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And constancy lives in realms above,
The admirable skill in the versification of the poem, and its exact adaptation to the spirit of different passages, may be shown by observing, in contrast with any of the passages I have recited, the sound of the spirited lines containing the command given by the knight to one of his retainers :
“Bard Bracy, bard Bracy! your horses are fleet;
White with their panting palfreys' foam.""
his sleep, in which he had seen a beautiful bird—the pet dove of the castle-fascinated in the forest by a serpent, and fluttering and writhing in its toils. The dream needs no interpretation for either Geraldine or the spell-bound Christabel. When the witch hears it, she stealthily turns a look of withering fascination on her mute victim. The shrinking up of her eyes, and the large dilating of them when she assumes an air of innocence, are given with great power, as well as the effect on Christabel, who passively imitates the serpent-look that had appalled her:
“A snake's small eye blinks dull and shy,
“The maid, alas ! her thoughts are gone ;
She nothing sees,-no sight but one!
With forced unconscious sympathy,
It is that description of the serpent-look of the witch's eyes which, on being read in a company at Lord Byron's, is said to have caused Shelley to faint.
The poem of “Christabel" is a fragment. It was so left by the poet. Other writers have aspired to complete it, but their imitations have proved adventures as vain as presumptuous. Coleridge himself meditated its completion; but, like other of his poems, it was a work of tomorrow—and to-morrow—and to-morrow.
And his petty pace of lífe crept away without it. In
my lecture on Burns, I quoted to you the stanzas which the peasant-poet in fancy appropriated as the epitaph for his own tomb. It was an admonition to the living, and a touching plea for a little charity to the memory of the poor inhabitant below. The deeply-meditative imagination of Coleridge was busy too in taking the measure of an unmade grave, and dictated his own epitaph. His mind had roamed through the vast regions of human learning, and trod the highest places of speculative philosophy; his imagination had taken the boldest and most limitless flights; but this late effusion of his genius-probably his last verses-has its best beauty in its simplicity and its perfect Christian humility. The initials will be recognised as his customary designation of his name :
“Stop, Christian passer-by! Stop, child of God,
And read with gentle breast. Beneath this sod
(WITH NOTICE OF CHARLES LAMB.)
Charles Lamb, the friend of Coleridge and Southey — “The Old
Familiar Faces”—“Elia”-Robert Southey-Character of his prose –His complete poetical works—His mental derangement-Personal interest of his poems - Satirical power — “Wat Tyler”— “Joan of Arc"— The product of imagination is often truth “Madoc"_“ Roderic"_"Thalaba” — “ The Curse of Kehama”Scriptural character of “Thalaba"-Keble's “ Christian Year”Story of “Thalaba and Oneiza" - Southey's Odes. “ The Retreat from Moscow" _“The Tale of Paraguay" — His playful poetryOde on the Portrait of Bishop Heber.
In the last lecture it was my intention to give a few words, at the close, to an author whom I wished to notice briefly; but I became entangled in the witchery of “Christabel,” and the glittering eye of “the Ancient Mariner” held me too long to let me accomplish my purpose. It was a life-long friend of Coleridge's I was anxious to speak of; and I must find room for him now, before proceeding to the chief subject of the present lecture. Let me, therefore, present Charles Lamb between his two friends Coleridge and Southey. His intimacy with Coleridge began within the venerable pre