]; Text, pp. [3]-16; The Imprint, Printed by Law and Gilbert, St. John's Square, London, is at the foot of p. 16 [n. d. ? 1812].

Contents.--

Fears in Solitude, pp. [3]-9: France, an Ode, pp. 10-13: Frost at Midnight, pp. 14-16.

[The three poems which form the contents of the Pamphlet were included in the Poetical Register for 1808-1809 which was reissued in 1812. The publishers were F. G. and S. Rivington, the printers Law and Gilbert, St. John's Square, Clerkenwell. The type of the pamphlet is the type of the Poetical Register, but the poems were set up and reprinted as a distinct issue. There is no record of the transaction, or evidence that the pamphlet was placed on the market. It was probably the outcome of a private arrangement between the author and the publisher of the Poetical Register.]

XI

REMORSE. / A Tragedy, / In Five Acts. / By S. T. COLERIDGE. / Remorse is as the heart, in which it grows: / If that be gentle, it drops balmy dews / Of true repentance; but if proud and gloomy, / It is a poison-tree, that pierced to the inmost / Weeps only tears of poison! / Act I. Scene I. / LONDON: / Printed for W. Pople, 67, Chancery Lane. / 1813. / Price Three Shillings. / [8{o}.

Collation.--Title, one leaf, pp. [i]-[ii]; The Imprint, W. Pople, Printer, 67, Chancery Lane, is at the foot of the Reverse; Preface, pp. [iii]-viii; Prologue, pp. [ix]-[x]; Dramatis Personae, p. [xi]; Text, pp. [1]-72; The Imprint, W. Pople, Printer, 67, Chancery Lane, London, is at the foot of p. 72.

XII

REMORSE, &c. (as in No. XI); [=Second Edition.=] / LONDON: / Printed for W. Pople, 67, Chancery Lane. / 1813. / Price Three Shillings. / [8{o}.

Collation.--Title, one leaf, pp. [i]-[ii]; The Imprint, W. Pople, Printer, 67, Chancery Lane, is at the foot of p. [ii]; Preface, pp. [iii]-vi; Prologue, pp. [vii]-[viii]; Dramatis Personae, p. [ix]; Text, pp. [1]-73; Appendix, pp. [75]-78; The Imprint, W. Pople, Printer, 67, Chancery Lane, London, is at the foot of p. 78.

XIII

Remorse, &c. (as in No. XI); [=Third Edition.=] / London: Printed for W. Pople, 67, Chancery Lane. / 1813. / [8{o}.

For collation vide supra, No. XII.

XIV

SIBYLLINE LEAVES: / A / [=Collection of Poems.=] / By / S. T. COLERIDGE, Esq. / LONDON: / Rest Fenner, 23, Paternoster Row. / 1817. / [8{o}.

Collation.--Half-title, one leaf, [=Sibylline Leaves.=] / By / S. T. Coleridge Esq. /, unpaged; Title, one leaf, unpaged; The Imprint, S. Curtis, Printer, Camberwell, is at the foot of the Reverse of the Title; Preface, pp. [i]-iii; 'Time, Real and Imaginary,' 'The Raven,' 'Mutual Passion,' pp. v-x; Errata, pp. [xi]-[xii]; Half-title, THE RIME / Of The / ANCIENT MARINER / In Seven Parts, p. [1]; Motto from T. Burnet, Archæol. Phil., p. 68, p. [2]; Text, pp. 3-303; The Imprint, Printed by John Evans & Co. St. John-Street, Bristol, is at the foot of p. [304].

[Signatures B-U are marked Vol. ii, i. e. Vol. ii of the Biographia Literaria. The printer's bills, which are in my possession, show that in the first instance the Poems were reckoned as Volume ii, and that, in 1816, when the prose work had grown into a second volume, as Volume iii. The entire text of the second volume, afterwards entitled Sibylline Leaves, with the exception of the preliminary matter, pp. [i]-[xii], was printed by John Evans & Co. of Bristol--signatures B-G in November-December 1814, and signatures H-U between January and July 1815. The unbound sheets, which were held as a security for the cost of printing &c., and for money advanced, by W. Hood of Bristol, John Matthew Gutch, and others, were redeemed in May 1817 by a London publisher, Rest Fenner, and his partner the Rev. Samuel Curtis of Camberwell. The Biographia Literaria was published in July and Sibylline Leaves in August, 1817. See note by J. D. Campbell in P. W., 1893, pp. 551, 552.]

Spotted a typo or a problem in this chapter? Tell us

Preface

The following collection has been entitled SIBYLLINE LEAVES, in allusion to the fragmentary and widely scattered state in which they have been long suffered to remain. It contains the whole of the author's poetical compositions, from 1793 to the present date, with the exception of a few works not yet finished, and those published in the first edition of his juvenile poems, over which he has no controul.[1150:1] They may be divided into three classes: First, A selection from the Poems added to the second and third editions, together with those originally published in the LYRICAL BALLADS,[1150:2] which after having remained many years out of print, have been omitted by Mr. Wordsworth in the recent collection of all his minor poems, and of course revert to the author. Second, Poems published at very different periods, in various obscure or perishable journals, etc., some with, some without the writer's consent; many imperfect, all incorrect. The third and last class is formed of Poems which have hitherto remained in manuscript. The whole is now presented to the reader collectively, with considerable additions and alterations, and as perfect as the author's judgment and powers could render them.

In my Literary Life, it has been mentioned that, with the exception of this preface, the SIBYLLINE LEAVES have been printed almost two years; and the necessity of troubling the reader with the list of errata[1151:1] [forty-seven in number] which follows this preface, alone induces me to refer again to the circumstances, at the risk of ungenial feelings, from the recollection of its worthless causes.[1151:2] A few corrections of later date have been added.--Henceforward the author must be occupied by studies of a very different kind.

Ite hinc, CAMŒNÆ! Vos quoque ite, suaves, Dulces CAMŒNÆ! Nam (fatebimur verum) Dulces fuistis!--Et tamen meas chartas Revisitote: sed pudenter et raro! VIRGIL, Catalect. vii.[1151:3]

At the request of the friends of my youth, who still remain my friends, and who were pleased with the wildness of the compositions, I have added two school-boy poems--with a song modernized with some additions from one of our elder poets.[1151:4] Surely, malice itself will scarcely attribute their insertion to any other motive, than the wish to keep alive the recollections from early life.--I scarcely knew what title I should prefix to the first. By imaginary Time,[1151:5] I meant the state of a school-boy's mind when, on his return to school, he projects his being in his day dreams, and lives in his next holidays, six months hence: and this I contrasted with real Time.

CONTENTS

[Poems first published in 1796 and in 1797 are marked with an asterisk. Poems first published in 1817 are italicized. N.B. The volume was issued without any Table of Contents or Index of First Lines.]

PAGE

Time, Real and Imaginary: an Allegory v The Raven vi Mutual Passion ix The Rime of the Ancient Mariner [with the marginal glosses] 3 The Foster-Mother's Tale 41

Half-title

POEMS / OCCASIONED BY POLITICAL EVENTS / OR / FEELINGS CONNECTED WITH THEM [47] Wordsworth's sonnet beginning 'When I have borne in memory what has tamed' is printed on [48] *Ode to the Departing Year [Half-Title] [49] France: An Ode 59 Fears in Solitude 64 Recantation. Illustrated in the Story of the Mad Ox 75 Parliamentary Oscillators 83

Half-title

[=Fire, Famine, and Slaughter.=] / A War Eclogue. / With / An Apologetic Preface / [87] Mottoes from Claudian and Ecclesiasticus [88] [AN APOLOGETIC PREFACE] 89 Fire, Famine and Slaughter 111

Half-title

LOVE-POEMS [117] Motto (eleven lines) from 'Petrarch' [118] Love 119 Lewti, or the Circassian Love-chant 124 The Picture, or the Lover's Resolution 128 The Night-Scene: A Dramatic Fragment 136 *To an Unfortunate Woman, Whom the Author had known in the days of her Innocence 141 To an Unfortunate Woman at the Theatre 142 Lines composed in a Concert-room 144 The Keep-sake 146 To a Lady, with Falconer's 'Shipwreck' 148 To a Young Lady, On her Recovery from a Fever 150 Something Childish, but very Natural. Written in Germany 152 Home-sick. Written in Germany 153 Answer to a Child's Question 154 The Visionary Hope 155 The Happy Husband. A Fragment 157 Recollections of Love 159 On Re-visiting the Sea-Shore, After Long Absence, Under strong medical recommendation not to bathe 161

Half-title

'MEDITATIVE POEMS / IN / BLANK VERSE' [163] Motto (eight lines) from Schiller [164] Hymn Before Sunrise, in the Vale of Chamouny 165 Lines Written in the Album at Elbingerode, in the Hartz Forest 170 *On observing a Blossom On the 1st February, 1796 173 *The Eolian Harp, Composed at Clevedon, Somersetshire 175 *Reflections On having left a Place of Retirement 178 *To the Rev. George Coleridge, Of Ottery St. Mary, Devon. With some Poems 182 Inscription For a Fountain on a Heath 186 A Tombless Epitaph 187 This Lime-tree Bower my Prison 189 To a Friend Who had declared his intention of writing no more Poetry 194 TO A GENTLEMAN. Composed on the night after his recitation of a Poem on the Growth of an Individual Mind 197 The Nightingale; a Conversation Poem 204 Frost at Midnight 210

Half-title

[=The=] / [=Three Graves=] / [215] The Three Graves. A Fragment of a Sexton's Tale 217

Half-title

ODES / AND / MISCELLANEOUS POEMS [235] Dejection: An Ode 237 Ode to Georgiana, Duchess of Devonshire, On the 24th stanza in her 'Passage over Mount Gothard' 244 Ode to Tranquillity 249 *To a Young Friend, On his proposing to Domesticate with the Author Composed in 1796 251 Lines To W. L., Esq., while he sang a song to Purcell's Music 255 Addressed to a Young Man of Fortune Who abandoned himself to an indolent and causeless Melancholy 256 *Sonnet to the River Otter 257 *Sonnet. Composed on a journey homeward; the Author having received intelligence of the birth of a Son, September 20, 1796 258 *Sonnet, To a Friend who asked, how I felt when the Nurse first presented my Infant to me 259 The Virgin's Cradle-Hymn. Copied from a Print of the Virgin, in a Catholic village in Germany 260 Epitaph, on an Infant. ['Its balmy lips the Infant blest.'] 261 Melancholy. A Fragment 262 Tell's Birth-place. Imitated from Stolberg 263 A Christmas Carol 265 Human Life. On the Denial of Immortality. A Fragment 268 An Ode to the Rain. Composed before daylight [etc.] 270 The Visit of the Gods. Imitated from Schiller 274 America to Great Britain. Written in America, in the year 1810. [By Washington Allston, the Painter.] 276 Elegy, Imitated from one of Akenside's Blank-verse Inscriptions 279 The Destiny of Nations. A Vision 281

XV

קינת ישרון

A Hebrew Dirge, / Chaunted in the Great Synagogue, / St. James's Place, Aldgate, / On the / Day of the Funeral of her Royal Highness / The / Princess Charlotte. / By Hyman Hurwitz, / Master of the Royal Academy, / Highgate: / With a Translation in / English Verse, By S. T. Coleridge, Esq. / London: / Printed by H. Barnett, 2, St. James's Place, Aldgate; / And Sold by T. Boosey, 4, Old Broad Street; / Lackington, Allen, and Co. Finsbury Square; / Briggs and Burton, 156, Leadenhall Street; and / H. Barnett, Hebrew Bookseller, 2, St. James's / Place, Aldgate. / 1817. [8{o}.

Collation.--Half-title, קינת ישרון / A Hebrew Dirge. /, pp. [1]-[2]; Title, p. [3]; Text, pp. [4]-13. The text of the translation is printed on pp. 5, 7, 9, 11, and 13.

XVI

CHRISTABEL: / Kubla Khan, / A Vision; / The Pains of Sleep. / By / S. T. COLERIDGE, Esq. / LONDON: Printed For John Murray, Albemarle-Street, / By William Bulmer and Co. Cleveland-Row, / St. James's. / 1816. / [8{o}.

Collation.--Half-title, one leaf, [=Christabel=], &c., pp. i-ii; Title, one leaf, pp. iii-iv; Preface, pp. [v]-vii; Second half-title, Christabel. / Part 1, pp. [1]-[2]; Text, pp. [3]-48; '[=Kubla Khan=] / or / A Vision in a Dream': Half-title, one leaf, pp. [49]-[50]; 'Of the / Fragment of Kubla Khan', pp. [51]-54; Text, pp. [55]-58; '[=The Pains of Sleep=]': Half-title, pp. [59]-[60]; Text, pp. 61-61; The Imprint, LONDON: Printed by W. Bulmer and Co. / Cleveland-row, St. James's /, is at the foot of p. 64.

[The pamphlet (1816) was issued 'price 4_s._ 6_d._ sewed'. The cover was of brown paper.]

XVII

CHRISTABEL, &c. / By S. T. Coleridge, Esq. / Second Edition. / LONDON: / Printed For John Murray, Albemarle-Street, / By William Bulmer and Co. Cleveland-Row, / St. James's. / 1816. / [8{o}.

Collation.--Vide No. XVI.

[The half-title, CHRISTABEL, is in Gothic Character.]

XVIII

CHRISTABEL, &c. / By / S. T. Coleridge, Esq. / Third Edition. / LONDON: / Printed For John Murray, Albemarle-Street, / By William Bulmer and Co. Cleveland-Row, / St. James's. / 1816. / [8{o}.

Collation.--Vide No. XVI.

[The half-title, CHRISTABEL, is in Gothic Character.]

XIX

ZAPOLYA: A / Christmas tale, / In Two Parts: / [=The Prelude=] / Entitled / "THE USURPERS' FORTUNE;" And / [=The Sequel=] / Entitled / "THE USURPER'S FATE." / By / S. T. Coleridge, Esq. / LONDON: Printed for Rest Fenner, Paternoster Row. / 1817. / [8{o}.

Collation.--Half-title, ZAPOLYA, one leaf; Title, one leaf; Advertisement, one leaf; Characters, one leaf; Four leaves unpaged; Text, Prelude, pp. [1]-31; Additional Characters, p. [34]; ZAPOLYA (headed, [=Usurpation Ended=]; / or / SHE COMES AGAIN. /), pp. [85]-128. The imprint, S. Curtis, Camberwell Press, is at the foot of p. 128. Eight pages of advertisements dated September, 1817, are bound up with the volume as issued in a brown paper cover.

XX

The / Poetical Works / Of / S. T. Coleridge, / Including the Dramas of / Wallenstein, Remorse, and Zapolya. / In three Volumes. / Vol. I. / [Vol. II, &c.] London: / William Pickering. / MDCCCXXVIII. / [8{o}.

Collation.--Vol. I. Half-title, one leaf, The / Poetical Works / of / S. T. Coleridge. / Vol. I. /, p. [i]; Title, one leaf, p. [iii]; The Imprint, Thomas White, Printer, / Johnson's Court. /, is at the foot of p. [iv]; Contents, Volume I, Volume II, Volume III, pp. [v]-x; Preface, To the First and Second Editions, pp. [1]-6; Half-title, one leaf, Juvenile Poems, p. [7]; Text, pp. [9]-363; The Imprint, Thomas White, Printer, / Crane Court. /, below the figure of a girl watering flowers surmounted by the motto TE FAVENTE VIREBO, is in the centre of p. [554]. [A vignette and double wreath of oak and bay leaves is in the centre of the title-page of Vols. I, II, III.]

Vol. II. Half-title, one leaf; Title, one leaf, with Imprint at the foot of the Reverse, unpaged; Half-title, The Rime / Of / The Ancient Mariner. / In Seven Parts. /, p. [1]; Motto from T. Burnet, in centre of p. [2]; Text, pp. [3]-370; The Imprint, Thomas White, Printer, / Johnson's Court. /, is at the foot of p. 370.

Vol. III. Half-title, one leaf; Title, one leaf; The Imprint, Thomas White, Printer, / Johnson's Court. /, is at the foot of the Reverse, unpaged; Half-title, The / Piccolomini, / Or / The First Part of Wallenstein. / A Drama. / Translated from the German of Schiller /, p. [1]; Preface of the Translator, p. [3]; Text, pp. [5]-428; The Imprint Thomas White, Printer / Johnson's Court. /, is at the foot of p. 428.

[Pp. [1]-6]

Spotted a typo or a problem in this chapter? Tell us

Preface

[The Preface is the same as that of 1803.]

CONTENTS

VOLUME I

PAGE JUVENILE POEMS

Genevieve [9] Sonnet to the Autumnal Moon 10 Time, Real and Imaginary. An Allegory 11 Monody on the Death of Chatterton 12 Songs of the Pixies 19 The Raven 25 Absence. A Farewell Ode 28 Lines on an Autumnal Evening 30 The Rose 35 The Kiss 37 To a Young Ass 39 Domestic Peace 41 The Sigh 42 Epitaph on an Infant ['Ere Sin could blight'] 43 Lines written at the King's-Arms, Ross 44 Lines to a beautiful Spring in a Village 46 On a Friend who died of a Frenzy-fever induced by calumnious reports 48 To a Young Lady with a Poem on the French Revolution 51 Sonnet I. My heart has thanked thee, Bowles 54 " II. As late I lay in Slumber's Shadowy Vale 55 " III. Though roused by that dark Vizir Riot rude 56 " IV. When British Freedom for an happier land 57 " V. It was some Spirit, Sheridan! 58 " VI. O what a loud and fearful Shriek 59 " VII. As when far off 60 " VIII. Thou gentle Look 61 " IX. Pale Roamer through the Night 62 " X. Sweet Mercy! 63 " XI. Thou bleedest, my Poor Heart 64 " XII. To the Author of The Robbers 65 Lines, composed while climbing Brockley Coomb 66 Lines in the Manner of Spenser 67 Imitated from Ossian 70 The Complaint of Ninathoma 72 Imitated from the Welsh 73 To an Infant 74 Lines in answer to a Letter from Bristol 76 To a Friend in Answer to a melancholy Letter 82 Religious Musings 84 The Destiny of Nations. A Vision 104

SIBYLLINE LEAVES

Half-title

I. POEMS OCCASIONED BY POLITICAL EVENTS OR / FEELINGS CONNECTED WITH THEM [127] Motto--fourteen lines--'When I have borne in memory what has tamed', Wordsworth [128] Ode to the Departing Year 131 France, an Ode 139 Fears in Solitude 144 Fire, Famine, and Slaughter 155

Half-title

II. Love Poems [159] Motto--eleven lines of a Latin Poem by Petrarch [160] Love 161 Lewti, or the Circassian Love-chaunt 167 The Picture, or the Lover's Resolution 171 The Night Scene, a Dramatic Fragment 179 To an Unfortunate Woman 184 To an Unfortunate Woman at the Theatre 186 Lines composed in a Concert Room 188 The Keepsake 191 To a Lady, with Falconer's Shipwreck 194 To a Young Lady on her recovery from a Fever 196 Something Childish, but very Natural 198 Home-sick: written in Germany 200 Answer to a Child's Question 202 The Visionary Hope 203 The Happy Husband 205 Recollections of Love 207 On revisiting the Sea-shore 209

Half-title

III. MEDITATIVE POEMS. / IN BLANK VERSE [211] Motto--eight lines (translated) from Schiller [212] Hymn before Sun-rise, in the Vale of Chamouny 213 Lines written in an Album at Elbingerode, in the Hartz Forest 218 On Observing a Blossom on the First of February 221 The Eolian Harp 223 Reflections on having left a place of Retirement 227 To the Rev. George Coleridge 231 Inscription for a Fountain on a Heath 235 A Tombless Epitaph 237 This Lime-tree Bower my Prison 239 To a Friend who had declared his intention of writing no more Poetry 244 To a Gentleman [Wordsworth] composed on the night after his recitation of a Poem on the growth of an individual mind 247 [The Nightingale; a Conversation Poem 253] Frost at Midnight 261

Half-title [265]

THE THREE GRAVES [267]

Half-title

ODES / AND / MISCELLANEOUS POEMS [287] Dejection, An Ode 289 Ode to Georgiana Duchess of Devonshire 296 Ode to Tranquillity 300 To a Young Friend, on his proposing to domesticate with the Author 302 Lines to W. L., Esq., while he sang a song to Purcell's Music 306 Addressed to a Young Man of Fortune 307 Sonnet To the River Otter 309 ---- Composed on a journey homeward after hearing of the birth of a Son 310 ---- To a Friend 311 The Virgin's Cradle Hymn 312 Epitaph on an Infant. ['Its balmy lips the Infant blest'] 313 Melancholy, A Fragment 314 Tell's Birth-place 315 A Christmas Carol 317 Human Life 320 The Visit of the Gods 321 Elegy, imitated from Akenside 324

Half-title

Kubla Khan: / Or, / A Vision In A Dream [327] Of The Fragment Of Kubla Khan [329] Kubla Khan [332] [The Pains of Sleep 334] Apologetic Preface to "Fire, Famine, and Slaughter" 337

END OF VOL. I

VOLUME II

Half-title

The Rime / of / The Ancient Mariner. / In Seven Parts. / [1] Motto (From T. Burnet, Archæol. Phil., p. 68) [2] THE ANCIENT MARINER. Part I 3 Part II 8 Part III 12 Part IV 17 Part V 21 Part VI 27 Part VII 33

Half-title

CHRISTABEL [39] Preface [41] CHRISTABEL. Part I 43 Conclusion to Part I 56 Part II 59 Conclusion to Part II 73

Half-title

Prose in Rhyme: Or, / Epigrams, Moralities, and Things / Without a Name [75] Mottoes:-- Ἔρωϛ ἀεὶ λάληθρος ἑταῖρος. In many ways does the full heart reveal The presence of the love it would conceal; But in far more th' estranged heart lets know, The absence of the love, which yet it fain would shew. Duty surviving Self-love [77] Song. ['Tho' veiled in spires,' &c.] 78 Phantom or Fact? A Dialogue in Verse 79 Work without Hope 81 Youth and Age 82 A Day-dream. ['My eyes make pictures,' &c.] 84 To a Lady, offended by a sportive observation 86 Reason for Love's Blindness 86 Lines suggested by the Last Words of Berengarius 87 The Devil's Thoughts 89 The Alienated Mistress 93 Constancy to an Ideal Object 94 The Suicide's Argument 96 The Blossoming of the Solitary Date-tree 97 Fancy in Nubibus 102 The Two Founts 103 Prefatory Note to the Wanderings of Cain 105 The Wanderings of Cain 109

Half-title

Remorse. / A Tragedy. / In Five Acts. / [119] Remorse. A TRAGEDY 121 Appendix [232]

Half-title

Zapolya: / A Christmas Tale. / In Two Parts. [237]

Πὰρ πυρὶ χρὴ τοιαῦτα λέγειν χειμῶνος ἐν ὥρᾳ Apud Athenæum.

Advertisement [238] Part I. The Prelude / Entitled / "The Usurper's Fortune." / [241] Part II. The Sequel / Entitled / "The Usurper's Fate" 274

VOLUME III

The Piccolomini, / Or / The First Part of Wallenstein. / A Drama. / Translated from the German of Schiller / 1 The / Death of Wallenstein. / A Tragedy, / In Five Acts 249

XXI

THE / POETICAL WORKS / Of / S. T. COLERIDGE, / Including the Dramas of / Wallenstein, Remorse, and Zapolya. / In Three Volumes. / Vol. I, Vol. II, &c. / LONDON: William Pickering. / MDCCCXXIX. [8{o}.

Collation.--Vol. I. Title, one leaf, p. [iii]; The Imprint, Thomas White, Printer, / Johnson's Court. /, is at the foot of p. [iv]; Contents, pp. [v]-x; Preface, pp. [1]-7; Half-title, JUVENILE POEMS, p. [9]; Text, pp. [11]-353; The Imprint, Thomas White, &c., below a figure of a girl as in No. XX, is in the centre of p. 354.

[The Half-title and Mottoes are the same as in Vol. I of 1828, No. XX.]

Vol. II. Title, one leaf; The Imprint, Thomas White, Printer, / Johnson's Court. /, is at the foot of the Reverse, unpaged; Half-title, The Rime / of / THE ANCIENT MARINER. / In Seven Parts. /, p. [1]; Motto from T. Burnet, Archæol. Phil., p. 68, p. [2]; Text, pp. [3]-394; The Imprint, Thomas White, &c., is at the foot of p. 394.

[The Half-titles and Mottoes are the same as in Vol. II of 1828, No. XX.]

Vol. III. For Collation see Vol. III of 1828, No. XX.

[The Title-page of this edition (Vols. I, II, III) is ornamented with the Aldine Device, and the Motto, Aldi / Discip. / Anglvs./]

Spotted a typo or a problem in this chapter? Tell us

Preface

The Preface is the same as that of 1808 and 1828, with the addition of the following passage (quoted as a foot-note to the sentence:--'I have pruned the double-epithets with no sparing hand; and used my best efforts to tame the swell and glitter both of thought and diction.')--'Without any feeling of anger, I may yet be allowed to express some degree of surprize, that after having run the critical gauntlet for a certain class of faults, which I had, viz. a too ornate, and elaborately poetic diction, and nothing having come before the judgement-seat of the Reviewers during the long interval, I should for at least seventeen years, quarter after quarter, have been placed by them in the foremost rank of the proscribed, and made to abide the brunt of abuse and ridicule for faults directly opposite, viz. bald and prosaic language, and an affected simplicity both of matter and manner--faults which assuredly did not enter into the character of my compositions.--LITERARY LIFE, i. 51. Published 1817.' In the Biog. Lit. (loc. cit.) the last seven lines of the quotation read as follows--'judgement-seat in the interim, I should, year after year, quarter after quarter, month after month (not to mention sundry petty periodicals of still quicker revolution, 'or weekly or diurnal') have been for at least seventeen years consecutively dragged forth by these into the foremost rank of the proscribed, and forced to abide the brunt of abuse, for faults directly opposite, and which I certainly had not. How shall I explain this?'

Contents.--The Contents of Vols. I and III are identical with the Contents of Vols. I and III of 1828 (No. XX): A 'Song' (Tho' veiled in spires of myrtle wreath), p. 78, and 'The Alienated Mistress: A Madrigal' (If Love be dead, &c.), p. 93 of Vol. II, 1828, are omitted in Vol. II of 1829; and 'The Allegoric Vision,' 'The Improvisatore, or John Anderson, My Jo, John' [New Thoughts on old Subjects], and 'The Garden of Boccaccio' are inserted in Vol. II of 1829; between 'The Wanderings of Cain' and 'Remorse', pp. 116-42. The text of 1829, which J. D. Campbell followed in P. W., 1893, differs from that of 1828.

XXII

The / Poetical Works / Of / Coleridge, Shelley, and Keats. / Complete in One Volume. / Paris / Published by A. and W. Galignani / No. 18, Rue Vivienne / 1829. / [8{o}.

Collation.--General half-title, one leaf; The imprint, Printed by Jules Didot Senior, / Printer to His Majesty, Rue du Pont-de-Lodi, No. 6, is on the reverse of the half-title; Title, one leaf, unpaged; Notice of the Publishers, one leaf, unpaged; half-title, The / Poetical Works / of / Samuel Taylor Coleridge. / pp. [i-ii]; Contents, pp. [iii]-iv; Memoir of Samuel Taylor Coleridge, pp. [v]-xi; Text, pp. [1]-225.

[Note.--A lithographed vignette of a Harp, &c., is in the centre of the title-page. The frontispiece consists of three portraits of Coleridge (Northcote), Shelley, and Keats, engraved by J. T. Wedgwood.

The contents are identical with those of 1829, with the following additions: (1) 'Recantation--illustrated in the story of the Mad Ox'; (2) 'The Introduction to the Tale of the Dark Ladie' (as published in the Morning Post, Dec. 21, 1799); (3) 'The Composition of a Kiss'; (4) 'To a Friend together with an unpublished Poem'; (5) 'The Hour when we shall meet again'; (6) 'Lines to Joseph Cottle'; (7) 'On the Christening of a Friend's Child'; (8) 'The Fall of Robespierre'; (9) 'What is Life?'; (10) 'The Exchange'; (11) Seven Epigrams, viz. (1) 'Names'; (2) Job's Luck'; (3) 'Hoarse Maevius', &c.; (4) 'There comes from old Avaro's', &c.; (5) 'Last Monday', &c.; (6) 'Your Poem ', &c. (7) 'Swans sing', &c. ('Job's Luck' had been republished in The Crypt, 1827, and the other six in The Keepsake, 1829.) 'Fancy in Nubibus, or the Poet in the Clouds' (vide ante, p. 435), p. 216, was repeated on p. 217, under the title 'Sonnet, composed by the Seaside, October 1817', with two variants, 'yield' for 'let' in line 4, and 'To' for 'Own' in line 5. 'Love's Burial-Place', and Song, 'Tho' veiled', &c., which had appeared in 1828, were not included in Galignani, 1829.]

XXIII

The Devil's Walk; / A Poem. / By / Professor Porson. / Edited with a Biographical Memoir and Notes, By / H. W. Montagu, / Author of Montmorency, Poems, etc. etc. etc. / Illustrated with Beautiful Engravings on wood by Bonner and / Sladen, After the Designs of R. Cruikshank. / Γνωθι σεαυτον / London: / Marsh and Miller, Oxford Street. / And Constable and Co. Edinburgh. [1830.] [12{o}.

Collation.--Title, one leaf, p. [iii]; The Imprint, London: / Printed by Samuel Bentley, / Dorset-Street, Fleet-Street, is in the centre of p. [iv]; Preface, pp. [v]-viii; Text, pp. [9]-32; 'Variations', p. 33; Advertisement of New Works Published by Marsh and Miller, p. [34]-[36].

[Note.--The motto Γνωθι κ.τ.λ may have suggested Coleridge's lines entitled 'Self-knowledge' (ante, p. 487). The Pamphlet is enclosed in a paper cover, The Devil's Walk; / By / Professor Porson. / With Illustrations by R. Cruikshank. / London: / Marsh and Miller. / 1830. / Price One Shilling. / The Illustrations consist of a Frontispiece and five others to face pp. 10, 14, 19, 24, and 31.]

XXIV

The Devil's Walk; / a Poem. / By / S. T. Coleridge, Esq. / And / Robert Southey, Esq. L.L. D. etc. / Edited with a Biographical Memoir, &c. (five lines as in No. XXIII). Γνωθι σεαυτον / Second Edition. / London: Alfred Miller, 137, Oxford Street; / And Constable, Edinburgh; / Griffin, Glasgow; and Milliken, Dublin. / [1830]. [12{o}.

Collation.--Title, one leaf, p. [iii]; The Imprint, as in No. XXIII, is in the centre of p. [iv]; Advertisement, pp. [v]-vi; Preface, pp. [vii]-x; Text, pp. 11-32; Variations, p. 33; Advertisement (as in No. XXIII), p. [34].

[Note.--The Advertisement, which is dated October, 1830, states that the 'Devil's Walk' 'has now put forth its fifteen thousandth copy', and apologizes for 'an error respecting its authorship'. The Second edition forms part of a volume entitled Facetiae, Being a General Collection of the Jeux d' Esprit which have been illustrated by Robert Cruikshank. London: William Kidd, 6, Old Bond Street. MDCCCXXXI. It is followed by the 'Devil's Visit', and 'The Real Devil's Walk.']

XXV

Ten Etchings, / Illustrations of the / Devil's Walk. / By / Thomas Landseer. / London: / Published by R. G. Standing, / 24, Cornhill. / 1831. / [Folio.

Collation.--Title, one leaf, unpaged; The imprint, London: / Henry Baylis, Johnson's Court, Fleet-Street. /, is at the foot of the Reverse. The Devil's Walk. A Word at Starting, pp. 1-14, is followed by the illustrations, unpaged, with a single stanza at the foot of each illustration.

XXVI

THE POETICAL WORKS Of / S. T. COLERIDGE / Vol. I, Vol. II, &c. / LONDON / William Pickering / 1834 / [8{o}.

Collation.--Vol. I. Half-title, The Poetical Works Of / S. T. Coleridge / In Three Volumes / Vol. I, one leaf, p. [i]; Title, one leaf, pp. [iii]-[iv]; The Imprint, Charles Whittingham / London /, is at the foot of p. [iv]; Preface, pp. [v]-x; Contents, pp. [xi]-xiv; Text, pp. [1]-288; The Imprint, London: / Printed by C. Whittingham, Tooks Court. /, is at the foot of p. 288.

Vol. II. Half-title (as in Vol. I), Vol. II, one leaf, pp. [i]-[ii]; Title, one leaf, pp. [iii]-[iv]; The Imprint (as in Vol. I) is at the foot of p. iv: Contents, pp. [v]-vi; Text, pp. [1]-338; The Imprint (as in Vol. I) is at the foot of p. 338.

Vol. III. Half-title (as in Vol. I), pp. [i]-[ii]; Title, one leaf, pp. [iii]-[iv]; The Imprint (as in Vol. I) is at the foot of p. [iv]; Half-title, The Piccolomini, &c., p. [1]; Preface to the First Edition, p. [3]; Text, pp. [5]-330; 'Love, Hope, and Patience in Education', p. 331; Erratum, p. [332]; The Imprint (as in Vol. I) is at the foot of p. [332].

[Note.--This edition, the last printed in the lifetime of the author, was reprinted in 1835, 1840, 1844, 1847, &c. The Title-page is ornamented with the Aldine device and motto as in No. XXI.]

CONTENTS

[Preface, same as 1829, No. XXI, pp. [v]-x; the titles of Poems not published or collected before 1834 are italicized.]

Page Page of the Half-title 1834 present edition JUVENILE POEMS [1] Genevieve 3 19 Sonnet. To the Autumnal Moon 3 5 Anthem for the Children of Christ's Hospital 4 5 Time, real and imaginary 5 419 Monody on the Death of Chatterton 6 13 Songs of the Pixies 13 40 The Raven 18 169 Music 20 28 Devonshire Roads 21 27 Inside the Coach 22 26 Mathematical Problem 23 21 The Nose 27 8 Monody on a Tea-Kettle 29 18 Absence, a Farewell Ode 30 29 Sonnet. On Leaving School 31 29 To the Muse 32 9 With Fielding's Amelia 33 37 _Sonnet. On hearing that his Sister's Death was inevitable_ 33 20 _On Seeing a Youth affectionately welcomed by a Sister_ 34 21 The same 35 78 Pain 35 17 Life 36 11 Lines on an Autumnal Evening 36 51 The Rose 40 45 The Kiss 41 63 To a Young Ass 43 74 Happiness 44 30 Domestic Peace 48 71 The Sigh 48 62 Epitaph on an Infant 49 68 On Imitation 50 26 Honor 50 24 Progress of Vice 53 12 Lines written at the King's Arms, Ross 54 57 Destruction of the Bastile 55 10 Lines to a beautiful Spring in a Village 57 58 On a Friend who died of a Frenzy Fever induced by calumnious reports 58 76 To a Young Lady, with a Poem on the French Revolution 60 64 Sonnet I. "My Heart has thanked thee, Bowles" 62 84 ---- II. "As late I lay in Slumber's Shadowy Vale." 63 80 ---- III. "Though roused by that dark vizir Riot rude" 64 81 ---- IV. "When British Freedom for a happier land" 64 79 ---- V. "It was some Spirit, Sheridan!" 65 87 ---- VI. "O what a loud and fearful shriek" 66 82 ---- VII. "As when far off" 66 82 ---- VIII. "Thou gentle look" 67 47 ---- IX. "Pale Roamer through the Night!" 68 71 ---- X. "Sweet Mercy!" 68 93 ---- XI. "Thou Bleedest, my Poor Heart!". 69 72 ---- XII. To the Author of the Robbers. 70 72 Lines composed while climbing Brockley Coomb 70 94 Lines in the Manner of Spenser 71 94 Imitated from Ossian 73 38 The Complaint of Ninathoma 74 39 Imitated from the Welsh 75 58 To an Infant 75 91 Lines in Answer to a Letter from Bristol 76 96 To a Friend in Answer to a melancholy Letter 80 90 Religious Musings 82 108 The Destiny of Nations, a Vision 98 131

Half-title

Sibylline Leaves. / I. Poems occasioned by Political Events / Or Feelings Connected / With them. / [119] Motto--When I have borne in memory, &c. (fourteen lines), Wordsworth [120] Ode to the Departing Year [121] 160 France, an Ode 128 243 Fears in Solitude 132 256 Fire, Famine, and Slaughter 141 237

II. LOVE POEMS [145] Motto--eleven lines from a Latin poem of Petrarch [145] Love [145] 330 The Ballad of the Dark Ladie. A Fragment 150 293 Lewti, or the Circassian Love Chaunt 152 253 The Picture, or the Lover's Resolution 155 369 The Night Scene, a Dramatic Fragment 162 421 To an Unfortunate Woman 166 172 To an Unfortunate Woman at the Theatre 167 171 Lines Composed in a Concert Room 168 324 The Keepsake 170 345 To a Lady, with Falconer's Shipwreck 172 424 To a Young Lady on her recovery from a Fever 173 252 Something Childish, but very Natural 174 313 Home-sick: written in Germany 175 314 Answer to a Child's Question 176 386 A Child's Evening Prayer 176 401 The Visionary Hope 177 416 The Happy Husband 178 388 Recollections of Love 179 409 On revisiting the Sea-Shore 181 359

III. MEDITATIVE POEMS. / In Blank Verse [183] Motto--eight lines translated from Schiller [183] Hymn before Sunrise, in the Vale of Chamouni 183 376 Lines written in the Album at Elbingerode in the Hartz Forest 187 315 On observing a Blossom on the First of February 189 148 The Æolian Harp 190 100 Reflections on having left a place of Retirement 393 106 To the Rev. George Coleridge 196 173 Inscription for a Fountain on a Heath 199 381 A Tombless Epitaph 200 413 This Lime-Tree Bower my Prison 201 178 To a Friend, who had declared his intention of writing no more Poetry 205 158 To William Wordsworth, composed on the night after his recitation of a Poem on the growth of an individual mind 206 403 The Nightingale 211 264 Frost at Midnight 216 240 The Three Graves 219 267

ODES AND MISCELLANEOUS POEMS 235 Dejection, an Ode 235 362 Ode to Georgiana, Duchess of Devonshire 241 335 Ode to Tranquillity 244 360 To a Young Friend, on his proposing to domesticate with the Author 246 Lines to W. L. while he sang a song to Purcell's Music 249 286 Addressed to a Young Man of Fortune 249 157 Sonnet. To the River Otter 250 48 ---- Composed on a journey homeward after hearing of the birth of a son 251 153 ---- To a Friend 252 154 The Virgin's Cradle Hymn 252 417 Epitaph on an Infant 253 417 Melancholy, a Fragment 253 73 Tell's Birth Place 254 309 A Christmas Carol 256 338 Human Life 258 425 Moles 259 430 The Visit of the Gods 259 310 Elegy, imitated from Akenside 261 69 Separation 262 397 On Taking Leave of ---- 263 410 The Pang more sharp than all 263 457 Kubla Khan 266 295 The Pains of Sleep 270 389 Limbo 272 429 Ne plus ultra 273 431 Apologetic Preface to Fire, Famine, and Slaughter 274

END OF VOL. I

VOLUME II

THE ANCIENT MARINER. Part I. 1 187 " II. 5 189 " III. 7 192 " IV. 10 196 " V. 13 198 " VI. 18 202 " VII. 23 206

CHRISTABEL, Part I 28 213 Conclusion to Part I 39 225 Part II 41 227 Conclusion to Part II 53 235

Half-title

MISCELLANEOUS POEMS [55] Motto Ἔρωϛ ἀεί, &c. In many ways, &c. (four lines) _Alice du Clos; or, the Forked Tongue. A Ballad_ 57 469 The Knight's Tomb 64 432 Hymn to the Earth 65 327 Written during a temporary blindness, 1799 67 305 Mahomet 68 329 Catullian Hendecasyllables 69 307 Duty surviving Self-Love 69 459 Phantom or Fact? a dialogue in Verse 70 484 Phantom 71 393 Work without Hope 71 447 Youth and Age 72 439 A Day Dream 74 385 First Advent of Love 76 443 Names 76 318 Desire 77 485 Love and Friendship opposite 77 484 Not at home 77 484 To a Lady offended by a sportive observation 78 418 Lines suggested by the Last Words of Berengarius 79 460 Sancti Dominici Pallium 80 448 The Devil's Thoughts 83 319 The two round Spaces on the Tombstone 87 353 Lines to a Comic Author 89 476 Constancy to an Ideal Object 90 455 The Suicide's Argument 91 419 The Blossoming of the Solitary Date Tree 92 395 From the German 95 311 Fancy in Nubibus 96 435 The Two Founts 96 454 The Wanderings of Cain 99 288 Allegoric Vision 109 1091 New Thoughts on Old Subjects 117 462 The Garden of Boccaccio 127 478 On a Cataract 131 308 Love's Apparition and Evanishment 132 488 Morning Invitation to a Child 133 Consolation of a Maniac 135 A Character 137 451 The Reproof and Reply 140 441 Cholera Cured beforehand 142 Cologne 144 477 On my joyful departure from the same City 144 477 Written in an Album 145 To the Author of the Ancient Mariner 145 Metrical Feet. Lesson for a Boy 145 401 _The Homeric Hexameter described and exemplified_ 146 307 _The Ovidian Hexameter described and exemplified_ 146 308 To the Young Artist, Kayser of Kayserworth 147 490 Job's Luck 147 On a Volunteer Singer 148 On an Insignificant 148 Profuse Kindness 148 Charity in Thought 148 486 Humility the Mother of Charity 149 486 On an Infant which died before Baptism 149 312 On Berkeley and Florence Coleridge 149 ""Γνῶθι σεαυτόν, &c. 150 487 "Gently I took," &c. 151 488 My Baptismal Birthday 151 490 Epitaph 152 491

Half-title

Remorse! / A Tragedy. / In Five Acts. / [153] Dramatis Personae. [154] 819 Remorse. 155 820 Appendix. [237] 881

Half-title, Motto, &c.

Zapolya: / A Christmas Tale / In Two Parts / [241] Advertisement. [242] 883 Zapolya. [243] 884

END OF VOL. II

VOLUME III

Half-title

The Piccolomini; / Or, the First Part of Wallenstein. / A Drama. /Translated from the German of Schiller. / [1] Preface to the First edition [3] 598 The Piccolomini [5] 600

Half-title

The / Death of Wallenstein. / A Tragedy. / In Five Acts: / [193] Preface of The Translator / To the First Edition. / [195] 724 Dramatis Personae [198] 726 The Death of Wallenstein [199] 726 Love, Hope, and Patience in Education 331 481 Erratum [332]

XXVII

THE POETICAL AND DRAMATIC WORKS of Samuel Taylor Coleridge; With a Life of the Author. London: John Thomas Cox, 84 High Holborn. MDCCCXXXVI. [8{o}, pp. lxxviii + 403.

The Life of the Author is followed by an Appendix containing 'Coleridge's Will', and 'Contemporary Notices of the Writings and Character of Coleridge'.

The Contents consist of the Poems published in 1797, together with 'The Nightingale'; 'Love'; 'The Ancient Mariner'; 'The Foster Mother's Tale'; four poems and seven sonnets reprinted from 1796; 'On a late Connubial Rupture'; and the 'Three Sonnets . . . in the manner of Contemporary Writers' reprinted from the Poetical Register. The Poems conclude with 'A Couplet, written in a volume of Poems presented by Mr. Coleridge to Dr. A.'--a highly respected friend, the loss of whose society he deeply regretted--

To meet, to know, to love--and then to part, Is the sad tale of many a human heart.

For the 'Couplet', vide ante, p. 410, 'To Two Sisters', ll. 1, 2. Dr. A. was probably John Anster, LL.D., the translator of Goethe's Faust.

The Dramatic Works consist of 'The Piccolomini' and 'The Death of Wallenstein'.

XXVIII

THE POETICAL AND DRAMATIC WORKS of Samuel Taylor Coleridge, with a Life of the Author. London: Tho{s}. Allman 42 Holborn Hill 1837. [16{mo}, pp. viii + 392.

Note.--The 'Life of the Author' does not form part of this edition. The Contents are identical with those of No. XXVII. The frontispiece depicts the 'Ancient Mariner' and the 'Wedding Guest'. The title-page, 'Drawn and Engraved by J. Romney,' is embellished with a curious vignette depicting a man in a night-cap lying in bed. A wife, or daughter, is in attendance. The vignette was probably designed to illustrate some other work.

XXIX

THE POETICAL WORKS of Samuel Taylor Coleridge with Life of the Author. London: Charles Daly, 14, Leicester Street, Leicester Square, n. d. [16{mo}, pp. xxxii + [35]-384.

The Contents consist of 'The Ancient Mariner' (with the marginal glosses printed at the end of the poem); the Poems of 1796, 1797, with a few exceptions: 'The Piccolomini'; 'The Death of Wallenstein'; 'The Dark Ladié'; 'The Raven'; 'A Christmas Carol'; and 'Fire, Famine, and Slaughter'--i. e. of poems then out of copyright, or reprinted from the Morning Post.

XXX

The Ancient Mariner, and other Poems. By S. T. Coleridge. Price Sixpence. London: Sherwood, Gilbert, and Piper, Paternoster-Row. MDCCCXLIII. J. Scott, Printer, 50, Hatfield Street. [16{mo}, pp. iv + 148.

Note.--This edition formed one of the 'Pocket English Classics'. An illustrated title-page depicts the 'skiff-boat' with its crew of the Ancient Mariner, the Holy Hermit, the Pilot, and the Pilot's boy, who is jumping overboard. The flag bears the legend 'The Antient Mariner and Minor Poems By S. T. Coleridge'. The Contents include 'The Ancient Mariner', with the marginal glosses printed at the end of the poem; and a selection of poems published in 1796, 1797.

XXXI

THE POEMS of S. T. Coleridge [Aldine device and motto] London William Pickering 1844. [8{o}, pp. xvi + 372.

Note.--The Contents of this volume, issued by Mrs. H. N. Coleridge as sole editress, consist of the Poems (not the Dramatic Works) included in 1834, with the following omissions, (1) Music, (2) Devonshire Roads, (3) Inside the Coach, (4) Mathematical Problem, (5) The Nose, (6) Monody on a Tea-kettle, (7) 'The Same,' 'I too a sister had', &c., (8) On Imitation, (9) Honor, (10) Progress of Vice, (11) The Two round spaces on the Tombstone; and the following additions, already republished in Lit. Remains, 1836, Vol. I, (1) Epigram, 'Hoarse Mævius', &c., (2) Casimir ad Lyram, (3) On the Christening of a Friend's Child, (4) Introduction to the Tale of the Dark Ladie, (5) An Ode to the Rain, (6) The Exchange, (7) Complaint, 'How seldom, Friend', &c., (8) 'What is Life', (9) Inscription for a Time-Piece, (10) Ἐπιτάφιον αὐτόγραπτον. Four songs from the dramas were also included. The German originals of (1) Schiller's 'Lines on a Cataract', (2) Friederike Brun's 'Chamouny at Sunrise', and (3) Schiller's distiches on the 'Homeric Hexameter' and the 'Ovidian Elegiac Metre' are printed on pp. 371, 372.

XXXII

THE POEMS of S. T. Coleridge [Aldine device and motto] London William Pickering 1848. [8{o}, pp. xvi + 372.

The Contents are identical with those of No. XXXI, with the exception of two additional 'Notes' (pp. 371, 372) containing the German original of Matthisson's Milesisches Märchen, and two stanzas of Cotton's Chlorinda, of which 'Separation' (ante, p. 397) is an adaptation.

XXXIII

THE RAVEN, A Christmas Tale, by Samuel Taylor Coleridge, Esq. Illustrated with Eight Plates, By an Old Traveller. [n. d.]

Collation.--Oblong folio, pp. i-vi + eight scenes unpaged, faced by eight lithographs.

XXXIV

THE POEMS of Samuel Taylor Coleridge. Edited by Derwent and Sara Coleridge. A New Edition. London: Edward Moxon, Dover Street. 1852. [8{o}, pp. xxvii ('Advertisement', and 'Editors' Preface to the Present Edition', pp. [v]-xiv) + 378 + 'Notes', pp. [379]-388.

ADVERTISEMENT

This volume was prepared for the press by my lamented sister, Mrs. H. N. Coleridge, and will have an additional interest to many readers as the last monument of her highly-gifted mind. At her earnest request, my name appears with hers on the title-page, but the assistance rendered by me has been, in fact, little more than mechanical. The preface, and the greater part of the notes, are her composition:--the selection and arrangement have been determined almost exclusively by her critical judgment, or from records in her possession. A few slight corrections and unimportant additions are all that have been found necessary, the first and last sheets not having had the benefit of her own revision.

DERWENT COLERIDGE.

ST. MARK'S COLLEGE, CHELSEA, May 1852.

PREFACE TO THE PRESENT EDITION [1852]

As a chronological arrangement of Poetry in completed collections is now beginning to find general favour, pains have been taken to follow this method in the present Edition of S. T. Coleridge's Poetical and Dramatic Works, as far as circumstances permitted--that is to say, as far as the date of composition of each poem was ascertainable, and as far as the plan could be carried out without effacing the classes into which the Author had himself distributed his most important poetical publication, the 'Sibylline Leaves,' namely, POEMS OCCASIONED BY POLITICAL EVENTS, OR FEELINGS CONNECTED WITH THEM; LOVE POEMS; MEDITATIVE POEMS IN BLANK VERSE; ODES AND MISCELLANEOUS POEMS. On account of these impediments, together with the fact, that many a poem, such as it appears in its ultimate form, is the growth of different periods, the agreement with chronology in this Edition is approximative rather than perfect: yet in the majority of instances the date of each piece has been made out, and its place fixed accordingly.

In another point of view also, the Poems have been distributed with relation to time: they are thrown into three broad groups, representing, first the Youth,--secondly, the Early Manhood and Middle Life,--thirdly, the Declining Age of the Poet; and it will be readily perceived that each division has its own distinct tone and colour, corresponding to the period of life in which it was composed. It has been suggested, indeed, that Coleridge had four poetical epochs, more or less diversely characterised,--that there is a discernible difference betwixt the productions of his Early Manhood and of his Middle Age, the latter being distinguished from those of his Stowey life, which may be considered as his poetic prime, by a less buoyant spirit. Fire they have; but it is not the clear, bright, mounting fire of his earlier poetry, conceived and executed when 'he and youth were house-mates still.' In the course of a very few years after three-and-twenty all his very finest poems were produced; his twenty-fifth year has been called his annus mirabilis. To be a 'Prodigal's favourite--[1169:1]then, worse truth! a Miser's pensioner,' is the lot of Man. In respect of poetry, Coleridge was a 'Prodigal's favourite,' more, perhaps, than ever Poet was before.

* * * * *

[The poems] produced before the Author's twenty-fourth year [1796], devoted as he was to the 'soft strains' of Bowles, have more in common with the passionate lyrics of Collins and the picturesque wildness of the pretended Ossian, than with the well-tuned sentimentality of that Muse which the overgrateful poet has represented as his earliest inspirer. For the young they will ever retain a peculiar charm, because so fraught with the joyous spirit of youth; and in the minds of all readers that feeling which disposes men 'to set the bud above the rose full-blown' would secure them an interest, even if their intrinsic beauty and sweetness were less adequate to obtain it.

* * * * *

The present Editors have been guided in the general arrangement of this edition by those of 1817 and 1828, which may be held to represent the author's matured judgment upon the larger and more important part of his poetical productions. They have reason, indeed, to believe, that the edition of 1828 was the last upon which he was able to bestow personal care and attention. That of 1834, the last year of his earthly sojourning, a period when his thoughts were wholly engrossed, so far as the decays of his frail outward part left them free for intellectual pursuits and speculations, by a grand scheme of Christian Philosophy, to the enunciation of which in a long projected work his chief thoughts and aspirations had for many years been directed, was arranged mainly, if not entirely, at the discretion of his earliest Editor, H. N. Coleridge. . . Such alterations only have been made in this final arrangement of the Poetical and Dramatic Works of S. T. Coleridge, by those into whose charge they have devolved, as they feel assured, both the Author himself and his earliest Editor would at this time find to be either necessary or desirable. The observations and experience of eighteen years, a period long enough to bring about many changes in literary opinion, have satisfied them that the immature essays of boyhood and adolescence, not marked with any such prophetic note of genius as certainly does belong to the four school-boy poems they have retained, tend to injure the general effect of a body of poetry. That a writer, especially a writer of verse, should keep out of sight his third-rate performances, is now become a maxim with critics; for they are not, at the worst, effectless: they have an effect, that of diluting and weakening, to the reader's feelings, the general power of the collection. Mr. Coleridge himself constantly, after 1796, rejected a certain portion of his earliest published Juvenilia: never printed any attempts of his boyhood, except those four with which the present publication commences, and there can be no doubt that the Editor of 1834 would ere now have come to the conclusion, that only such of the Author's early performances as were sealed by his own approval ought to form a permanent part of the body of his poetical works.

* * * * *

It must be added, that time has robbed of their charm certain sportive effusions of Mr. Coleridge's later years, which were given to the public in the first gloss and glow of novelty in 1834, and has proved that, though not devoid of the quality of genius, they possess upon the whole, not more than an ephemeral interest. These the Editors have not scrupled to omit on the same grounds and in the same confidence that has been already explained.

* * * * *

S. C.

CHESTER PLACE, REGENT'S PARK. March, 1852.

The Contents of 1852 correspond with those of 1844, 1848, with the following omissions: (1) Anthem for the Children of Christ's Hospital; (2) Sonnet, 'Farewell, parental scenes', &c.; (3) To the Muse; (4) With Fielding's Amelia; (5) Sonnet, 'On receiving an account', &c.; (6) Sonnet, 'On seeing a Youth', &c.; (7) Pain; (8) Epigram, 'Hoarse Mævius', &c.; (9) Casimir ad Lyram; (10) 'On the Christening', &c.; (11) Elegy imitated from Akenside; (12) Phantom; (13) Allegoric Vision; (14) Reproof and Reply; (15) Written in an Album, 'Parry', &c.; (16) To the Author of the Ancient Mariner; (17) Job's Luck; (18) On a Volunteer Singer; together with four songs from the dramas.

The additions were (1) Sonnet to Pitt, 'Not always', &c.; (2) Sonnet, 'Not Stanhope', &c.; (3) To the Author of Poems published anonymously at Bristol; (4) The Day-Dream, 'If thou wert here', &c.; (5) The Foster-Mother's Tale; (6) A Hymn; (7) The Alienated Mistress. A Madrigal; (8) To a Lady, 'Tis not the lily brow', &c.; (9) Song, 'Tho' veiled', &c.; (10) L'envoy. 'In vain we supplicate', &c.

The Notes, pp. 379-88, contain, inter alia, the Latin original of 'Kisses' (vide ante, p. 46), and the Sonnet, 'No more my visionary Soul shall dwell', attributed by Southey to Favell (vide ante, p. 68).

XXXV

THE DRAMATIC WORKS of Samuel Taylor Coleridge. Edited by Derwent Coleridge. A New Edition. London: Edward Moxon, Dover Street. 1852. [8{o}, pp. xvi + 427.

CONTENTS

Remorse. A Tragedy in Five Acts. Zapolya. A Christmas Tale. In two Parts. Part I. The Prelude, &c. Zapolya. Part II. The Sequel, entitled 'The Usurper's Fate.' The Piccolomini; or the first part of 'Wallenstein.' A Drama. Translated from Schiller. The Death of Wallenstein. A Tragedy. In Five Acts. Notes.

Note.--The Preface contains a critical estimate of Remorse and Zapolya, and of the translation of Schiller's Wallenstein. At the close of the Preface [pp. xii-xiv] the Editor comments on the strictures of a writer in the Westminster Review, Art. 3 July 1850 (vide ante, p. 811), and upholds the merits of the Translation as a whole. The Preface is dated 'St. Mark's College, Chelsea, July, 1852'.

XXXVI

THE COMPLETE WORKS of Samuel Taylor Coleridge. With an Introductory Essay upon his Philosophical and Theological opinions. Edited by Professor Shedd. In Seven Volumes. Vol. vii. New York: Harper & Brothers, Publishers, Nos. 329 and 331 Pearl Street, Franklin Square. 1853.

Second Title.--The Poetical and Dramatic Works of Samuel Taylor Coleridge. New York: Harper & Brothers. 1853. [8{o}, pp. xiv + 15-702.

The Contents are identical with those of 1834, with ten additions first collected in 1844. The Fall of Robespierre is included in the Dramatic Works. 'Lines in Answer to a Letter from Bristol', pp. 67-70, are reprinted as 'Lines Written at Shurton Bars near Bridgewater', pp. 103-5 (vide ante, p. 96). Vol. vii was republished with an Index to the preceding six volumes in 1854.

XXXVII

THE POEMS of Samuel Taylor Coleridge. Edited by Derwent and Sara Coleridge. With a Biographical Memoir By Ferdinand Freiligrath. Copyright Edition. Leipzig Bernhard Tauchnitz 1860.

Collation.--General Half-title, one leaf, Collection of British Authors. Vol. 512. The Poems, &c. (4 lines). In One Volume, p. [i]; Title, p. [iii]; Half-title, Biographical Memoir of Samuel Taylor Coleridge. By Ferdinand Freiligrath, p. [iv]; Advertisements, p. [v]; Biographical Memoir, pp. [vi]-xxviii; Advertisement (to ed. of 1852), p. xxix; Preface, pp. [xxxi]-xl; Contents, pp. [xli]-xlv. Text, pp. [1]-336; Notes, pp. [337]-344.

XXXVIII

THE POEMS of S. T. Coleridge. London: Bell and Daldy. 1862. [16{mo}, pp. xiii + 299.

XXXIX

THE POEMS of Samuel Taylor Coleridge. Edited by Derwent and Sara Coleridge. With an Appendix. A New Edition. London: Edward Moxon & Co., Dover Street. 1863.

[8{o}, pp. xxvii + [1]-378 + Notes, pp. [379]-388 + Appendix, pp. [391]-404.

The text of the Poems is identical with that of 1852, but a fresh 'Advertisement', pp. [iii]-iv, is prefixed to the 'Advertisement' dated May, 1852.

ADVERTISEMENT

The last authorised edition of S. T. Coleridge's Poems, published by Mr. Moxon in 1852, bears the names of Derwent and Sara Coleridge, as joint editors. In writing my name with my sister's, I yielded to her particular desire and request, but the work was performed almost entirely by herself. My opinion was consulted as to the general arrangement, and more especially as to the choice or rejection of particular pieces. Even here I had no occasion to do more than confirm the conclusions to which she had herself arrived, and sanction the course which she had herself adopted. I shared in the responsibility, but cannot claim any share in the credit of the undertaking. This edition I propose to leave intact as it came from her own hands. I wish it to remain as one among other monuments of her fine taste, her solid judgment, and her scrupulous conscientiousness.

A few pieces of some interest appear, however, to have been overlooked. Two characteristic sonnets, not included in any former edition of the Poems, have been preserved in an anonymous work, entitled 'Letters, Recollections, and Conversations of S. T. Coleridge.' These with a further selection from the omitted pieces, principally from the Juvenile Poems, have been added in an Appendix. So placed, they will not at any rate interfere with the general effect of the collection, while they add to its completeness.

All these buds of promise were once withdrawn, and, afterwards reproduced by the Author. It is not easy now to draw a line of separation, which shall not be deemed either too indulgent, or too severe. [The concluding lines of the 'Advertisement' dealt with questions of copyright]. DERWENT COLERIDGE.

Spotted a typo or a problem in this chapter? Tell us

Appendix

[First printed in 1863.]

1. To Nature. [Letters, Conversations, &c., 1836, i. 144.] 2. Farewell to Love. [Ibid., i. 143.] 3. 'I yet remain', &c. [First six lines by W. L. Bowles.] 4. Count Rumford's Essays. [By W. L. Bowles.] 5. 'The early Year's', &c. [Ver perpetuum, ante, p. 148.] 6. To the Rev. W. J. H. [1796.] 7. To a Primrose. [The Watchman.] 8. On the Christening of a Friend's Child. [1797.] 9. Mutual Passion. [Sibylline Leaves.] 10. From a Young Lady. [The Silver Thimble, ante, p. 104.] 11. Translation of a Paraphrase of the Gospels. [Biog. Lit., 1807, i. 203, 204.] 12. Israel's Lament. [Ante, pp. 433, 434.]

Notes.--(1) No. 4 forms part of a Poem 'On Mr. Howard's Account of Lazarettos,' Sonnets, with other Poems, 1794, pp. 52, 53. See Mr. T. Hutchinson's note in the Athenæum, May 3, 1902.

(2) An MS. of No. 10, 'From a Young Lady', is preserved in the library of Rugby School. The poem is dated August, 1795, and is partly in the 'Young Lady's' handwriting. It is signed 'Sara[*h*] Fricker', a proof that her future husband meant from the first to alter the spelling of her name.

(3) The frontispiece of this edition is a lithograph by W. Hall of a portrait of Coleridge, aet. 26, formerly in the possession of Thomas Poole.

XL

THE POEMS of Samuel Taylor Coleridge. Edited by Derwent and Sara Coleridge. With an Appendix. A new and enlarged edition, with a brief Life of the author. London: E. Moxon and Co., 44 Dover Street. [1870.] [8{o}, pp. lxvii + 429.

Note.--The Contents of 1870 are identical with those of 1863, with the addition of an Introductory Essay (i. e. a Critical Memoir) by Derwent Coleridge, pp. xxiii-lix. 'The Rime of the Ancyent Mariner,' in Seven Parts, was reprinted verbatim from the original as it appeared in Lyrical Ballads, 1798. The Introductory Memoir (an 'Essay in a Brief Model') has never been reprinted.

XLI

THE RAVEN. A Poem by Samuel Taylor Coleridge. Illustrated by Ella Hallward With an Introduction by the Hon. Stephen Coleridge. H. S. Nichols L{td}, 39 Charing Cross Road London W.C. MDCCCXCVIII. [4{o}.

Note.--The text is printed on 14 sheets, unpaged. There are thirteen illustrations and other embellishments.

XLII

OSORIO A Tragedy As originally written in 1797 By Samuel Taylor Coleridge Now first printed from a Copy recently discovered by the Publisher with the Variorum Readings of 'Remorse' and a Monograph on The History of the Play in its earlier and later form by the Author of 'Tennysoniana' London John Pearson York Street Covent Garden 1873. [8{o}, pp. xxii + 204.

XLIII

THE POETICAL WORKS of Samuel Taylor Coleridge Edited with an Introductory Memoir and Illustrations by William B. Scott. London. George Routledge and Sons. [1874.] [8{o}, pp. xxviii + 420.

XLIV

THE POETICAL WORKS OF COLERIDGE AND KEATS With a Memoir of Each Four Volumes in Two. New York Published by Hurd and Houghton Boston: H. O. Houghton and Company The Riverside Press, Cambridge. 1878. [8{o}.

Vol. I, pp. cxl + 372.

Vol. II, pp. vi + 331 + pp. xxxvi + 438 (Life and Poetical Works of Keats).

Note.--This edition was a reprint of the 'Poetical and Dramatic Works' of 1852.

XLV

THE POETICAL AND DRAMATIC WORKS OF SAMUEL TAYLOR COLERIDGE. FOUNDED ON THE AUTHOR'S LATEST EDITION OF 1834 WITH MANY ADDITIONAL PIECES NOW FIRST INCLUDED, AND A COLLECTION OF VARIOUS READINGS Volume the First [Volume the Second, &c.] [The Aldine device and motto.] London Basil Montagu Pickering 196 Piccadilly 1877. [Reissued, with additions and with the imprint of London Macmillan and Co. 1880.]

Contents.--Vol. I. Contents, &c., pp. viii; Memoir of S. T. Coleridge, pp. [ix]-cxviii; Poems, pp. [1]-217; Appendix (including Southey's Translation of a 'Greek Ode on Astronomy', &c.), pp. 219-224.

Vol. II. Contents, &c., pp. xii; Poems, pp. [1]-352; Supplement, pp. 355*-364*; Appendix, pp. 353-381.

Vol. III. Remorse, and Zapolya, pp. 290.

Vol. IV. Fall of Robespierre, and Translation of Schiller's 'Wallenstein', pp. 413.

Note.--The Editor, Richard Herne Shepherd, included in the first two volumes the poems published by Coleridge in 1796, 1797, An. Anth., 1800, 1803, Sibylline Leaves (1817), 1828, 1829, 1834, together with those published by H. N. Coleridge in Literary Remains, 1836, by Sara and Derwent Coleridge in 1844, 1852 (with the exception of the Hymn, 1814), and by Derwent Coleridge in the Appendix of 1863.

The following poems collected from various sources were reprinted for the first time:--

Vol. I. (1) Julia; (2) First version of the Sonnet to the Rev. W. L. Bowles; (3) On a late Connubial Rupture; (4) Sonnets signed Nehemiah Higginbottom.

Vol. II. (1) Talleyrand to Lord Granville; (2) A Stranger Minstrel; (3) To Two Sisters, &c.; (4) Water Ballad; (5) Modern Critics; (6) 'The Poet in his lone', &c. [Apologia, &c., ante, p. 345]; (7) Song, ex improviso, &c.; (8) The Old Man of the Alps; (9) Three Epigrams from The Watchman; (10) Sonnet on the birth of a son; (11) On Deputy ----; (12) To a Musical Critic; (13) Εγωενκαιπαν; (14) The Bridge-street Committee; (15) 'What boots to tell', &c.; (16) Mr. Baker's Courtship; (17) Lines in a German Student's Album; (18) On Kepler; (19) Distich from the Greek.

The Supplement published in 1880 (Vol. II, pp. 355*-364*) contains (1) Monody on Chatterton [First Version]; (2) To the Evening Star; (3) Anna and Harland; (4) Translation of Wrangham's Hendecasyllabi, &c.; (5) To Miss Brunton; (6) The Mad Monk. Bibliographical matter of interest and importance is contained in the Memoir, and in the Notes to Vol. II, pp. 375-381. Variants of the text, derived from the Morning Post, and from earlier editions, are printed as footnotes to the text. In Vol. III. the Editor supplies a collation of the text of Remorse as published in 1852 with that of Osorio [London: John Pearson, 1873] and with that of the First and Second Editions of Remorse published in 1813.

XLVI

The Poetical Works of Samuel Taylor Coleridge. With Life. Engravings on Steel. Gale and Inglis. Edinburgh: Bernard Terrace. London: 26 Paternoster Square. [1881.] [8{o}, pp. xxviii + 420.

Note.--This edition includes the Fall of Robespierre, and Christobell. A Gothic Tale as published in the European Magazine, April, 1815.

XLVII

THE POETICAL WORKS of Samuel Taylor Coleridge Edited with Introduction and Notes by T. Ashe, B.A. of St. John's College, Cambridge In Two Volumes. London George Bell and Sons, York Street Covent Garden 1885. [The Frontispiece of Vol. I is a portrait of S. T. Coleridge, aet. 23, from a crayon drawing by Robert Hancock: of Vol. II, a view of Greta Hall, Keswick.] [8{o}.

Vol. I. Title, &c., pp. [iii]-xiv; Introduction, &c., pp. [xv]-clxxxvi; Poems, pp. 1-212.

Vol. II. Contents, &c., pp. [v]-xiii; Poems, pp. 1-409.

Note.--Section 3 of the Introduction, pp. cxxxviii-clxxxvi, supplies a Bibliography of the Poems. The Dramas are not included in the Poetical Works. In the 'Table of Contents' poems not included in 1834 are marked by an asterisk, but of these only three, (1) 'The Tears of a Grateful People'; (2) 'The Humour of Pallas' ['My Godmother's Beard'], and (3) 'Lines written in the Common Place Book of Miss Barbour', were collected for the first time. The 'Introduction', the work of a genuine poet, contains much that is valuable and interesting, but the edition as a whole is by no means an advancement on P. and D. W., 1877-1880.

XLVIII

THE POETICAL WORKS of Samuel Taylor Coleridge Edited with a Biographical Introduction by James Dykes Campbell [=London=] Macmillan and Co. And New York 1893 All rights reserved. [8{o}, pp. cxxiv + 667.

Contents.--Authorities cited in the Introduction--Corrigenda, p. vi; Preface, pp. [vii]-x; Introduction, pp. [xi]-cxxiv; Poems, pp. [1]-210; Dramatic Works, pp. [211]-442; Addenda, (i) Epigrams, pp. [443]-453, (ii) Fragments from a Common Place Book, pp. 453-458, (iii) Fragments from various sources, pp. [459]-470; (iv) Adaptations, pp. [471]-474; Appendix A. The Raven, pp. [475]-476; Appendix B. Greek Prize Ode, &c. [from MS.], pp. 476-477; Appendix C. To a Young Ass [from MS.], pp. 477-478; Appendix D. Osorio [from MSS.], pp. 479-512; Appendix E. The Rime of the Ancient Mariner [1798], pp. 512-520; Appendix F. Mont Blanc. The Summit of the Vale of Chamouny, an Hour before Sunrise--An Hymn (Coleorton Letters, 1887, i. 26-29), pp. 521-522; Appendix G. Dejection: An Ode (M. P., Oct. 4, 1802), pp. 522-524; Appendix H. To a Gentleman [W. Wordsworth] (Coleorton Letters, i. 213-218), pp. 525-526; Appendix I. Apologetic Preface to 'Fire, Famine and Slaughter', pp. 527-533; Appendix J. Allegoric Verses, pp. 534-537; Appendix K. Titles, Prefaces, and Contents, &c., pp. 537-559; Notes, pp. [561]-654; Index to the Poems, &c., pp. [655]-659; Index to First Lines, pp. [661]-667.

The Poems include all those published in 1877-1880 with the addition of the Hymn, first published in 1852, and the omission of 'The Old Man of the Alps' (M. P., Apr. 13, 1798) together with the following pieces collected for the first time (*), or printed for the first time from MSS. (MS.):--(1) Dura Navis (MS.); (2) Nil pejus, &c. (MS.); (3) Quae nocent, &c. (MS.); (4) Invocation (MS.); (5) On a Lady Weeping (MS.); (6) A Wish written, &c. (MS.); (7) An Ode in the Manner of Anacreon (MS.); (8) A Lover's Complaint, &c.; (9) To Fortune (*); (10) The Faded Flower (*); (11) On Bala Hill [by R. Southey] (MS.); (12) Count Rumford [by W. L. Bowles] (*); (13) Verses to J. Horne Tooke (*); (14) Ad Vilmum Axiologum (MS.); (15) The Snowdrop (MS.); (16) To Matilda Betham, &c. (*); (17) Homeless (*); (18) Sonnet. Translated from Marini (MS.) (19) A Sunset (MS.); (20) Tears of a Grateful People (*); (21) To Mary Pridham (MS.).

Of the Epigrams, pp. 443-455, the following were first printed from MS., (1) 'You're careful', &c.; (2) 'Say what you will', &c.; (3) On an Insignificant 'No doleful', &c.; (4) On a Slanderer 'From yonder tomb', &c.; (5) 'Money I've heard', &c.

Of fifty-four Fragments from a Common Place Book eighteen were first printed in Literary Remains, i. 277-281, and the rest were published or collected for the first time: of sixty-six Fragments from Various Sources thirty-three were first published from MSS., and others were collected for the first time.

Much had been accomplished by the Editor of P. and D. W., 1877-1880, but the excellence of the critical apparatus, the style and substance of the critical and explanatory notes, and the amount and quality of fresh material have made and must continue to make the Edition of 1893 the standard edition of Coleridge's Poetical Works. The 'Introductory Memoir' was republished as 'A Narrative of the Life of Samuel Taylor Coleridge', Macmillan, 1894.

XLIX

COLERIDGE'S POEMS A Facsimile Reproduction Of The Proofs And MSS. Of Some OF THE POEMS EDITED BY THE LATE JAMES DYKES CAMPBELL Author of "Samuel Taylor Coleridge, A Narrative of the Events of his Life"; and Editor of "The Poetical Works of Samuel Taylor Coleridge." With Preface and Notes By W. Hale White Westminster Archibald Constable and Co. 1899.

Note.--This volume contains a reprint of a volume of proofs endorsed 'Coleridge's MSS. Corrected Copy of a Work'--'Mr. Cottle's', and a facsimile reproduction of three MSS., with the original erasures and alternative readings. The volume of proofs formerly in the possession of J. Dykes Campbell was reproduced by him, and he added the facsimile of the MSS. in the British Museum which he had deciphered and prepared for publication. Four years after his death the sheets were bound up and published with an elucidatory preface by Mr. W. Hale White. A copy of this literary curiosity as it was left by Mr. Campbell, without the Preface, is in the possession of the Editor.

L

CHRISTABEL By Samuel Taylor Coleridge Illustrated by a Facsimile of the Manuscript And by Textual and other Notes By Ernest Hartley Coleridge Hon. F.R.S.L. London: Henry Frowde MCMVII. [8{o}, pp. ix + 113.

Note.--The Frontispiece is a photogravure (by Emery Walker) of a pastel drawing of S. T. Coleridge aet. 26. The Collotype Facsimile (thirty-eight leaves unpaged) is inserted between pp. 53 and 54. The text, as collated with three MSS., two transcriptions, and the First Edition, &c., is on pp. 61-96; a Bibliographical Index [Appendix IV] on pp. 111-113. This Edition (dedicated to the Poet's grand-daughters Edith and Christabel Rose Coleridge) was issued by Henry Frowde at the expense of the Royal Society of Literature.

LI

THE POEMS OF COLERIDGE With An Introduction By Ernest Hartley Coleridge And Illustrations By Gerald Metcalfe John Lane The Bodley Head London, W. John Lane Company New York.

[8{o}, pp. xxxi + 460 + Index to the Poems [461]-466 + Index to First Lines [469]-477.]

Note.--The Illustrations consist of twenty-three full-page illustrations, together with numerous headings, tailpieces, and vignettes. The Contents include all poems previously published which were not subject to the law of copyright:--'The Walk Before Supper', 'The Reproof and Reply', and 'Sancti Dominici Pallium' were printed for the first time from the original MSS.

LII

THE RIME OF THE ANCIENT MARINER. By Samuel Taylor Coleridge, Illustrated by Twenty-Five Poetic and Dramatic Scenes, Designed and Etched By David Scott, Member of the Scottish Academy of Painting. Edinburgh: Alexander Hill, 50, Princes Street; Ackermann & Co. London. M. DCCC. XXXVII. [Folio.

Note.--Text with marginal glosses in Gothic letters, pp. [5]-25 + twenty-four full-page etchings unpaged, preceded by an illustrated title-page. Scenes from Coleridge's Rime of the Ancient Mariner, By David Scott, S.A. [Etching of the Ancient Mariner on a storm-tost coast ringing a bell, with a motto (from Kubla Khan) "All who saw would cry Beware", COLERIDGE.] Edinburgh Published By Alex{r}. Hill, 50 Princes Street 1837. The cloth binding is embellished with a vignette--a lyre encircled by a winged serpent.

LIII

COLERIDGE'S RIME OF THE ANCIENT MARINER Illustrated by J. Noel Paton, R.S.A. Art Union of London 1863 [W. H. M{c}Farlane Lithog{r} Edinburgh] [Oblong Folio.

Note.--The text, pp. [1]-12, is followed by twenty full-page illustrations. The title-page and cloth binding are embellished with a symbolic vignette--a cross-bow, with twisted snake, resting on a cross encircled with stars.

LIV

THE POETICAL WORKS of Samuel T. Coleridge Edited, with a Critical Memoir, By William Michael Rossetti. Illustrated By Thomas Seccombe. London: E. Moxon, Son, & Co., Dover Street. [8{o}, pp. xxxii + 424.

Note.--In a Note affixed to the 'Prefatory Notice' the Editor states that this edition includes all Coleridge's 'Dramas . . . with the exception of Zapolya. In lieu of this The Fall of Robespierre, which has never as yet been reprinted in England, is introduced.'

FOOTNOTES:

[1135:1]

Felix curarum &c. . . . . . . . . . . . . Nos otia vitae Solamur cantu, ventosaque gaudia famae Quaerimus. STATIUS, Silvarum lib. iv, iv, ll. 46-51.

[1135:2] The following Advertisement was issued on a separate sheet:--

London, April 16. / This day was Published. / Printed on Wove Paper, and Hot-Pressed, / Price 5_s._ in Boards,--Fools-cap 8 vo. / POEMS / ON VARIOUS SUBJECTS, by / S. T. COLERIDGE, / Late of Jesus College, Cambridge. / [=London=]: Printed for G. G. and J. Robinsons, Pater-Noster Row, and / J. Cottle, Bookseller, Bristol; and to be had of the / PUBLISHERS of the WATCHMAN / 1796. /

[1136:1] From 'An Evening Address to a Nightingale', by Cuthbert Shaw--Anderson's British Poets, xi. 564.

[1136:2]

'Why may not LANGHORNE, simple in his lay, Effusion on Effusion, pour away?' The Candidate, ll. 41-2.

[1140:1] The ancient little Wits wrote many poems in the shape of Eggs, Altars, and Axes. (MS. Note by S. T. C.)

[1140:2] The title of the volume is 'Sonnets and Odes, by Henry Francis Cary. Author of an Irregular Ode to General Elliot. London 1787.'

Lines 6-9 of the Sonnet read thus:--

From him deriv'd who shun'd and spurn'd the throng And warbled sweet, thy Brooks and streams among, Lonely Valclusa! and that heir of Fame Our English Milton--

Line 14 reads:--

A grandeur, grace and spirit all their own.

The Poems were the first publication of 'Dante' Cary, then a boy of fifteen, whom Coleridge first met at Muddiford in October, 1816, and whose translation of the Divina Commedia he helped to make famous.

[1141:1] The three Sonnets of Bowles are not in any Edition since the last quarto pamphlet of his Sonnets. (MS. Note by S. T. C.)

[1144:1] Ossian.

[1146:1] Compare The Pursuits of Literature, Dialogue 1, lines 50, 55, 56.

The self-supported melancholy Gray

* * * * *

With his high spirit strove the master bard, And was his own exceeding great reward.

The first Dialogue was published in May 1794. The lines on Gray may have suggested Coleridge's quotation from Genesis, chap. xv, ver. 1, which is supplied in a footnote to line 56.

[1150:1] The 'Eolian Harp', with the title 'Effusion xxxv. Composed August 20, 1795, at Clevedon, Somersetshire', was first published in 1796, and included as 'Composed at Clevedon' in 1797 and 1803. It is possible that it may have been originally printed in a newspaper.

[1150:2] The fourth and last edition of the Lyrical Ballads was issued in 1805.

[1151:1] The List numbers thirty, and of these not more than twenty are strictly speaking Errata. Of the remainder the greater number are textual corrections, emendations, and afterthoughts.

[1151:2] The allusion is to the prolonged and embittered controversy between Coleridge and his friends at Bristol, who had printed his works and advanced him various sums of money on the security of the sheets as printed and the future sale of the works when published. They were angry with him for postponing completion of these works, and keeping them out of their money, and he was naturally and reasonably indignant at the excessive sum charged for paper and printing. The fact was that they had done and intended to do him a kindness, but that in so far as it was a business transaction he suffered at their hands.

[1151:3] The title of these Iambic lines is 'Relictis Aliis Studiis Philosophiam Epicuream amplectitur'.

[1151:4] Ben Jonson, vide ante, p. 1118.

[1151:5] Vide ante, pp. 419, 420.

[1169:1] See Wordsworth's P. W. 1896, in. 21: The Small Celandine, ll. 21, 22.

BIBLIOGRAPHICAL APPENDIX

No. I

POEMS FIRST PUBLISHED IN NEWSPAPERS OR PERIODICALS

The Cambridge Intelligencer.

Lines written at the King's Arms, Ross, formerly the House of the Man of Ross Sept. 27, 1794 Absence Oct. 11, 1794 Sonnet [Anna and Harland] Oct. 25, 1794 Sonnet [Genevieve] Nov. 1, 1794 To a Young Man of Fortune, &c. Dec. 17, 1796 Ode for the Last Day of the Year, 1796 Dec. 31, 1796 Parliamentary Oscillators Jan. 6, 1798

The Morning Chronicle.

To Fortune Nov. 7, 1793 Elegy [Elegy imitated from Akenside] Sept. 23, 1794 Epitaph on an Infant. 'Ere sin could blight', &c. Sept. 23, 1794

Sonnets on Eminent Characters. I. To the Honourable Mr. Erskine Dec. 1, 1794 II. Burke Dec. 9, 1794 III. Priestley Dec. 11, 1794 IV. La Fayette Dec. 15, 1794 V. Kosciusko Dec. 16, 1794 VI. Pitt Dec. 23, 1794 VII. To the Rev. W. L. Bowles Dec. 26, 1794 VIII. Mrs. Siddons Dec. 29, 1794 IX. To William Godwin Jan. 10, 1795 X. To Robert Southey Jan. 14, 1795 XI. To Richard Brinsley Sheridan, Esq. Jan. 29, 1795

To Lord Stanhope Jan. 31, 1795 Address to a Young Jack Ass and its tethered Mother, In Familiar Verse Dec. 30, 1794

The Watchman.

No. 1. To a Young Lady with a Poem on the French Revolution Mar. 1, 1796 No. 2. Casimir. Ad Lyram. Imitation. 'The solemn-breathing air', &c. Mar. 9, 1796 No. 3. Elegy. 'Near the lone Pile', &c. Mar. 17, 1796 The Hour when we shall meet again. 'Dim hour', &c. Mar. 17, 1796 No. 4. 'The early Year's fast-flying Vapours stray' Mar. 25, 1796 A Morning Effusion. 'Ye Gales', &c. Mar. 25, 1796 No. 5. To Mercy. 'Not always should the Tears', &c. Apr. 2, 1796 Recollection. 'As the tir'd savage', &c. Apr. 2, 1796 No. 6. Lines on Observing a Blossom on the First of February, 1796. 'Sweet Flower that peeping', &c. Apr. 11, 1796 No. 8. To a Primrose. 'Thy smiles I note', &c. Apr. 27, 1796 No. 9. Epitaph on an Infant. [Reprinted from the Morning Chronicle, Sept. 23, 1794.] 'Ere Sin could blight', &c. May 5, 1796

The Monthly Magazine.

On a Late Connubial Rupture, (ii, p. 647) Sept. 1796 Reflections on Entering into Active Life, (ii, p. 732.) 'Low was our pretty Cot', &c. Oct. 1796 Sonnets attempted in the Manner of Contemporary Writers, (iv, p. 374) Nov. 1797

The Annual Register.

Lines to a Beautiful Spring in a Village, (xxxviii, pp. 494-5) 1796 Tranquillity, An Ode. (xliii, pp. 525-6) 1801 Stanzas Addressed to a Lady on Her Recovery from a severe attack of Pain. (The Two Founts.) (lxix, pp. 537-8) 1827

The Morning Post.

To an Unfortunate Woman in the Back Seats of the Boxes at the Theatre. 'Maiden that with sullen brow' Dec. 7, 1797 Melancholy: A Fragment Dec. 12, 1797 Fire, Famine, and Slaughter: A War Eclogue Jan. 8, 1798 The Old Man of the Alps. Mar. 8, 1798 The Raven Mar. 10, 1798 Lines Imitated from Catullus. 'My Lesbia', &c. Apr. 11, 1798 Lewti, or the Circassian Love Chaunt Apr. 13, 1798 The Recantation: An Ode Apr. 16, 1798 Moriens Superstiti. 'The hour-bell sounds', &c. May 10, 1798 A Tale. [Recantation. Illustrated in the Story of the Mad Ox] July 30, 1798 The British Stripling's War-Song Aug. 24, 1799 The Devil's Thoughts Sept. 6, 1799 Lines written in the Album at Elbingerode Sept. 17, 1799 Lines Composed in a Concert Room Sept. 24, 1799 To a Young Lady. 'Why need I say', &c. Dec. 9, 1799 Introduction to the Tale of the Dark Ladié Dec. 21, 1799 Ode to Georgiana, Duchess of Devonshire Dec. 24, 1799 A Christmas Carol Dec. 25, 1799 Talleyrand to Lord Granville Jan. 10, 1800 The Mad Monk Oct. 13, 1800 Inscription for a Seat by the Road-side, &c. Oct. 21, 1800 Alcaeus to Sappho Nov. 24, 1800 The Two Round Spaces: A Skeltoniad Dec. 4, 1800 On Revisiting the Sea Shore Sept. 15, 1801 Tranquillity, An Ode Dec. 4, 1801 The Picture, or The Lover's Resolution Sept. 6, 1802 Chamouni. The Hour before Sunrise. A Hymn Sept. 11, 1802 The Keepsake Sept. 17, 1802 How seldom Friend, &c. [The Good Great Man] Sept. 23, 1802 Inscription on a Jutting Stone over a Spring Sept. 24, 1802 Dejection: An Ode Oct. 4, 1802 Ode to the Rain Oct. 7, 1802 France: An Ode Oct. 14, 1802 The Language of Birds. 'Do you ask, what the Birds say?' &c. Oct. 16, 1802 The Day-dream. From an Emigrant to his Absent Wife Oct. 19, 1802

The Courier.

The Exchange of Hearts Apr. 16, 1804 Lines on a King-and-Emperor-making Emperor and King (Adaptation) Sept. 12, 1806 Farewell to Love. [Morning Herald, Oct. 11, 1806] Sept. 27, 1806 To Two Sisters Dec. 10, 1807 Epitaph on an Infant. 'Its milky lips', &c. Mar. 20, 1811 The Hour Glass (Adaptation) Aug. 30, 1811 The Virgin's Cradle Hymn Aug. 30, 1811 Mutual Passion (Adaptation) Sept. 21, 1811

The Friend.

[Ode to Tranquillity] No. 1, June 1, 1809 The Three Graves, A Sexton's Tale No. 6, Sept. 21, 1809 Hymn. Before Sun-rise, in the Vale of Chamouny No. 11, Oct. 26, 1809 Tis True, IDOLOCLASTES SATYRANE No. 14, Nov. 23, 1809

The Gentleman's Magazine.

Farewell to Love. (lxxxv, p. 448) 1815 Overlooked Poem by Coleridge. The Volunteer Stripling. (xxix, p. 160, N. S.) 1848

Felix Farley's Bristol Journal.

Fancy in Nubibus, or The Poet in the Clouds Feb. 7, 1818 Written on a Blank Leaf of Faulkner's Shipwreck, presented by a friend to Miss K Feb. 21, 1818

Blackwood's Edinburgh Magazine.

Fancy in Nubibus. (Vol. vi, p. 196) Nov. 1819 The poet in his lone, &c. [Apologia, &c.] (Vol. xi, p. 12) Jan. 1822 The Old Man's Sigh: A Sonnet. (Vol. xxxi, p. 956) June, 1832

Co-operative Magazine and Monthly Herald.

On the Prospect of Establishing a Pantisocracy in America Apr. 6, 1826

Literary Magnet.

An Impromptu on Christmas Day, &c. N. S., Vol. iii, 1827, p. 71

The Evening Standard.

Sancti Dominici Pallium May 21, 1827

The Crypt, a Receptacle for Things Past.

Job's Luck 1827, pp. 30, 31

The Literary Souvenir.

The Exchange 1826, p. 408 Lines Suggested by the Last Words of Berengarius 1827, p. 17 [Epitaphium Testamentarium] 1827, p. 17 Youth and Age 1828, p. 1 What is Life? 1829, p. 346

The Bijou, 1828.

The Wanderings of Cain. A Fragment p. 17 Work without Hope 28 Youth and Age 144 A Day Dream. 'My eyes make pictures' 146 The Two Founts 202

The Amulet.

New Thoughts on Old Subjects. The Improvisatore 1828, pp. 37-47 Three Scraps 1833, pp. 31, 32 (i) Love's Burial Place. (ii) The Butterfly. (iii) A Thought suggested by a View of Saddleback in Cumberland.

New York Mirror.

Lines written in Miss Barbour's Common Place Book Dec. 19, 1829

The Keepsake.

The Garden of Boccaccio 1829, p. 282 Song, Ex Improviso, &c. 1830, p. 264 The Poet's Answer to a Lady's Question, &c. 'O'er wayward Childhood', &c. 1830, p. 279

The Athenæum.

Water Ballad Oct. 29, 1831

Friendship's Offering, 1834.

PAGE My Baptismal Birthday 163 Fragments from the Wreck of Memory, &c.-- I. Hymn to the Earth 165 II. English Hexameters, written during a temporary Blindness, in the Year 1799 167 III. The Homeric Hexameter, &c. 168 IV. The Ovidian Elegiac Metre, &c. 168 V. A Versified Reflection. 'On stern BLENCARTHUR'S', &c. 168 Love's Apparition and Evanishment 355 Lightheartednesses in Rhyme-- I. The Reproof and Reply 356 II. In Answer to a Friend's Question. 'Her attachment may differ', &c. 359 III. Lines to a Comic Author, on an abusive Review 359 IV. An Expectoration, &c. 'As I am (sic) Rhymer', &c. 360 Expectoration the Second. 'In COLN, a town of monks and bones' 360

The New Monthly Magazine.

The Faded Flower Aug. 1836

Dublin University Magazine.

A Stranger Minstrel 1845, xxvi, 112-13

No. II

EPIGRAMS AND JEUX D'ESPRIT FIRST PUBLISHED IN NEWSPAPERS AND PERIODICALS

1. An Apology for Spencers. Watchman, No. 4, Mar. 25, 1796. 2. On a Late Marriage between an Old Maid, &c. Ibid., No. 5, April 2, 1796. 3. On an Amorous Doctor. Ibid., ibid. 4. 'Of smart pretty Fellows', &c. Ibid., p. 159. 5. On Deputy ----. M. P., Jan. 2, 1798. 6. To a Well-known Musical Critic, &c. M. P., Jan. 4, 1798. 7. Hippona. M. P., Aug. 29, 1799. 8. On a Reader of His Own Verses. M. P., Sept. 7, 1799. 9. On a Report of a Minister's Death. 'Last Monday', &c. M. P., Sept. 18, 1799. 10. 'Jem writes his Verses', &c. M. P., Sept. 23, 1799. 11. On Sir Rubicund Naso. M. P., Dec. 7, 1799. 12. Job's Luck, 1799. M. P., Sept. 26, 1801. 13. On the Sickness of a Great Minister. M. P., Oct. 1, 1799. 14. To a Virtuous Oeconomist. M. P., Oct. 28, 1799. 15. 'Jack drinks fine wines', &c. M. P., Nov. 16, 1799. 16. To Mr. Pye. M. P., Jan. 24, 1800. 17. 'If the guilt of all lying', &c. An. Anth., 1800. 18. 'O would the Baptist', &c. An. Anth., 1800. 19. Occasioned by the Former. 'I hold of all', &c. An. Anth., 1800. 20. 'As Dick and I at Charing Cross', &c. An. Anth., 1800. 21. To a Proud Parent. An. Anth., 1800. 22. Rufa. An. Anth., 1800. 23. On a Volunteer Singer. An. Anth., 1800. 24. Occasioned by the Last. 'A joke (cries Jack)', &c. An. Anth., 1800. 25. Song to be Sung by the Lovers of all the Noble Liquors, &c. M. P., Sept. 18, 1801. 26. Epitaph on a Bad Man. M. P., Sept. 22, 1801. 27. Drinking versus Thinking. M. P., Sept. 25, 1801. 28. The Wills of the Wisp. M. P., Dec. 1, 1801. 29. To a Certain Modern Narcissus. M. P., Dec. 16, 1801. 30. To a Critic. M. P., Dec. 16, 1801. 31. Always Audible. M. P., Dec. 19, 1801. 32. Pondere non Numero. M. P., Dec. 26, 1801. 33. 'To Wed a fool'. M. P., Dec. 26, 1801. 34. What is an Epigram? M. P., Sept. 23, 1802. 35. 'Charles, grave or merry', &c. Sept. 23, 1802. 36. 'An Evil Spirit's on thee, friend '. M. P., Sept. 23, 1802. 37. 'Here lies the Devil', &c. M. P., Sept. 23, 1802. 38. To One who Published in Print. M. P., Sept. 23, 1802. 39. 'Scarce any scandal', &c. M. P., Sept. 23, 1802. 40. 'Old Harpy jeers', &c. M. P., Sept. 23, 1802. 41. To a Vain Young Lady. M. P., Sept. 23, 1802. 42. A Hint to Premiers and First Consuls. M. P., Sept. 27, 1802. 43. 'From me, Aurelia', &c. M. P., Oct. 2, 1802. 44. For a House-dog's Collar. M. P., Oct. 2, 1802. 45. 'In vain I praise thee', &c. M. P., Oct. 2, 1802. 46. Epitaph on a Mercenary Miser. M. P., Oct. 9, 1802. 47. A Dialogue between an Author and his Friend. M. P., Oct. 11, 1802. 48. Μωροσοφία or Wisdom in Folly. M. P., Oct. 11, 1802. 49. 'Each Bond-street buck', &c. M. P., Oct. 11, 1802. 50. From an old German Poet. M. P., Oct. 11, 1802. 51. On the Curious Circumstance, that in the German, &c. M. P., Oct. 11, 1802. 52. Spots in the Sun. M. P., Oct. 11, 1802. 53. 'When Surface talks', &c. M. P., Oct. 11, 1802. 54. To my Candle. The Farewell Epigram. M. P., Oct. 11, 1802. 55. The Taste of the Times. Athenæum, Jan. 9, 1904. 56. 'An Excellent Adage', &c. The Friend, No. 12, Nov. 9, 1809. 57. Epigram on the Secrecy of a Certain Lady. The Courier, Jan. 3, 1814. 58. To a Lady who requested me to write a Poem on Nothing. _Gazette of Fashion_, Feb. 2, 1822. 59. Authors and Publishers. News of Literature, Dec. 10, 1825. 60. Association of Ideas. Fraser's Magazine, Jan. 1835. 61. To a Child. 'Little Miss Fanny'. Athenæum, Jan. 28, 1888.

No. III

POEMS INCLUDED IN ANTHOLOGIES AND OTHER WORKS

PAGE 1. Poems, supposed to have been written... By Thomas Rowley,... 1794. Monody on the Death of Chatterton xxv

2. Poems by Francis Wrangham, M.A., 1795. Translation of Hendecasyllabi ad Bruntonam, &c. 79 To Miss Brunton with the Preceding Translation.

3. Poems on the Death of Priscilla Farmer. By her grandson Charles Lloyd, 1796. Sonnet. 'The Piteous sobs', &c.

4. Lyrical Ballads, 1798. The Rime of the Ancyent Marinere 1 The Foster Mother's Tale 53 The Nightingale 63 The Dungeon 139

5. Lyrical Ballads (in two volumes), 1800. Vol. I. Love [with the four poems published in 1798] 138

6. Annual Anthology, 1800. *Lewti, or The Circassian Love-Chant 23 *To a Young Lady, on her first Appearance after a Dangerous Illness. 32 *Recantation, Illustrated in the Story of the Mad Ox 59 *Lines Written in the Album at Elbingerode, in the Hartz Forest 74 *A Christmas Carol 79 To a Friend, who had declared his intention of writing no more Poetry 103 This Lime-Tree Bower my Prison. A Poem, addressed to CHARLES LAMB, of the India House, London 140 To W. L. Esq. while he sung a Song to Purcell's Music. 156 *The British Stripling's War-Song 173 Something childish, but very natural. Written in Germany 192 Home-Sick. Written in Germany 193 *Ode to GEORGIANA, Dutchess of Devonshire 212 *Fire, Famine, and Slaughter. A War Eclogue 231 *The Raven 240 *To an unfortunate Woman. 'Sufferer, that with sullen brow' 291

[Note. Poems marked with an asterisk were reprinted from the Morning Post.]

7. Memoirs of the late Mrs. Robinson, &c. Four volumes, 1801. A Stranger Minstrel Vol. iv, p. 141

8. Melmoth's Beauties of British Poets, 1801. To a Young Ass 21 To a Spring in a beautiful Village 119 The Sigh 167 The Kiss 201

9. The Wild Wreath. Edited by M. E. Robinson, 1804. The Mad Monk 142

10. The Poetical Register and Repository of the Fine Arts.

Vol. II. For 1802 (1803).

*Chamouny. The Hour before Sunrise. A Hymn 308 *Inscription on a Jutting Stone over a Spring 338 *The Picture; or, The Lover's Resolution 354

Vol. III. For 1803 (1805).

From the German of Leasing. 'I ask'd my fair', &c. [Signed 'Harley Philadelphia'.] 274 Sonnets, Attempted in the Manner of 'Contemporary Writers' 346

Vol. IV. For 1804 (1805).

The Exchange.

Vol. VI. For 1806, 1807 (1811).

On a Late Connubial Rupture in High Life 365

Vol. VII. For 1808, 1809 (1812).

Fears in Solitude. By S. T. Coleridge, Esq. 227 France, An Ode. By S. T. Coleridge, Esq. 332 Frost at Midnight. By S. T. Coleridge Esq. 530

[Note. Sonnets Attempted, &c., in Vol. III, and On a Late, &c., in Vol. VI, were reprinted from the Monthly Magazine: the three poems in Vol. VII were reprinted from the quarto pamphlet of 1798, and were again set up as a small octavo pamphlet by Law & Gilbert, the printers of the Poetical Register. Vide Bibliography, No. X.]

11. Selection of Poems for Young Persons, by J. Cottle. Third edition, n. d. Epitaph on an Infant 129 Sonnet to the River Otter 155 Domestic Peace 157

12. English Minstrelsy; being a Selection of Fugitive Poetry from the Best English Authors. Two volumes, 1810.

Vol. II.

Fragment. S. T. Coleridge ['Introduction to the Tale of the dark Ladie' as published in the Morning Post] 131

13. Poetical Class-Book. Edited by W. F. Mylius, 1810. This Lime Tree Bower my Prison.

14. Nugæ Canoræ. Poems by Charles Lloyd, 1819. Sonnet. 'The piteous sobs ', &c. 145

15. The British Minstrel. Glasgow, 1821. The Three Graves

16. Castle Dangerous. By Sir W. Scott, 1832. Notes by J. G. Lockhart. Galignani, 1834. The Knight's Tomb. 'Where is the grave', &c. 10

17. A History of . . . Christ's Hospital. By the Rev. W. Trollope, 1834. Julia 192

18. Letters, Conversations, &c., of S. T. Coleridge. In two volumes, 1836.

Vol. I.

Farewell to Love 143 To Nature. 144 Sonnet. To Lord Stanhope 217

Vol II.

'What boots to tell how o'er his grave' 75

19. Early Recollections, &c. By Joseph Cottle, 1837.

Vol. I.

Monody on . . . Chatterton, ll. 137-54 32 To W. J. H. While playing on his flute 33 The Fox and Statesman, &c. 172 Sonnet. To Lord Stanhope 203 Written After a Walk Before Supper 209 To an unfortunate Young Woman, Whom I had known in the days of her Innocence. 'Maiden! that with sullen brow'. 213 Allegorical Lines on the same subject. 'Myrtle Leaf, that ill besped' 214 On an Unfortunate Woman at the Theatre 216 On an Unfortunate, &c. 217 EXAMPLES. 'O what a life', &c. 226 Another Specimen, describing Hexameters, &c. 226 Another Specimen. 'In the Hexameter', &c. 227 The English Duodecasyllable. 'Hear my beloved', &c. 227 Foster-Mother's Tale 235 To a Friend, [Charles Lloyd (sic)] who had declared his intention, &c., ll. 17-35 245 Lines Addressed to Joseph Cottle 283 'As oft mine eye', &c. [The Silver Thimble] 236 Sonnets, Attempted in the Manner of Contemporary Writers 290 To the Author of the Ancient Mariner 293

Vol. II.

Five 'Epigrams, translated . . . from the German' 65-6 My Love. 'I ask'd my love', &c. 67 Joan of Arc, Book the Second. 4{o}, 1796 (including the lines claimed by S. T. C.) 241-52

20. The Book of Gems. Edited by S. C. Hall, 1838.

The Garden of Boccaccio 51 Love 52 The Nightingale 53 Lines written in the Album at Elbingerode, &c. 58 Recollections of Love 59

21. Memoirs of William Wordsworth. In two volumes, 1851.

Vol. I.

English Hexameters. 'William, my teacher', &c. 139

22. An Old Man's Diary. By J. Payne Collier, 1871, 2.

My Godmother's Beard Part I, pp. 34, 35. Epigram. 'A very old proverb commands', &c. Epitaph on Sir James Mackintosh. [The Two Round Spaces on the Tombstone] Part I, pp. 61, 62. A Character. 'A Bird who for his other sins' (15 lines) Part IV, p. 57.

23. _Unpublished letters from Samuel Taylor Coleridge to the Rev. John Prior Estlin_: Communicated to the Philobiblon Society.

To An Unfortunate Princess. [On a Late Connubial, &c.] 20 Lines Addressed to J. Horne Tooke. 'Britons! when last', &c. 22

24. Letters from the Lake Poets. . . To Daniel Stuart, 1889.

Alcaeus to Sappho 16

25. Memorials of Coleorton. Edited by W. Knight. Two vols., 1887.

Vol. I.

Mont Blanc, The Summit of the Vale of Chamouny, An Hour before Sunrise--A Hymn. [As sent to Sir George Beaumont.] 26 To WILLIAM WORDSWORTH. Composed for the greater part on the same night after the finishing of his recitation of the Poem in thirteen Books, on the Growth of his own Mind. [As sent to Sir G. Beaumont, Jan. 1807.]

26. Golden Treasury of Songs and Lyrics. Edited by F. T. Palgrave 1896.

Love 199 Kubla Khan 308 Youth and Age 323

No. IV

POEMS FIRST PRINTED OR REPRINTED IN Literary Remains, 1836.

Vol. I.

The Fall or Robespierre 1 Julia 33 '--I yet remain' (By W. L. Bowles) 34 To the Rev W. J. Hort 35 To Charles Lamb ('Thus far my scanty brain', &c.) 36 To the Nightingale 38 To Sara ('The stream', &c.) 39 To Joseph Cottle 40 Casimir ('The solemn-breathing air', &c.) 41 Darwiniana ('Dim Hour', &c.) 43 'The Early Year's fast-flying', &c. [Ver perpetuum]. 44 To a Primrose 47 On the Christening of a Friend's Child 48 Inscription by the Rev. W. L. Bowles, &c. 50 Translation 50 Introduction to the Tale of the Dark Ladie 50 Epilogue to the Rash Conjuror 52 Psyche 53 Complaint ('How seldom Friend', &c.) 53 An Ode to the Rain 54 Translation of a Passage in Ottfried's . . . Paraphrase of the Gospels 56 Israel's Lament, &c. 57 Sentimental 59 The Alternative 59 The Exchange 59 What is Life! 60 Inscription for a Time-Piece 60 Επιτάφιον αὐτογραπτόν 60

POEMS AND POETICAL FRAGMENTS.

'My Lesbia', &c. 274 'Pity, mourn in plaintive tones' 274 Moriens superstiti 275 Morienti superstes 275 The Stripling's War Song. Imitated from Stolberg 276 Eighteen Fragments from Note book (1795-8) 277-81 'I mix in life, and labour to seem free.' [To ----] 280 Farewell to Love 280 'Within these circling hollies', &c. [An Angel Visitant] 280 Grant me a Patron 281

POEMS FIRST PRINTED OR REPRINTED IN Essays on His Own Times, 1850.

Vol. III.

Recantation. Illustrated in the story of the Mad Ox 963 Parliamentary Oscillators 969 The Devil's Thoughts 972 The British Stripling's War Song 988 Tranquillity. An Ode 991 The Day Dream. From an Emigrant to his absent Wife 993 Mutual Passion 995 The Alienated Mistress ('If love be dead', &c.) 997 To a lady (''Tis not the lily', &c.) 997 A Thought suggested by the View of Saddleback, &c. 997 L'Envoy to 'Like a Lone Arab' ('In vain we', &c.) 998

INDEX OF FIRST LINES

PAGE A bird, who for his other sins 451 A blesséd lot hath he, who having passed 173 A green and silent spot, amid the hills 256 'A heavy wit shall hang at every lord' 973 A joke (cries Jack) without a sting 961 A little further, O my father 288 A long deep lane 992 A lovely form there sate beside my bed 484 A low dead Thunder mutter'd thro' the night 1005 A Lutheran stout, I hold for Goose-and-Gaundry 975 A maniac in the woods 993 A mount, not wearisome and bare and steep 155 A poor benighted Pedlar knock'd 967 A sumptuous and magnificent Revenge 1000 A sunny shaft did I behold 426, 919 A sworded man whose trade is blood 397 A wind that with Aurora hath abiding 1011 Ah! cease thy tears and sobs, my little Life 91 Ah! not by Cam or Isis, famous streams 424 All are not born to soar--and ah! how few 26 All look and likeness caught from earth 393 All Nature seems at work. Slugs leave their lair 447, 1111 All thoughts, all passions, all delights 330 Almost awake? Why, what is this, and whence 211 An evil spirit's on thee, friend! of late! 964 An excellent adage commands that we should 971 An Ox, long fed with musty hay 299 And arrows steeled with wrath 994 And cauldrons the scoop'd earth, a boiling sea 989 And in Life's noisiest hour 1002 And my heart mantles in its own delight 1002 And Pity's sigh shall answer thy tale of Anguish 990 And re-implace God's Image of the Soul 994 And this place our forefathers made for man 185 And this reft house is that the which he built 211 And with my whole heart sing the stately song 994 And write Impromptus 989 Are there two things, of all which men possess 361 As Dick and I at Charing Cross were walking 960 As I am a Rhymer 477 As late each flower that sweetest blows 45 As late I journey'd o'er the extensive plain 11 As late I lay in Slumber's shadowy vale 80 As late, in wreaths, gay flowers I bound 33 As late on Skiddaw's mount I lay supine 350 As long as ere the life-blood's running 961 As oft mine eye with careless glance 104 As some vast Tropic tree, itself a wood 1001 As the shy hind, the soft-eyed gentle Brute 1013 As the tir'd savage, who his drowsy frame 1023 As when a child on some long Winter's night 85 As when far off the warbled strains are heard 82 As when the new or full Moon urges 1005 At midnight by the stream I roved 253 Auspicious Reverence! Hush all meaner song 131, 1024 Away, those cloudy looks, that labouring sigh 90

Be proud as Spaniards! Leap for pride ye Fleas! 980 'Be, rather than be called, a child of God' 312 Behind the thin Grey cloud 992 Behold yon row of pines, that shorn and bow'd 1006 Beneath the blaze of a tropical sun 396 Beneath this stone does William Hazlitt lie 962 Beneath this thorn when I was young 269 Beneath yon birch with silver bark 293 Benign shooting stars, ecstatic delight 1015 Bob now resolves on marriage schemes to trample 953 Bright cloud of reverence, sufferably bright 998 Britannia's boast, her glory and her pride 970 Britons! when last ye met, with distant streak 150 Broad-breasted Pollards, with broad-branching heads 992 Broad-breasted rook-hanging cliff that glasses 988 By many a booby's vengeance bit 953

Charles, grave or merry, at no lie would stick 964 Charles! my slow heart was only sad, when first 154 Child of my muse! in Barbour's gentle hand 483 Come, come thou bleak December wind 1001 Come hither, gently rowing 311 Come; your opinion of my manuscript 967 Cupid, if storying Legends tell aright 46

Dear Charles! whilst yet thou wert a babe, I ween 158 Dear native Brook! wild Streamlet of the West 48 Dear tho' unseen! tho' I have left behind 468 Deep in the gulph of Vice and Woe 12 Depart in joy from this world's noise and strife 177 Didst thou think less of thy dear self 965 Dim Hour! that sleep'st on pillowing clouds afar 96 Discontent mild as an infant 991 Do call, dear Jess, whene'er my way you come 962 Do you ask what the birds say? The Sparrow, the Dove 386 Dormi, Jesu! Mater ridet 417 Due to the Staggerers, that made drunk by Power 989

Each Bond-street buck conceits, unhappy elf 968 Each crime that once estranges from the virtues 1011 Earth! thou mother of numberless children, the nurse and the mother 327 Edmund! thy grave with aching eye I scan 76 Encinctured with a twine of leaves 287 Ere on my bed my limbs I lay (1803) 389 Ere on my bed my limbs I lay (1806) 401 Ere Sin could blight or Sorrow fade 68 Ere the birth of my life, if I wished it or no 419 Eu! Dei vices gerens, ipse Divus 981

Farewell, parental scenes! a sad farewell 29 Farewell, sweet Love! yet blame you not my truth 402 Fear no more, thou timid Flower 356 'Fie, Mr. Coleridge!--and can this be you? 441 Flowers are lovely, Love is flower-like 1085, 1086 Fond, peevish, wedded pair! why all this rant? 984 For ever in the world of Fame 1013 Frail creatures are we all! To be the best 486 Friend, Lover, Husband, Sister, Brother 392 Friend of the wise! and Teacher of the Good 403 Friend pure of heart and fervent! we have learnt 1008 Friends should be weigh'd, not told; who boasts to have won 963 From his brimstone bed at break of day 319 From me, Aurelia! you desired 966 From Rufa's eye sly Cupid shot his dart 952 From yonder tomb of recent date 955

Gently I took that which ungently came 488 Γνῶθι σεαυτόν!--and is this the prime 487 Go little Pipe! for ever I must leave thee 1016 God be with thee, gladsome Ocean 359 Gōd ĭs oŭr Strēngth ănd oŭr Rēfŭge 326 God no distance knows 989 God's child in Christ adopted,--Christ my all 490 God's Image, Sister of the Cherubim 994 Good Candle, thou that with thy brother, Fire 969 Good verse most good, and bad verse then seems better 96 Grant me a Patron, gracious Heaven! whene'er 995 Great goddesses are they to lazy folks 1008

Hail! festal Easter that dost bring 1 Hast thou a charm to stay the morning-star 376, 1074 He too has flitted from his secret nest 457 Hear, my belovéd, an old Milesian story 307 Hear, sweet Spirit, hear the spell 420, 552, 849 Heard'st thou yon universal cry 10 Hence, soul-dissolving Harmony 28 Hence that fantastic wantonness of woe 157 Hence! thou fiend of gloomy sway 34 Her attachment may differ from yours in degree 484 Here's Jem's first copy of nonsense verses 983 Here lies a Poet; or what once was he 1089 Here lies the Devil--ask no other name 964 Here sleeps at length, poor Col., and without screaming 970 High o'er the rocks at night I rov'd 1050, 1051 High o'er the silver rocks I rov'd 1049 Hippona lets no silly flush 955 His native accents to her stranger's ear 1011 His own fair countenance, his kingly forehead 1005 Hoarse Maevius reads his hobbling verse 955 How long will ye round me be swelling 39 How seldom, friend! a good great man inherits 381 'How sweet, when crimson colours dart 353 How warm this woodland wild Recess 409 Hush! ye clamorous Cares! be mute 92

I ask'd my fair one happy day 318 I fancy whenever I spy Nosy 953 I from the influence of thy Looks receive 999 I have experienced the worst the world can wreak on me 1004 I have heard of reasons manifold 418 I heard a voice from Etna's side 347 I heard a voice pealing loud triumph to-day 1014 I hold of all our viperous race 959 I know it is dark; and though I have lain 382 I know 'tis but a dream, yet feel more anguish 998 I love, and he loves me again 1118 I mix in life, and labour to seem free 292 I never saw the man whom you describe 182 I note the moods and feelings men betray 448 I sigh, fair injur'd stranger! for thy fate 152 I stand alone, nor tho' my heart should break 1010 I stood on Brocken's sovran height, and saw 315 I too a sister had! too cruel Death 21 I touch this scar upon my skull behind 984 I wish on earth to sing 1017 I yet remain To mourn 1124 If dead, we cease to be; if total gloom 425 If fair by Nature 1012 If I had but two little wings 313 If Love be dead 475 If Pegasus will let thee only ride him 21 If the guilt of all lying consists in deceit 954 If thou wert here, these tears were tears of light 386 If while my passion I impart 58 Imagination, honourable aims 396 Imagination, Mistress of my Love 49 In a cave in the mountains of Cashmeer 993 In darkness I remain'd--the neighbour's clock 990 In Köhln, a town of monks and bones 477 In many ways does the full heart reveal 462 In Spain, that land of Monks and Apes 974 In the corner one 1012 In the hexameter rises the fountain's silvery column 308 In this world we dwell among the tombs 991 In vain I praise thee, Zoilus 966 In vain I supplicate the Powers above 1087 In Xanadu did Kubla Khan 297 It is an ancient Mariner 187 It is an ancyent Marinere 1030 It may indeed be phantasy, when I 429 It was some Spirit, Sheridan! that breath'd 87 Its balmy lips the infant blest 417

Jack drinks fine wines, wears modish clothing 958 Jack finding gold left a rope on the ground 971 Jack Snipe 982 Jem writes his verses with more speed 956 Julia was blest with beauty, wit, and grace 6

Kayser! to whom, as to a second self 490 Know thou who walk'st by, Man! that wrapp'd up in lead, man 961 Know'st thou the land where the pale citrons grow 311

Lady, to Death we're doom'd, our crime the same 392 Last Monday all the Papers said 956 Leanness, disquietude, and secret Pangs 990 Lest after this life it should prove my sad story 1090 Let clumps of earth, however glorified 1008 Let Eagle bid the Tortoise sunward soar 1001 Let those whose low delights to Earth are given 427 Light cargoes waft of modulated Sound 988 Like a lone Arab, old and blind 488 Like a mighty Giantess 991 Little Miss Fanny 987 Lo! through the dusky silence of the groves 33 Lov'd the same Love, and hated the same hate 994 Lovely gems of radiance meek 17 Low was our pretty Cot! our tallest Rose 106 Lunatic Witch-fires! Ghosts of Light and Motion! 979

Maid of my Love, sweet Genevieve 19 Maid of unboastful charms! whom white-robed Truth 66 Maiden, that with sullen brow 171 Mark this holy chapel well 309 Matilda! I have heard a sweet tune played 374 Mild Splendour of the various-vested Night 5 Money, I've heard a wise man say 972 Most candid critic, what if I 962 Mourn, Israel! Sons of Israel, mourn 433 Much on my early youth I love to dwell 64 My dearest Dawtie 984 My eyes make pictures, when they are shut 385 My father confessor is strict and holy 969 My heart has thanked thee, Bowles! for those soft strains 84, 85 My heart seraglios a whole host of Joys 990 My Lesbia, let us love and live 60 My Lord! though your Lordship repel deviation 341 My Maker! of thy power the trace 423 My Merry men all, that drink with glee 979 My pensive Sara! thy soft cheek reclined 100, 1021 Myrtle-leaf that, ill besped 172

Names do not always meet with Love 997 Nature wrote Rascal on his face 991 Nay, dearest Anna! why so grave? 418 Near the lone pile with ivy overspread 69 Never, believe me 310 No cloud, no relique of the sunken day 264 No cold shall thee benumb 1015 No doleful faces here, no sighing 954 No more my visionary soul shall dwell 68 No more 'twixt conscience staggering and the Pope 460 No mortal spirit yet had clomb so high 1004 No private grudge they need, no personal spite 972 Nor cold, nor stern, my soul! yet I detest 824 Nor travels my meandering eye 97 Not always should the Tear's ambrosial dew 83 Not hers To win the sense by words of rhetoric 1007 Not, Stanhope! with the Patriot's doubtful name 89 Nothing speaks our mind so well 975 Now! It is gone--our brief hours travel post 974 Now prompts the Muse poetic lays 13

O ----! O ----! of you we complain 977 O beauty in a beauteous body dight 999 O! Christmas Day, Oh! happy day! 460 O fair is Love's first hope to gentle mind 443 O form'd t'illume a sunless world forlorn 86 O Friend! O Teacher! God's great Gift to me 1081 O! I do love thee, meek Simplicity 210 O! it is pleasant, with a heart at ease 435 O leave the Lily on its stem 1053 O man! thou half-dead Angel! 994 O meek attendant of Sol's setting blaze 16 O mercy, O me, miserable man 1005 O Muse who sangest late another's pain 18 O Peace, that on a lilied bank dost love 94 O! Superstition is the giant shadow 1007 O th' Oppressive, irksome weight 1000 O thou wild Fancy, check thy wing! No more 51 O thron'd in Heav'n! Sole King of kings 438 O what a loud and fearful shriek was there 82 O what a wonder seems the fear of death 125 O would the Baptist come again 959 O'er the raised earth the gales of evening sigh 996 O'er wayward childhood would'st thou hold firm rule 481 O'erhung with yew, midway the Muses mount 1003 Of him that in this gorgeous tomb doth lie 961 Of late, in one of those most weary hours 478 Of one scrap of science I've evidence ocular 985 Of smart pretty Fellows in Bristol are numbers, some 952 Oft o'er my brain does that strange fancy roll 153 Oft, oft methinks, the while with thee 388 Oh! might my ill-past hours return again 7 Oh! the procrastinating idle rogue 817 Old age, 'the shape and messenger of Death' 989 Old Harpy jeers at castles in the air 965 On nothing, Fanny, shall I write? 973 On stern Blencartha's perilous height 347 On the broad mountain-top 992 On the sky with liquid openings of Blue 1109 On the tenth day of September 1084 On the wide level of a mountain's head 419 On wide or narrow scale shall Man 30 Or Wren or Linnet 1002 Once again, sweet Willow, wave thee 1018 Once could the Morn's first beams, the healthful breeze 17 Once more! sweet Stream! with slow foot wandering near 58 One kiss, dear Maid! I said and sigh'd 63 Oppress'd, confused, with grief and pain 436 Our English poets, bad and good, agree 968 Outmalic'd Calumny's imposthum'd Tongue 989 Over the broad, the shallow, rapid stream 998

Pains ventral, subventral 985 Pale Roamer through the night! thou poor Forlorn 71 Parry seeks the Polar ridge 972 Pass under Jack's window at twelve at night 963 Pensive at eve on the hard world I mus'd 209 Perish warmth 989 Phidias changed marble into feet and legs 984 Pity! mourn in plaintive tone 61 Plucking flowers from the Galaxy 978 Pluto commanded death to take away 957 Poor little Foal of an oppressed race 74 Promptress of unnumber'd sighs 55

Quae linquam, aut nihil, aut nihili, aut vix sunt mea. Sordes 462 Quoth Dick to me, as once at College 414

Repeating Such verse as Bowles 977 Resembles life what once was deem'd of light 394 Richer than Miser o'er his countless hoards 57 Rush on my ear, a cataract of sound 990

Sad lot, to have no Hope! Though lowly kneeling 416 Said William to Edmund I can't guess the reason 951 Say what you will, Ingenious Youth 954 Scarce any scandal, but has a handle 965 Schiller! that hour I would have wish'd to die 72 Sea-ward, white gleaming thro' the busy scud 997 Semper Elisa! mihi tu suaveolentia donas 1010 Seraphs! around th' Eternal's seat who throng 5 She gave with joy her virgin breast 306 'She's secret as the grave, allow!' 971 Since all that beat about in Nature's range 455 Sing, impassionate Soul! of Mohammed the complicate story 1016 Sister of love-lorn Poets, Philomel 93 Sisters! sisters! who sent you here? 237 Sleep, sweet babe! my cares beguiling 417 Sly Beelzebub took all occasions 957 Smooth, shining, and deceitful as thin Ice 990 So great the charms of Mrs. Mundy 976 So Mr. Baker heart did pluck 973 Sole maid, associate sole, to me beyond 1004 Sole Positive of Night 431 Some are home-sick--some two or three 443 Some, Thelwall! to the Patriot's meed aspire 1090 Some whim or fancy pleases every eye 970 Songs of Shepherds and rustical Roundelays 1018 Southey! thy melodies steal o'er mine ear 87 Speak out, Sir! you're safe, for so ruddy your nose 958 Spirit who sweepest the wild Harp of Time 160 Splendour's fondly-fostered child 335 Stanhope! I hail, with ardent Hymn, thy name 89 Stop, Christian passer-by!--Stop, child of God 491, 1088 Stranger! whose eyes a look of pity shew 248 Stretch'd on a moulder'd Abbey's broadest wall 73 Strong spirit-bidding sounds 399 Strongly it bears us along in swelling and limitless billows 307 Such fierce vivacity as fires the eye 991 Such love as mourning Husbands have 998 Swans sing before they die--'twere no bad thing 960 Sweet flower! that peeping from thy russet stem 148 Sweet Gift! and always doth Elisa send 1009 Sweet Mercy! how my very heart has bled 93 Sweet Muse! companion of my every hour 16

Tell me, on what holy ground 71, 501 Terrible and loud 991 That darling of the Tragic Muse 67 That France has put us oft to rout 968 That Jealousy may rule a mind 484 The angel's like a flea 1009 The body, Eternal Shadow of the finite Soul 1001 The Brook runs over sea-weeds 992 The builder left one narrow rent 1003 The butterfly the ancient Grecians made 412 The cloud doth gather, the greenwood roar 653 The Devil believes that the Lord will come 353 The dubious light sad glimmers o'er the sky 36 The dust flies smothering, as on clatt'ring wheel 56 The early Year's fast-flying vapours stray 148 The fervid Sun had more than halv'd the day 24 The Fox, and Statesman subtile wiles ensure 1089 The Frost performs its secret ministry 240 The grapes upon the Vicar's wall 276 The guilty pomp, consuming while it flares 990 The hour-bell sounds, and I must go 61 The indignant Bard composed this furious ode 27 The mild despairing of a Heart resigned 991 The Moon, how definite its orb 997 The piteous sobs that choke the Virgin's breath 155 The Pleasures sport beneath the thatch 997 The poet in his lone yet genial hour 345 The reed roof'd village still bepatch'd with snow 1002 The rose that blushes like the morn 973 The shepherds went their hasty way 338 The silence of a City, how awful at Midnight 999 The singing Kettle and the purring Cat 1003 The sole true Something--This! In Limbo's Den 429 The solemn-breathing air is ended 59 The spruce and limber yellow-hammer 1002 The stars that wont to start, as on a chace 486 The stream with languid murmur creeps 38 The subtle snow 993 The Sun (for now his orb 'gan slowly sink) 990 'The Sun is not yet risen 469 The Sun with gentle beams his rage disguises 1010 The sunshine lies on the cottage-wall 993 The swallows Interweaving there 992 The tear which mourn'd a brother's fate scarce dry 20 The tedded hay, the first fruits of the soil 345 The tongue can't speak when the mouth is cramm'd with earth 994 Then Jerome did call 1019 There are, I am told, who sharply criticise 816 There are two births, the one when Light 362 There comes from old Avaro's grave 954 There in some darksome shade 1018 Thicker than rain-drops on November thorn 1010 This be the meed, that thy song creates a thousand-fold echo 391 This day among the faithful plac'd 176 This, Hannah Scollock! may have been the case 981 This is now--this was erst 22 This is the time, when most divine to hear 108 This Sycamore, oft musical with bees 381 This way or that, ye Powers above me 974 This yearning heart (Love! witness what I say) 362 Thou bleedest, my poor Heart! and thy distress 72 Thou gentle Look, that didst my soul beguile 47 Thou who in youthful vigour rich, and light 349 Though friendships differ endless in degree 1012 Tho' Miss ----'s match is a subject of mirth 952 Tho' much averse, dear Jack, to flicker 37 Tho' no bold flights to thee belong 9 Though rous'd by that dark Vizir Riot rude 81 Though veiled in spires of myrtle-wreath 450 Three truths should make thee often think and pause 966 Through weeds and thorns, and matted underwood 369 Thus far my scanty brain hath built the rhyme 78 Thus she said, and all around 1015 Thy babes ne'er greet thee with the father's name 960 Thy lap-dog, Rufa, is a dainty beast 960 Thy smiles I note, sweet early Flower 149 Thy stern and sullen eye, and thy dark brow 994 'Tis hard on Bagshot Heath to try 26 'Tis mine and it is likewise yours 997 'Tis not the lily-brow I prize 483 'Tis sweet to him who all the week 314 'Tis the middle of night by the castle clock 215 'Tis true, Idoloclastes Satyrane 413 To be ruled like a Frenchman the Briton is both 953 To know, to esteem, to love,--and then to part 410 To praise men as good, and to take them for such 486 To tempt the dangerous deep, too venturous youth 2 To wed a fool, I really cannot see 963 Tom Hill, who laughs at Cares and Woes 974 Tom Slothful talks, as slothful Tom beseems 967 Tranquillity! thou better name 360 Trōchĕe trīps frŏm long tŏ shōrt 401 Truth I pursued, as Fancy sketch'd the way 1008 'Twas my last waking thought, how it could be 454 'Twas not a mist, nor was it quite a cloud 1000 'Twas sweet to know it only possible 992 Two things hast thou made known to half the nation 964 Two wedded hearts, if ere were such 1003

Unboastful Bard! whose verse concise yet clear 102 Unchanged within, to see all changed without 459 Under the arms of a goodly oak-tree 1048 Under this stone does Walter Harcourt lie 962 Underneath an old oak tree 169 Ungrateful he, who pluck'd thee from thy stalk 70 Unperishing youth 308 Up, up! ye dames, and lasses gay 427 Up, up! ye dames, ye lasses gay 942 Upon the mountain's edge with light touch resting 393 Utter the song, O my soul! the flight and return of Mohammed 329

Verse, a breeze mid blossoms straying 439 Verse, pictures, music, thoughts both grave and gay 482 Verse, that Breeze mid blossoms straying 1085 Virtues and Woes alike too great for man 37 Vivit sed mihi non vivit--nova forte marita 56

Water and windmills, greenness, Islets green 1009 We both attended the same College 955 We pledged our hearts, my love and I 391 Well! If the Bard was weather-wise, who made 362, 1076 Well, they are gone, and here must I remain 178 We've conquer'd us a Peace, like lads true metalled 972 We've fought for Peace, and conquer'd it at last 972 What a spring-tide of Love to dear friends in a shoal 1010 What boots to tell how o'er his grave 1011 What is an Epigram? a dwarfish whole 963 What never is, but only is to be 999 What now, O Man! thou dost or mean'st to do 414 What pleasures shall he ever find 4 What though the chilly wide-mouth'd quacking chorus 476 Whate'er thou giv'st, it still is sweet to me 1010 When British Freedom for an happier land 79 When Hope but made Tranquillity be felt 1004 When Surface talks of other people's worth 969 When the squalls were flitting and fleering 980 When they did greet me father, sudden awe 152 When thieves come, I bark: when gallants, I am still 966 When thou to my true-love com'st 326 When thy Beauty appears 1016 When Youth his faery reign began 62 Whene'er the mist, that stands 'twixt God and thee 487 Where Cam his stealthy flowings most dissembles 988 Where deep in mud Cam rolls his slumbrous stream 35 Where graced with many a classic spoil 29 Where is the grave of Sir Arthur O'Kellyn 432 Where true Love burns Desire is love's pure flame 485 Where'er I find the Good, the True, the Fair 1011 Wherefore art thou come? 989 While my young cheek retains its healthful hues 236 Whilst pale Anxiety, corrosive Care 69 Whom should I choose for my Judge? 1000 Whom the untaught Shepherds call 40 Why is my Love like the Sun? 1109 Why need I say, Louisa dear 252 William, my teacher, my friend 304 Wisdom, Mother of retired Thought 991 With Donne, whose muse on dromedary trots 433 With many a pause and oft reverted eye 94 With many a weary step at length I gain 56 With secret hand heal the conjectur'd wound 988 With skill that never Alchemist yet told 995 Within these circling hollies woodbine-clad 409 Within these wilds was Anna wont to rove 16

Ye Clouds! that far above me float and pause 243 Ye drinkers of Stingo and Nappy so free 978 Ye fowls of ill presage 1017 Ye Gales, that of the Lark's repose 35 Ye harp-controlling hymns 1006 Ye souls unus'd to lofty verse 8 Yes, noble old Warrior! this heart has beat high 317 Yes, yes! that boon, life's richest treat 466 Yet art thou happier far than she 62 Yon row of bleak and visionary pines 1006 You're careful o'er your wealth 'tis true 958 You come from o'er the waters 987 You loved the daughter of Don Manrique? 421 You mould my Hopes, you fashion me within 1002 Your Poem must eternal be 959

Oxford: Horace Hart, Printer to the University

TRANSCRIBER'S NOTES:

Ellipses in the text are represented as in the original. Ellipses in poetry are indicated by a row of asterisks.

The quotation marks in THE RIME OF THE ANCYENT MARINERE are exactly as printed in the original.

Changes have been made to the text to reflect the corrections mentioned in the Errata on page viii.

Inconsistencies in spelling, hyphenation, and accents have been left as in the original.

The following corrections have been made to the text:

page 564: [Between 19 and 31] And marking that the moonlight came from thence,{original has period}

page 607 (line 137): The soldier's boldness constitutes{original has constitues} his freedom.

page 718: [56] Octavio (coldly). 1800, 1828, 1829.{Note removed as a duplicate of [55].}

page 731: [Before 72] Duchess (anxiously). 1800,{comma is missing in original} 1828

page 741: [39] Wallenstein (with eager expectation).{period is missing in original} Well?

page 754: [117{original has 17}] thou

page 765: BUTLER and GORDON.{period is missing in original}

page 771: [After 9] [WALLENSTEIN shudders and turns pale{original has extraneous closing parenthesis}.

page 850 (line 91): What if{original has opening parenthesis followed by the word if} (his stedfast eye still beaming pity

page 868: removed superscripted 1 at the end of line 1 as there is no footnote

page 879: [255] and suddenly stabs ORDONIO.{period is missing in original}

page 879: [Note. In his.... [For MS. version of this variant see note on p. 597.]]{original is missing second closing bracket}

page 906 (line 181): added the word "Is" at the beginning of the line--verified in The Poetical and Dramatic Works of Samuel Taylor Coleridge, published by Harper Brothers, New York, 1854

page 929: [112] Laska (recovering himself).{period is missing in original}

page 934 (line 292): devotion is akin to love,{original has period after the comma}

page 982: First collected P. and D. W.{period is missing in original}

page 1146: {original has unmatched opening bracket}For lines 1-63 vide ante, No. III

page 1158: Apud Athenæum.{original has a comma}

Footnote [598:1] (an undramatic superstition ... pleasing associations, as the Sun and Moon) {original has duplicate word Astrology before and after the material in parentheses}

To maintain consistency, initials referring to manuscripts are spaced throughout the text.

Dates and manuscript references in the linenotes are in italics in the original. Italics markup has been removed to make reading easier.

When there is more than one poem on a page, the linenotes in the original repeat the title. This title has been removed. When there is more than one scene on a page, the linenotes in the original repeat the scene number. This number has been removed.

In "The Piccolomini," some of the drama is written in prose. The lines are numbered. Where words are hyphenated in the original, the parts have been rejoined and the first part of the word moved down to the beginning of the following line. In the list below, the slash indicates where the hyphen occurs in the original.

Spotted a typo or a problem in this chapter? Tell us

II. , Scene VIII: lines 23-24 determina/tion

Act II, Scene XII: lines 5-6 splen/did lines 15-16 Tie/fenbach lines 31-32 tale-/bearers lines 34-35 gold.--/And lines 58-59 Rudolph--/a [moved up] lines 99-100 Fron/tignac!--Snapped lines 111-112 con/fidentially

Act II, Scene XIII: lines 11-12 me--/talk lines 23-24 pre/cedence lines 25-26 permission--/Good lines 44-45 com/plaint lines 46-47 Chaly/beate lines 59-60 Mara/das lines 65-66 com/pliment!--For lines 66-67 re/maining lines 68-69 Lieutenant-/General

Act II, Scene XIV: lines 22-23 brother!--/Hast lines 72-73 over-scrupu/lously lines 76-77 army-/purveyancer

In the Preface to "The Death of Wallenstein," the lines are numbered. Where words are hyphenated in the original, the parts have been rejoined and the first part of the word moved down to the beginning of the following line. In the list below, the slash indicates where the hyphen occurs in the original.

lines 1-2 Wallen/stein lines 10-11 trans/lated lines 12-13 com/parative lines 28-29 His/tory lines 47-48 Piccolo/mini [moved up] lines 61-62 Trans/lator lines 68-69 com/pensation

In Act I, Scene I of "The Triumph of Loyalty," the lines are numbered. Where words are hyphenated in the original, the parts have been rejoined and the first part of the word moved down to the beginning of the following line. In the list below, the slash indicates where the hyphen occurs in the original.

lines 5-6 Cas/tilian lines 60-61 judge/ment--she

In Appendix I, part of the poem "Youth and Age" has numbered lines. Where words are hyphenated in the original, the parts have been rejoined and the first part of the word moved down to the beginning of the following line. In the list below, the slash indicates where the hyphen occurs in the original.

lines 13-14 spark/ling lines 16-17 side/--out

In Appendix II, the "Allegoric Vision" has numbered lines. Where words are hyphenated in the original, the parts have been rejoined and the first part of the word moved down to the beginning of the following line. In the list below, the slash indicates where the hyphen occurs in the original.

lines 26-27 disap/pointments lines 59-60 im/mediately lines 74-75 pin/ing lines 77-78 move/ments lines 91-91 sprink/lings lines 106-107 extre/mity lines 123-124 some/thing lines 127-128 uncer/tainty lines 148-149 over/taken [moved up] lines 161-162 demean/our [moved up] lines 170-171 dim-/eyed [moved up] lines 181-182 mys/teries

In Appendix III, the "Apologetic Preface to 'Fire, Famine, and Slaughter'" has numbered lines. Where words are hyphenated in the original, the parts have been rejoined and the first part of the word moved down to the beginning of the following line. In the list below, the slash indicates where the hyphen occurs in the original.

lines 2-3 cul/tivated lines 25-26 Anti-/Gallican lines 34-35 com/pensated lines 38-39 illus/trious lines 147-148 appari/tions lines 157-158 imagina/tion [moved up] lines 170-171 con/cluded lines 174-175 epigram/matic [moved up] lines 193-194 occa/sion lines 207-208 re/published lines 251-252 pass/age [moved up] lines 267-268 com/pared lines 278-279 tran/scendant lines 285-286 wil/fully lines 301-302 disposi/tions lines 302-303 punish/ment lines 308-309 hypotheti/cally lines 315-316 calum/niators lines 319-320 anti-/prelatist [moved up] lines 339-340 per/secution lines 353-354 con/tented lines 359-360 tempta/tion lines 361-362 tolera/tion lines 370-371 sup/port lines 378-379 Church-anti/quity [moved up] lines 381-382 church-/communion [moved up] lines 394-395 ex/pressed lines 399-400 inter/misceant lines 408-409 alle/gorical [moved up] lines 437-438 dun/geoning lines 439-440 con/cerning [moved up] lines 454-455 charac/ters lines 464-465 truth,--/when lines 467-468 main/taining lines 472-473 primi/tive lines 478-479 reli/gious

In the Bibliography, the following items have line numbers in the original:

III. Introduction to "A Sheet of Sonnets", V. "Preface to the First Editon" and "Preface to the Second Edition"

The line numbers have been removed from the prose paragraphs. To indicate where the lines end in the original, a / slash mark has been used.

Spotted a typo or a problem in this chapter? Tell us