the most chaste of their writers. He spoke favourably of Goethe; but said that his Sorrows of Werter was his best work, better than any of his dramas: he preferred the first written to the rest of Goethe's dramas. Schiller's ROBBERS he found so extravagant, that he could not read it. I spoke of the scene of the setting sun. He did not know it. He said Schiller could not live. He thought DON CARLOS the best of his dramas; but said that the plot was inextricable.— It was evident he knew little of Schiller's works: indeed, he said, he could not read them. Bürger, he said, was a true poet, and would live; that Schiller, on the contrary, must soon be forgotten; that he gave himself up to the imitation of Shakespeare, who often was extravagant, but that Schiller was ten thousand times more so. He spoke very slightingly of Kotzebue, as an immoral author in the first place, and next, as deficient in power. At Vienna, said he, they are transported with him; but we do not reckon the people of Vienna either the wisest or the wittiest people of Germany. He said Wieland was a charming author, and a sovereign master of his own language that in this respect Goethe could not be compared to him, nor indeed could any body else. He said that his fault was to be fertile to exuberance. I told him the OBERON had just been translated into English. He asked me if I was not delighted with the poem. I answered, that I thought the story began to flag about the seventh or eighth book; and observed, that it was unworthy of a man of genius to make the interest of a long poem turn entirely upon animal gratification. He seemed at first disposed to excuse this by saying, that there are different subjects for poetry, and that poets are not willing to be restricted in their choice. I answered, that I thought the passion of love as well suited to the purposes of poetry as any other passion; but that it was a cheap way of pleasing to fix the attention of the reader through a long poem on the mere appetite. Well! but, said he, you see, that such poems please every body. I answered, that it was the province of a great poet to raise people up to his own level, not to descend to theirs. He agreed, and confessed, that on no account whatsoever would he have written a work like the OBERON. He spoke in raptures of Wieland's style, and pointed out the passage where Retzia is delivered of her child, as exquisitely beautiful. I said that I did not perceive any very striking passages; but that I made

allowance for the imperfections of a translation. Of the thefts of Wieland, he said, they were so exquisitely managed, that the greatest writers might be proud to steal as he did. He considered the books and fables of old romance writers in the light of the ancient mythology, as a sort of common property, from which a man was free to take whatever he could make a good use of. An Englishman had presented him with the odes of Collins, which he had read with pleasure. He knew little or nothing of Gray, except his ELEGY written in a country CHURCH-YARD. He complained of the fool in LEAR. I observed that he seemed to give a terrible wildness to the distress; but still he complained. He asked whether it was not allowed, that Pope had written rhymed poetry with more skill than any of our writers-I said I preferred Dryden, because his couplets had greater variety in their movement. He thought my reason a good one; but asked whether the rhyme of Pope were not more exact. This question I understood as applying to the final terminations, and observed to him that I believed it was the case; but that I thought it was easy to excuse some inaccuracy in the final sounds, if the general sweep of the verse was superior. I told him that we were not so exact with regard to the final endings of the lines as the French. He did not seem to know that we made no distinction between masculine and feminine (i.e. single or double,) rhymes at least he put inquiries to me on this subject. He seemed to think that no language could be so far formed as that it might not be enriched by idioms borrowed from another tongue. I said this was a very dangerous practice; and added, that I thought Milton had often injured both his prose and verse by taking this liberty too frequently. I recommended to him the prose works of Dryden as models of pure and native English. I was treading upon tender ground, as I have reason to suppose that he has himself liberally indulged in the practice.

The same day I dined at Mr. Klopstock's, where I had the pleasure of a third interview with the poet. We talked principally about indifferent things. I asked him what he thought of Kant. He said that his reputation was much on the decline in Germany. That for his own part he was not surprised to find it so, as the works of Kant were to him utterly incomprehensible that he had often been

pestered by the Kanteans; but was rarely in the practice of arguing with them. His custom was to produce the book, open it and point to a passage, and beg they would explain it. This they ordinarily attempted to do by substituting their own ideas. I do not want, I say, an explanation of your own ideas, but of the passage which is before us. In this way I generally bring the dispute to an immediate conclusion. He spoke of Wolfe as the first Metaphysician they had in Germany. Wolfe had followers; but they could hardly be called a sect, and luckily till the appearance of Kant, about fifteen years ago, Germany had not been pestered by any sect of philosophers whatsoever; but that each man had separately pursued his inquiries uncontrolled by the dogmas of a master. Kant had appeared ambitious to be the founder of a sect; that he had succeeded but that the Germans were now coming to their senses again. That Nicolai and Engel had in different ways contributed to disenchant the nation; but above all the incomprehensibility of the philosopher and his philosophy. He seemed pleased to hear, that as yet Kant's doctrines had not met with many admirers in England-did not doubt but that we had too much wisdom to be duped by a writer who set at defiance the common sense and common understandings of men. We talked of tragedy. He seemed to rate highly the power of exciting tears-I said that nothing was more easy than to deluge an audience, that it was done every day by the meanest writers."

I must remind you, my friend, first, that these notes are not intended as specimens of Klopstock's intellectual power, or even colloquial prowess," to judge of which by an accidental conversation, and this with strangers, and those too foreigners, would be not only unreasonable, but calumnious. Secondly, I attribute little other interest to the remarks than what is derived from the celebrity of the person who made them. Lastly, if you ask me, whether I have read THE MESSIAH, and what I think of it? I answer-as yet the first four books only and as to my opinion (the reasons of which hereafter)-you may guess it from what I could not help muttering to myself, when the good pastor this morning told me, that Klopstock was the German Milton-" a very German Milton indeed!!!". Heaven preserve you, and S. T. COLERIDGE.

CHAPTER XXIII

Quid quod præfatione præmunierim libellum, quâ conor omnem offendiculi ansam præcidere? Neque quicquam addubito, quin ea candidis omnibus faciat satis. Quid autem facias istis, qui vel ob ingenii pertinaciam sibi satisfieri nolint, vel stupidiores sint, quam ut satisfactionem intelligant? Nam quemadmodum Simonides dixit, Thessalos hebetiores esse, quam ut possint a se decipi, ita quosdam videas stupidiores, quam ut placari queant. Adhæc, non mirum est invenire quod calumnietur, qui nihil aliud quærit, nisi quod calumnietur.

ERASMUS ad Dorpium, Theologum.

IN the rifacimento of THE FRIEND, I have inserted extracts from the CONCIONES AD POPULUM, printed, though scarcely published, in the year 1795, in the very heat and height of my anti-ministerial enthusiasm: these in proof that my principles of politics have sustained no change.—In the present chapter, I have annexed to my Letters from Germany, with particular reference to that, which contains a disquisition on the modern drama, a critique on the Tragedy of BERTRAM, written within the last twelve months: in proof, that I have been as falsely charged with any fickleness in my principles of taste.—The letter was written to a friend : and the apparent abruptness with which it begins, is owing to the omission of the introductory sentences.

You remember, my dear Sir, that Mr. Whitbread, shortly before his death, proposed to the assembled subscribers of Drury Lane Theatre, that the concern should be farmed to some responsible individual under certain conditions and limitations and that his proposal was rejected, not without indignation, as subversive of the main object, for the attainment of which the enlightened and patriotic assemblage of philodramatists had been induced to risk their subscriptions. Now this object was avowed to be no less than the redemption of the British stage not only from horses, dogs, elephants, and the like zoological rarities, but also from the more pernicious barbarisms and Kotzebuisms in morals and taste. Drury Lane was to be restored to its former classical renown; Shakespeare, Jonson, and Otway, with the expurgated muses of Vanbrugh, Congreve, and Wycherley, were to be reinaugurated in their rightful dominion over British audiences; and the Herculean process was to commence, by exterminat

1 Præcludere calumniam, in the original.

ing the speaking monsters imported from the banks of the Danube, compared with which their mute relations, the emigrants from Exeter 'Change, and Polito (late Pidcock's) show-carts, were tame and inoffensive. Could an heroic project, at once so refined and so arduous, be consistently entrusted to, could its success be rationally expected from, a mercenary manager, at whose critical quarantine the lucri bonus odor would conciliate a bill of health to the plague in person? No! As the work proposed, such must be the work-masters. Rank, fortune, liberal education, and (their natural accompaniments, or consequences) critical discernment, delicate tact, disinterestedness, unsuspected morals, notorious patriotism, and tried Mæcenasship, these were the recommendations that influenced the votes of the proprietary subscribers of Drury Lane Theatre, these the motives that occasioned the election of its Supreme Committee of Management. This circumstance alone would have excited a strong interest in the public mind, respecting the first production of the Tragic Muse which had been announced under such auspices, and had passed the ordeal of such judgments: and the tragedy, on which you have requested my judgment, was the work on which the great expectations, justified by so many causes, were doomed at length to settle.

But before I enter on the examination of Bertram, or THE CASTLE OF ST. ALDOBRAND, I shall interpose a few words, on the phrase German Drama, which I hold to be altogether a misnomer. At the time of Lessing, the German stage, such as it was, appears to have been a flat and servile copy of the French. It was Lessing who first introduced the name and the works of Shakespeare to the admiration of the Germans; and I should not perhaps go too far, if I add, that it was Lessing who first proved to all thinking men, even to Shakespeare's own countrymen, the true nature of his apparent irregularities. These, he demonstrated, were deviations only from the accidents of the Greek tragedy; and from such accidents as hung a heavy weight on the wings of the Greek poets, and narrowed their flight within the limits of what we may call the heroic opera. He proved, that, in all the essentials of art, no less than in the truth of nature, the Plays of Shakespeare were incomparably more coincident with the principles of Aristotle, than the productions of Corneille and Racine, notwithstanding the boasted regularity