The / Fall / of / Robespierre. / An / Historic Drama. / By S. T.
Coleridge, / Of Jesus College, Cambridge. / Cambridge: / Printed by
Benjamin Flower, / For W. H. Lunn, and J. and J. Merrill; and Sold / By
J. March, Norwich. / 1794. / [Price One Shilling.]
[8o.
Collation.—Title, one leaf, p. [i], [Dedication] To H. Martin,
Esq., Of Jesus College, Cambridge (dated, September 22. 1794), p. [3];
Text, pp. [5]-37.
Poems / on / Various Subjects, /By S. T. Coleridge, / Late of Jesus
College, Cambridge. / Felix curarum, cui non Heliconia cordi / Serta,
nec imbelles Parnassi e vertice laurus! / Sed viget ingenium, et magnos
accinctus in usus / Fert animus quascunque vices.—Nos tristia vitae /
Solamur cantu. / Stat. Silv. Lib. iv. 4.[1135:1] / London: / Printed
for G. G. and J. Robinsons, and / J. Cottle, Bookseller, Bristol. /
1796. /
[8o.
Collation.—Half-title, Poems / on Various Subjects, / By / S. T.
Coleridge, / Late / Of Jesus College, Cambridge. /, one leaf, p. [i];
Title, one leaf, p. [iii]; Preface, pp. [v]-xi; Contents, pp.
[xiii]-xvi; Text, pp. [1]-168; Notes on Religious Musings, pp.
[169]-175; Notes, pp. [177]-188; Errata, p. [189].[1135:2]
Contents.—
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.
(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)
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.]
| 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 |
Collation.—No title; Introduction, pp. [1]-2; Text (of Sonnets Nos.
i-xxviii), pp. 3-16. Signatures A. B. B2. [1796.]
[8o.
[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.—
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 5
one cold glitter of heavy conceits and metaphysical abstractions.
However, 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 10
in deducing its laws from their compositions.
The Sonnet then is a small poem, in which some lonely feeling is
developed. 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 20
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 25
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 30
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 35
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 40
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
sameness in the final sound of its words is the great and grievous defect of the
Italian language. That rule, therefore, which the Italians have 45
established, 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 50
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. 55
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 60
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 65
ingenious 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]
| 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!'] |
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. /
[4o.
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).]
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. /
[8o.
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.]
[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 |
[Pp. [xiii]-xvi.]
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 5
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 10
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 20
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 25
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 30
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 35
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 45
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 50
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 55
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.]
I return my acknowledgments to the different Reviewers for the
assistance, which they have afforded me, in detecting my poetic deficiencies.
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 5
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 10
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, 15
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 20
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 25
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. 30
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 35
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 40
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. 45
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.]
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.]
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.
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. /
[4o.
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].
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. /
[8o.
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].
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. /
[8o.
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.]
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. /
[8o.
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.]
Poems, / By / S. T. Coleridge, Esq. / [8o.
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.]
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. /
[8o.
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.
Remorse, &c. (as in No. XI); Second Edition. / London: / Printed for
W. Pople, 67, Chancery Lane. / 1813. / Price Three Shillings. /
[8o.
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.
Remorse, &c. (as in No. XI); Third Edition. / London: Printed for
W. Pople, 67, Chancery Lane. / 1813. /
[8o.
For collation vide supra, No. XII.
Sibylline Leaves: / A / Collection of Poems. / By / S. T. Coleridge,
Esq. / London: / Rest Fenner, 23, Paternoster Row. / 1817. /
[8o.
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.]
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.
[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 |
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.
[8o.
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.
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. /
[8o.
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 4s. 6d. sewed'. The cover
was of brown paper.]
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. /
[8o.
Collation.—Vide No. XVI.
[The half-title, Christabel, is in Gothic Character.]
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. /
[8o.
Collation.—Vide No. XVI.
[The half-title, Christabel, is in Gothic Character.]
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. /
[8o.
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.
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. /
[8o.
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]
[The Preface is the same as that of 1803.]
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 |
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.
[8o.
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./]
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.
The / Poetical Works / Of / Coleridge, Shelley, and Keats. / Complete in
One Volume. / Paris / Published by A. and W. Galignani / No. 18, Rue
Vivienne / 1829. /
[8o.
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.]
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.]
[12o.
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.]
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].
[12o.
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.']
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.
The Poetical Works Of / S. T. Coleridge / Vol. I, Vol. II, &c. / London
/ William Pickering / 1834 /
[8o.
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.]
[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 |
| |
1834 |
present |
| |
edition |
| Half-title |
| 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] |
The Poetical and Dramatic Works of Samuel Taylor Coleridge; With a Life
of the Author. London: John Thomas Cox, 84 High Holborn. mdcccxxxvi.
[8o, 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'.
The Poetical And Dramatic Works of Samuel Taylor Coleridge, with a Life
of the Author. London: Thos. Allman 42 Holborn Hill 1837.
[16mo, 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.
The Poetical Works of Samuel Taylor Coleridge with Life of the Author.
London: Charles Daly, 14, Leicester Street, Leicester Square, n. d.
[16mo, 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.
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.
[16mo, 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.
The Poems of S. T. Coleridge [Aldine device and motto] London William
Pickering 1844.
[8o, 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.
The Poems of S. T. Coleridge [Aldine device and motto] London William
Pickering 1848.
[8o, 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.
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.
The Poems of Samuel Taylor Coleridge. Edited by Derwent and Sara
Coleridge. A New Edition. London: Edward Moxon, Dover Street. 1852.
[8o, pp. xxvii ('Advertisement', and 'Editors' Preface to the
Present Edition', pp. [v]-xiv) + 378 + 'Notes', pp. [379]-388.
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.
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).
The Dramatic Works of Samuel Taylor Coleridge. Edited by Derwent
Coleridge. A New Edition. London: Edward Moxon, Dover Street. 1852.
[8o, pp. xvi + 427.
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'.
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.
[8o, 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.
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.
The Poems of S. T. Coleridge. London: Bell and Daldy. 1862.
[16mo, pp. xiii + 299.
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.
[8o, 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.
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.
[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 'Sarah 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.
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.]
[8o, 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.
The Raven. A Poem by Samuel Taylor Coleridge. Illustrated by Ella
Hallward With an Introduction by the Hon. Stephen Coleridge. H. S.
Nichols Ltd, 39 Charing Cross Road London W.C. mdcccxcviii.
[4o.
Note.—The text is printed on 14 sheets, unpaged. There are thirteen
illustrations and other embellishments.
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.
[8o, pp. xxii + 204.
The Poetical Works of Samuel Taylor Coleridge Edited with an
Introductory Memoir and Illustrations by William B. Scott. London.
George Routledge and Sons. [1874.]
[8o, pp. xxviii + 420.
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.
[8o.
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.
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.
The Poetical Works of Samuel Taylor Coleridge. With Life. Engravings on
Steel. Gale and Inglis. Edinburgh: Bernard Terrace. London: 26
Paternoster Square. [1881.]
[8o, pp. xxviii + 420.
Note.—This edition includes the Fall of Robespierre, and
Christobell. A Gothic Tale as published in the European Magazine,
April, 1815.
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.]
[8o.
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.
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.
[8o, 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.
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.
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.
[8o, 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.
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.
[8o, 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.
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 Alexr. Hill, 50 Princes
Street 1837. The cloth binding is embellished with a vignette—a lyre
encircled by a winged serpent.
Coleridge's Rime of the Ancient Mariner Illustrated by J. Noel Paton,
R.S.A. Art Union of London 1863 [W. H. McFarlane Lithogr 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.
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.
[8o, 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.'
