For from the very first the two sides of his mind are visible and palpable. Among all verses of boys who were to grow up great, I remember none so perfect, so sweet and deep in sense and sound, as those which he is said to have written at school, headed “Time, Real and Imaginary.” And following hard on these come a score or two of “poems” each more feeble and more flatulent than the last. Over these and the like I shall pass with all due speed, being undesirous to trouble myself or any possible reader with the question whether “Religious Musings” be more damnable than “Lines to a Young Ass,” or less damnable. Even when clear of these brambles, his genius walked for some time over much waste ground with irregular and unsure steps. Some poems, touched with exquisite grace, with clear and pure harmony, are tainted with somewhat of feeble and sickly which impairs our relish; “Lewti” for instance, an early sample of his admirable melody, of tender colour and dim grace as of clouds, but effeminate in build, loosehung, weak of eye and foot. Yet nothing of more precious and rare sweetness exists in verse than that stanza of the swans disturbed. His style indeed was a plant of strangely slow growth, but perfect and wonderful in its final flower. Even in the famous versed called “Love” he has not attained to that strength and solidity of beauty which was his special gift at last. For melody rather than for harmony it is perfect; but in this œnomel there is as yet more of honey than of wine.

Coleridge was the reverse of Antæus; the contact of earth took all strength out of him. He could not handle to much purpose any practical creed; his political verse is most often weak of foot and hoarse of accent. There is a graceful Asiatic legend cited by his friend Southey of “the footless birds of Paradise” who have only wings to sustain them, and live their lives out in a perpetual flight through the clearest air of heaven. Ancient naturalists, Cardan and Aldrovandus, had much dispute and dissertation as to the real or possible existence of these birds, as to whether the female did in effect lay her eggs in a hollow of the male’s back, designed by nature to that end; whether they could indeed live on falling dew; and so forth. These questions we may presume to be decided; but it is clear and certain enough that men have been found to live in much this fashion. Such a footless bird of Paradise was Coleridge; and had his wings always held out it had been well for him and us. Unhappily this winged and footless creature would perforce too often furl his wings in mid air and try his footing on earth, where his gait was like a swan’s on shore.

Of his flight and his song when in the fit element, it is hard to speak at all, hopeless to speak adequately. It is natural that there should be nothing like them discoverable in any human work; natural that his poetry at its highest should be, as it is, beyond all praise and all words of men. He who can define it could “unweave a rainbow;” he who could praise it aright would be such another as the poet The “Christabel,” the “Kubla Khan,” with one or two more, are outside all law and jurisdiction of ours. When it has been said that such melodies were never heard, such dreams never dreamed, such speech never spoken, the chief thing remains unsaid, and unspeakable. There is a charm upon these poems which can only be felt in silent submission of wonder. Any separate line has its own heavenly beauty, but to cite separate lines is intolerable. They are to be received in a rapture of silence; such a silence as Chapman describes; silence like a god “peaceful and young,” which

“Left so free mine ears, That I might hear the music of the spheres, And all the angels singing out of heaven” †

Note

Euthymiae Raptus; The Tears of Peace (1609).

Close

More amenable to our judgement, and susceptible of a more definite admiration, the “Ancient Mariner,” and the few other poems cast in something of a ballad type which we may rank around or below it, belong to another class. The chief of these is so well known that it needs no fresh comment. Only I will say that to some it may seem as though this great sea-piece might have had more in it of the air and savour of the sea. Perhaps it is none the worse; and indeed any one speaking of so great and famous a poem must feel and know that it cannot but be right, although he or another may think it would be better if this were retrenched or that appended. And this poem is beyond question one of the supreme triumphs of poetry. Witness the men who brought batteries to bear on it right and left. Literally: forone critic said that the “moral sentiment” had impaired the imaginative excellence; another, that it failed and fell through for want of a moral foothold upon facts. Remembering these things, I am reluctant to proceed—but desirous to praise, as I best may. Though I doubt if it be worth while, seeing how the “Ancient Mariner”—praised or dispraised—lives and is like to live for the delight equally of young boys and old men; and seeing also that the last critic cited was no less a man than Hazlitt. It is fortunate—among many misfortunes—that for Coleridge no warning word was needed against the shriek of the press-gang from this side or that. He stooped once or twice to spurn them; but he knew that he stooped. His intense and overwrought abstraction from things of the day or hour did him no ill service here.

The “Ancient Mariner” has doubtless more of breadth and space, more of material force and motion, than anything else of the poet’s. And the tenderness of sentiment which touches with significant colour the pure white imagination is here no longer morbid or languid, as in the earlier poems of feeling and emotion. It is soft and piteous enough, but womanly rather than effeminate; and thus serves indeed to set off the strange splendours and boundless beauties of the story. For the persecution, I presume no human eye is too dull to see how perfect it is, and how high in kind of perfection. Here is not the speckless and elaborate finish which shows everywhere the fresh rasp of file or chisel on its smooth and spruce excellence; this is faultless after the fashion of a flower or a tree. This it has grown: not thus has it been carved.

Nevertheless, were we compelled to the choice, I for one would rather preserve “Kubla Khan” and “Christabel” than any other of Coleridge’s poems. It is more conceivable that another man should be born capable of writing the “Ancient Mariner” than one capable of writing these. The former is perhaps the most wonderful of all poems. In reading it we seem rapt into that paradise revealed to Swedenborg, where music and colour and perfume were one, where you could hear the hues and see the harmonies of heaven. For absolute melody and splendour it were hardly rash to call it the first poem in the language. An exquisite instinct married to a subtle science of verse has made it the supreme model of music in our language, a model unapproachable except by Shelley. All the elements that compose the perfect form of English metre, as limbs and veins and features a beautiful body of man, were more familiar, more subject as it were, to this great poet than to any other. How, for instance, no less than rhyme, assonance and alliteration are forces, requisite components of high and ample harmony, witness once for all the divine passage † which begins— “Five miles meandering with a mazy motion,” &c.

All these least details and delicacies of work are worth notice when the result of them is so transcendent. Every line of the poem might be subjected to the like scrutiny, but the student would be none the nearer to the master’s secret The spirit, the odour in it, the cloven tongue of fire that rests upon its forehead, is a thing neither explicable nor communicable.

Of all Coleridge’s poems the loveliest is assuredly “Christabel.” It is not so vast in scope and reach of imagination as the “Ancient Mariner;” it is not so miraculous as “Kubla Khan;” but for simple charm of inner and outer sweetness it is unequalled by either. The very terror and mystery of magical evil is imbued with this sweetness; the witch has no less of it than the maiden; their contact has in it nothing dissonant or disfiguring, nothing to jar or to deface the beauty and harmony of the whole imagination. As for the melody, here again it is incomparable with any other poet’s. Shelley indeed comes nearest; but for purity and volume of music Shelley is to Coleridge as a lark to a nightingale; his song heaven-high and clear as heaven, but the other’s more rich and weighty, more passionately various, and warmer in effusion of sound. † On the other hand, the nobler nature, the clearer spirit of Shelley, fills his verse with a divine force of meaning, which Coleridge, who had it not in him, could not affect the give. That sensuous fluctuation of soul, that floating fervour of fancy, whence his poetry rose as from a shifting sea, in faultless completion of form and charm, had absorbed—if indeed there were any to absorb—all emotion of love or faith, all heroic beauty of moral passion, all inner and outer life of the only kind possible to such other poets as Dante or Shelley, Milton or Hugo. This is neither blameable nor regrettable; none of these could have done his work; nor could he have done it had he been in any way other or better than he was. Neither, for that matter, could we have had a Hamlet or a Faust from any of these, the poets of moral faith and passion, any more than a “Divina Commedia” from Shakespeare, a “Prometheus Unbound” from Goethe. Let us give thanks for each after their kind to nature and the fates.

Alike by his powers and his impotences, by his capacity and his defect, Coleridge was inapt for dramatic poetry. It were no discredit to have fallen short of Shelley on this side, to be overcome by him who has written the one great English play of modern times; but here the very comparison would seem a jest. There is little worth praise or worth memory in the “Remorse” except such casual fragments of noble verse as may readily be detached from the loose and friable stuff in which they lie embedded. In the scene of the incantation, in the scene of the dungeon, there are two such pure and precious fragments of gold. In the part of Alhadra there are lofty and sonorous interludes of declamation and reflection. The characters are flat and shallow; the plot is at once languid, violent, and heavy. To touch the string of the spirit, thread the weft of evil and good, feel out the way of the soul through dark places of thought and rough places of action, was not given to this the sweetest dreamer of dreams. In “Zapolya” there are no such patches of imperial purple sewn on, but there is more of air and motion; little enough indeed of high dramatic quality, but a native grace and ease which give it something of the charm of life. In this lighter and more rapid work, the song of Glycine flashes out like a visible sunbeam; it is one of the brightest bits of music ever done into words.

The finest of Coleridge’s odes is beyond all doubt the “Ode To France.” Shelley declared it the finest of modern times, and justly, until himself and Keats had written up to it at least. It were profitless now to discuss whether it should take or yield precedence when weighed with the “Ode to Liberty” or the “Ode to Naples.” There is in it a noble and loyal love of freedom, though less fiery at once and less firm than Shelley’s, as it proved in the end less durable and deep. The prelude is magnificent in music, and sentiment and emotion far above any other of his poems; nor are the last notes inadequate to this majestic overture. Equal in force and sweetness of style, the “Ode on Dejection” ranks next in my mind to this one; some may prefer its vaguer harmonies and sunset colours to the statelier movement, the more august and solemn passion of the earlier ode. †

It is noticeable that only his supreme gift of lyrical power could sustain Coleridge on political ground. His attempts of the kind in blank verse are poor indeed:— “Untimely breathings, sick and short assays” Compare the nerveless and hysterical verses headed “Fears in Solitude” (exquisite as is the overture, faultless in tone and colour, and worthy of a better sequel) with the majestic and masculine sonnet of Wordsworth, written at the same time on the same subject: the lesser poet—for, great as he is, I at least cannot hold Wordsworth, though so much the stronger and more admirable man, equal to Coleridge as mere poet—speaks with a calm force of thought and resolution; Coleridge wails, appeals, deprecates, objurgates in a flaccid and querulous fashion without heart or spirit This debility of mind and manner is set off in strong relief by the loveliness of landscape touches in the same poem. The eclogue of “Fire, Famine, and Slaughter,” being lyrical, is worthier of a great name; it has force and motion enough to keep it alive yet and fresh, impeded and trammelled though it usually be by the somewhat vain and verbose eloquence of a needlessly “Apologetic Preface.” Blank verse Coleridge could never handle with the security of conscious skill and a trained strength; it grows in his hands too facile and feeble to carry the due weight or accomplish the due work. I have not found any of his poems in this metre retouched and reinvigorated as a few have been among his others. One such alteration is memorable to all students of his art; the excision from the “Ancient Mariner” of a stanza (eleventh of the Third Part) which described the Death-mate of the Spectre-Woman, his bones foul with leprous scruf and green corruption of the grave, in contrast to the red lips and yellow locks of the fearfuller Nightmare Life-in-Death. Keats in like manner cut off from the “Ode on Melancholy” a first stanza preserved for us by his biographer, who has duly noted the delicate justice of instinct implied by this rejection of all ghastly and violent images, however noble and impressive in their violence and ghastliness, from a poem full only of the subtle sorrow bom of beauty. The same keen and tender sense of right made Coleridge reject from his work the horrors while retaining the terrors of death. But of his studies in blank verse he seems to have taken no such care. They remain mostly in a hybrid or an embryonic state, with birthmarks on them of debility or malformation. Two of these indeed have a charm of their own, not shallow or transient: the “Nightingale” and “Frost at Midnight.” In colour they are perfect, and not (as usual) too effusive and ebullient in style. Others, especially some of the domestic or religious sort, are offensive and grievous to the human sense on that score. Coleridge had doubtless a sincere belief in his own sincerity of belief a true feeling of his own truth of feeling; but he leaves with us too often an unpleasant sense or taste—as it were a tepid dilution of sentiment, a rancid unction of piety. A singular book published in 1835 without author’s name—the work, as I find, of a Mr. Alsop, long after to be advertised for on public placards as an accomplice in the enterprise which clouded the fiery fame and closed the heroic life of Felice Orsini—gives further samples of this in “Letters, Conversations and Recollections;” samples that we might well have spared. † A selection from his notes and remains, from his correspondence and the records of his “Table-Talk,” even from such books as Cottle’s and this anonymous disciple’s, would be of real interest and value, if well edited, sifted and weeded of tares and chaff. The rare fragments of work done or speech spoken in his latter years are often fragments of gold beyond price. His plastic power and flexible charm of verse, though shown only in short flashes of song, lose nothing of the old freshness and life. To the end he was the same whose “sovereign sway and masterdom” of music could make sweet and strong even the feeble and tuneless form of metre called hexameters in English; if form of metre that may be called which has neither metre nor form. But the majestic rush and roll of that irregular anapaestic measure used once or twice by this supreme master of them all, no student can follow without an exultation or enjoyment. The “Hymn to the Earth” has a sonorous and oceanic strength of harmony, a grace and a glory of life, which fill the sense with a vigorous delight. Of such later work as the divine verses on “Youth and Age,” “The Garden of Boccaccio,” sun-bright and honey-sweet, “Work without Hope” (what more could be left to hope for when the man could already do such work?)—of these, and of how many more! what can be said but that they are perfect, flawless, priceless? Nor did his most delicate and profound power of criticism ever fail him or fall off. To the perfection of that rare faculty there were but two things wanting: self-command and the natural cunning of words which has made many lesser men as strong as he was weak in the matter of verbal emendation. In that line of labour his hand was unsure and infirm. Want of self-command, again, left him often to the mercy of a caprice which swept him through tangled and tortuous ways of thought, through brakes and byways of fancy, where the solid subject in hand was either utterly lost and thrown over, or so transmuted and transfigured that any recognition of it was as hopeless as any profit. In an essay well worth translating out of jargon into some human language, he speaks of “the holy jungle of transcendental metaphysics.” Out of that holy and pestilential jungle he emerged but too rarely into sunlight and clear air. It is not depth of thought which makes obscure to others the work of a thinker; real and offensive obscurity comes merely of inadequate thought embodied in inadequate language. What is clearly comprehended or conceived, what is duly thought and wrought out, must find for itself and seize upon the clearest and fullest expression. That grave and deep matter should be treated with the fluency and facility proper to light and slight things, no fool is foolish enough to desire: but we may at least demand that whatever of message a speaker may have for us be delivered without impediment of speech. A style that stammers and rambles and stumbles, that stagnates here, and there overflows into waste marsh relieved only by thick patches of powdery bulrush and such bright flowerage of barren blossom as is bred of the fogs and the fens—such a style gives no warrant of depth or soundness in the matter thus arrayed and set forth. What grains of truth or seeds of error were borne this way or that on the perpetual tide of talk concerning “subject and object,” “reason and understanding,” those who can or who care may at their leisure determine with the due precision. If to the man’s critical and philosophic faculty there had been added a formative power as perfect as was added to his poetic faculty, the fruit might possibly have been wellnigh as precious after its kind. As it is, we must judge of his poetic faculty by what is accomplished; of the other we must judge not by what is accomplished, but by what is suggested. And the value of this is sometimes great, though the value of that be gene rally small: so great indeed that we cannot weigh or measure its influence and its work.

Our study and our estimate of Coleridge cannot now be discoloured or misguided by the attraction or repulsion to which all contemporary students or judges of a great man’s work cannot but be more or less liable. Few men, I suppose, ever inspired more of either feeling than he in his time did. To us his moral or social qualities, his opinion on this matter and his action in that, are nothing except in so far as they affect the work done, the inheritance bequeathed us. With all fit admiration and gratitude for the splendid fragments so bequeathed of a critical and philosophic sort, I doubt his being remembered, except by a small body of his elect, as other than a poet. His genius was so great, and in its greatness so many-sided, that for some studious disciples of the rarer kind he will doubtless, seen from any possible point of view, have always something about him of the old magnetism and magic. The ardour, delicacy, energy of his intellect, his resolute desire to get at the roots of things and deeper yet if deeper might be, will always enchant and attract all spirits of like mould and temper. But as a poet his place is indisputable. It is high among the highest of all time. An age that should forget or neglect him might neglect or forget any poet that ever lived. At least, any poet whom it did remember such an age would remember as something other than a poet; it would prize and praise in him, not the absolute and distinctive quality, but something empirical or accidental. That may be said of this one which can hardly be said of any but the greatest among men; that come what may to the world in course of time, it will never see his place filled. Other and stronger men, with fuller control and concentration of genius, may do more service, may bear more fruit; but such as his was they will not have in them to give. The highest lyric work is either passionate or imaginative; of passion Coleridge’s has nothing; but for height and perfection of imaginative quality he is the greatest of lyric poets. This was his special power, and this is his special praise.