Your parcel is come, you have been lavish of your presents.
Wordsworth's poem I have hurried thro not without delight. Poor Lovell! my heart almost accuses me for the light manner I spoke of him above, not dreaming of his death. My heart bleeds for your accumulated troubles, God send you thro' 'em with patience. I conjure you dream not that I will ever think of being repaid! the very word is galling to the ears. I have read all your Rel. Musings with uninterrupted feelings of profound admiration. You may safely rest your fame on it. The best remain'g things are what I have before read, and they lose nothing by my recollection of your manner of reciting 'em, for I too bear in mind "the voice, the look" of absent friends, and can occasionally mimic their manner for the amusement of those who have seen 'em. Your impassioned manner of recitation I can recall at any time to mine own heart, and to the ears of the bystanders. I rather wish you had left the monody on C. concluding as it did abruptly. It had more of unity.—The conclusion of your R Musings I fear will entitle you to the reproof of your Beloved woman, who wisely will not suffer your fancy to run riot, but bids you walk humbly with your God. The very last words "I exercise my young noviciate tho't in ministeries of heart-stirring song," tho' not now new to me, cannot be enough admired. To speak politely, they are a well turnd compliment to Poetry. I hasten to read Joan of Arc, &c. I have read your lines at the begin'g of 2d book, they are worthy of Milton, but in my mind yield to your Rel Mus'gs. I shall read the whole carefully and in some future letter take the liberty to particularize my opinions of it. Of what is new to me among your poems next to the Musings, that beginning "My Pensive Sara" gave me most pleasure: the lines in it I just alluded to are most exquisite—they made my sister and self smile, as conveying a pleasing picture of Mrs. C. chequing your wild wandrings, which we were so fond of hearing you indulge when among us. It has endeared us more than any thing to your good Lady; and your own self-reproof that follows delighted us. 'Tis a charming poem throughout. (You have well remarked that "charming, admirable, exquisite" are words expressive of feelings, more than conveying of ideas, else I might plead very well want of room in my paper as excuse for generalizing.) I want room to tell you how we are charmed with your verses in the manner of Spencer, &c. &c. &c. &c. &c. I am glad you resume the Watchman—change the name, leave out all articles of News, and whatever things are peculiar to News Papers, and confine yourself to Ethics, verse, criticism, or, rather do not confine yourself. Let your plan be as diffuse as the Spectator, and I'll answer for it the work prospers. If I am vain enough to think I can be a contributor, rely on my inclinations. Coleridge, in reading your R. Musings I felt a transient superiority over you: I have seen Priestly. I love to see his name repeated in your writings. I love and honor him almost profanely. You would be charmed with his sermons, if you never read 'em.—You have doubtless read his books, illustrative of the doctrine of Necessity. Prefixed to a late work of his, in answer to Paine, there is a preface, given [?giving] an account of the Man and his services to Men, written by Lindsey, his dearest friend,—well worth your reading.
Tuesday Eve.—Forgive my prolixity, which is yet too brief for all I could wish to say.—God give you comfort and all that are of your household.—Our loves and best good wishes to Mrs. C.
C. LAMB.
[The postmark of this letter looks like June 1, but it might be June 7, It was odd to date it "Tuesday night" half way through, and "Tuesday eve" at the end. Possibly Lamb began it on Tuesday, May 24, and finished it on Tuesday, May 31; possibly he began it on Tuesday, May 31, and finished it and posted it on Tuesday, June 7.
The Hertfordshire sonnet was printed in the Monthly Magazine for
December, 1797, and not reprinted by Lamb.
The sonnet that "mock'd my step with many a lonely glade" is that beginning—
Was it some sweet device of Faëry,
which had been printed in Coleridge's Poems, 1796. The second, third and fourth of the sonnets that are copied in this letter were printed in the second edition of Coleridge's Poems, 1797. Anna is generally supposed to be Ann Simmons, referred to in the previous note.
Concerning "Flocci-nauci-what-d'ye-call-'em-ists," Canon Ainger has the following interesting note: "'Flocci, nauci' is the beginning of a rule in the old Latin grammars, containing a list of words signifying 'of no account,' floccus being a lock of wool, and naucus a trifle. Lamb was recalling a sentence in one of Shenstone's Letters:—'I loved him for nothing so much as his flocci-nauci-nihili-pili-fication of money.'" But "Pantisocratists" was, of course, the word that Lamb was shadowing. Pantisocracy, however—the new order of common living and high thinking, to be established on the banks of the Susquehanna by Coleridge, Southey, Favell, Burnett and others—was already dead.
William Cumberland Cruikshank, the anatomist, who attended Lamb's brother, had attended Dr. Johnson in his last illness.
Le Grice's pamphlet was A General Theorem for A******* Coll.
Declamation, by Gronovius, 1796.
Southey and Coleridge had been on somewhat strained terms for some time; possibly, as I have said in the previous note, owing to Southey's abandonment of Pantisocratic fervour, which anticipated Coleridge's by some months. Also, to marry sisters does not always lead to serenity. The spiriting away of Coleridge had been effected by Southey in January, 1795, when he found Coleridge at the Angel in Butcher Hall Street (vice the Salutation in Newgate Street) and bore him back to Bristol and the forlorn Sara Fricker, and away from Lamb, journalism and egg-hot.
Moschus was, as we have seen, Robert Lovell. No. V. of The Watchman contained sonnets by him.
The review of Burke's Letter to a Noble Lord was in No. I. of The Watchman.—The passage from "Religious Musings," under the title "The Present State of Society," was in No. II.—extending from line 260 to 357. [These lines were 279-378 1st ed.; 264-363 2nd ed.] The capital line in No. VI. is in the poem, "Lines on Observing a Blossom on the First of February, 1796."—Poor dead Parsons would be William Parsons (1736-1795), the original Sir Fretful Plagiary in Sheridan's "Critic." Lamb praises him in his essay on the Artificial Comedy.—In No. IX. of The Watchman were prose paraphrases of three Sclavonian songs, the first being "Song of a Female Orphan," and the second, "Song of the Haymakers."—John Logan's "Braes of Yarrow" had been quoted in No. III. as "the most exquisite performance in our language."—The invective against "the barterers" refers to the denunciation of the slave trade in No. IV. of The Watchman.
Cowper's recovery was only partial; and he was never rightly himself after 1793. The edition of Milton had been begun about 1790. It was never finished as originally intended; but Fuseli completed forty pictures, which were exhibited in 1799. An edition of Cowper's translations, with designs by Flaxman, was published in 1808, and of Cowper's complete Milton in 1810.
Wordsworth's poem would be "Guilt and Sorrow," of which a portion was printed in Lyrical Ballads, 1798, and the whole published in 1842.
Coleridge's "Monody on Chatterton," the first poem in his Poems on
Various Subjects, 1796, had been written originally at Christ's
Hospital, 1790: it continued to be much altered before the final
version.
The two lines from "Religious Musings" are not the last, but the beginning of the last passage.
Coleridge contributed between three and four hundred lines to Book II. of Southey's Joan of Arc, as we shall see later. The poem beginning "My Pensive Sara" was Effusion 35, afterwards called "The Æolian Harp," and the lines to which Lamb refers are these, following upon Coleridge's description of how flitting phantasies traverse his indolent and passive brain:—
But thy more serious eye a mild reproof
Darts, O beloved Woman! nor such thoughts
Dim and unhallow'd dost thou not reject,
And biddest me walk humbly with my God.
The plan to resume The Watchman did not come to anything.
Joseph Priestley (1733-1804), the theologian, at this time the object of Lamb's adoration, was one of the fathers of Unitarianism, a creed in which Lamb had been brought up under the influence of his Aunt Hetty. Coleridge, as a supporter of one of Priestley's allies, William Frend of Cambridge, and as a convinced Unitarian, was also an admirer of Priestley, concerning whom and the Birmingham riots of 1791 is a fine passage in "Religious Musings," while one of the sonnets of the 1796 volume was addressed to him: circumstances which Lamb had in mind when mentioning him in this letter. Lamb had probably seen Priestley at the Gravel Pit Chapel, Hackney, where he became morning preacher in December, 1791, remaining there until March, 1794. Thenceforward he lived in America. His Institutes of Natural and Revealed Religion appeared between 1772 and 1774. The other work referred to is Letters to the Philosophers and Politicians of France, newly edited by Theophilus Lindsey, the Unitarian, as An Answer to Mr. Paine's "Age of Reason," 1795.]
LETTER 3
CHARLES LAMB TO S.T. COLERIDGE
[Begun Wednesday, June 8. Dated on address: "Friday 10th June," 1796.]
With Joan of Arc I have been delighted, amazed. I had not presumed to expect any thing of such excellence from Southey. Why the poem is alone sufficient to redeem the character of the age we live in from the imputation of degenerating in Poetry, were there no such beings extant as Burns and Bowles, Cowper and——fill up the blank how you please, I say nothing. The subject is well chosen. It opens well. To become more particular, I will notice in their order a few passages that chiefly struck me on perusal. Page 26 "Fierce and terrible Benevolence!" is a phrase full of grandeur and originality. The whole context made me feel possess'd, even like Joan herself. Page 28, "it is most horrible with the keen sword to gore the finely fibred human frame" and what follows pleased me mightily. In the 2d Book the first forty lines, in particular, are majestic and high-sounding. Indeed the whole vision of the palace of Ambition and what follows are supremely excellent. Your simile of the Laplander "by Niemi's lake Or Balda Zhiok, or the mossy stone Of Solfar Kapper"—will bear comparison with any in Milton for fullness of circumstance and lofty-pacedness of Versification. Southey's similes, tho' many of 'em are capital, are all inferior. In one of his books the simile of the Oak in the Storm occurs I think four times! To return, the light in which you view the heathen deities is accurate and beautiful. Southey's personifications in this book are so many fine and faultless pictures. I was much pleased with your manner of accounting for the reason why Monarchs take delight in War. At the 447th line you have placed Prophets and Enthusiasts cheek by jowl, on too intimate a footing for the dignity of the former. Necessarian-like-speaking it is correct. Page 98 "Dead is the Douglas, cold thy warrior frame, illustrious Buchan" &c are of kindred excellence with Gray's "Cold is Cadwallo's tongue" &c. How famously the Maid baffles the Doctors, Seraphic and Irrefragable, "with all their trumpery!" 126 page, the procession, the appearances of the Maid, of the Bastard son of Orleans and of Tremouille, are full of fire and fancy, and exquisite melody of versification. The personifications from line 303 to 309 in the heat of the battle had better been omitted, they are not very striking and only encumber. The converse which Joan and Conrade hold on the Banks of the Loire is altogether beautiful. Page 313, the conjecture that in Dreams "all things are that seem" is one of those conceits which the Poet delights to admit into his creed—a creed, by the way, more marvellous and mystic than ever Athanasius dream'd of. Page 315, I need only mention those lines ending with "She saw a serpent gnawing at her heart"!!! They are good imitative lines "he toild and toild, of toil to reap no end, but endless toil and never ending woe." 347 page, Cruelty is such as Hogarth might have painted her. Page 361, all the passage about Love (where he seems to confound conjugal love with Creating and Preserving love) is very confused and sickens me with a load of useless personifications. Else that 9th Book is the finest in the volume, an exquisite combination of the ludicrous and the terrible,—I have never read either, even in translation, but such as I conceive to be the manner of Dante and Ariosto. The 10th book is the most languid. On the whole, considering the celerity wherewith the poem was finish'd, I was astonish'd at the infrequency of weak lines. I had expected to find it verbose. Joan, I think, does too little in Battle—Dunois, perhaps, the same—Conrade too much. The anecdotes interspersed among the battles refresh the mind very agreeably, and I am delighted with the very many passages of simple pathos abounding throughout the poem—passages which the author of "Crazy Kate" might have written. Has not Master Southey spoke very slightingly in his preface and disparagingly of Cowper's Homer?—what makes him reluctant to give Cowper his fame? And does not Southey use too often the expletives "did" and "does"? They have a good effect at times, but are too inconsiderable, or rather become blemishes, when they mark a style. On the whole, I expect Southey one day to rival Milton. I already deem him equal to Cowper, and superior to all living Poets besides. What says Coleridge? The "Monody on Henderson" is immensely good; the rest of that little volume is readable and above mediocrity. I proceed to a more pleasant task,—pleasant because the poems are yours, pleasant because you impose the task on me, and pleasant, let me add, because it will confer a whimsical importance on me to sit in judgment upon your rhimes. First tho', let me thank you again and again in my own and my sister's name for your invitations. Nothing could give us more pleasure than to come, but (were there no other reasons) while my Brother's leg is so bad it is out of the question. Poor fellow, he is very feverish and light headed, but Cruikshanks has pronounced the symptoms favorable, and gives us every hope that there will be no need of amputation. God send, not. We are necessarily confined with him the afternoon and evening till very late, so that I am stealing a few minutes to write to you. Thank you for your frequent letters, you are the only correspondent and I might add the only friend I have in the world. I go no where and have no acquaintance. Slow of speech, and reserved of manners, no one seeks or cares for my society and I am left alone. Allen calls only occasionally, as tho' it were a duty rather, and seldom stays ten minutes. Then judge how thankful I am for your letters. Do not, however, burthen yourself with the correspondence. I trouble you again so soon, only in obedience to your injunctions. Complaints apart, proceed we to our task. I am called away to tea, thence must wait upon my brother, so must delay till to-morrow. Farewell—Wednesday.
Thursday. I will first notice what is new to me. 13th page. "The thrilling tones that concentrate the soul" is a nervous line, and the 6 first lines of page 14 are very pretty. The 21st effusion a perfect thing. That in the manner of Spencer is very sweet, particularly at the close. The 35th effusion is most exquisite—that line in particular, "And tranquil muse upon tranquillity." It is the very reflex pleasure that distinguishes the tranquillity of a thinking being from that of a shepherd—a modern one I would be understood to mean—a Dametas; one that keeps other people's sheep. Certainly, Coleridge, your letter from Shurton Bars has less merit than most things in your volume; personally, it may chime in best with your own feelings, and therefore you love it best. It has however great merit. In your 4th Epistle that is an exquisite paragraph and fancy-full of "A stream there is which rolls in lazy flow" &c. &c. "Murmurs sweet undersong 'mid jasmine bowers" is a sweet line and so are the 3 next. The concluding simile is far-fetch'd. "Tempest-honord" is a quaint-ish phrase. Of the Monody on H., I will here only notice these lines, as superlatively excellent. That energetic one, "Shall I not praise thee, Scholar, Christian, friend," like to that beautiful climax of Shakspeare "King, Hamlet, Royal Dane, Father." "Yet memory turns from little men to thee!" "and sported careless round their fellow child." The whole, I repeat it, is immensely good. Yours is a Poetical family. I was much surpriz'd and pleased to see the signature of Sara to that elegant composition, the 5th Epistle. I dare not criticise the Relig Musings, I like not to select any part where all is excellent. I can only admire; and thank you for it in the name of a Christian as well as a Lover of good Poetry. Only let me ask, is not that thought and those words in Young, "Stands in the Sun"? or is it only such as Young in one of his better moments might have writ? "Believe, thou, O my Soul, Life is a vision, shadowy of truth, And vice and anguish and the wormy grave, Shapes of a dream!" I thank you for these lines, in the name of a Necessarian, and for what follows in next paragraph in the name of a child of fancy. After all you can[not] nor ever will write any thing, with which I shall be so delighted as what I have heard yourself repeat. You came to Town, and I saw you at a time when your heart was yet bleeding with recent wounds. Like yourself, I was sore galled with disappointed Hope. You had "many an holy lay, that mourning, soothed the mourner on his way." I had ears of sympathy to drink them in, and they yet vibrate pleasant on the sense. When I read in your little volume, your 19th Effusion, or the 28th or 29th, or what you call the "Sigh," I think I hear you again. I image to myself the little smoky room at the Salutation and Cat, where we have sat together thro' the winter nights, beguiling the cares of life with Poesy. When you left London, I felt a dismal void in my heart, I found myself cut off at one and the same time from two most dear to me. "How blest with Ye the Path could I have trod of Quiet life." In your conversation you had blended so many pleasant fancies, that they cheated me of my grief. But in your absence, the tide of melancholy rushd in again, and did its worst Mischief by overwhelming my Reason. I have recoverd. But feel a stupor that makes me indifferent to the hopes and fears of this life. I sometimes wish to introduce a religious turn of mind, but habits are strong things, and my religious fervors are confined alas to some fleeting moments of occasional solitary devotion—A correspondence, opening with you, has roused me a little from my lethargy, and made me conscious of existence. Indulge me in it. I will not be very troublesome. At some future time I will amuse you with an account as full as my memory will permit of the strange turn my phrensy took. I look back upon it at times with a gloomy kind of Envy. For while it lasted I had many many hours of pure happiness. Dream not Coleridge, of having tasted all the grandeur and wildness of Fancy, till you have gone mad. All now seems to me vapid; comparatively so. Excuse this selfish digression.
Your monody is so superlatively excellent, that I can only wish it perfect, which I can't help feeling it is not quite. Indulge me in a few conjectures. What I am going to propose would make it more compress'd and I think more energic, tho' I am sensible at the expence of many beautiful lines. Let it begin "Is this the land of song-ennobled line," and proceed to "Otway's famish'd form." Then "Thee Chatterton," to "blaze of Seraphim." Then "clad in nature's rich array," to "orient day;" then "but soon the scathing lightning," to "blighted land." Then "Sublime of thought" to "his bosom glows." Then "but soon upon his poor unsheltered head Did Penury her sickly Mildew shed, and soon are fled the charms of vernal Grace, and Joy's wild gleams that lightend o'er his face!" Then "Youth of tumultuous soul" to "sigh" as before. The rest may all stand down to "gaze upon the waves below." What follows now may come next, as detached verses, suggested by the Monody, rather than a part of it. They are indeed in themselves very sweet "And we at sober eve would round thee throng, Hanging enraptured on thy stately song"—in particular perhaps. If I am obscure you may understand me by counting lines. I have proposed omitting 24 lines. I feel that thus comprest it would gain energy, but think it most likely you will not agree with me, for who shall go about to bring opinions to the Bed of Procrustes and introduce among the Sons of Men a monotony of identical feelings. I only propose with diffidence. Reject, you, if you please, with as little remorse as you would the color of a coat or the pattern of a buckle where our fancies differ'd. The lines "Friend to the friendless" &c. which you may think "rudely disbranched" from the Chatterton will patch in with the Man of Ross, where they were once quite at Home, with 2 more which I recollect "and o'er the dowried virgin's snowy cheek bad bridal love suffuse his blushes meek!" very beautiful. The Pixies is a perfect thing, and so are the lines on the spring, page 28. The Epitaph on an Infant, like a Jack of lanthorn, has danced about (or like Dr. Forster's scholars) out of the Morn Chron into the Watchman, and thence back into your Collection. It is very pretty, and you seem to think so, but, may be o'er looked its chief merit, that of filling up a whole page. I had once deemd Sonnets of unrivalled use that way, but your epitaphs, I find, are the more diffuse. Edmund still holds its place among your best verses. "Ah! fair delights" to "roses round" in your Poem called Absence recall (none more forcibly) to my mind the tones in which you recited it. I will not notice in this tedious (to you) manner verses which have been so long delightful to me, and which you already know my opinion of. Of this kind are Bowles, Priestly, and that most exquisite and most Bowles-like of all, the 19th Effusion. It would have better ended with "agony of care." The last 2 lines are obvious and unnecessary and you need not now make 14 lines of it, now it is rechristend from a Sonnet to an Effusion. Schiller might have written the 20 Effusion. 'Tis worthy of him in any sense. I was glad to meet with those lines you sent me, when my Sister was so ill. I had lost the Copy, and I felt not a little proud at seeing my name in your verse. The complaint of Ninathoma (1st stanza in particular) is the best, or only good imitation, of Ossian I ever saw—your restless gale excepted. "To an infant" is most sweet—is not "foodful," tho', very harsh! would not "dulcet" fruit be less harsh, or some other friendly bi-syllable? In Edmund, "Frenzy fierce-eyed child," is not so well as frantic—tho' that is an epithet adding nothing to the meaning. Slander couching was better than squatting. In the Man of Ross it was a better line thus "If 'neath this roof thy wine-chear'd moments pass" than as it stands now. Time nor nothing can reconcile me to the concluding 5 lines of Kosciusko: call it any thing you will but sublime. In my 12th Effusion I had rather have seen what I wrote myself, tho' they bear no comparison with your exquisite lines "On rose-leaf'd beds amid your faery bowers," &c.—I love my sonnets because they are the reflected images of my own feelings at different times. To instance, in the 13th "How reason reel'd," &c.—are good lines but must spoil the whole with ME who know it is only a fiction of yours and that the rude dashings did in fact NOT ROCK me to REPOSE, I grant the same objection applies not to the former sonnet, but still I love my own feelings. They are dear to memory, tho' they now and then wake a sigh or a tear. "Thinking on divers things foredone," I charge you, Col., spare my ewe lambs, and tho' a Gentleman may borrow six lines in an epic poem (I should have no objection to borrow 500 and without acknowledging) still in a Sonnet—a personal poem—I do not "ask my friend the aiding verse." I would not wrong your feelings by proposing any improvements (did I think myself capable of suggesting 'em) in such personal poems as "Thou bleedest my poor heart"—'od so, I am catchd, I have already done it—but that simile I propose abridging would not change the feeling or introduce any alien ones. Do you understand me? In the 28th however, and in the "Sigh" and that composed at Clevedon, things that come from the heart direct, not by the medium of the fancy, I would not suggest an alteration. When my blank verse is finished, or any long fancy poems, "propino tibi alterandum, cut-up-andum, abridg-andum," just what you will with it—but spare my EWE LAMBS! That to Mrs. Siddons now you were welcome to improve, if it had been worth it. But I say unto you again, Col., spare my EWE LAMBS. I must confess were they mine I should omit, in Editione secundâ, Effusions 2-3, because satiric, and below the dignity of the poet of Religious Musings, 5-7, half of the 8th, that written in early Youth, as far as "Thousand eyes,"—tho' I part not unreluctantly with that lively line "Chaste Joyance dancing in her bright-blue eyes" and one or 2 more just thereabouts. But I would substitute for it that sweet poem called "Recollection" in the 5th No. of the Watchman, better I think than the remainder of this poem, tho' not differing materially. As the poem now stands it looks altogether confused. And do not omit those lines upon the "early blossom," in your 6th No. of the Watchman, and I would omit the 10th Effusion—or what would do better, alter and improve the last 4 lines. In fact, I suppose if they were mine I should not omit 'em. But your verse is for the most part so exquisite, that I like not to see aught of meaner matter mixed with it. Forgive my petulance and often, I fear, ill founded criticisms, and forgive me that I have, by this time, made your eyes and head ach with my long letter. But I cannot forego hastily the pleasure and pride of thus conversing with you.
You did not tell me whether I was to include the Conciones ad Populum in my remarks on your poems. They are not unfrequently sublime, and I think you could not do better than to turn 'em into verse,—if you have nothing else to do. Allen I am sorry to say is a confirmed Atheist. Stodart, or Stothard, a cold hearted well bred conceited disciple of Godwin, does him no good. His wife has several daughters (one of 'em as old as himself). Surely there is something unnatural in such a marriage. How I sympathise with you on the dull duty of a reviewer, and heartily damn with you Ned Evans and the Prosodist. I shall however wait impatiently for the articles in the Crit. Rev., next month, because they are yours. Young Evans (W. Evans, a branch of a family you were once so intimate with) is come into our office, and sends his love to you. Coleridge, I devoutly wish that Fortune, who has made sport with you so long, may play one freak more, throw you into London, or some spot near it, and there snug-ify you for life. 'Tis a selfish but natural wish for me, cast as I am "on life's wide plain, friend-less." Are you acquainted with Bowles? I see, by his last Elegy (written at Bath), you are near neighbours. "And I can think I can see the groves again—was it the voice of thee—Twas not the voice of thee, my buried friend—who dries with her dark locks the tender tear"—are touches as true to nature as any in his other Elegy, written at the hot wells, about poor Russell, &c.—You are doubtless acquainted with it.—Thursday.
I do not know that I entirely agree with you in your stricture upon my Sonnet to Innocence. To men whose hearts are not quite deadened by their commerce with the world, Innocence (no longer familiar) becomes an awful idea. So I felt when I wrote it. Your other censures (qualified and sweeten'd, tho', with praises somewhat extravagant) I perfectly coincide with. Yet I chuse to retain the word "lunar"—indulge a "lunatic" in his loyalty to his mistress the moon. I have just been reading a most pathetic copy of verses on Sophia Pringle, who was hanged and burn'd for coining. One of the strokes of pathos (which are very many, all somewhat obscure) is "She lifted up her guilty forger to heaven." A note explains by forger her right hand with which she forged or coined the base metal! For pathos read bathos. You have put me out of conceit with my blank verse by your Religious Musings. I think it will come to nothing. I do not like 'em enough to send 'em. I have just been reading a book, which I may be too partial to, as it was the delight of my childhood; but I will recommend it to you—it is "Izaak Walton's Complete Angler!" All the scientific part you may omit in reading. The dialogue is very simple, full of pastoral beauties, and will charm you. Many pretty old verses are interspersed. This letter, which would be a week's work reading only, I do not wish you to answer in less than a month. I shall be richly content with a letter from you some day early in July—tho' if you get any how settled before then pray let me know it immediately— 'twould give me such satisfaction. Concerning the Unitarian chapel, the salary is the only scruple that the most rigid moralist would admit as valid. Concerning the tutorage—is not the salary low, and absence from your family unavoidable? London is the only fostering soil for Genius.
Nothing more occurs just now, so I will leave you in mercy one small white spot empty below, to repose your eyes upon, fatigued as they must be with the wilderness of words they have by this time painfully travell'd thro'. God love you, Coleridge, and prosper you thro' life, tho' mine will be loss if your lot is to be cast at Bristol or at Nottingham or any where but London. Our loves to Mrs. C—.
C. L.
[Southey's Joan of Arc, with contributions to Book II. by Coleridge, had been published in quarto by Cottle. Coleridge contributed to Book II. the first 450 lines, with the exception of 141-143, 148-222, 266-272 and 286-291. He subsequently took out his lines and gave them new shape as the poem "The Destiny of Nations," printed in Sibylline Leaves, 1817. All subsequent editions of Southey's poem appeared without Coleridge's portion. The passages on page 26 and page 28 were Southey's. Those at the beginning of the second book were Coleridge's. The simile of the Laplander may be read in "The Destiny of Nations" (lines 63-79). These were the reasons given by Coleridge for monarchs making war:—
When Luxury and Lust's exhausted stores
No more can rouse the appetites of KINGS;
When the low Flattery of their reptile Lords
Falls flat and heavy on the accustomed ear;
When Eunuchs sing, and Fools buffoon'ry make.
And Dancers writhe their harlot limbs in vain:
Then War and all its dread vicissitudes
Pleasingly agitate their stagnant hearts….
The 447th line was Coleridge's. This is the passage:—
Whether thy LAW with unrefracted Ray
Beam on the PROPHET'S purged Eye, or if
Diseasing Realms the ENTHUSIAST, wild of thought,
Scatter new frenzies on the infected Throng,
THOU, Both inspiring and foredooming, Both
Fit INSTRUMENTS and best of perfect END.
With page 98 we come to Southey again, the remaining references being to him. The maid baffles the doctors in Book III.; page 126 is in Book IV.; the personifications are in Book VI.; the converse between Joan and Conrade is in Book IV.; page 313 is at the beginning of Book IX.; and pages 315, 347 and 361 are also in Book IX. Southey in the preface to Joan of Arc, speaking of Homer, says: "Pope has disguised him in fop-finery and Cowper has stripped him naked." "Crazy Kate" is an episode in The Task ("The Sofa").
The "Monody on John Henderson," by Joseph Cottle, was printed anonymously in a volume of poems in 1795, and again in The Malvern Hill. John Henderson (1757-1788) was an eccentric scholar of Bristol. The lines praised by Lamb are the 4th, 12th and 14th. The poem must not be confused with the Monody on Henderson, the actor, by G. D. Harley.
Lamb now turns again to Coleridge's Poems. The poem on the 13th and 14th pages of this little volume was "To the Rev. W. J. H." The 21st Effusion was that entitled "Composed while Climbing the Left Ascent of Brockley Coomb." The 35th Effusion is known as "The AEolian Harp." The letter from Shurton Bars is the poem beginning—
Nor travels my meand'ring eye.
The 4th Epistle is that to Joseph Cottle, Coleridge's publisher and the
author of the "Monody on Henderson," referred to in Coleridge's verses.
The lines which Lamb quotes are Cottle's. The poem by Sara Coleridge is
"The Silver Thimble." The passage in the "Religious Musings," for which
Lamb is thankful as a "child of fancy," is the last paragraph:—
Contemplant Spirits! ye that hover o'er
With untired gaze the immeasurable fount
Ebullient with creative Deity!
And ye of plastic power, that interfused
Roll through the grosser and material mass
In organising surge! Holies of God!
(And what if Monads of the infinite mind?)
I haply journeying my immortal course
Shall sometime join your mystic choir!
Till then
I discipline my young noviciate thought
In ministeries of heart-stirring song,
And aye on Meditation's heaven-ward wing
Soaring aloft I breathe the empyreal air
Of Love, omnific, omnipresent Love,
Whose day-spring rises glorious in my soul
As the great Sun, when he his influence
Sheds on the frost-bound waters—The glad stream
Flows to the ray and warbles as it flows.
"You came to Town …" Soon after his engagement with Sara Fricker, his heart being still not wholly healed of its passion for Mary Evans, Coleridge had gone to London from Bristol, nominally to arrange for the publication of his Fall of Robespierre, and had resumed intercourse with Lamb and other old Christ's Hospital friends. There he remained until Southey forcibly took him back in January, 1795. From what Lamb says of the loss of two friends we must suppose, in default of other information, that he had to give up his Anna at the same time. The loss of reason, however, to which he refers did not come until the end of the year 1795.
The 19th Effusion, afterwards called "On a Discovery Made Too Late;" the 28th, "The Kiss;" the 29th, "Imitated from Ossian."
"Your monody." This, not to be confounded with Cottle's "Monody on Henderson," was Coleridge's "Monody on Chatterton." Lamb's emendations were not accepted. As regards "The Man of Ross," the couplet beginning "Friend to the friendless" ultimately had a place both in that poem and in the Monody, but the couplet "and o'er the dowried virgin" was never replaced in either. The lines on spring, page 28, are "Lines to a Beautiful Spring." Dr. Forster (Faustus) was the hero of the nursery rhyme, whose scholars danced out of England into France and Spain and back again. The epitaph on an infant was in The Watchman, No. IX. (see note on page 62). The poem "Edmund" is called "Lines on a Friend who died of a frenzy fever induced by calumnious reports." The lines in "Absence" are those in the second stanza of the poem. They run thus:—
Ah fair Delights! that o'er my soul
On Memory's wing, like shadows fly!
Ah Flowers! which Joy from Eden stole
While Innocence stood smiling by!—
But cease, fond Heart! this bootless moan:
Those Hours on rapid Pinions flown
Shall yet return, by ABSENCE crowned,
And scatter livelier roses round.
The 19th Effusion, beginning "Thou bleedest, my poor heart," is known as "On a Discovery Made Too Late." The 20th Effusion is the sonnet to Schiller. The lines which were sent to Lamb, written in December, 1794, are called "To a Friend, together with an unfinished poem" ("Religious Musings"). Coleridge's "Restless Gale" is the imitation of Ossian, beginning, "The stream with languid murmur creeps." "Foodful" occurs thus in the lines "To an Infant":—
Alike the foodful fruit and scorching fire
Awake thy eager grasp and young desire.
Coleridge did not alter the phrase.
Lamb contributed four effusions to this volume of Coleridge's: the 7th, to Mrs. Siddons (written in conjunction with Coleridge), the 11th, 12th and 13th. All were signed C. L. Coleridge had permitted himself to make various alterations. The following parallel will show the kind of treatment to which Lamb objected:—
LAMB'S ORIGINAL EFFUSION (11)
Was it some sweet device of Faery
That mock'd my steps with many a lonely glade,
And fancied wanderings with a fair-hair'd maid?
Have these things been? or what rare witchery,
Impregning with delights the charmed air,
Enlighted up the semblance of a smile
In those fine eyes? methought they spake the while
Soft soothing things, which might enforce despair
To drop the murdering knife, and let go by
His foul resolve. And does the lonely glade
Still court the foot-steps of the fair-hair'd maid?
Still in her locks the gales of summer sigh?
While I forlorn do wander reckless where,
And 'mid my wanderings meet no Anna there.
AS ALTERED BY COLERIDGE
Was it some sweet device of faery land
That mock'd my steps with many a lonely glade,
And fancied wand'rings with a fair-hair'd maid?
Have these things been? Or did the wizard wand
Of Merlin wave, impregning vacant air,
And kindle up the vision of a smile
In those blue eyes, that seem'd to speak the while
Such tender things, as might enforce Despair
To drop the murth'ring knife, and let go by
His fell resolve? Ah me! the lonely glade
Still courts the footsteps of the fair-hair'd maid,
Among whose locks the west-winds love to sigh:
But I forlorn do wander, reckless where,
And mid my wand'rings find no ANNA there!
In Effusion 12 Lamb had written:—
Or we might sit and tell some tender tale
Of faithful vows repaid by cruel scorn,
A tale of true love, or of friend forgot;
And I would teach thee, lady, how to rail
In gentle sort, on those who practise not
Or Love or pity, though of woman born.
Coleridge made it:—
But ah! sweet scenes of fancied bliss, adieu!
On rose-leaf beds amid your faery bowers
I all too long have lost the dreamy hours!
Beseems it now the sterner Muse to woo,
If haply she her golden meed impart
To realize the vision of the heart.
Again in the 13th Effusion, "Written at Midnight, by the Sea-side, after a Voyage," Lamb had dotted out the last two lines. Coleridge substituted the couplet:—
How Reason reel'd! What gloomy transports rose!
Till the rude dashings rock'd them to repose.
Effusion 2, which Lamb would omit, was the sonnet "To Burke;" Effusion
3, "To Mercy" (on Pitt); Effusion 5, "To Erskine;" Effusion 7, Lamb and
Coleridge's joint sonnet, "To Mrs. Siddons;" and Effusion 8, "To
Koskiusko." The "Lines Written in Early Youth" were afterwards called
"Lines on an Autumnal Evening." The poem called "Recollection," in The
Watchman, was reborn as "Sonnet to the River Otter." The lines on the
early blossom were praised by Lamb in a previous letter. The 10th
Effusion was the sonnet to Earl Stanhope.
Godwin was William Godwin, the philosopher. We shall later see much of him. It was Allen's wife, not Stoddart's, who had a grown-up daughter.
Ned Evans was a novel in four volumes, published in 1796, an imitation of Tom Jones, which presumably Coleridge was reviewing for the Critical Review.
Young W. Evans is said by Mr. Dykes Campbell to have been the only son of the Mrs. Evans who befriended Coleridge when he was at Christ's Hospital, the mother of his first love, Mary Evans. Evans was at school with Coleridge and Lamb. We shall meet with him again.
William Lisle Bowles (1762-1850), the sonneteer, who had exerted so powerful a poetical influence on Coleridge's mind, was at this time rector of Cricklade in Wiltshire (1792-1797), but had been ill at Bath. The elegy in question was "Elegiac Stanzas written during sickness at Bath, December, 1795." The lines quoted by Lamb are respectively in the 6th, 4th, 5th and 19th Stanzas.
Sophia Pringle. Probably the subject of a Catnach or other popular broadside. I have not found it.
Izaak Walton. Lamb returns to praises of The Compleat Angler in his letter to Robert Lloyd referred to on page 215.
The reference to the Unitarian chapel bears probably upon an offer of a pulpit to Coleridge. The tutorship was probably that offered to Coleridge by Mrs. Evans of Darley Hall (no relation to Mary Evans) who wished him to teach her sons. Neither project was carried through.]
LETTER 4
(Apparently a continuation of a letter the first part of which is missing)
CHARLES LAMB TO S. T. COLERIDGE
[Begun] Monday Night [June 13, 1796].
UNFURNISHED at present with any sheet-filling subject, I shall continue my letter gradually and journal-wise. My second thoughts entirely coincide with your comments on "Joan of Arc," and I can only wonder at my childish judgment which overlooked the 1st book and could prefer the 9th: not that I was insensible to the soberer beauties of the former, but the latter caught me with its glare of magic,—the former, however, left a more pleasing general recollection in my mind. Let me add, the 1st book was the favourite of my sister—and I now, with Joan, often "think on Domremi and the fields of Arc." I must not pass over without acknowledging my obligations to your full and satisfactory account of personifications. I have read it again and again, and it will be a guide to my future taste. Perhaps I had estimated Southey's merits too much by number, weight, and measure. I now agree completely and entirely in your opinion of the genius of Southey. Your own image of melancholy is illustrative of what you teach, and in itself masterly. I conjecture it is "disbranched" from one of your embryo "hymns." When they are mature of birth (were I you) I should print 'em in one separate volume, with "Religious Musings" and your part of the "Joan of Arc." Birds of the same soaring wing should hold on their flight in company. Once for all (and by renewing the subject you will only renew in me the condemnation of Tantalus), I hope to be able to pay you a visit (if you are then at Bristol) some time in the latter end of August or beginning of September for a week or fortnight; before that time, office business puts an absolute veto on my coming.
"And if a sigh that speaks regret of happier times appear,
A glimpse of joy that we have met shall shine and dry the tear."
Of the blank verses I spoke of, the following lines are the only tolerably complete ones I have writ out of not more than one hundred and fifty. That I get on so slowly you may fairly impute to want of practice in composition, when I declare to you that (the few verses which you have seen excepted) I have not writ fifty lines since I left school. It may not be amiss to remark that my grandmother (on whom the verses are written) lived housekeeper in a family the fifty or sixty last years of her life—that she was a woman of exemplary piety and goodness—and for many years before her death was terribly afflicted with a cancer in her breast which she bore with true Christian patience. You may think that I have not kept enough apart the ideas of her heavenly and her earthly master but recollect I have designedly given in to her own way of feeling—and if she had a failing, 'twas that she respected her master's family too much, not reverenced her Maker too little. The lines begin imperfectly, as I may probably connect 'em if I finish at all,—and if I do, Biggs shall print 'em in a more economical way than you yours, for (Sonnets and all) they won't make a thousand lines as I propose completing 'em, and the substance must be wire-drawn.
Tuesday Evening, June 14, 1796.
I am not quite satisfied now with the Chatterton, and with your leave will try my hand at it again. A master joiner, you know, may leave a cabinet to be finished, when his own hands are full. To your list of illustrative personifications, into which a fine imagination enters, I will take leave to add the following from Beaumont and Fletcher's "Wife for a Month;" 'tis the conclusion of a description of a sea-fight;—"The game of death was never played so nobly; the meagre thief grew wanton in his mischiefs, and his shrunk hollow eyes smiled on his ruins." There is fancy in these of a lower order from "Bonduca;"—"Then did I see these valiant men of Britain, like boding owls creep into tods of ivy, and hoot their fears to one another nightly." Not that it is a personification; only it just caught my eye in a little extract book I keep, which is full of quotations from B. and F. in particular, in which authors I can't help thinking there is a greater richness of poetical fancy than in any one, Shakspeare excepted. Are you acquainted with Massinger? At a hazard I will trouble you with a passage from a play of his called "A Very Woman." The lines are spoken by a lover (disguised) to his faithless mistress. You will remark the fine effect of the double endings. You will by your ear distinguish the lines, for I write 'em as prose. "Not far from where my father lives, a lady, a neighbour by, blest with as great a beauty as nature durst bestow without undoing, dwelt, and most happily, as I thought then, and blest the house a thousand times she dwelt in. This beauty, in the blossom of my youth, when my first fire knew no adulterate incense, nor I no way to flatter but my fondness; in all the bravery my friends could show me, in all the faith my innocence could give me, in the best language my true tongue could tell me, and all the broken sighs my sick heart lend me, I sued and served; long did I serve this lady, long was my travail, long my trade to win her; with all the duty of my soul I SERVED HER." "Then she must love." "She did, but never me: she could not love me; she would not love, she hated,—more, she scorn'd me; and in so poor and base a way abused me for all my services, for all my bounties, so bold neglects flung on me."—"What out of love, and worthy love, I gave her (shame to her most unworthy mind,) to fools, to girls, to fiddlers and her boys she flung, all in disdain of me." One more passage strikes my eye from B. and F.'s "Palamon and Arcite." One of 'em complains in prison: "This is all our world; we shall know nothing here but one another, hear nothing but the clock that tells our woes; the vine shall grow, but we shall never see it," &c. Is not the last circumstance exquisite? I mean not to lay myself open by saying they exceed Milton, and perhaps Collins, in sublimity. But don't you conceive all poets after Shakspeare yield to 'em in variety of genius? Massinger treads close on their heels; but you are most probably as well acquainted with his writings as your humble servant. My quotations, in that case, will only serve to expose my barrenness of matter. Southey in simplicity and tenderness, is excelled decidedly only, I think, by Beaumont and F. in his [their] "Maid's Tragedy" and some parts of "Philaster" in particular, and elsewhere occasionally; and perhaps by Cowper in his "Crazy Kate," and in parts of his translation, such as the speeches of Hecuba and Andromache. I long to know your opinion of that translation. The Odyssey especially is surely very Homeric. What nobler than the appearance of Phoebus at the beginning of the Iliad—the lines ending with "Dread sounding, bounding on the silver bow!"
I beg you will give me your opinion of the translation; it afforded me high pleasure. As curious a specimen of translation as ever fell into my hands, is a young man's in our office, of a French novel. What in the original was literally "amiable delusions of the fancy," he proposed to render "the fair frauds of the imagination!" I had much trouble in licking the book into any meaning at all. Yet did the knave clear fifty or sixty pounds by subscription and selling the copyright. The book itself not a week's work! To-day's portion of my journalising epistle has been very dull and poverty-stricken. I will here end.
Tuesday Night.
I have been drinking egg-hot and smoking Oronooko (associated circumstances, which ever forcibly recall to my mind our evenings and nights at the Salutation); my eyes and brain are heavy and asleep, but my heart is awake; and if words came as ready as ideas, and ideas as feelings, I could say ten hundred kind things. Coleridge, you know not my supreme happiness at having one on earth (though counties separate us) whom I can call a friend. Remember you those tender lines of Logan?—
"Our broken friendships we deplore,
And loves of youth that are no more;
No after friendships e'er can raise
Th' endearments of our early days,
And ne'er the heart such fondness prove,
As when we first began to love."
I am writing at random, and half-tipsy, what you may not equally understand, as you will be sober when you read it; but my sober and my half-tipsy hours you are alike a sharer in. Good night.
"Then up rose our bard, like a prophet in drink,
Craigdoroch, thou'lt soar when creation shall sink."
BURNS.
Thursday [June 16, 1796].
I am now in high hopes to be able to visit you, if perfectly convenient on your part, by the end of next month—perhaps the last week or fortnight in July. A change of scene and a change of faces would do me good, even if that scene were not to be Bristol, and those faces Coleridge's and his friends. In the words of Terence, a little altered, "Taedet me hujus quotidiani mundi." I am heartily sick of the every-day scenes of life. I shall half wish you unmarried (don't show this to Mrs. C.) for one evening only, to have the pleasure of smoking with you, and drinking egg-hot in some little smoky room in a pot-house, for I know not yet how I shall like you in a decent room, and looking quite happy. My best love and respects to Sara notwithstanding.
Yours sincerely,
CHARLES LAMB.
[Coleridge's image of melancholy will be found in the lines "Melancholy—a fragment." It was published in Sibylline Leaves, 1817, and in a note Coleridge said that the verses were printed in the Morning Chronicle in 1794. They were really printed in the Morning Post, December 12, 1797. Coleridge had probably sent them to Lamb in MS. The "hymns" came to nothing.
"The following lines." Lamb's poem "The Grandame" was presumably included in this letter. See Vol. IV. Mary Field, Lamb's grandmother, died July 31, 1792, aged seventy-nine, and was buried in Widford churchyard. She had been for many years housekeeper in the Plumer family at Blakesware. On William Plumer's moving to Gilston, a neighbouring seat, in 1767, she had sole charge of the Blakesware mansion, where her grandchildren used to visit her. Compare Lamb's Elia essays "Blakesmoor in H——shire" and "Dream-Children,"
N. Biggs was the printer of Coleridge's Poems, 1797.
Lamb had begun his amendment of Coleridge's "Monody on the Death of Chatterton" in his letter of June 10. Coleridge's illustrative personifications, here referred to, are in that poem. The extract book from which Lamb copied his quotations from Beaumont and Fletcher and Massinger was, he afterwards tells us, destroyed; but similar volumes, which he filled later, are preserved. Many of his extracts he included in his Dramatic Specimens.
Writing to Charles Lloyd, sen., in 1809, Lamb says of Cowper as a translator of Homer that he "delays you … walking over a Bowling Green."
Canon Ainger possessed a copy of the book translated by Lamb's
fellow-clerk. It was called Sentimental Tablets of the Good Pamphile.
"Translated from the French of M. Gorjy by P. S. Dupuy of the East India
House, 1795." Among the subscribers' names were Thomas Bye (5 copies),
Ball, Evans, Savory (2 copies), and Lamb himself.]
LETTER 5
CHARLES LAMB TO S.T. COLERIDGE
[Probably begun on Wednesday, June 29. P.M. July 1, 1796.]
The first moment I can come I will, but my hopes of coming yet a while yet hang on a ticklish thread. The coach I come by is immaterial as I shall so easily by your direction find ye out. My mother is grown so entirely helpless (not having any use of her limbs) that Mary is necessarily confined from ever sleeping out, she being her bed fellow. She thanks you tho' and will accompany me in spirit. Most exquisite are the lines from Withers. Your own lines introductory to your poem on Self run smoothly and pleasurably, and I exhort you to continue 'em. What shall I say to your Dactyls? They are what you would call good per se, but a parody on some of 'em is just now suggesting itself, and you shall have it rough and unlicked. I mark with figures the lines parodied.
4.—Sórely your Dáctyls do drág along lim'p-footed.
5.—Sád is the méasure that han'gs a clod roúnd 'em so,
6.—Méagre, and lan'guid, procláiming its wrétchedness.
1.—Wéary, unsátisfied, nót little sic'k of 'em.
11.—Cóld is my tíred heart, Í have no chárity.
2.—Páinfully tráv'lling thus óver the rúgged road.
7.—Ó begone, Méasure, half Látin, half En'glish, then.
12.—Dismal your Dáctyls are, Gód help ye, rhyming Ones.
I possibly may not come this fortnight—therefore all thou hast to do is not to look for me any particular day, only to write word immediately if at any time you quit Bristol, lest I come and Taffy be not at home. I hope I can come in a day or two. But young Savory of my office is suddenly taken ill in this very nick of time and I must officiate for him till he can come to work again. Had the knave gone sick and died and putrefied at any other time, philosophy might have afforded one comfort, but just now I have no patience with him. Quarles I am as great a stranger to as I was to Withers. I wish you would try and do something to bring our elder bards into more general fame. I writhe with indignation when in books of Criticism, where common place quotation is heaped upon quotation, I find no mention of such men as Massinger, or B. and Fl, men with whom succeeding Dramatic Writers (Otway alone excepted) can bear no manner of comparison. Stupid Knox hath noticed none of 'em among his extracts.
Thursday.—Mrs. C. can scarce guess how she has gratified me by her very kind letter and sweet little poem. I feel that I should thank her in rhyme, but she must take my acknowledgment at present in plain honest prose. The uncertainty in which I yet stand whether I can come or no damps my spirits, reduces me a degree below prosaical, and keeps me in a suspense that fluctuates between hope and fear. Hope is a charming, lively, blue-eyed wench, and I am always glad of her company, but could dispense with the visitor she brings with her, her younger sister, Fear, a white-liver'd, lilly-cheeked, bashful, palpitating, awkward hussey, that hangs like a green girl at her sister's apronstrings, and will go with her whithersoever she goes. For the life and soul of me I could not improve those lines in your poem on the Prince and Princess, so I changed them to what you bid me and left 'em at Perry's. I think 'em altogether good, and do not see why you were sollicitous about any alteration. I have not yet seen, but will make it my business to see, to-day's Chronicle, for your verses on Horne Took. Dyer stanza'd him in one of the papers t'other day, but I think unsuccessfully. Tooke's friends' meeting was I suppose a dinner of CONDOLENCE. I am not sorry to find you (for all Sara) immersed in clouds of smoke and metaphysic. You know I had a sneaking kindness for this last noble science, and you taught me some smattering of it. I look to become no mean proficient under your tuition. Coleridge, what do you mean by saying you wrote to me about Plutarch and Porphyry—I received no such letter, nor remember a syllable of the matter, yet am not apt to forget any part of your epistles, least of all an injunction like that. I will cast about for 'em, tho' I am a sad hand to know what books are worth, and both those worthy gentlemen are alike out of my line. To-morrow I shall be less suspensive and in better cue to write, so good bye at present.
Friday Evening.—That execrable aristocrat and knave Richardson has given me an absolute refusal of leave! The poor man cannot guess at my disappointment. Is it not hard, "this dread dependance on the low bred mind?" Continue to write to me tho', and I must be content—Our loves and best good wishes attend upon you both.
LAMB.
Savory did return, but there are 2 or 3 more ill and absent, which was the plea for refusing me. I will never commit my peace of mind by depending on such a wretch for a favor in future, so shall never have heart to ask for holidays again. The man next him in office, Cartwright, furnished him with the objections.
C. LAMB.
[The Dactyls were Coleridge's only in the third stanza; the remainder
were Southey's. The poem is known as "The Soldier's Wife," printed in
Southey's Poems, 1797. Later Southey revised the verses. The
Anti-Jacobin had a parody of them.
Young Savory was probably a relative of Hester Savory, whom we shall meet later. He entered the East India House on the same day that Lamb did.
We do not know what were the lines from Wither which Coleridge had sent to Lamb; but Lamb himself eventually did much to bring him and the elder bards into more general fame—in the Dramatic Specimens, 1808, and in the essay "On the Poetical Works of George Wither," in the Works, 1818.
Stupid Knox was Vicesimus Knox (1752-1821), the editor of Elegant
Extracts in many forms.
"Her … sweet little poem." Sara Coleridge's verses no longer exist.
See Lamb's next letter for his poetical reply.
Coleridge's poem on the Prince and Princess, "On a Late Connubial Rupture in High Life," was not accepted by Perry, of the Morning Chronicle. It appeared in the Monthly Magazine, September, 1796. The "Verses addressed to J. Horne Tooke and the company who met on June 28, 1796, to celebrate his poll at the Westminster Election" were not printed in the Morning Chronicle. Tooke had opposed Charles James Fox, who polled 5,160 votes, and Sir Alan Gardner, who polled 4,814, against his own 2,819.
Dyer was George Dyer (1755-1841), an old Christ's Hospitaller (but before Lamb and Coleridge's time), of whom we shall see much—Lamb's famous "G.D."
William Richardson was Accountant-General of the East India House at that time; Charles Cartwright, his Deputy.]
LETTER 6
CHARLES LAMB TO S.T. COLERIDGE
The 5th July, 1796. [P.M. Same date.]
TO SARA AND HER SAMUEL
Was it so hard a thing? I did but ask
A fleeting holy day. One little week,
Or haply two, had bounded my request.
What if the jaded Steer, who all day long
Had borne the heat and labour of the plough,
When Evening came and her sweet cooling hour,
Should seek to trespass on a neighbour copse,
Where greener herbage waved, or clearer streams
Invited him to slake his burning thirst?
That Man were crabbed, who should say him Nay:
That Man were churlish, who should drive him thence!
A blessing light upon your heads, ye good,
Ye hospitable pair. I may not come,
To catch on Clifden's heights the summer gale:
I may not come, a pilgrim, to the "Vales
Where Avon winds," to taste th' inspiring waves
Which Shakespere drank, our British Helicon:
Or, with mine eye intent on Redcliffe towers,
To drop a tear for that Mysterious youth,
Cruelly slighted, who to London Walls,
In evil hour, shap'd his disastrous course.
Complaints, begone; begone, ill-omen'd thoughts—
For yet again, and lo! from Avon banks
Another "Minstrel" cometh! Youth beloved,
God and good angels guide thee on thy way,
And gentler fortunes wait the friends I love.
C.L.
LETTER 7
CHARLES LAMB TO S.T. COLERIDGE
the 6th July [P.M. July 7, 1796].
Substitute in room of that last confused & incorrect Paragraph, following the words "disastrous course," these lines
[Sidenote: Vide 3d page of this epistle.]
{ With better hopes, I trust, from Avon's vales
{ This other "minstrel" cometh Youth endear'd
no { God & good Angels guide thee on thy road,
{ And gentler fortunes wait the friends I love.
[Lamb has crossed through the above lines.]
Let us prose.
What can I do till you send word what priced and placed house you should like? Islington (possibly) you would not like, to me 'tis classical ground. Knightsbridge is a desirable situation for the air of the parks. St. George's Fields is convenient for its contiguity to the Bench. Chuse! But are you really coming to town? The hope of it has entirely disarmed my petty disappointment of its nettles. Yet I rejoice so much on my own account, that I fear I do not feel enough pure satisfaction on yours. Why, surely, the joint editorship of the Chron: must be a very comfortable & secure living for a man. But should not you read French, or do you? & can you write with sufficient moderation, as 'tis called, when one suppresses the one half of what one feels, or could say, on a subject, to chime in the better with popular luke-warmness?—White's "Letters" are near publication. Could you review 'em, or get 'em reviewed? Are you not connected with the Crit: Rev:? His frontispiece is a good conceit: Sir John learning to dance, to please Madame Page, in dress of doublet, etc., from [for] the upper half; & modern pantaloons, with shoes, etc., of the 18th century, from [for] the lower half—& the whole work is full of goodly quips & rare fancies, "all deftly masqued like hoar antiquity"—much superior to Dr. Kenrick's Falstaff's Wedding, which you may have seen. Allen sometimes laughs at Superstition, & Religion, & the like. A living fell vacant lately in the gift of the Hospital. White informed him that he stood a fair chance for it. He scrupled & scrupled about it, and at last (to use his own words) "tampered" with Godwin to know whether the thing was honest or not. Godwin said nay to it, & Allen rejected the living! Could the blindest Poor Papish have bowed more servilely to his Priest or Casuist? Why sleep the Watchman's answers to that Godwin? I beg you will not delay to alter, if you mean to keep, those last lines I sent you. Do that, & read these for your pains:—
TO THE POET COWPER
Cowper, I thank my God that thou art heal'd!
Thine was the sorest malady of all;
And I am sad to think that it should light
Upon the worthy head! But thou art heal'd,
And thou art yet, we trust, the destin'd man,
Born to reanimate the Lyre, whose chords
Have slumber'd, and have idle lain so long,
To the immortal sounding of whose strings
Did Milton frame the stately-pacèd verse;
Among whose wires with lighter finger playing,
Our elder bard, Spenser, a gentle name,
The Lady Muses' dearest darling child,
Elicited the deftest tunes yet heard
In Hall or Bower, taking the delicate Ear
Of Sydney, & his peerless Maiden Queen.
Thou, then, take up the mighty Epic strain,
Cowper, of England's Bards, the wisest & the best.
1796.
I have read your climax of praises in those 3 reviews. These mighty spouters-out of panegyric waters have, 2 of 'em, scattered their spray even upon me! & the waters are cooling & refreshing. Prosaically, the Monthly Reviewers have made indeed a large article of it, & done you justice. The Critical have, in their wisdom, selected not the very best specimens, & notice not, except as one name on the muster-roll, the "Religious Musings." I suspect Master Dyer to have been the writer of that article, as the substance of it was the very remarks & the very language he used to me one day. I fear you will not accord entirely with my sentiments of Cowper, as exprest above, (perhaps scarcely just), but the poor Gentleman has just recovered from his Lunacies, & that begets pity, & pity love, and love admiration, & then it goes hard with People but they lie! Have you read the Ballad called "Leonora," in the second Number of the "Monthly Magazine"? If you have !!!!!!!!!!!!!! There is another fine song, from the same author (Berger), in the 3d No., of scarce inferior merit; & (vastly below these) there are some happy specimens of English hexameters, in an imitation of Ossian, in the 5th No. For your Dactyls I am sorry you are so sore about 'em—a very Sir Fretful! In good troth, the Dactyls are good Dactyls, but their measure is naught. Be not yourself "half anger, half agony" if I pronounce your darling lines not to be the best you ever wrote—you have written much.
For the alterations in those lines, let 'em run thus:
I may not come a pilgrim, to the Banks of Avon, lucid stream, to taste the wave (inspiring wave) was too which Shakspere drank, our British Helicon; common place. or with mine eye, &c., &c. To muse, in tears, on that mysterious Youth, &c. (better than "drop a tear")
Then the last paragraph alter thus
better refer to my own Complaint begone, begone unkind reproof, "complaint" solely than Take up, my song, take up a merrier strain, half to that and half to For yet again, & lo! from Avon's vales, Chatterton, as in your Another mistrel cometh! youth endeared, copy, which creates a God & good angels &c., as before confusion—"ominous fears" &c.
Have a care, good Master poet, of the Statute de Contumelia. What do you mean by calling Madame Mara harlot & naughty things? The goodness of the verse would not save you in a court of Justice. But are you really coming to town?
Coleridge, a gentleman called in London lately from Bristol, inquired whether there were any of the family of a Mr. Chambers living—this Mr. Chambers he said had been the making of a friend's fortune who wished to make some return for it. He went away without seeing her. Now, a Mrs. Reynolds, a very intimate friend of ours, whom you have seen at our house, is the only daughter, & all that survives, of Mr. Chambers—& a very little supply would be of service to her, for she married very unfortunately, & has parted with her husband. Pray find out this Mr. Pember (for that was the gentleman's friend's name), he is an attorney, & lives at Bristol. Find him out, & acquaint him with the circumstances of the case, & offer to be the medium of supply to Mrs. Reynolds, if he chuses to make her a present. She is in very distrest circumstances. Mr. Pember, attorney, Bristol—Mr. Chambers lived in the Temple. Mrs. Reynolds, his daughter, was my schoolmistress, & is in the room at this present writing. This last circumstance induced me to write so soon again—I have not further to add—Our loves to Sara.
Thursday.
C. LAMB.
[The passage at the beginning, before "Let us prose," together with the later passages in the same manner, refers to the poem in the preceding letter, which in slightly different form is printed in editions of Lamb as "Lines to Sara and Her Samuel." To complete the sense of the letter one should compare the text of the poem in Vol. IV.
Coleridge had just received a suggestion, through Dr. Beddoes of
Bristol, that he should replace Grey, the late co-editor (with James
Perry) of the Morning Chronicle. It came to nothing; but Coleridge had
told Lamb and had asked him to look out a house in town for him.
Dr. Kenrick's "Falstaff's Wedding," 1760, was a continuation of
Shakespeare's "Henry IV."
We do not know what were the last lines that Lamb had sent to Coleridge. The lines to Cowper were printed in the Monthly Magazine for December, 1796.
Coleridge's Poems were reviewed in the Monthly Review, June, 1796, with no mention of Lamb. The Critical Review for the same month said of Lamb's effusions: "These are very beautiful."
Burger's "Leonora," which was to have such an influence upon English literature (it was the foundation of much of Sir Walter Scott's poetry), was translated from the German by William Taylor of Norwich in 1790 and printed in the Monthly Magazine in March, 1796. Scott at once made a rival version. The other fine song, in the April Monthly Magazine, was "The Lass of Fair Wone."
The mention of the Statute de Contumeliâ seems to refer to the "Lines Composed in a Concert-Room," which were first printed in the Morning Post, September 24, 1799, but must have been written earlier. Madame Mara (1749-1833) is not mentioned by name in the poem, but being one of the principal singers of the day Lamb probably fastened the epithet upon her by way of pleasantry; or she may have been referred to in the version of the lines which Lamb had seen.
The passage about Mr. Chambers is not now explicable; but we know that Mrs. Reynolds was Lamb's schoolmistress, probably when he was very small, and before he went to William Bird's Academy, and that in later life he allowed her a pension of £30 a year until her death.
Between this and the next letter came, in all probability, a number of letters to Coleridge which have been lost. It is incredible that Lamb kept silence, at this period, for eleven weeks.]