English Literature Part 30

I heard among the solitary hills Low breathings coming after me, and sounds Of undistinguishable motion.

That is like a mental photograph. Any boy who has come home through the woods at night will recognize it instantly. Again he tells as of going bird's-nesting on the cliffs:

Oh, when I have hung Above the raven's nest, by knots of gra.s.s And half-inch fissures in the slippery rock But ill-sustained, and almost (so it seemed) Suspended by the blast that blew amain, Shouldering the naked crag,--oh, at that time, While on the perilous ridge I hung alone, With what strange utterance did the loud dry wind Blow through my ear! The sky seemed not a sky Of earth,--and with what motion moved the clouds!

No man can read such records without finding his own boyhood again, and his own abounding joy of life, in the poet's early impressions.

The second period of Wordsworth's life begins with his university course at Cambridge, in 1787. In the third book of _The Prelude_ we find a dispa.s.sionate account of student life, with its trivial occupations, its pleasures and general aimlessness. Wordsworth proved to be a very ordinary scholar, following his own genius rather than the curriculum, and looking forward more eagerly to his vacation among the hills than to his examinations. Perhaps the most interesting thing in his life at Cambridge was his fellowship with the young political enthusiasts, whose spirit is expressed in his remarkable poem on the French Revolution,--a poem which is better than a volume of history to show the hopes and ambitions that stirred all Europe in the first days of that mighty upheaval. Wordsworth made two trips to France, in 1790 and 1791, seeing things chiefly through the rosy spectacles of the young Oxford Republicans. On his second visit he joined the Girondists, or the moderate Republicans, and only the decision of his relatives, who cut off his allowance and hurried him back to England, prevented his going headlong to the guillotine with the leaders of his party. Two things rapidly cooled Wordsworth's revolutionary enthusiasm, and ended the only dramatic interest of his placid life. One was the excesses of the Revolution itself, and especially the execution of Louis XVI; the other was the rise of Napoleon, and the slavish adulation accorded by France to this most vulgar and dangerous of tyrants. His coolness soon grew to disgust and opposition, as shown by his subsequent poems; and this brought upon him the censure of Sh.e.l.ley, Byron, and other extremists, though it gained the friendship of Scott, who from the first had no sympathy with the Revolution or with the young English enthusiasts.

Of the decisive period of Wordsworth's life, when he was living with his sister Dorothy and with Coleridge at Alfoxden, we have already spoken. The importance of this decision to give himself to poetry is evident when we remember that, at thirty years of age, he was without money or any definite aim or occupation in life. He considered the law, but confessed he had no sympathy for its contradictory precepts and practices; he considered the ministry, but though strongly inclined to the Church, he felt himself not good enough for the sacred office; once he had wanted to be a soldier and serve his country, but had wavered at the prospect of dying of disease in a foreign land and throwing away his life without glory or profit to anybody.

An apparent accident, which looks more to us like a special Providence, determined his course. He had taken care of a young friend, Raisley Calvert, who died of consumption and left Wordsworth heir to a few hundred pounds, and to the request that he should give his life to poetry. It was this unexpected gift which enabled Wordsworth to retire from the world and follow his genius. All his life he was poor, and lived in an atmosphere of plain living and high thinking. His poetry brought him almost nothing in the way of money rewards, and it was only by a series of happy accidents that he was enabled to continue his work. One of these accidents was that he became a Tory, and soon accepted the office of a distributor of stamps, and was later appointed poet laureate by the government,--which occasioned Browning's famous but ill-considered poem of "The Lost Leader":

Just for a handful of silver he left us, Just for a riband to stick in his coat.

The last half century of Wordsworth's life, in which he retired to his beloved lake district and lived successively at Grasmere and Rydal Mount, remind one strongly of Browning's long struggle for literary recognition.

It was marked by the same steadfast purpose, the same trusted ideal, the same continuous work, and the same tardy recognition by the public. His poetry was mercilessly ridiculed by nearly all the magazine critics, who seized upon the worst of his work as a standard of judgment; and book after book of poems appeared without meeting any success save the approval of a few loyal friends. Without doubt or impatience he continued his work, trusting to the future to recognize and approve it. His att.i.tude here reminds one strongly of the poor old soldier whom he met in the hills,[222]

who refused to beg or to mention his long service or the neglect of his country, saying with n.o.ble simplicity,

My trust is in the G.o.d of Heaven And in the eye of him who pa.s.ses me.

Such work and patience are certain of their reward, and long before Wordsworth's death he felt the warm sunshine of general approval. The wave of popular enthusiasm for Scott and Byron pa.s.sed by, as their limitations were recognized; and Wordsworth was hailed by critics as the first living poet, and one of the greatest that England had ever produced. On the death of Southey (1843) he was made poet laureate, against his own inclination.

The late excessive praise left him quite as unmoved as the first excessive neglect. The steady decline in the quality of his work is due not, as might be expected, to self-satisfaction at success, but rather to his intense conservatism, to his living too much alone and failing to test his work by the standards and judgment of other literary men. He died tranquilly in 1850, at the age of eighty years, and was buried in the churchyard at Grasmere.

Such is the brief outward record of the world's greatest interpreter of nature's message; and only one who is acquainted with both nature and the poet can realize how inadequate is any biography; for the best thing about Wordsworth must always remain unsaid. It is a comfort to know that his life, n.o.ble, sincere, "heroically happy," never contradicted his message.

Poetry was his life; his soul was in all his work; and only by reading what he has written can we understand the man.

THE POETRY OF WORDSWORTH. There is often a sense of disappointment when one reads Wordsworth for the first time; and this leads us to speak first of two difficulties which may easily prevent a just appreciation of the poet's worth. The first difficulty is in the reader, who is often puzzled by Wordsworth's absolute simplicity. We are so used to stage effects in poetry, that beauty unadorned is apt to escape our notice,--like Wordsworth's "Lucy":

A violet by a mossy stone, Half hidden from the eye; Fair as a star, when only one Is shining in the sky.

Wordsworth set himself to the task of freeing poetry from all its "conceits," of speaking the language of simple truth, and of portraying man and nature as they are; and in this good work we are apt to miss the beauty, the pa.s.sion, the intensity, that hide themselves under his simplest lines. The second difficulty is in the poet, not in the reader. It must be confessed that Wordsworth is not always melodious; that he is seldom graceful, and only occasionally inspired. When he is inspired, few poets can be compared with him; at other times the bulk of his verse is so wooden and prosy that we wonder how a poet could have written it. Moreover he is absolutely without humor, and so he often fails to see the small step that separates the sublime from the ridiculous. In no other way can we explain "The Idiot Boy," or pardon the serious absurdity of "Peter Bell" and his grieving jacka.s.s.

On account of these difficulties it is well to avoid at first the longer works and begin with a good book of selections.[223] When we read these exquisite shorter poems, with their n.o.ble lines that live forever in our memory, we realize that Wordsworth is the greatest poet of nature that our literature has produced. If we go further, and study the poems that impress us, we shall find four remarkable characteristics: (1) Wordsworth is sensitive as a barometer to every subtle change in the world about him. In _The Prelude_ he compares himself to an aeolian harp, which answers with harmony to every touch of the wind; and the figure is strikingly accurate, as well as interesting, for there is hardly a sight or a sound, from a violet to a mountain and from a bird note to the thunder of the cataract, that is not reflected in some beautiful way in Wordsworth's poetry.

(2) Of all the poets who have written of nature there is none that compares with him in the truthfulness of his representation. Burns, like Gray, is apt to read his own emotions into natural objects, so that there is more of the poet than of nature even in his mouse and mountain daisy; but Wordsworth gives you the bird and the flower, the wind and the tree and the river, just as they are, and is content to let them speak their own message.

(3) No other poet ever found such abundant beauty in the common world. He had not only sight, but insight, that is, he not only sees clearly and describes accurately, but penetrates to the heart of things and always finds some exquisite meaning that is not written on the surface. It is idle to specify or to quote lines on flowers or stars, on snow or vapor. Nothing is ugly or commonplace in his world; on the contrary, there is hardly one natural phenomenon which he has not glorified by pointing out some beauty that was hidden from our eyes.

(4) It is the _life_ of nature which is everywhere recognized; not mere growth and cell changes, but sentient, personal life; and the recognition of this personality in nature characterizes all the world's great poetry.

In his childhood Wordsworth regarded natural objects, the streams, the hills, the flowers, even the winds, as his companions; and with his mature belief that all nature is the reflection of the living G.o.d, it was inevitable that his poetry should thrill with the sense of a Spirit that "rolls through all things." Cowper, Burns, Keats, Tennyson,--all these poets give you the outward aspects of nature in varying degrees; but Wordsworth gives you her very life, and the impression of some personal living spirit that meets and accompanies the man who goes alone through the woods and fields. We shall hardly find, even in the philosophy of Leibnitz, or in the nature myths of our Indians, any such impression of living nature as this poet awakens in us. And that suggests another delightful characteristic of Wordsworth's poetry, namely, that he seems to awaken rather than create an impression; he stirs our memory deeply, so that in reading him we live once more in the vague, beautiful wonderland of our own childhood.

Such is the philosophy of Wordsworth's nature poetry. If we search now for his philosophy of human life, we shall find four more doctrines, which rest upon his basal conception that man is not apart from nature, but is the very "life of her life." (1) In childhood man is sensitive as a wind harp to all natural influences; he is an epitome of the gladness and beauty of the world. Wordsworth explains this gladness and this sensitiveness to nature by the doctrine that the child comes straight from the Creator of nature:

Our birth is but a sleep and a forgetting: The Soul that rises with us, our life's Star, Hath had elsewhere its setting, And cometh from afar: Not in entire forgetfulness And not in utter nakedness, But trailing clouds of glory do we come From G.o.d, who is our home.

In this exquisite ode, which he calls "Intimations of Immortality from Recollections of Early Childhood" (1807), Wordsworth sums up his philosophy of childhood; and he may possibly be indebted here to the poet Vaughan, who, more than a century before, had proclaimed in "The Retreat" the same doctrine. This kinship with nature and with G.o.d, which glorifies childhood, ought to extend through a man's whole life and enn.o.ble it. This is the teaching of "Tintern Abbey," in which the best part of our life is shown to be the result of natural influences. According to Wordsworth, society and the crowded unnatural life of cities tend to weaken and pervert humanity; and a return to natural and simple living is the only remedy for human wretchedness.

(2) The natural instincts and pleasures of childhood are the true standards of a man's happiness in this life. All artificial pleasures soon grow tiresome. The natural pleasures, which a man so easily neglects in his work, are the chief means by which we may expect permanent and increasing joy. In "Tintern Abbey," "The Rainbow," "Ode to Duty," and "Intimations of Immortality" we see this plain teaching; but we can hardly read one of Wordsworth's pages without finding it slipped in un.o.btrusively, like the fragrance of a wild flower.

(3) The _truth_ of humanity, that is, the common life which labors and loves and shares the general heritage of smiles and tears, is the only subject of permanent literary interest. Burns and the early poets of the Revival began the good work of showing the romantic interest of common life; and Wordsworth continued it in "Michael," "The Solitary Reaper," "To a Highland Girl," "Stepping Westward," _The Excursion_, and a score of lesser poems.

Joy and sorrow, not of princes or heroes, but "in widest commonalty spread," are his themes; and the hidden purpose of many of his poems is to show that the keynote of all life is happiness,--not an occasional thing, the result of chance or circ.u.mstance, but a heroic thing, to be won, as one would win any other success, by work and patience.

(4) To this natural philosophy of man Wordsworth adds a mystic element, the result of his own belief that in every natural object there is a reflection of the living G.o.d. Nature is everywhere transfused and illumined by Spirit; man also is a reflection of the divine Spirit; and we shall never understand the emotions roused by a flower or a sunset until we learn that nature appeals through the eye of man to his inner spirit. In a word, nature must be "spiritually discerned." In "Tintern Abbey" the spiritual appeal of nature is expressed in almost every line; but the mystic conception of man is seen more clearly in "Intimations of Immortality,"

which Emerson calls "the high-water mark of poetry in the nineteenth century." In this last splendid ode Wordsworth adds to his spiritual interpretation of nature and man the alluring doctrine of preexistence, which has appealed so powerfully to Hindoo and Greek in turn, and which makes of human life a continuous, immortal thing, without end or beginning.

Wordsworth's longer poems, since they contain much that is prosy and uninteresting, may well be left till after we have read the odes, sonnets, and short descriptive poems that have made him famous. As showing a certain heroic cast of Wordsworth's mind, it is interesting to learn that the greater part of his work, including _The Prelude_ and _The Excursion_, was intended for a place in a single great poem, to be called _The Recluse_, which should treat of nature, man, and society. _The Prelude_, treating of the growth of a poet's mind, was to introduce the work. The _Home at Grasmere_, which is the first book of _The Recluse_, was not published till 1888, long after the poet's death. _The Excursion_ (1814) is the second book of _The Recluse_; and the third was never completed, though Wordsworth intended to include most of his shorter poems in this third part, and so make an immense personal epic of a poet's life and work. It is perhaps just as well that the work remained unfinished. The best of his work appeared in the _Lyrical Ballads_ (1798) and in the sonnets, odes, and lyrics of the next ten years; though "The Duddon Sonnets" (1820), "To a Skylark" (1825), and "Yarrow Revisited" (1831) show that he retained till past sixty much of his youthful enthusiasm. In his later years, however, he perhaps wrote too much; his poetry, like his prose, becomes dull and unimaginative; and we miss the flashes of insight, the tender memories of childhood, and the recurrence of n.o.ble lines--each one a poem--that const.i.tutes the surprise and the delight of reading Wordsworth.

The outward shows of sky and earth, Of hill and valley, he has viewed; And impulses of deeper birth Have come to him in solitude.

In common things that round us lie Some random truths he can impart-- The harvest of a quiet eye That broods and sleeps on his own heart.

SAMUEL TAYLOR COLERIDGE (1772-1834)

A grief without a pang, void, dark and drear, A stifled, drowsy, unimpa.s.sioned grief, Which finds no natural outlet, no relief, In word, or sigh, or tear.

In the wonderful "Ode to Dejection," from which the above fragment is taken, we have a single strong impression of Coleridge's whole life,--a sad, broken, tragic life, in marked contrast with the peaceful existence of his friend Wordsworth. For himself, during the greater part of his life, the poet had only grief and remorse as his portion; but for everybody else, for the audiences that were charmed by the brilliancy of his literary lectures, for the friends who gathered about him to be inspired by his ideals and conversation, and for all his readers who found unending delight in the little volume which holds his poetry, he had and still has a cheering message, full of beauty and hope and inspiration. Such is Coleridge, a man of grief who makes the world glad.

LIFE. In 1772 there lived in Ottery St. Mary, Devonshire, a queer little man, the Rev. John Coleridge, vicar of the parish church and master of the local grammar school. In the former capacity he preached profound sermons, quoting to open-mouthed rustics long pa.s.sages from the Hebrew, which he told them was the very tongue of the Holy Ghost. In the latter capacity he wrote for his boys a new Latin grammar, to mitigate some of the difficulties of traversing that terrible jungle by means of ingenious bypaths and short cuts. For instance, when his boys found the ablative a somewhat difficult case to understand, he told them to think of it as the _quale-quare-quidditive_ case, which of course makes its meaning perfectly clear. In both these capacities the elder Coleridge was a sincere man, gentle and kindly, whose memory was "like a religion" to his sons and daughters. In that same year was born Samuel Taylor Coleridge, the youngest of thirteen children. He was an extraordinarily precocious child, who could read at three years of age, and who, before he was five, had read the Bible and the Arabian Nights, and could remember an astonishing amount from both books. From three to six he attended a "dame" school; and from six till nine (when his father died and left the family dest.i.tute) he was in his father's school, learning the cla.s.sics, reading an enormous quant.i.ty of English books, avoiding novels, and delighting in c.u.mbrous theological and metaphysical treatises. At ten he was sent to the Charity School of Christ's Hospital, London, where he met Charles Lamb, who records his impression of the place and of Coleridge in one of his famous essays.[224]

Coleridge seems to have remained in this school for seven or eight years without visiting his home,--a poor, neglected boy, whose comforts and entertainments were all within himself. Just as, when a little child, he used to wander over the fields with a stick in his hand, slashing the tops from weeds and thistles, and thinking himself to be the mighty champion of Christendom against the infidels, so now he would lie on the roof of the school, forgetting the play of his fellows and the roar of the London streets, watching the white clouds drifting over and following them in spirit into all sorts of romantic adventures.

At nineteen this hopeless dreamer, who had read more books than an old professor, entered Cambridge as a charity student. He remained for nearly three years, then ran away because of a trifling debt and enlisted in the Dragoons, where he served several months before he was discovered and brought back to the university. He left in 1794 without taking his degree; and presently we find him with the youthful Southey,--a kindred spirit, who had been fired to wild enthusiasm by the French Revolution,--founding his famous Pantisocracy for the regeneration of human society. "The Fall of Robespierre," a poem composed by the two enthusiasts, is full of the new revolutionary spirit. The Pantisocracy, on the banks of the Susquehanna, was to be an ideal community, in which the citizens combined farming and literature; and work was to be limited to two hours each day. Moreover, each member of the community was to marry a good woman, and take her with him. The two poets obeyed the latter injunction first, marrying two sisters, and then found that they had no money to pay even their traveling expenses to the new Utopia.

During all the rest of his career a tragic weakness of will takes possession of Coleridge, making it impossible for him, with all his genius and learning, to hold himself steadily to any one work or purpose. He studied in Germany; worked as a private secretary, till the drudgery wore upon his free spirit; then he went to Rome and remained for two years, lost in study. Later he started _The Friend_, a paper devoted to truth and liberty; lectured on poetry and the fine arts to enraptured audiences in London, until his frequent failures to meet his engagements scattered his hearers; was offered an excellent position and a half interest (amounting to some 2000) in the _Morning Post_ and _The Courier_, but declined it, saying "that I would not give up the country and the lazy reading of old folios for two thousand times two thousand pounds,--in short, that beyond 350 a year I considered money a real evil." His family, meanwhile, was almost entirely neglected; he lived apart, following his own way, and the wife and children were left in charge of his friend Southey. Needing money, he was on the point of becoming a Unitarian minister, when a small pension from two friends enabled him to live for a few years without regular employment.

A terrible shadow in Coleridge's life was the apparent cause of most of his dejection. In early life he suffered from neuralgia, and to ease the pain began to use opiates. The result on such a temperament was almost inevitable. He became a slave to the drug habit; his naturally weak will lost all its directing and sustaining force, until, after fifteen years of pain and struggle and despair, he gave up and put himself in charge of a physician, one Mr. Gillman, of Highgate. Carlyle, who visited him at this time, calls him "a king of men," but records that "he gave you the idea of a life that had been full of sufferings, a life heavy-laden, half-vanquished, still swimming painfully in seas of manifold physical and other bewilderment."

The shadow is dark indeed; but there are gleams of sunshine that occasionally break through the clouds. One of these is his a.s.sociation with Wordsworth and his sister Dorothy, in the Quantock hills, out of which came the famous _Lyrical Ballads_ of 1798. Another was his loyal devotion to poetry for its own sake. With the exception of his tragedy _Remorse_, which through Byron's influence was accepted at Drury Lane Theater, and for which he was paid 400, he received almost nothing for his poetry. Indeed, he seems not to have desired it; for he says: "Poetry has been to me its own exceeding great reward; it has soothed my afflictions; it has multiplied and refined my enjoyments; it has endeared solitude, and it has given me the habit of wishing to discover the good and the beautiful in all that meets and surrounds me." One can better understand his exquisite verse after such a declaration. A third ray of sunlight came from the admiration of his contemporaries; for though he wrote comparatively little, he was by his talents and learning a leader among literary men, and his conversations were as eagerly listened to as were those of Dr. Johnson. Wordsworth says of him that, though other men of the age had done some wonderful things, Coleridge was the only wonderful man he had ever known. Of his lectures on literature a contemporary says: "His words seem to flow as from a person repeating with grace and energy some delightful poem." And of his conversation it is recorded: "Throughout a long-drawn summer's day would this man talk to you in low, equable but clear and musical tones, concerning things human and divine; marshalling all history, harmonizing all experiment, probing the depths of your consciousness, and revealing visions of glory and terror to the imagination."

The last bright ray of sunlight comes from Coleridge's own soul, from the gentle, kindly nature which made men love and respect him in spite of his weaknesses, and which caused Lamb to speak of him humorously as "an archangel a little damaged." The universal law of suffering seems to be that it refines and softens humanity; and Coleridge was no exception to the law. In his poetry we find a note of human sympathy, more tender and profound than can be found in Wordsworth or, indeed, in any other of the great English poets. Even in his later poems, when he has lost his first inspiration and something of the splendid imaginative power that makes his work equal to the best of Blake's, we find a soul tender, triumphant, quiet, "in the stillness of a great peace." He died in 1834, and was buried in Highgate Church. The last stanza of the boatman's song, in _Remorse_, serves better to express the world's judgment than any epitaph:

Hark! the cadence dies away On the quiet moon-lit sea; The boatmen rest their oars and say, _Miserere Domini!_

WORKS OF COLERIDGE. The works of Coleridge naturally divide themselves into three cla.s.ses,--the poetic, the critical, and the philosophical, corresponding to the early, the middle, and the later periods of his career. Of his poetry Stopford Brooke well says: "All that he did excellently might be bound up in twenty pages, but it should be bound in pure gold." His early poems show the influence of Gray and Blake, especially of the latter. When Coleridge begins his "Day Dream" with the line, "My eyes make pictures when they're shut," we recall instantly Blake's haunting _Songs of Innocence_. But there is this difference between the two poets,--in Blake we have only a dreamer; in Coleridge we have the rare combination of the dreamer and the profound scholar. The quality of this early poetry, with its strong suggestion of Blake, may be seen in such poems as "A Day Dream," "The Devil's Thoughts," "The Suicide's Argument,"

and "The Wanderings of Cain." His later poems, wherein we see his imagination bridled by thought and study, but still running very freely, may best be appreciated in "Kubla Khan," "Christabel," and "The Rime of the Ancient Mariner." It is difficult to criticise such poems; one can only read them and wonder at their melody, and at the vague suggestions which they conjure up in the mind. "Kubla Khan" is a fragment, painting a gorgeous Oriental dream picture, such as one might see in an October sunset. The whole poem came to Coleridge one morning when he had fallen asleep over Purchas, and upon awakening he began to write hastily,

In Xanadu did Kubla Khan A stately pleasure-dome decree: Where Alph, the sacred river, ran Through caverns measureless to man Down to a sunless sea.

He was interrupted after fifty-four lines were written, and he never finished the poem.

"Christabel" is also a fragment, which seems to have been planned as the story of a pure young girl who fell under the spell of a sorcerer, in the shape of the woman Geraldine. It is full of a strange melody, and contains many pa.s.sages of exquisite poetry; but it trembles with a strange, unknown horror, and so suggests the supernatural terrors of the popular hysterical novels, to which we have referred. On this account it is not wholesome reading; though one flies in the face of Swinburne and of other critics by venturing to suggest such a thing.

"The Rime of the Ancient Mariner" is Coleridge's chief contribution to the _Lyrical Ballads_ of 1798, and is one of the world's masterpieces. Though it introduces the reader to a supernatural realm, with a phantom ship, a crew of dead men, the overhanging curse of the albatross, the polar spirit, and the magic breeze, it nevertheless manages to create a sense of absolute reality concerning these manifest absurdities. All the mechanisms of the poem, its meter, rime, and melody are perfect; and some of its descriptions of the lonely sea have never been equaled. Perhaps we should say suggestions, rather than descriptions; for Coleridge never describes things, but makes a suggestion, always brief and always exactly right, and our own imagination instantly supplies the details. It is useless to quote fragments; one must read the entire poem, if he reads nothing else of the romantic school of poetry.

Among Coleridge's shorter poems there is a wide variety, and each reader must be left largely to follow his own taste. The beginner will do well to read a few of the early poems, to which we have referred, and then try the "Ode to France," "Youth and Age," "Dejection," "Love Poems," "Fears in Solitude," "Religious Musings," "Work Without Hope," and the glorious "Hymn Before Sunrise in the Vale of Chamouni." One exquisite little poem from the Latin, "The Virgin's Cradle Hymn," and his version of Schiller's _Wallenstein_, show Coleridge's remarkable power as a translator. The latter is one of the best poetical translations in our literature.

Of Coleridge's prose works, the _Biographia, Literaria, or Sketches of My Literary Life and Opinions_ (1817), his collected _Lectures on Shakespeare_ (1849), and _Aids to Reflection_ (1825) are the most interesting from a literary view point. The first is an explanation and criticism of Wordsworth's theory of poetry, and contains more sound sense and illuminating ideas on the general subject of poetry than any other book in our language. The _Lectures_, as refreshing as a west wind in midsummer, are remarkable for their attempt to sweep away the arbitrary rules which for two centuries had stood in the way of literary criticism of Shakespeare, in order to study the works themselves. No finer a.n.a.lysis and appreciation of the master's genius has ever been written. In his philosophical work Coleridge introduced the idealistic philosophy of Germany into England. He set himself in line with Berkeley, and squarely against Bentham, Malthus, Mill, and all the materialistic tendencies which were and still are the bane of English philosophy. The _Aids to Reflection_ is Coleridge's most profound work, but is more interesting to the student of religion and philosophy than to the readers of literature.

ROBERT SOUTHEY (1774-1843)