such severe language as this. Here, again, we must suppose that Coleridge refers to more obscure periodicals.

PAGE 48 1. 18. the character which an antient attributes to Marcus Cato. '-homo virtuti simillimus, et per omnia ingenio Diis quam hominibus propior, qui numquam recte fecit, ut facere videretur, sed quia aliter facere non potuerat.' Vell. Paterc. ii. 35 (quoted Biog. Lit. 1847). This conception of the truly virtuous character was, it may be remarked, also Coleridge's, and on it he grounded his difference from Kant's Stoic principle, 'Duty for Duty's sake.' (Letters, p. 681, &c.)

PAGE 49 F. N. my opportunities of intercourse. Since their quarrel over Pantisocracy in 1795, the intercourse between Southey and Coleridge had been fitful. They saw much of each other from time to time in the years 1800-1804, and again in 1808-10; since then they had scarcely met. Southey was estranged by Coleridge's failings, of which he always thought and spoke with more justice than charity; and Coleridge was no doubt keenly alive to his want of sympathy. To Coleridge's family Southey was always kindness. itself.

the Beauties of the Anti-Jacobin. See the poem entitled The New Morality, written by Canning and published in the Anti-Jacobin for July 9, 1798, and in the Beauties of the AntiJacobin, 1799. In the note to which Coleridge refers (Beauties, &c., p. 306) Lamb and Southey are mentioned, but not Lloyd. The attack on Coleridge and his friends was renewed in the AntiJacobin Review and Magazine, August and September, 1798. (See the Life of C. Lamb, by E. V. Lucas, i. 36; The Poetry of the Anti-Jacobin, ed. C. Edwards, pp. 271, 299.)

CHAPTER IV

PAGE 50 1. 12. the two volumes so entitled. 'Lyrical Ballads. With other Poems. In Two Volumes, by W. Wordsworth. 1800.' Vol. i contained the poems of the first edition (1798), with the addition of Love: vol. ii the new poems, which were all by Wordsworth. The first edition was published as one volume.

PAGE 51 1. 2. acute notices of men and manners, &c. Cp. ch. i. p. II, where the merits of the school of Pope are characterized in similar terms.

29. In the critical remarks, therefore, &c. The justice of this remark is borne out by the tone of the various reviews of Wordsworth's poems in the Edinburgh Review. The critics speak of 'the debasing effects of this miserable theory', 'the open violation of the established laws of poetry', &c.; and cite the weakest verses to confirm their censures. (See Edin. Rev., Oct. 1802, Oct. 1807.)

PAGE 52 F.N. The bull namely consists. See A. P. 1803 (p. 40) for an example of' that curious modification of ideas by each other which is the element of bulls'; and A. P. p. 156, on 'bulls of action'.

PAGE 53 1. 10. the composition which one cited as execrable, &c. Wordsworth had the same experience among his critics. See Memoirs of Wordsworth, by Christopher Wordsworth, i. 174, where he cites a number of these 'Harmonies of Criticism'.

PAGE 54 1. 32. Marini (1569-1625), a poet of the later Italian Renaissance. The conceits of Marini and his imitators followed inevitably from a vigorous application of rules that denied to poetry the right of natural expression' (Symonds, Renaissance in Italy, ii. 257).

PAGE 55 I. 14. the contest... between Bacchus and the frogs. Aristoph. Ranae, 225-7, 257–66.

F.N. If we may judge from the preface, &c. Coleridge is no doubt thinking of the Essay Supplementary to the Preface, 1815, in which Wordsworth records his distrust and contempt of the judgement of the Public, as opposed to that of the People. (O. W. p. 953.)

PAGE 56 1. 18. During the last year of my residence, &c. Wordsworth's Descriptive Sketches were published in 1793, and Coleridge was already acquainted with them in the autumn of that year. The 'last year of his residence' was 1794. (See Social Life at the English Universities, by Christopher Wordsworth, 1874, Appendix; Life, pp. 25-6, 41.)

19. Mr. Wordsworth's first publication. The Evening Walk was also published (separately) in 1793.

33. a greater closeness of attention, &c. Cp. Biog. Lit. i. 3 (of his own early poems): 'I forgot to inquire, whether the thoughts themselves did not demand a degree of attention unsuitable to the nature and objects of poetry.'

1. 35. In the following extract. (See Descriptive Sketches, 11. 332-47 (O. W., p. 608). For 'deeper' in 1. 2 read 'deepening'; and, instead of 11. 3-5 in the quotation, the following:

And mournful sounds, as of a Spirit lost,

Pipe wild along the hollow-blustering coast,
Till the sun walking on his western field

Shakes from behind the clouds his flashing shield.

PAGE 57 F. N. an unpublished poem. The Butterfly (1815?). PAGE 58 1. I. I was in my twenty-fourth year, &c. See Life, p. 64 n. The precise date of the first meeting of Coleridge and Wordsworth (a point which has been discussed) has not been ascer

tained, but a careful examination of all the evidence available, published and unpublished, has all but convinced me that it may have probably taken place as early as September, 1795. The men do not appear to have met a second time until the autumn of 1796, after which intercourse seems to have been more or less frequent.' Coleridge was born on Oct. 21, 1772. He is no doubt thinking of their second meeting.

5. a manuscript poem, which still remains unpublished. Coleridge speaks as if this poem was not the Female Vagrant; but his memory is probably at fault. According to H. N. Coleridge (Biog. Lit. 1847, i. 76) 'the poem to which reference is here made was intituled, An adventure on Salisbury Plain. Mr. Wordsworth afterwards broke it up, and the Female Vagrant was composed out of it.' The Female Vagrant was first published in Lyrical Ballads (1798). The whole poem was not printed until 1842, when it appeared in an amended form, in the volume entitled, Poems chiefly of Early and Late Years. In a note prefixed to the poem, Wordsworth speaks as if it was composed after his visit to Salisbury Plain in the summer of 1793: but in a later note (printed in the 1857 edition of his poems) he declared that much of the Female Vagrant's story was written at least two years before. The truth seems to be that an earlier poem had been composed, dealing with particular events which had come to Wordsworth's notice, and that after his rambles on Salisbury Plain he enlarged it and gave it the imaginative setting which those rambles had suggested. However this may be, it was in the completer form that Coleridge first knew the poem. Mr. Coleridge,' writes Wordsworth in the later note, 'when I first became acquainted with him, was so much impressed with this poem, that he would have encouraged me to publish the whole as it then stood; but the mariner's fate appeared to me so tragical as to require a treatment more subdued and yet more strictly applicable in expression than I had yet given it. This fault was corrected nearly fifty years afterwards, when I determined to publish the whole poem. Of the Female Vagrant Wordsworth subsequently came to hold a very poor opinion. J. Payne Collier records (Diary, Feb. 10, 1814: see his ed. of Coleridge's Lectures, 1856, Preface li) that, on his praising the poem, Wordsworth said 'it was one on which he set comparatively small value: it was addressed to coarse sympathies, and had little or no imagination about it, or invention as to story'. He added that it was merely descriptive 'although the description is accurate enough'. How far the treatment of nature in the poem is merely descriptive, how far imaginative, in Coleridge's sense of the term, the reader may judge for himself. Cp. Biog. Lit. ii. 16 'It has before been observed, that images however beautiful, though faithfully copied from nature, and as accurately represented in words, do not of themselves constitute the poet', &c.

10. as the poet hath himself well described, &c. In the Lines composed a few miles above Tintern Abbey, &c. They were written on July 13, 1798, and the following days. See especially the lines beginning

For nature then

(The coarser movements of my boyish days

And their glad animal movements all gone by)

To me was all in all.—I cannot paint, &c.

F.N. The quotation in footnote is from Descriptive Sketches, II. 317-24. The italics are, of course, Coleridge's.

PAGE 59 1. 15. the original gift, &c. Thus the style of poetry assigned to Wordsworth in the Lyrical Ballads had as its object 'to give the charm of novelty to things of every day', &c. (See Biog. Lit. ii. 6.)

20. To find no contradiction, &c. This passage is taken with omissions from The Friend (1809-10), No. 5; but the same thought is recorded in almost the same language in A. P. 1803 (p. 41). Cp. also letter to T. Wedgwood (Nov. 1, 1800), 'That is a delightful feeling, these fits and trances of Novelty received from a long known object' (Tom Wedgwood, by R. B. Litchfield, 1903, p. 105); and A. P. 1803 (p. 53), and 1810 (p. 233), 'The man of genius places things in a new light,' &c.

PAGE 60 1. 8. Burns' comparison, &c. See Burns' Tam O'Shanter, 11. 59 ff.:

But pleasures are like poppies spread,
You seize the flower, the bloom is shed:
Or like the snow-fall in the river,

One moment white-then melts for ever.

PAGE 61 F.N. minim immortal. This is an interesting anticipation of the theory of the immortality of the Protozoon, which is considered to have been first definitely formulated by Weismann (Ueber die Dauer des Lebens, 1881). Coleridge no doubt had read of it somewhere, but I have in vain endeavoured to discover where.

PAGE 62 1. 14 that of delirium from mania. Cp. T. T., June 23, 1834, 'You can conceive the difference in kind between the Fancy and the Imagination in this way-that if the check of the senses and the reason were withdrawn, the first would become delirium and the last mania.' In a manuscript note in Tenneman's Geschichte der Philosophie, Coleridge characterizes the state of dreaming as 'the shifting current in the shoreless chaos of the fancy in which the streaming continuum of passive association is broken into zig-zag by sensations from within or from without': and in A. P. 1803 (p. 55) he speaks of 'the streamy nature of association, which thinking curbs and rudders', and ib. (p. 56) 'What is the height and ideal of mere association? Delirium.' The distinction of delirium and mania is thus characterized in the Aids to Reflection (Bohn's ed., p. 173),

'Mania... as distinguished from... delirium, ... is the occultation or eclipse of reason, as the power of ultimate ends': whereas delirium is classed with frenzy, idiocy, derangement, &c. ('the last term being used specifically to express a suspension of the understanding or adaptive power'). See also Biog. Lit. i. 77, where Coleridge, discussing Hartley's theory of association as a process in which the mind is entirely passive, remarks that 'either the ideas (or relicts of such impression) will exactly imitate the order of the impression itself, which would be absolute delirium; or', &c.; and Crabb Robinson, Diary, &c., Nov. 15, 1810. In his lecture on Cervantes (1818; Lectures, p. 107) Coleridge attempts a classification of kinds of madness.

16. 'Lutes, lobsters, seas of milk. The actual line is

Lutes, laurels, seas of milk and ships of amber (Otway, Venice Preserved, Act v). Coleridge quoted this line to C. Robinson (Diary, &c., Nov. 15, 1810) as an instance of 'fanciful delirium '.

18. 'What! have his daughters, &c. Lear, Act iii. sc. 4 (omitting 'What'). Coleridge says elsewhere, speaking of this scene in Lear as an illustration of imagination, that 'the deep feelings of a father spread ingratitude over the very elements of heaven'. And Wordsworth, in illustrating the 'human and dramatic imagination', quotes Lear's words

I tax ye not, ye Elements, with unkindness,

I never gave you kingdoms, called you daughters.

(Preface to Poems, 1815: O. W., p. 957.)

PAGE 63 6. the belief that I had been the first of my countrymen. It does not appear that any stress is to be laid on the words 'of my countrymen' in this sentence. I cannot discover that Coleridge was indebted to any other mind (except in a certain degree, to Wordsworth's) for the distinction of fancy and imagination as it at first occurred to him. The German words ' Phantasie' and Einbildungskraft' have never, so far as I can find, been definitely appropriated to these respective meanings, and either of them may still be used indifferently to express Coleridge's 'imagina tion', although 'Einbildungskraft' could hardly bear the sense of 'fancy'. The distinction made by Jean Paul in his Aesthetik between 'Einbildungskraft' and' Phantasie' (according to which the former is a 'potentiated brightly-coloured memory', ', whereas the latter is the power of 'making all parts into a whole') certainly recalls Coleridge's distinction: but it is impossible that he is in any way indebted to J. Paul, whose Aesthetik, even in 1817, he had 'but merely looked into'. And for Coleridge it was always the word 'Einbildungskraft' which denoted the higher faculty. (See Biog. Lit. ii. 107 and note, and A. P. 1810, p. 236.)

9. Mr. W. Taylor's recent volume of synonymes. 'British synonymes discriminated, by W. Taylor, 1813. His distinction of