VI

But O! how grateful to a wounded heartThe 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 ownsorrows; in the endeavour to describe them, intellectual activity is exerted;and from intellectual activity there results a pleasure, which is graduallyassociated, and mingles as a corrective, with the painful subject of the20description. "True!" (it may be answered) "but how are thePublicinterested in your Sorrows or your Description?" We are for everattributing personal Unities to imaginary Aggregates.—What is thePublic,but a term for a number of scattered Individuals? Of whom as manywill be interested in these sorrows, as have experienced the same or25similar.

"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, thatthe most interesting passages in our most interesting Poems are those, in30which 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 almostsuspect that man of an unkindly heart, who could read the opening of thethird book of the Paradise Lost without peculiar emotion. By a law ofour Nature, he, who labours under a strong feeling, is impelled to seek for35sympathy; but a Poet's feelings are all strong. Quicquid amet valde amat.Akenside therefore speaks with philosophical accuracy, when he classesLove and Poetry, as producing the same effects:

"Love and the wish of Poets when their tongueWould teach to others' bosoms, what so charms40Their own."—Pleasures Of Imagination.

There is one species of Egotism which is truly disgusting; not thatwhich leads us to communicate our feelings to others, but that whichwould reduce the feelings of others to an identity with our own. TheAtheist, who exclaims, "pshaw!" when he glances his eye on the praises45of Deity, is an Egotist: an old man, when he speaks contemptuously ofLove-verses is an Egotist: and the sleek Favorites of Fortune areEgotists, when they condemn all "melancholy, discontented" verses.Surely, it would be candid not merely to ask whether the poem pleasesourselves but to consider whether or no there may not be others to whom50it is well-calculated to give an innocent pleasure.

I shall only add that each of my readers will, I hope, remember thatthese Poems on various subjects, which he reads at one time and underthe influence of one set of feelings, were written at different times andprompted by very different feelings; and therefore that the supposed55inferiority of one Poem to another may sometimes be owing to the temperof mind, in which he happens to peruse it.

[Pp. [xvii]-xx.]

I return my acknowledgments to the different Reviewers for theassistance, which they have afforded me, in detecting my poetic deficiencies.I have endeavoured to avail myself of their remarks: one third ofthe former Volume I have omitted, and the imperfections of the republishedpart must be considered as errors of taste, not faults of carelessness. My5poems have been rightly charged with a profusion of double-epithets, anda general turgidness. I have pruned the double-epithets with no sparinghand; and used my best efforts to tame the swell and glitter both ofthought and diction. This latter fault however had insinuated itselfinto my Religious Musings with such intricacy of union, that sometimes10I have omitted to disentangle the weed from the fear of snapping theflower. A third and heavier accusation has been brought against me, thatof obscurity; but not, I think, with equal justice. An Author is obscurewhen his conceptions are dim and imperfect, and his language incorrect,or unappropriate, or involved. A poem that abounds in allusions,15like the Bard of Gray, or one that impersonates high and abstracttruths, like Collins's Ode on the poetical character, claims not to bepopular—but should be acquitted of obscurity. The deficiency is in theReader. But this is a charge which every poet, whose imagination iswarm and rapid, must expect from hiscontemporaries. Milton did not20escape it; and it was adduced with virulence against Gray and Collins.We now hear no more of it; not that their poems are better understoodat present, than they were at their first publication; but their fame isestablished; and a critic would accuse himself of frigidity or inattention,who should profess not to understand them. But a living writer is yet25sub judice; and if we cannot follow his conceptions or enter into hisfeelings, 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 sameeasiness of style which he admires in a drinking-song, for him I have notwritten. Intelligibilia, non intellectum adfero.30

I expect neither profit nor general fame by my writings; and I considermyself as having been amply repayed without either. Poetry has been tome its own[1146:1]"exceeding great reward": it has soothed my afflictions: ithas multiplied and refined my enjoyments; it has endeared solitude;and it has given me the habit of wishing to discover the Good and the35Beautiful in all that meets and surrounds me.

There were inserted in my former Edition, a few Sonnets of my Friendand old School-fellow,Charles Lamb. He has now communicated to mea complete Collection of all his Poems; quae qui non prorsus amet, illumomnes et Virtutes et Veneres odere. My friendCharles Lloydhas40likewise joined me; and has contributed every poem of his, which hedeemed worthy of preservation. With respect to my own share of theVolume, I have omitted a third of the former Edition, and added almostan equal number. The Poems thus added are marked in the Contents byItalics.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 markthe new poemsof the Edition by Italics.

Dedication.

Preface to the first Edition.

Refer to theSecond 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 teImitariaveo. /Lucret.

[Pp. 71-74.]

Forlines 1-63 videante, 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 numberI 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 inwritingpoetry, would probably best please those who are young inreadingpoetry: and a man must learn to bepleasedwith 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 toreprievefrom 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 thelittlenessand futility of imagining plagiarisms in the works of men of Genius; butnemo 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. / ByS. 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) [PriceOne ShillingandSixpence.], 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 ofWallenstein, / 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 ofWallenstein. / 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; AlsoWallenstein's Camp, a Prelude of One Act to the former Dramas; with an Essay on theGenius of Schiller. ByS. T. Coleridge. N.B. The Drama will be embellished with an elegant Portrait ofWallenstein, engraved byChapman, 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 thePoetical Registerfor 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 thePoetical 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 thePoetical Register.]

Remorse./ A Tragedy, / In Five Acts. /ByS. 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 videsupra, 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 theBiographia 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 entitledSibylline 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. TheBiographia Literariawas published in July andSibylline Leavesin August, 1817. See note by J. D. Campbell inP. W., 1893, pp. 551, 552.]

The following collection has been entitledSibylline 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 theLyrical 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 havehitherto 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 LiteraryLife, it has been mentioned that, with the exception of this preface, theSibylline Leaveshave 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,DulcesCamœnæ! Nam (fatebimur verum)Dulces fuistis!—Et tamen meas chartasRevisitote: 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.]

PAGETime, Real and Imaginary: an AllegoryvThe RavenviMutual PassionixThe Rime of the Ancient Mariner [with the marginal glosses]3The Foster-Mother's Tale41Half-titlePoems / 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 Ode59Fears in Solitude64Recantation.Illustrated in the Story of the Mad Ox75Parliamentary Oscillators83Half-titleFire, Famine, and Slaughter./ A War Eclogue. / With / An Apologetic Preface /[87]Mottoes fromClaudianandEcclesiasticus[88][An Apologetic Preface]89Fire, Famine and Slaughter111Half-titleLove-Poems[117]Motto (eleven lines) from 'Petrarch'[118]Love119Lewti, or the Circassian Love-chant124The Picture, or the Lover's Resolution128The Night-Scene: A Dramatic Fragment136*To an Unfortunate Woman,Whom the Author had known in the days of her Innocence141To an Unfortunate Woman at the Theatre142Lines composed in a Concert-room144The Keep-sake146To a Lady, with Falconer's 'Shipwreck'148To a Young Lady,On her Recovery from a Fever150Something Childish, but very Natural.Written in Germany152Home-sick.Written in Germany153Answer to a Child's Question154The Visionary Hope155The Happy Husband. A Fragment157Recollections of Love159On Re-visiting the Sea-Shore, After Long Absence,Under strong medical recommendation not to bathe161Half-title'Meditative Poems / in / Blank Verse'[163]Motto (eight lines) fromSchiller[164]HymnBefore Sunrise, in the Vale of Chamouny165LinesWritten in the Album at Elbingerode, in the Hartz Forest170*On observing a BlossomOn the 1st February, 1796173*The Eolian Harp,Composed at Clevedon, Somersetshire175*ReflectionsOn having left a Place of Retirement178*To the Rev. George Coleridge,Of Ottery St. Mary, Devon. With some Poems182InscriptionFor a Fountain on a Heath186A Tombless Epitaph187This Lime-tree Bower my Prison189To a FriendWho had declared his intention of writing no more Poetry194To A Gentleman.Composed on the night after his recitation of a Poem on the Growth of an Individual Mind197The Nightingale; a Conversation Poem204Frost at Midnight210Half-titleThe/Three Graves/[215]The Three Graves. A Fragment of a Sexton's Tale217Half-titleOdes / and / Miscellaneous Poems[235]Dejection:An Ode237Ode to Georgiana, Duchess of Devonshire,On the 24th stanza in her 'Passage over Mount Gothard'244Ode to Tranquillity249*To a Young Friend,On his proposing to Domesticate with the AuthorComposed in 1796251LinesTo W. L., Esq., while he sang a song to Purcell's Music255Addressed to a Young Man of FortuneWho abandoned himself to an indolent and causeless Melancholy256*Sonnet to the River Otter257*Sonnet.Composed on a journey homeward; the Author having received intelligence of the birth of a Son, September 20, 1796258*Sonnet,To a Friend who asked, how I felt when the Nurse first presented my Infant to me259The Virgin's Cradle-Hymn. Copied from a Print of the Virgin, in a Catholic village in Germany260Epitaph, on an Infant. ['Its balmy lips the Infant blest.']261Melancholy. A Fragment262Tell's Birth-place. Imitated from Stolberg263A Christmas Carol265Human Life. On the Denial of Immortality. A Fragment268An Ode to the Rain.Composed before daylight[etc.]270The Visit of the Gods. Imitated from Schiller274America to Great Britain.Written in America, in the year 1810.[By Washington Allston, the Painter.]276Elegy, Imitated from one of Akenside's Blank-verse Inscriptions279The Destiny of Nations. A Vision281

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.—VideNo. 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.—VideNo. 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 theFirst 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.]

PAGEJuvenile PoemsGenevieve[9]Sonnet to the Autumnal Moon10Time, Real and Imaginary. An Allegory11Monody on the Death of Chatterton12Songs of the Pixies19The Raven25Absence. A Farewell Ode28Lines on an Autumnal Evening30The Rose35The Kiss37To a Young Ass39Domestic Peace41The Sigh42Epitaph on an Infant ['Ere Sin could blight']43Lines written at the King's-Arms, Ross44Lines to a beautiful Spring in a Village46On a Friend who died of a Frenzy-fever induced by calumnious reports48To a Young Lady with a Poem on the French Revolution51SonnetI.My heart has thanked thee, Bowles54"II.As late I lay in Slumber's Shadowy Vale55"III.Though roused by that dark Vizir Riot rude56"IV.When British Freedom for an happier land57"V.It was some Spirit, Sheridan!58"VI.O what a loud and fearful Shriek59"VII.As when far off60"VIII.Thou gentle Look61"IX.Pale Roamer through the Night62"X.Sweet Mercy!63"XI.Thou bleedest, my Poor Heart64"XII.To the Author of The Robbers65Lines, composed while climbing Brockley Coomb66Lines in the Manner of Spenser67Imitated from Ossian70The Complaint of Ninathoma72Imitated from the Welsh73To an Infant74Lines in answer to a Letter from Bristol76To a Friend in Answer to a melancholy Letter82Religious Musings84The Destiny of Nations. A Vision104Sibylline LeavesHalf-titleI.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 Year131France, an Ode139Fears in Solitude144Fire, Famine, and Slaughter155Half-titleII. Love Poems[159]Motto—eleven lines of a Latin Poem by Petrarch[160]Love161Lewti, or the Circassian Love-chaunt167The Picture, or the Lover's Resolution171The Night Scene, a Dramatic Fragment179To an Unfortunate Woman184To an Unfortunate Woman at the Theatre186Lines composed in a Concert Room188The Keepsake191To a Lady, with Falconer's Shipwreck194To a Young Lady on her recovery from a Fever196Something Childish, but very Natural198Home-sick: written in Germany200Answer to a Child's Question202The Visionary Hope203The Happy Husband205Recollections of Love207On revisiting the Sea-shore209Half-titleIII.Meditative Poems./In Blank Verse[211]Motto—eight lines (translated) from Schiller[212]Hymn before Sun-rise, in the Vale of Chamouny213Lines written in an Album at Elbingerode, in the Hartz Forest218On Observing a Blossom on the First of February221The Eolian Harp223Reflections on having left a place of Retirement227To the Rev. George Coleridge231Inscription for a Fountain on a Heath235A Tombless Epitaph237This Lime-tree Bower my Prison239To a Friend who had declared his intention of writing no more Poetry244To a Gentleman [Wordsworth] composed on the night after his recitation of a Poem on the growth of an individual mind247[The Nightingale; a Conversation Poem253]Frost at Midnight261Half-title[265]The Three Graves[267]Half-titleOdes / And / Miscellaneous Poems[287]Dejection, An Ode289Ode to Georgiana Duchess of Devonshire296Ode to Tranquillity300To a Young Friend, on his proposing to domesticate with the Author302Lines to W. L., Esq., while he sang a song to Purcell's Music306Addressed to a Young Man of Fortune307Sonnet To the River Otter309—— Composed on a journey homeward after hearing of the birth of a Son310—— To a Friend311The Virgin's Cradle Hymn312Epitaph on an Infant. ['Its balmy lips the Infant blest']313Melancholy, A Fragment314Tell's Birth-place315A Christmas Carol317Human Life320The Visit of the Gods321Elegy, imitated from Akenside324Half-titleKubla Khan: / Or, / A Vision In A Dream[327]Of The Fragment Of Kubla Khan[329]Kubla Khan[332][The Pains of Sleep334]Apologetic Preface to "Fire, Famine, and Slaughter"337END OF VOL. IVolume IIHalf-titleThe Rime / of / The Ancient Mariner. / In Seven Parts. /[1]Motto (From T. Burnet,Archæol. Phil., p. 68)[2]The Ancient Mariner.Part I3Part II8Part III12Part IV17Part V21Part VI27Part VII33Half-titleChristabel[39]Preface[41]Christabel.Part I43Conclusion to Part I56Part II59Conclusion to Part II73Half-titleProse in Rhyme: Or, / Epigrams, Moralities, and Things / Without a Name[75]Mottoes:—Ἔρωϛ ἀεὶ λάληθρος ἑταῖρος.In many ways does the full heart revealThe 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.]78Phantom or Fact? A Dialogue in Verse79Work without Hope81Youth and Age82A Day-dream. ['My eyes make pictures,' &c.]84To a Lady, offended by a sportive observation86Reason for Love's Blindness86Lines suggested by the Last Words of Berengarius87The Devil's Thoughts89The Alienated Mistress93Constancy to an Ideal Object94The Suicide's Argument96The Blossoming of the Solitary Date-tree97Fancy in Nubibus102The Two Founts103Prefatory Note to the Wanderings of Cain105The Wanderings of Cain109Half-titleRemorse. / A Tragedy. / In Five Acts. /[119]Remorse.A Tragedy121Appendix[232]Half-titleZapolya: / A Christmas Tale. / In Two Parts.[237]Πὰρ πυρὶ χρὴ τοιαῦτα λέγειν χειμῶνος ἐν ὥρᾳApud Athenæum.Advertisement[238]Part I. The Prelude / Entitled / "The Usurper's Fortune." /[241]Part II. The Sequel / Entitled / "The Usurper's Fate"274Volume IIIThe Piccolomini, / Or / The First Part of Wallenstein. / A Drama. /Translated from the German of Schiller /1The / Death of Wallenstein. / A Tragedy, / In Five Acts249

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 theproscribed, 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 theBiog. 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 theproscribed, 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 inP. 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 theMorning 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 inThe Crypt, 1827, and the other six inThe Keepsake, 1829.) 'Fancy in Nubibus, or the Poet in the Clouds' (videante, 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 inGalignani, 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 mottoΓνωθι κ.τ.λmay 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.]

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