The Complete Dramatic Works of Samuel Taylor Coleridge. Samuel Taylor Coleridge
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Coleridge, though so prolific a conversationalist, and so prone to speech, knew when there was a time to be silent. He attempted no defence or excuse. He simply went indoors, and sitting distastefully to an unprepossessing supper, let Sara say her say upon the subject of Lloyd: it was an extensive and a justifiable recrimination. Then—still in the same abstracted and monosyllabic state,—he helped to wash up, attended—better late than never—to the pigs and fowls, and sat before the fire, with a note-book in his hands and baby-clothes pinned to warm upon his knees, while Sara put the child to bed. He was working out with patient care those apparently unpremeditated effects which go to make up the haunting melody of Christabel. For, skilful and accomplished metrist as he was, it was only by dint of "repeated experiments and intense mental effort" that he achieved those results in which his art appears most artless. However, he was in no fit state, over-tired and distressed as he felt, for laborious efforts of this kind: and presently Nature took vengeance upon him in the form of intolerable toothache. A little while he bore it: then, moving tip-toe lest he should be heard in the upper room where Sara was soothing the little one to sleep, he stole to a corner cupboard and took out a bottle of laudanum. In this false friend and insidious comforter he had already found relief and repose from mental, as from physical troubles,—more and more frequently he had recourse to it. He knew its fatal tendency to undermine the will and debilitate the constitution, yet he could not deny himself an artificial peace which he described as "a spot of enchantment, a green spot of fountains and trees in the very heart of a waste of sand."
And immediately he began to view things couleur de rose. The sharp tongue and angry face of Sara became transmogrified into the gentle semblance of her anagram, the imaginary Asra of his poems,—
To be beloved is all I need,
And whom I love I love indeed.
· · · · · ·
O ever—ever be thou blest!
For dearly, Asra! love I thee!
This brooding warmth across my breast,
This depth of tranquil bliss—ah, me!
Fount, tree and shed are gone, I know not whither,
But in one quiet room we three are still together.
The shadows dance upon the wall,
By the still dancing fire-flames made;
And now they slumber moveless all!
And now they melt to one deep shade!
But not from me shall this mild darkness steal thee:
I dream thee with mine eyes, and at my heart I feel thee!
The visions born of opium floated in vague, rich phantasmagoria across his slumbrous brain,
And so, his senses gradually wrapt
In a half-sleep, he dreams of better worlds,
—sitting in the failing firelight. With a great effort he roused himself to creep up the stair-ladder, and to lay his drugged limbs upon the hard straw bed. The child and Sara were already dreaming: he gazed at them with serene affection:
Dear Babe, that sleepest cradled by my side,
Whose gentle breathings, heard in this deep calm,
Fill up the interspersed vacancies
And momentary pauses of the thought!
My babe so beautiful! it thrills my heart
With tender gladness, thus to look at thee!
and lastly, with all the mental power yet left him, he committed himself to the God of whom he was so weak, so well-intentioned a worshipper:
Ere on my bed my limbs I lay,
It hath not been my use to pray
With moving lips or bended knees;
But silently, by slow degress,
My spirit I to Love compose,
In humble trust mine eye-lids close,
With reverential resignation,
No wish conceived, no thought expressed.
Only a sense of supplication,— A sense o'er all my soul impressed That I am weak, yet not unblest, Since in me, round me, every where Eternal Strength and Wisdom are.
But now the stealthy narcotic utterly beclouded him: he sank away as through unfathomable gulfs of somnolence. Samuel Taylor Coleridge had closed another day.
The Life of Samuel Taylor Coleridge by James Gillman
‘… But some to higher hopes
Were destined; some within a finer mould
Were wrought, and temper’d with a purer flame:
To these the Sire Omnipotent unfolds
The world’s harmonious volume, there to read
The transcript of himself ….’
TO JOSEPH HENRY GREEN, F.R.S.
PROFESSOR OF ANATOMY OF THE ROYAL ACADEMY, ETC. ETC.
THE HONOURED FAITHFUL AND BELOVED FRIEND OF
SAMUEL TAYLOR COLERIDGE,
THESE VOLUMES
ARE MOST RESPECTFULLY AND AFFECTIONATELY INSCRIBED.
PREFACE.
The more frequently we read and contemplate the lives of those eminent men so beautifully traced by the amiable Izaak Walton, the more we are impressed with the sweetness and simplicity of the work. Walton was a man of genius — of simple calling and more simple habits, though best known perhaps by his book on Angling; yet in the scarcely less attractive pages of his biographies, like the flowing of the gentle stream on which he sometimes cast his line, to practise “the all of treachery he ever learnt,” he leads the delighted reader imperceptibly on, charmed with the natural beauty of his sentiments, and the unaffected ease and simplicity of his style.
In his preface to the Sermons of (that pious poet and divine,) Dr. Donne, so much may be found applicable to the great and good man whose life the author is now writing, that he hopes to be pardoned for quoting from one so much more able to delineate rare virtues and high endowments: “And if he shall now be demanded, as once Pompey’s poor bondman was, who art thou that alone hast the honour to bury the body of Pompey the great?” so who is he who would thus erect a funeral pile to the memory of the honoured dead? …
With the writer of this work, during the latter twenty years of his life, Coleridge had been domesticated; and his intimate knowledge of that illustrious character induces him to hope that his present undertaking, “however imperfectly it may set forth the memory he fain would honour,” will yet not be considered presumptuous; inasmuch as he has had an opportunity of bringing together facts and anecdotes, with various memoranda never before published, some of which will