"Each matin bell," the Baron saith,"Knells us back to a world of death."These words Sir Leoline first said,When he rose and found his lady dead: 335These words Sir Leoline will sayMany a morn to his dying day!
And hence the custom and law beganThat still at dawn the sacristan,Who duly pulls the heavy bell, 340Five and forty beads must tellBetween each stroke—a warning knell,Which not a soul can choose but hearFrom Bratha Head to Wyndermere.
Saith Bracy the bard, "So let it knell! 345And let the drowsy sacristanStill count as slowly as he can!There is no lack of such, I ween,As well fill up the space between.In Langdale Pike and Witch's Lair, 350And Dungeon-ghyll so foully rent,With ropes of rock and bells of airThree sinful sextons' ghosts are pent,Who all give back, one after t' other,The death-note to their living brother; 355And oft too, by the knell offended,Just as their one! two! three! is ended,The devil mocks the doleful taleWith a merry peal from Borrowdale."
The air is still! through mist and cloud 360That merry peal comes ringing loud;And Geraldine shakes off her dread,And rises lightly from the bed;Puts on her silken vestments white,And tricks her hair in lovely plight, 365And nothing doubting of her spellAwakens the lady Christabel."Sleep you, sweet lady Christabel?I trust that you have rested well."
And Christabel awoke and spied 370The same who lay down by her side—O rather say, the same whom sheRaised up beneath the old oak tree!Nay, fairer yet! and yet more fair!For she belike hath drunken deep 375Of all the blessedness of sleep!And while she spake, her looks, her air,Such gentle thankfulness declare,That (so it seemed) her girded vestsGrew tight beneath her heaving breasts. 380"Sure I have sinn'd!" said Christabel,"Now heaven be praised if all be well!"And in low faltering tones, yet sweet,Did she the lofty lady greetWith such perplexity of mind 385As dreams too lively leave behind.
So quickly she rose, and quickly arrayedHer maiden limbs, and having prayedThat He, who on the cross did groan,Might wash away her sins unknown, 390She forthwith led fair GeraldineTo meet her sire, Sir Leoline.
The lovely maid and the lady tallAre pacing both into the hall,And pacing on through page and groom, 395Enter the Baron's presence-room.
The Baron rose, and while he prestHis gentle daughter to his breast,With cheerful wonder in his eyesThe lady Geraldine espies, 400And gave such welcome to the same,As might beseem so bright a dame!
But when he heard the lady's tale,And when she told her father's name,Why waxed Sir Leoline so pale, 405Murmuring o'er the name again,Lord Roland de Vaux of Tryermaine?
Alas! they had been friends in youth;But whispering tongues can poison truth;And constancy lives in realms above; 410And life is thorny; and youth is vain;And to be wroth with one we loveDoth work like madness in the brain.And thus it chanced, as I divine,With Roland and Sir Leoline. 415Each spake words of high disdainAnd insult to his heart's best brother:They parted—ne'er to meet again!But never either found anotherTo free the hollow heart from paining— 420They stood aloof, the scars remaining,Like cliffs which had been rent asunder;A dreary sea now flows between.But neither heat, nor frost, nor thunder,Shall wholly do away, I ween, 425The marks of that which once hath been.
Sir Leoline, a moment's space,Stood gazing on the damsel's face:And the youthful Lord of TryermaineCame back upon his heart again. 430
O then the Baron forgot his age,His noble heart swelled high with rage;He swore by the wounds in Jesu's sideHe would proclaim it far and wide,With trump and solemn heraldry, 435That they, who thus had wronged the dameWere base as spotted infamy!"And if they dare deny the same,My herald shall appoint a week,And let the recreant traitors seek 440My tourney court—that there and thenI may dislodge their reptile soulsFrom the bodies and forms of men!"He spake: his eye in lightning rolls!For the lady was ruthlessly seized; and he kenned 445In the beautiful lady the child of his friend!
And now the tears were on his face,And fondly in his arms he tookFair Geraldine, who met the embrace,Prolonging it with joyous look. 450Which when she viewed, a vision fellUpon the soul of Christabel,The vision of fear, the touch and pain!She shrunk and shuddered, and saw again—(Ah, woe is me! Was it for thee, 455Thou gentle maid! such sights to see?)
Again she saw that bosom old,Again she felt that bosom cold,And drew in her breath with a hissing sound:Whereat the Knight turned wildly round, 460And nothing saw, but his own sweet maidWith eyes upraised, as one that prayed.
The touch, the sight, had passed away,And in its stead that vision blest,Which comforted her after-rest, 465While in the lady's arms she lay,Had put a rapture in her breast,And on her lips and o'er her eyesSpread smiles like light!With new surprise,"What ails then my beloved child?" 470The Baron said—His daughter mildMade answer, "All will yet be well!"I ween, she had no power to tellAught else: so mighty was the spell.
Yet he, who saw this Geraldine, 475Had deemed her sure a thing divine.Such sorrow with such grace she blended,As if she feared she had offendedSweet Christabel, that gentle maid!And with such lowly tones she prayed 480She might be sent without delayHome to her father's mansion."Nay!Nay, by my soul!" said Leoline."Ho! Bracy the bard, the charge be thine!Go thou, with music sweet and loud, 485And take two steeds with trappings proud,And take the youth whom thou lov'st bestTo bear thy harp, and learn thy song,And clothe you both in solemn vest,And over the mountains haste along, 490Lest wandering folk, that are abroad,Detain you on the valley road.
"And when he has crossed the Irthing flood,My merry bard! he hastes, he hastesUp Knorren Moor, through Halegarth Wood, 495And reaches soon that castle goodWhich stands and threatens Scotland's wastes.
"Bard Bracy! bard Bracy! your horses are fleet,Ye must ride up the hall, your music so sweet,More loud than your horses' echoing feet! 500And loud and loud to Lord Roland call,'Thy daughter is safe in Langdale hall!Thy beautiful daughter is safe and free—Sir Leoline greets thee thus through me.He bids thee come without delay 505With all thy numerous arrayAnd take thy lovely daughter home:And he will meet thee on the wayWith all his numerous arrayWhite with their panting palfreys' foam': 510And, by mine honour! I will say,That I repent me of the dayWhen I spake words of fierce disdainTo Roland de Vaux of Tryermaine!——For since that evil hour hath flown, 515Many a summer's sun hath shone;Yet ne'er found I a friend againLike Roland de Vaux of Tryermaine."
The lady fell, and clasped his knees,Her face upraised, her eyes o'erflowing; 520And Bracy replied, with faltering voice,His gracious hail on all bestowing;"Thy words, thou sire of Christabel,Are sweeter than my harp can tell;Yet might I gain a boon of thee, 525This day my journey should not be,So strange a dream hath come to me;That I had vowed with music loudTo clear yon wood from thing unblest,Warned by a vision in my rest! 530For in my sleep I saw that dove,That gentle bird, whom thou dost love,And call'st by thy own daughter's name—Sir Leoline! I saw the same,Fluttering, and uttering fearful moan, 535Among the green herbs in the forest alone.Which when I saw and when I heard,I wondered what might ail the bird;For nothing near it could I see,Save the grass and green herbs underneath the old tree. 540
"And in my dream, methought, I wentTo search out what might there be found;And what the sweet bird's trouble meant,That thus lay fluttering on the ground.I went and peered, and could descry 545No cause for her distressful cry;But yet for her dear lady's sakeI stooped, methought, the dove to take,When lo! I saw a bright green snakeCoiled around its wings and neck. 550Green as the herbs on which it couched,Close by the dove's its head it crouched;And with the dove it heaves and stirs,Swelling its neck as she swelled hers!I woke; it was the midnight hour, 555The clock was echoing in the tower;But though my slumber was gone by,This dream it would not pass away—It seems to live upon my eye!And thence I vowed this self-same day 560With music strong and saintly songTo wander through the forest bare,Lest aught unholy loiter there."
Thus Bracy said: the Baron, the while,Half-listening heard him with a smile; 565Then turned to Lady Geraldine,His eyes made up of wonder and love;And said in courtly accents fine,"Sweet maid, Lord Roland's beauteous dove,With arms more strong than harp or song, 570Thy sire and I will crush the snake!"He kissed her forehead as he spake,And Geraldine in maiden wiseCasting down her large bright eyes,With blushing cheek and courtesy fine 575She turned her from Sir Leoline;Softly gathering up her train,That o'er her right arm fell again;And folded her arms across her chest,And couched her head upon her breast, 580And looked askance at Christabel—Jesu, Maria, shield her well!
A snake's small eye blinks dull and shy,And the lady's eyes they shrunk in her head,Each shrunk up to a serpent's eye, 585And with somewhat of malice, and more of dread,At Christabel she looked askance!—One moment—and the sight was fled!But Christabel in dizzy tranceStumbling on the unsteady ground 590Shuddered aloud, with a hissing sound;And Geraldine again turned round,And like a thing, that sought relief,Full of wonder and full of grief,She rolled her large bright eyes divine 595Wildly on Sir Leoline.
The maid, alas! her thoughts are gone,She nothing sees—no sight but one!The maid, devoid of guile and sin,I know not how, in fearful wise, 600So deeply had she drunken inThat look, those shrunken serpent eyes,That all her features were resignedTo this sole image in her mind:And passively did imitate 605That look of dull and treacherous hate!And thus she stood, in dizzy trance,Still picturing that look askanceWith forced unconscious sympathyFull before her father's view— 610As far as such a look could beIn eyes so innocent and blue!
And when the trance was o'er, the maidPaused awhile, and inly prayed:Then falling at the Baron's feet, 615"By my mother's soul, do I entreatThat thou this woman send away!"She said: and more she could not say:For what she knew she could not tell,O'er-mastered by the mighty spell. 620
Why is thy cheek so wan and wild,Sir Leoline? Thy only childLies at thy feet, thy joy, thy pride,So fair, so innocent, so mild;The same, for whom thy lady died! 625O, by the pangs of her dear motherThink thou no evil of thy child!For her, and thee, and for no other,She prayed the moment ere she died:Prayed that the babe for whom she died, 630Might prove her dear lord's joy and pride!That prayer her deadly pangs beguiled,Sir Leoline!And wouldst thou wrong thy only child,Her child and thine? 635
Within the Baron's heart and brainIf thoughts, like these, had any share,They only swelled his rage and pain,And did but work confusion there.
His heart was cleft with pain and rage, 640His cheeks they quivered, his eyes were wild,Dishonoured thus in his old age;Dishonour'd by his only child,And all his hospitalityTo the insulted daughter of his friend 645By more than woman's jealousyBrought thus to a disgraceful end—He rolled his eye with stern regardUpon the gentle minstrel bard,And said in tones abrupt, austere— 650"Why, Bracy! dost thou loiter here?I bade thee hence!" The bard obeyed;And turning from his own sweet maid,The aged knight, Sir Leoline,Led forth the lady Geraldine! 655
A little child, a limber elf,Singing, dancing to itself,A fairy thing with red round cheeks,That always finds, and never seeks,Makes such a vision to the sight 660As fills a father's eyes with light;And pleasures flow in so thick and fastUpon his heart, that he at lastMust needs express his love's excessWith words of unmeant bitterness. 665Perhaps 'tis pretty to force togetherThoughts so all unlike each other;To mutter and mock a broken charm,To dally with wrong that does no harm.Perhaps 'tis tender too and pretty 670At each wild word to feel withinA sweet recoil of love and pity.And what, if in a world of sin(O sorrow and shame should this be true!)Such giddiness of heart and brain 675Comes seldom save from rage and pain,So talks as it's most used to do.
In Xanadu did Kubla KhanA stately pleasure-dome decree:Where Alph, the sacred river, ranThrough caverns measureless to manDown to a sunless sea. 5So twice five miles of fertile groundWith walls and towers were girdled round:And here were gardens bright with sinuous rills,Where blossomed many an incense-bearing tree;And here were forests ancient as the hills, 10Enfolding sunny spots of greenery.
But oh! that deep romantic chasm which slantedDown the green hill athwart a cedarn cover!A savage place! as holy and enchantedAs e'er beneath a waning moon was haunted 15By woman wailing for her demon-lover!And from this chasm, with ceaseless turmoil seething,As if this earth in fast thick pants were breathing,A mighty fountain momently was forced:Amid whose swift half-intermitted burst 20Huge fragments vaulted like rebounding hail,Or chaffy grain beneath the thresher's flail:And 'mid these dancing rocks at once and everIt flung up momently the sacred river.Five miles meandering with a mazy motion 25Through wood and dale the sacred river ran,Then reached the caverns measureless to man,And sank in tumult to a lifeless ocean:And 'mid this tumult Kubla heard from farAncestral voices prophesying war! 30
The shadow of the dome of pleasureFloated midway on the waves;Where was heard the mingled measureFrom the fountain and the caves.It was a miracle of rare device, 35A sunny pleasure-dome with caves of ice!
A damsel with a dulcimerIn a vision once I saw:It was an Abyssinian maid,And on her dulcimer she played, 40Singing of Mount Abora.Could I revive within me.Her symphony and song,To such a deep delight 'twould win me,That with music loud and long, 45I would build that dome in air,That sunny dome! those caves of ice!And all who heard should see them there,And all should cry, Beware! Beware!His flashing eyes, his floating hair! 50Weave a circle round him thrice,And close your eyes with holy dread,For he on honey-dew hath fed,And drunk the milk of Paradise.
All thoughts, all passions, all delights,Whatever stirs this mortal frame,All are but ministers of Love,And feed his sacred flame.
Oft in my waking dreams do I 5Live o'er again that happy hour,When midway on the mount I lay,Beside the ruined tower.
The moonshine, stealing o'er the scene,Had blended with the lights of eve; 10And she was there, my hope, my joy,My own dear Genevieve!
She leant against the armed man,The statue of the armed knight;She stood and listened to my lay, 15Amid the lingering light.
Few sorrows hath she of her own.My hope! my joy! my Genevieve!She loves me best, whene'er I singThe songs that make her grieve. 20
I played a soft and doleful air,I sang an old and moving story—An old rude song, that suited wellThat ruin wild and hoary.
She listened with a flitting blush, 25With downcast eyes and modest grace;For well she knew, I could not chooseBut gaze upon her face.
I told her of the Knight that woreUpon his shield a burning brand; 30And that for ten long years he wooedThe Lady of the Land.
I told her how he pined: and ah!The deep, the low, the pleading toneWith which I sang another's love, 35Interpreted my own.
She listened with a flitting blush,With downcast eyes, and modest graceAnd she forgave me, that I gazedToo fondly on her face! 40
But when I told the cruel scornThat crazed that bold and lovely Knight,And that he crossed the mountain-woods,Nor rested day nor night;
That sometimes from the savage den, 45And sometimes from the darksome shade,And sometimes starting up at onceIn green and sunny glade,—
There came and looked him in the faceAn angel beautiful and bright; 50And that he knew it was a Fiend,This miserable Knight!
And that unknowing what he did,He leaped amid a murderous band,And saved from outrage worse than death 55The Lady of the Land!
And how she wept, and clasped his knees;And how she tended him in vain—And ever strove to expiateThe scorn that crazed his brain;— 60
And that she nursed him in a cave;And how his madness went away,When on the yellow forest-leavesA dying man he lay;—
His dying words—but when I reached 65That tenderest strain of all the ditty,My faltering voice and pausing harpDisturbed her soul with pity!
All impulses of soul and senseHad thrilled my guileless Genevieve; 70The music and the doleful tale,The rich and balmy eve;
And hopes, and fears that kindle hope,An undistinguishable throng,And gentle wishes long subdued, 75Subdued and cherished long!
She wept with pity and delight,She blushed with love, and virgin-shame;And like the murmur of a dream,I heard her breathe my name. 80
Her bosom heaved—she stepped aside,As conscious of my look she stepped—Then suddenly, with timorous eyeShe fled to me and wept.
She half enclosed me with her arms, 85She pressed me with a meek embrace;And bending back her head, looked up,And gazed upon my face.
'Twas partly love, and partly fear,And partly 'twas a bashful art, 90That I might rather feel, than see,The swelling of her heart.
I calmed her fears, and she was calm,And told her love with virgin pride;And so I won my Genevieve, 95My bright and beauteous Bride.
Ye Clouds! that far above me float and pause,Whose pathless march no mortal may control!Ye Ocean-Waves! that, wheresoe'er ye roll,Yield homage only to eternal laws!Ye Woods! that listen to the night-birds' singing, 5Midway the smooth and perilous slope reclined,Save when your own imperious branches swinging,Have made a solemn music of the wind!Where, like a man beloved of God,Through glooms, which never woodman trod, 10How oft, pursuing fancies holy,My moonlight way o'er flowering weeds I wound,Inspired, beyond the guess of folly,By each rude shape and wild unconquerable sound!O ye loud Waves! and O ye Forests high! 15And O ye Clouds that far above me soared!Thou rising Sun! thou blue rejoicing Sky!Yea, every thing that is and will be free!Bear witness for me, wheresoe'er ye be,With what deep worship I have still adored 20The spirit of divinest Liberty.
When France in wrath her giant-limbs upreared,And with that oath, which smote air, earth, and sea,Stamped her strong foot and said she would be free,Bear witness for me, how I hoped and feared! 25
With what a joy my lofty gratulationUnawed I sang, amid a slavish band:And when to whelm the disenchanted nation,Like fiends embattled by a wizard's wand,The Monarchs marched in evil day, 30And Britain joined the dire array;Though dear her shores and circling ocean,Though many friendships, many youthful lovesHad swoln the patriot emotionAnd flung a magic light o'er all her hills and groves; 35Yet still my voice, unaltered, sang defeatTo all that braved the tyrant-quelling lance,And shame too long delayed and vain retreat!For ne'er, O Liberty! with partial aimI dimmed thy light or damped thy holy flame; 40But blessed the paeans of delivered France,And hung my head and wept at Britain's name.
"And what," I said, "though Blasphemy's loud screamWith that sweet music of deliverance strove!Though all the fierce and drunken passions wove 45A dance more wild than e'er was maniac's dream!Ye storms, that round the dawning east assembled,The Sun was rising, though ye hid his light!"And when, to soothe my soul, that hoped and trembled,The dissonance ceased, and all seemed calm and bright; 50When France her front deep-scarred and goryConcealed with clustering wreaths of glory;When, insupportably advancing,Her arm made mockery of the warrior's ramp;While timid looks of fury glancing, 55Domestic treason, crushed beneath her fatal stamp,Writhed like a wounded dragon in his gore;Then I reproached my fears that would not flee;"And soon," I said, "shall Wisdom teach her loreIn the low huts of them that toil and groan! 60And, conquering by her happiness alone,Shall France compel the nations to be free,Till Love and Joy look round, and call the Earth their own."
Forgive me, Freedom! O forgive those dreams!I hear thy voice, I hear thy loud lament, 65From bleak Helvetia's icy caverns sent—I hear thy groans upon her blood-stained streams!Heroes, that for your peaceful country perished,And ye that, fleeing, spot your mountain-snowsWith bleeding wounds; forgive me, that I cherished 70One thought that ever blessed your cruel foes!To scatter rage and traitorous guiltWhere Peace her jealous home had built;A patriot-race to disinheritOf all that made their stormy wilds so dear; 75And with inexpiable spiritTo taint the bloodless freedom of the mountaineer—O France, that mockest Heaven, adulterous, blind,And patriot only in pernicious toils!Are these thy boasts, Champion of human kind? 80To mix with Kings in the low lust of sway,Tell in the hunt, and share the murderous prey;To insult the shrine of Liberty with spoilsFrom freemen torn; to tempt and to betray?
The Sensual and the Dark rebel in vain, 85Slaves by their own compulsion! In mad gameThey burst their manacles and wear the nameOf Freedom, graven on a heavier chain!O Liberty! with profitless endeavourHave I pursued thee, many a weary hour; 90But thou nor swell'st the victor's strain, nor everDidst breathe thy soul in forms of human power.
Alike from all, howe'er they praise thee,(Nor prayer, nor boastful name delays thee)Alike from Priestcraft's harpy minions, 95And factious Blasphemy's obscener slaves,Thou speedest on thy subtle pinions,The guide of homeless winds, and playmate of the waves!And there I felt thee!—on that sea-cliff's verge,Whose pines, scarce travelled by the breeze above, 100Had made one murmur with the distant surge!Yes, while I stood and gazed, my temples bare,And shot my being through earth, sea and air,Possessing all things with intensest love,O Liberty! my spirit felt thee there. 105
Late, late yestreen I saw the new Moon,With the old Moon in her arms;And I fear, I fear, my Master dear!We shall have a deadly storm.
Ballad of Sir Patrick Spence.
Well! If the Bard was weather-wise, who madeThe grand old ballad of Sir Patrick Spence,This night, so tranquil now, will not go henceUnroused by winds, that ply a busier tradeThan those which mould yon cloud in lazy flakes, 5Or the dull sobbing draft, that moans and rakesUpon the strings of this Aeolian lute,Which better far were mute.For lo! the New-moon winter-bright!And overspread with phantom light, 10(With swimming phantom light o'erspreadBut rimmed and circled by a silver thread)I see the old Moon in her lap, foretellingThe coming-on of rain and squally blast.And oh! that even now the gust were swelling, 15And the slant night-shower driving loud and fast!Those sounds which oft have raised me, whilst they awed,And sent my soul abroad,Might now perhaps their wonted impulse give,Might startle this dull pain, and make it move so and live! 20
A grief without a pang, void, dark, and drear,A stifled, drowsy, unimpassioned grief,Which finds no natural outlet, no relief,In word, or sigh, or tear—O Lady! in this wan and heartless mood, 25To other thoughts by yonder throstle wooed,All this long eve, so balmy and serene,Have I been gazing on the western sky,And its peculiar tint of yellow green:And still I gaze—and with how blank an eye! 30And those thin clouds above, in flakes and bars,That give away their motion to the stars;Those stars, that glide behind them or between,Now sparkling, now bedimmed, but always seen:Yon crescent Moon, as fixed as if it grew 35In its own cloudless, starless lake of blue;I see them all so excellently fair,I see, not feel, how beautiful they are!
My genial spirits fail;And what can these avail 40To lift the smothering weight from off my breast?It were a vain endeavour,Though I should gaze for everOn that green light that lingers in the west:I may not hope from outward forms to win 45The passion and the life, whose fountains are within.
O Lady! we receive but what we give,And in our life alone does Nature live:Ours is her wedding garment, ours her shroud!And would we aught behold, of higher worth. 50
Than that inanimate cold world allowedTo the poor loveless ever-anxious crowd,Ah, from the soul itself must issue forthA light, a glory, a fair luminous cloudEnveloping the Earth— 55And from the soul itself must there be sentA sweet and potent voice, of its own birth,Of all sweet sounds the life and element!
O pure of heart! thou need'st not ask of meWhat this strong music in the soul may be! 60What, and wherein it doth exist,This light, this glory, this fair luminous mist,This beautiful and beauty-making power.Joy, virtuous Lady! Joy that ne'er was given,Save to the pure, and in their purest hour, 65Life, and Life's effluence, cloud at once and shower,Joy, Lady! is the spirit and the power,Which wedding Nature to us gives in dower,A new Earth and new Heaven,Undreamt of by the sensual and the proud— 70Joy is the sweet voice, Joy the luminous cloud—We in ourselves rejoice!And thence flows all that charms or ear or sight,All melodies the echoes of that voice,All colours a suffusion from that light. 75
There was a time when, though my path was rough,This joy within me dallied with distress,And all misfortunes were but as the stuffWhence Fancy made me dreams of happiness:For hope grew round me, like the twining vine, 80And fruits, and foliage, not my own, seemed mine.
But now afflictions bow me down to earth:Nor care I that they rob me of my mirth;But oh! each visitationSuspends what nature gave me at my birth, 85My shaping spirit of Imagination.For not to think of what I needs must feel,But to be still and patient, all I can;And haply by abstruse research to stealFrom my own nature all the natural man— 90This was my sole resource, my only plan:Till that which suits a part infects the whole,And now is almost grown the habit of my soul.
Hence, viper thoughts, that coil around my mind,Reality's dark dream! 95I turn from you, and listen to the wind,Which long has raved unnoticed. What a screamOf agony by torture lengthened outThat lute sent forth! Thou Wind, that rav'st without,Bare crag, or mountain-tairn, or blasted tree, 100Or pine-grove whither woodman never clomb,Or lonely house, long held the witches' home,Methinks were fitter instruments for thee,Mad Lutanist! who in this month of showers,Of dark-brown gardens, and of peeping flowers, 105Mak'st Devils' yule, with worse than wintry song,The blossoms, buds, and timorous leaves among.Thou Actor, perfect in all tragic sounds!Thou mighty Poet, even to frenzy bold!What tell'st thou now about? 110'Tis of the rushing of an host in rout,With groans of trampled men, with smarting wounds—At once they groan with pain, and shudder with the cold!
But hush! there is a pause of deepest silence!And all that noise, as of a rushing crowd, 115With groans, and tremulous shudderings—all is over—It tells another tale, with sounds less deep and loud!A tale of less affright,And tempered with delight,As Otway's self had framed the tender lay, 120'Tis of a little childUpon a lonesome wild,Not far from home, but she hath lost her way:And now moans low in bitter grief and fear,And now screams loud, and hopes to make her mother hear. 125
'Tis midnight, but small thoughts have I of sleep:Full seldom may my friend such vigils keep!Visit her, gentle Sleep! with wings of healing,And may this storm be but a mountain-birth,May all the stars hang bright above her dwelling, 130Silent as though they watched the sleeping Earth!With light heart may she rise,Gay fancy, cheerful eyes,Joy lift her spirit, joy attune her voice;To her may all things live, from pole to pole, 135Their life the eddying of her living soul!O simple spirit, guided from above,Dear Lady! friend devoutest of my choice,Thus mayest thou ever, evermore rejoice.
Verse, a breeze mid blossoms straying,Where Hope clung feeding, like a bee—Both were mine! Life went a-mayingWith Nature, Hope, and Poesy,When I was young! 5
WhenI was young?—Ah, woful When!Ah! for the change 'twixt Now and Then!This breathing house not built with hands,This body that does me grievous wrong,O'er aery cliffs and glittering sands, 10How lightlythenit flashed along:—Like those trim skiffs, unknown of yore,On winding lakes and rivers wide,That ask no aid of sail or oar,That fear no spite of wind or tide! 15Nought cared this body for wind or weatherWhen Youth and I lived in 't together.
Flowers are lovely; Love is flower-like;Friendship is a sheltering tree;O! the joys, that came down shower-like, 20Of Friendship, Love, and Liberty,Ere I was old!
EreI was old? Ah woful Ere,Which tells me Youth 's no longer here!O Youth! for years so many and sweet, 25'Tis known, that thou and I were one,I'll think it but a fond conceit—It cannot be that thou art gone!Thy vesper-bell hath not yet tolled:—And thou wert aye a masker bold! 30What strange disguise hast now put on,Tomake believe, that thou art gone?I see these locks in silvery slips,This drooping gait, this altered size:But Spring-tide blossoms on thy lips, 35And tears take sunshine from thine eyes!Life is but thought: so think I willThat Youth and I are house-mates still.
Dew-drops are the gems of morning,But the tears of mournful eve! 40Where no hope is, life 's a warningThat only serves to make us grieve,When we are old:That only serves to make us grieveWith oft and tedious taking-leave, 45Like some poor nigh-related guest,That may not rudely be dismist;Yet hath outstayed his welcome while,And tells the jest without the smile.
All Nature seems at work. Slugs leave their lair—The bees are stirring—birds are on the wing—And Winter slumbering in the open air,Wears on his smiling face a dream of Spring!And I the while, the sole unbusy thing, 5Nor honey make, nor pair, nor build, nor sing.
Yet well I ken the banks where amaranths blow,Have traced the fount whence streams of nectar flow.Bloom, O ye amaranths! bloom for whom ye may,For me ye bloom not! Glide, rich streams, away! 10With lips unbrightened, wreathless brow, I stroll:And would you learn the spells that drowse my soul?Work without Hope draws nectar in a sieve,And Hope without an object cannot live.
Stop, Christian passer-by!—Stop, child of God,And read with gentle breast. Beneath this sodA poet lies, or that which once seemed he.—O, lift one thought in prayer for S.T.C.;That he who many a year with toil of breath 5Found death in life, may here find life in death!Mercy for praise—to be forgiven for fameHe ask'd, and hoped, through Christ.Do thou the same!
The Latin motto is condensed, by omission, from about a page of Thomas Burnet'sArchaeologiae Philosophicae: sive Doctrina Antiqua de Rerum Originibus, published in London in 1692. Burnet was Master of Charterhouse from 1685 till his death in 1715, and enjoyed considerable reputation as a man of curious learning. In theArchaeologiaehe professed to reconcile a former work of his on the origins of the world with the account given in Genesis. The quotation is from chapter VII. of book I., "De Hebraeis, eorumque Cabalâ," and may be translated thus: "I easily believe that the invisible natures in the universe are more in number than the visible. But who shall tell us all the kinds of them? the ranks and relationships, the peculiar qualities and gifts of each? what they do? where they dwell? Man's wit has ever been circling about the knowledge of these things, but has never attained to it. Yet in the meanwhile I will not deny that it is profitable to contemplate from time to time in the mind, as in a picture, the idea of a larger and better world; lest the mind, becoming wonted to the little things of everyday life, grow narrow and settle down altogether to mean businesses. At the same time, however, we must watch for the truth, and observe method, so as to distinguish the certain from the uncertain, day from night."
Instead of this motto the first edition had an Argument prefixed, as follows:
"How a Ship having passed the Line was driven by storms to the cold Country towards the South Pole; and how from thence she made her course to the tropical Latitude of the Great Pacific Ocean; and of the strange things that befell; and in what manner the Ancyent Marinere came back to his own Country."
This was somewhat enlarged in the second edition (1800), and dropped thereafter.
*Page 3*, LINE 12—*eftsoons*. Anglo-Saxoneftsona (eftafterwards, again, +sonasoon), reënforced by the adverbial genitive ending-s.Coleridge found the word in Spenser and the old ballads.
4, 23—*kirk*. The Scotch and Northern English form of "church." The old ballads had been preserved chiefly in the North; hence this Northern form came to be looked on as the proper word for church in the ballad style.
41, marginal gloss—*driven*. All editions down to Campbell's had "drawn;" but this he believes to have been a misprint, since the narrative seems to require "driven."
5, 55—*clifts*. This word arose from a confusion of "cliff," a precipice, and "cleft," a fissure. It was "exceedingly common in the 16th-18th cent.," according to the New English Dict., which gives examples from Captain John Smith, Marlowe, and Defoe.
62—*swound*. An archaic form of "swoon," found in Elizabethan English.
64—*thorough*. "Through" and "thorough" are originally the same word, and in Shakespeare's time both forms were used for the preposition. Cf. Puck's song in "Midsummer Night's Dream," "Thorough bush, thorough briar."
67—*eat*. This form (pronouncedet) is still in use in England and New England for the past tense of the verb, though in America the form "ate" is now preferred. "Eat" as past participle, however, was archaic or rude even in Coleridge's time.
76—*vespers*. Properly a liturgical term, meaning the daily evening service in church; then in a more general way "evening." The Century Dict. gives no examples of its use as a nautical term. Probably Coleridge used it to give a suggestion of ante-Reformation times. The more familiar word for the evening service in the English Church is "even-song," but Coleridge in line 595 prefers "the little vesper bell" for its suggestion of medievalism.
6, 97—*like God's own head*. The comparison is the converse of that in the Bible, Matthew xvii., 2, Revelations I., 16, where the countenance of Christ glorified is said to shine "as the sun" (Sykes).
98—*uprist*. This word was used in Middle English as a noun, and regularly as the 3d pers. sing. pres. ind. of the verb "uprise." In "The Reves Tale" line 329, however, Chaucer uses, it in a context of past tenses, as Coleridge does here, as if it were a weak preterit; and Chaucer uses "rist up" in the same way several times (Sykes).
104—*The furrow followed free*. This was changed in "Sibylline Leaves" to "The furrow streamed off free," because, Coleridge tells us, "from the ship itself theWakeappears like a brook flowing off from the stern." In the case of modern steamboats at least it would be more correct to say that the wake, as seen from the stern of the boat, looks like a brookfollowingthe boat. The original reading was restored in the editions of 1828 and 1829.
7, 123—*The very deep did rot*, etc. The ship becalmed in tropic seas, and the slimy things engendered there, were a vision in Coleridge's mind before "The Ancient Mariner" was thought of. In the lines contributed to Southey's "Joan of Arc" in 1796 (published, with additions, as "The Destiny of Nations" in "Sibylline Leaves"), in an allegoric passage on Chaos and Love, he wrote:
"As what time, after long and pestful calms,With slimy shapes and miscreated lifePoisoning the vast Pacific, the fresh breezeWakens the merchant sail uprising."
The same subject had occupied Wordsworth's imagination before he and Coleridge came together at Stowey; see Wordsworth's "The Borderers," Act iv.
125—*slimy things*. Strange creatures, the spawn of the rotting sea, for which the Mariner has no name.
131, marginal gloss—*Josephus, Michael Psellus*. The only "learned Jew, Josephus," that we know of is the historian of that name who lived in the first century of our era; but little has been found in his works to justify this reference. The "Platonic Constantinopolitan, Michael Psellus," was a Byzantine teacher of the eleventh century who wrote a dialogue in which demons are classified according to the element in which they live (Cooper; Sykes).
8, 152—*I wist*. "Wist" is properly the past tense of an old verb "wit," to know. But Coleridge seems to use "I wist" here as equivalent to "I wis" (see "Christabel," l. 92), which is a form of "iwis," an adverb meaning "certainly."
157—*with throats unslaked*, etc. A remarkable instance of onomatopoeia.
9, 164—*gramercy*. An exclamation, meaning originally "much thanks" (Old Frenchgrand merci), and so used by Shakespeare ("Merchant of Venice" II., 2, 128, "Richard III" III., 2, 108). But in the ballads it is often a mere exclamation of wonder and surprise, and so Coleridge uses it here,—*grin*. Coleridge says ("Table Talk" May 31, 1830): "I took the thought of 'grinning for joy' from my companion's remark to me, when we had climbed to the top of Plinlimmon [in Wales, in the summer of 1794], and were nearly dead with thirst. We could not speak from the constriction, till we found a little puddle under a stone. He said to me: 'You grinned like an idiot.' He had done the same." To "grin" was originally to snarl and show the teeth as animals do when angry. "They go to and fro in the evening: they grin like a dog, and run about through the city," Ps. LIX., 6, Prayer-Book Version, where the King James Version has "make a noise like a dog." Hence idiots, stupid people, foolish people, all who are or who demean themselves below the dignity of man,grinrather than smile; and so the Mariner's companions, their muscles stiffened by drought, could show their gladness only by the contortions of a grin, not by a natural smile of joy.
169—*Without a breeze, without a tide*. The Phantom Ship is a wide-spread sailor's superstition that has been often used in the romantic literature of the nineteenth century. See Scott's "Rokeby," Canto II. xi; Marryat's "Phantom Ship;" Poe's "MS. Found in a Bottle;" and Longfellow's "Ballad of Carmilhan" (in "Tales of a Wayside Inn," Second Day). It is seen in storms, driving by with all sails set, and is generally held to be an omen of disaster. Coleridge has shaped the legend to his own purposes. The ship appears in a calm, not in a storm, and sailing without, rather than against, wind and tide; and instead of a crew of dead men it carries only Death and Life-in-Death. Possibly he was acquainted with a form of the legend found in Bechstein'sDeutsches Sagenbuch(pointed out by Dr. Sykes), in which "Falkenberg, for murder of his brother, is condemned to sail a spectral bark, attended only by his good and his evil spirit, who play dice for his soul."
185—*Are those her ribs*, etc. Instead of this stanza the first edition had these two:
"Are thosehernaked ribs, which fleck'dThe sun that did behind them peer?And are those two all, all the crew,That woman and her fleshless Pheere?
"His bones are black with many a crack,All black and bare, I ween;Jet-black and bare, save where with rustOf mouldy damps and charnel crustThey're patch'd with purple and green"
And again after line 198 the first edition had this stanza:
"A gust of wind sterte up behindAnd whistled thro' his bones;Thro' the holes of his eyes and the hole of his mouthHalf-whistles and half-groans."
But this crude grotesquerie of horror—quite in the taste of that day, the day of "Monk" Lewis and Mrs. Radcliffe—Coleridge's finer poetical judgment soon rejected.
190—*Her lips were red*, etc. Life-in-Death—who wins the Mariner, while Death wins his shipmates—is conceived as a witch, something after the fashion of Geraldine in "Christabel" or Duessa in "The Faerie Queene," but wilder, stranger than either; a thing of startling and evil beauty. Spenser's pages of description, however, give no such vivid image of loathsome loveliness as do the first three lines of this stanza. "Her skin was as white as leprosy" is a feat in suggestion.
10, 199, marginal gloss—*within the courts of the Sun*. Between the tropics of Cancer and Capricorn.
210—*with one bright star Within the nether tip*. An interesting case of poetical illusion. No one, of course, ever saw a starwithinthe tip of the horned moon. Yet a good many readers, until reminded of their astronomy, think they have seen this phenomenon. Coleridge apparently knew that the human mind would receive it as experience. The phrase is no slip on his part; the earlier editions had instead "almost atween the tips," which is astronomically justifiable, but in "Sibylline Leaves" and later he wrote it as in the text.
222—*And every soul, it passed me by, Like the whizz of my cross-bow!* It was an ancient belief, imaginatively revived by romantic poets, that when a person died his soul could be seen, or heard, or both, as it left the body, Cf. Keats's "Eve of St. Agnes," first stanza; Rossetti's "Sister Helen;" and Kipling's "Danny Deever."
11, 226—*And thou art long*, etc. "For the last two lines of this stanza," runs. Coleridge's note to the passage in "Sibylline Leaves," "I am indebted to Mr. Wordsworth. It was on a delightful walk from Nether Stowey to Dulverton, with him and his sister, in the autumn of 1797, that this poem was planned, and in part composed." Wordsworth in later years declared that he contributed also lines 13-16, "and four or five lines more in different parts of the poem, which I could not now point out."
245—*or ever*. "Or" here is not the adversative conjunction but an entirely different word, an archaic variant of "ere," meaning "before."
250—*For the sky and the sea*, etc. Another instance of the sound fitting the sense. The rocking rhythm of the line is the rhythm of his fevered pulse. The poem is full of this quality.
13, 297—*silly*. This word meant in Old English timely (fromsoel, time, occasion) hence fortunate, blessed. From this was developed, under the influence of medieval religious teaching, the meaning innocent, harmless, simple; and from this again our modern meaning, foolish, simple in a derogatory sense. Chaucer has the word in all these meanings, and also in another, a modification of the second—wretched, pitiable. Another shade of the same meaning appears in Spenser's "silly bark," i.e.frailship, and in Burns's "To a Mouse":
"Thy wee bit housie, too, in ruin!Its silly wa's the win's are strewin'!"
"The epithet may be due either to the gush of love that has filled the Mariner's heart, or to his noticing the buckets, long useless, frail, now filled with water" (Sykes); very likely to both together.
14, 314—*fire-flags*. The notion of the "fire-flags" "hurried about" was probably suggested to Coleridge by the description of the Northern Lights (aurora borealis) in Hearne's "Journey … to the Northern Ocean," a book printed in 1795 and known to both Wordsworth and Coleridge before 1798. Hearne says: "I can positively affirm that in still nights I have frequently heard them make a rustling and crackling noise, like the waving of a large flag in a fresh gale of wind." See also Wordsworth's "Complaint of a Forsaken Indian Woman" (Cooper).
15, 358—*Sometimes a-dropping*, etc. The Mariner's sin was that in wanton cruelty he took the life of a friendly fellow-creature; his punishment is to live with dead men round him and the dead bird on his breast, in such solitude that "God himself scarce seemed there to be," until he learns to feel thesacredness of lifeeven in the water-snakes, the "slimy things" that coil in the rotting sea; and the stages of his penance are marked by suggestions of his return to the privilege of human fellowship. The angels' music is like the song of the skylark, the sails ripple like a leaf-hidden brook—recollections of his happy boyhood in. England; and finally comes the actual land breeze, and he is in his "own countree." Observe the marginal gloss to line 442.
17, 407—*honey-dew*. See note on "Kubla Khan," line 53.
416—*His great bright eye*, etc. Dorothy Wordsworth in her Journal, February 27, 1798, describes the look of the sea by moonlight, "big and white, swelled to the very shores, but round and high in the middle."
20, 512—*shrieve*. To hear confession and pronounce absolution, one of the duties of the priesthood in the Catholic church. The word is more often spelledshrive. Shriftis the abstract noun derived from it.
21, 523—*skiff-boat*. A pleonastic compound; a skiff is a boat. Coleridge is fond of such formations. See for example II. 41, 77, 472 of this poem and II. 46, 649 of "Christabel" (Cooper).
535—*ivy-tod*. A clump or bush of ivy. Cf. Spenser's "Shepheards Calender," March, II. 67 ff.:
"At length within an Yvie todde(There shrouded was the little God)I heard a busie bustling."
23, 607—*While each to his great Father bends*, etc. Cf. the 148th Psalm (Prayer-Book Version) v. 12: "Young men and maidens, old men and children, praise the name of the Lord: for his name only is excellent, and his praise above heaven and earth."
25,6-7—This couplet ran as follows in the first edition:
"Sir Leoline, the Baron rich,Hath a toothless mastiff bitch."
In the editions of 1828 and 1829 Coleridge changed it to the form printed in the text; "butbitchhas been restored in all subsequent editions except Mr. Campbell's" (Garnett).
16—*thin gray cloud*, etc. The "thin gray cloud," as also the dancing leaf of ll. 49-52, was observed at Stowey. They are noted in Dorothy Wordsworth's Journal, January 31 and March 7, 1798.
26, 54—*Jesu*. This form of the word is nearer to the Hebrew original than the more familiarJesus. It is often (though not exclusively) used in ejaculation and prayer, as here, and was perhaps supposed to be the vocative form.
27, 92—*I wis.* This is a misinterpretation of Middle Englishiwis, from Old Englishgewis, "certainly."
29, 129—*The lady sank,* etc. The threshold of a house is, in folk-lore, a sacred place, and evil things cannot cross but have to be carried over it.
142—*I cannot speak,* etc. Geraldine blesses "her gracious stars" (l. 114), but cannot join in praise to the Holy Virgin.
30, 167—*And jealous of the listening air*. This line was not in the first edition, but was added in the edition of 1828.
32, 252—*Behold! her bosom and half her side*, etc. There exist at least three versions of this passage. The text is that of the 1828 edition. The edition of 1816 lacked ll. 255-61, having only these lines between 253 and 262:
"And she is to sleep by Christabel.She took two paces, and a stride," etc.
The third form is that of a MS. copy of the poem once the property of Wordsworth's sister-in-law, Sarah Hutchinson, and recently published in facsimile by Mr. E.H. Coleridge, which gives this reading for ll. 253-4:
"Are lean and old and foul of hue,And she is to sleep by Christabel."
Coleridge seems to have tried both ways, that of revealing Geraldine's loathsome secret and that of leaving it an unknown and nameless horror, and finally to have chosen the latter, just as he rejected in later editions the charnel-house particulars in the description of Death in "The Ancient Mariner." Unquestionably he was right. The horror that is merely suggested and left shrouded in mystery for the imagination to work on is more powerful than that which is known. The suppressed line, however, helps us in an age less familiar with notions of the supernatural to understand what Geraldine is. The character is conceived upon the general lines of Duessa in the first book of "The Faerie Queene;" a being of great external loveliness, but within "full of all uncleanness." Observe also that the thought, shrouded here, is half revealed later (l. 457).
35, 344—*Bratha Head, Wyndermere, Langdale Pike*, etc. For the relation of the Second Part of the poem to the Lake country see Introduction. All of the places named in these lines are near the border-line between Cumberland and Westmoreland and within a dozen miles of the Wordsworths' home at Grasmere. Keswick, which was the home of Coleridge from 1800 to 1804, and of his wife and children for many years thereafter, is on Derwent Water, in Cumberland, some ten miles north of Grasmere. The little river Bratha runs into the upper or northern end of Windermere, a larger lake lying about three miles below Grasmere and connected with it by another stream. Langdale Pike (or Pikes, for there are more than one) is the name of the steep hills at the head of Langdale, on the Cumberland border. Dungeon-Ghyll is a ravine in Langdale (see Wordsworth's "The Idle Shepherd Boys; or, Dungeon-Ghyll Force"). Borrowdale lies over the border in Cumberland and slopes the other way, toward Derwent Water.
37, 407—*Lord Roland de Vaux of Tryermaine*. Sir Leoline lives at "Langdale Hall," a supposed castle in the immediate vicinity of the poets' homes; the friend of his youth, whose daughter Geraldine claims to be, is given the name of a real family and an historical estate in eastern Cumberland, Tryermaine in Gilsland, on the River Irthing, which forms part of the boundary between Cumberland and Northumberland. Scott in his notes to "The Bridal of Triermain" quotes as follows from Burns's "Antiquities of Westmoreland and Cumberland": "After the death of Gilmore, Lord of Tryermaine and Torcrossock, Hubert Vaux gave Tryermaine and Torcrossock to his second son, Ranulph Vaux…. Ranulph, being Lord of all Gilsland, gave Gilmore's land to his younger son, named Roland…. And they were named Rolands successively, that were lords thereof, until the reign of Edward the Fourth."
44—*The Conclusion to Part the Second*. Campbell thought it "highly improbable" that these lines were originally composed as a part of "Christabel." In a letter to Southey, May 6, 1801, Coleridge speaks of his eldest boy, Hartley, then in his fifth year: "Dear Hartley! we are at times alarmed by the state of his health, but at present he is well. If I were to lose him, I am afraid it would exceedingly deaden my affection for any other children I may have." Then he writes the lines that we now have as the Conclusion to Part the Second; and adds: "A very metaphysical account of fathers calling their children rogues, rascals, and little varlets, etc."
Kubla Khan, grandson of Genghis Khan, was a Mongolian conqueror who stretched his empire from European Russia to the eastern shores of China in the thirteenth century. His exploits, like those of his grandfather and those of the Mohammedan Timur in the next century, made a deep impression on the imagination of Western Europe. Compilers of travellers's tales, like Hakluyt and Purchas, caught up eagerly whatever they could find, history or legend, concerning the extent of his domain, the methods of his government, or the splendors of his court. The passage in "Purchas his Pilgrimage" to which Coleridge refers is as follows:
"In Xamdu did Cublai Can build a stately Palace, encompassing sixteene miles of plaine ground with a wall, wherein are fertile Meddowes, pleasant Springs, delightfull Streames, and all sorts of beasts of chase and game, and in the middest thereof a sumptuous house of pleasure" (quoted in the Notes of the Globe edition).
Coleridge's poem, however, contains suggestions and reminiscences from another part of Purchas's book, and probably from other books as well. "It reads like an arras of reminiscences from several accounts of natural or enchanted parks, and from various descriptions of that elusive and danger-fraught garden which mystic geographers have studied to locate from Florida to Cathay" (Cooper).
The earthly paradise, which was closed to man indeed, but not destroyed, when Adam and Eve were driven from its gates, has exercised the imagination of the Christian world from the early Middle Ages. Lactantius described it in the fourth century; the author of the "Phoenix," probably in the eighth century, translated Lactantius' Latin into Anglo-Saxon verse; Sir John Mandeville, in the fourteenth century, though he did not reach it himself because he "was not worthy," gives an account of it from what he has "heard say of wise Men beyond;" Milton described it enchantingly in "Paradise Lost;" Dr. Johnson used a modification of it in "Rasselas;" and William Morris in our own time made it the framework for a delightful series of world-old tales. The idea, indeed, is not peculiar to Christianity, but is probably to be found in every civilization. Christian Europe has naturally located it in the East; and since the Crusades, which brought Western Europe more in contact with the East, various eastern legends have been attached to or confounded with the original notion. One of these is the Abyssinian legend of the hill Amara (cf. l. 41, where Coleridge's "Mount Abora" seems to stand for Purchas's Amara). Amara in Purchas's account is a hill in a great plain in Ethiopia, used as a prison for the sons of Abyssinian kings. Its level top, twenty leagues in circuit and surrounded by a high wall, is a garden of delight. "Heauen and Earth, Nature and Industrie, have all been corriuals to it, all presenting their best presents, to make it of this so louely presence, some taking this for the place of our Forefathers Paradise." The sides of the hill are of overhanging rock, "bearing out like mushromes, so that it is impossible to ascend it" except by a passageway "cut out within the Rocke, not with staires, but ascending little by little," and closed above and below with gates guarded by soldiers. "Toward the South" of the level top "is a rising hill … yeelding … a pleasant spring which passeth through all that Plaine … and making a Lake, whence issueth a River, which having from these tops espied Nilus, never leaves seeking to find him, whom he cannot leave both to seeke and to finde…. There are no Cities on the top, but palaces, standing by themselves … spacious, sumptuous, and beautifull, where the Princes of the Royall blood have their abode with their families."
This legend looks backward to Mandeville, with whose account of the Terrestrial Paradise it has much in common, and forward to Milton, who used some of its elements in his description of Paradise in the fourth book of "Paradise Lost." (See Professor Cooper's article in "Modern Philology," III., 327 ff., from which this is condensed.)
Mr. E.H. Coleridge (the poet's grandson) has recently shown that in the winter of 1797-8 Coleridge read and made notes from a book, "Travels through … the Cherokee Country," by the American botanist William Bartram. Chapter VII. of Bartram's book contains an account of some natural wonders in the Cherokee country that almost certainly afforded part of the imagery of "Kubla Khan." Bartram, says Mr. Coleridge, "speaks of waters which 'descend by slow degrees through rocky caverns into the bowels of the earth, whence they are carried by subterraneous channels into other receptacles and basons.' He travels for several miles over 'fertile eminences and delightful shady forests.' He is enchanted by a 'view of a dark sublime grove;' of the grand fountain he says that the 'ebullition is astonishing and continual, though its greatest force of fury intermits' (note the word 'intermits') 'regularly for the space of thirty seconds of time: the ebullition is perpendicular upward, from a vast rugged orifice through a bed of rock throwing up small particles of white shells.' He is informed by 'a trader' that when the Great Sink was forming there was heard 'an inexpressible rushing noise like a mighty hurricane or thunderstorm,' that 'the earth was overflowed by torrents of water which came wave after wave rushing down, attended with a terrific noise and tremor of the earth,' that the fountain ceased to flow and 'sank into a huge bason of water;' but, as he saw with his own eyes, 'vast heaps of fragments of rock' (Coleridge writes 'huge fragments'), 'white chalk, stones, and pebbles had been thrown up by the original outbursts and forced aside into the lateral valleys.'"