Murray's hands for publication, and money advanced on it, but in March 1817, and against Coleridge's protests, it was redeemed by Rest Fenner and published by him. 'It might go down in a collection, but alone it would be neither profitable to [the publisher] nor creditable to If I published "Zapolya" at all, it should be with a dramatic essay prefixed and two other tragedies,1 the Remorse greatly improved as one' (Coleridge to Fenner's partner, Curtis, March 17, 1817, printed in Lippincott's Mag. June 1874). Fenner's action was justified by the success of Zapolya, from the publisher's point of view, at least, for two thousand copies were sold.


PART II. Act i. Sc. i. 11. 25-28, p. 4II. See an amusing story of the 'metaphysics' in these lines told by Coleridge in the concluding chapter of Biog. Lit.

Glycine's Song, p. 422. See also p. 186 and Note 196.'

PART II. Act iv. Sc. i. 11. 44-49, p. 434.

These lines were first added in 1829, and ll. 50-53 rewritten.

PART II. Act iv. Sc. ii. 11. 4-6, pp. 435, 436. The editor of 1877-80 says that in a copy of Zapolya then in Mr. Pickering's possession, Coleridge had added some new lines here, making the passage read thus:

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And the same moment I descry him, lady, I will return to you.'

1 Coleridge appears to have written another play in the winter of 1815-16, which was declined by Covent Garden. See letter to Dr. Brabant printed in Westm. Rev. of July 1870 (p. 5), and Lamb's letters to Wordsworth of April 9 and 26, 1816 (Ainger's Letters, i. 302, 304). The MS. of the second play seems to have disappeared without leaving any other trace,

232. Job's Luck, p. 444.

First printed in M. Post, Sept. 26, 1801, with the heading 'The Devil outwitted' next as 'Epigram' in The Keepsake for 1829. A correspondent of N. and Q. (1st ser. ii. 516) points out that it is a translation of one of Owen's Epigrams, Bk. iii. 199.

233. Epigram 14, P. 444.

See an absurd story adapting this epigram 'to the author of The Ancient Mariner' in Biog. Lit. 1817, i. 28.

Coleridge reprinted the original lines, without note or comment, in The Keepsake for 1829.

234. Epigrams 15 and 16, pp. 444, 445.

In his own copy of the Ann. Anth. (1800) Coleridge drew his pen through these and wrote on the margin : 'Dull and profane.'

235. Epigram 25 (the Epitaph on
Hazlitt), p. 446.

Considering the virulence with which Hazlitt had attacked and pursued him, Coleridge's prose reflection (here first printed) is, perhaps, as kind and forgiving as could have been expected; but one feels that Coleridge falls short of the occasion in this lame adaptation of an old 'epitaph' originally and essentially inappropriate.

236. Epigrams 33-52, pp. 447-450.

The good, great Man (p. 169) was included in this series. In the second of the two issues of The Friend, No. XII., Epigrams Nos. 33, 54, 36, 35, 40, and 42 were printed on p. 192, replacing 'Specimens of Rabbinical Wisdom' discarded. These double (contemporaneous) issues do not extend beyond No. XII. In The Friend, 'Epigram 42' was headed For a French House-dog's Collar.' 'Epigram 49.' See some remarks àpropos in Table Talk, May 7, 1830. Lamb admired the effusion, and said of the series: Take 'em altogether, they are as good as Harrington's.'

237. Epigram 53, p. 450.

Sent to J. Wedgwood with the statement that it was composed while dreaming that I was dying at the "Black Bull Inn, on Sept. 13, 1803' (Cottle's Rem. p. 467).

238. Epigram 54, P. 450.

It is believed that this refers to the Lord Lonsdale (the first Earl) who wronged the Wordsworths.

239. Epigrams 64 and 65, p. 452.

There is no mistaking the local colour infused into these versicles. They must have been inspired by the poet's only visit to Cologne during the Rhine tour of 1828. Julian Young met the party at the Aders's house at Godesberg, and is my authority for the far inferior No. 66.

240. Cholera cured Beforehand, p. 452.

This doggerel was written with the view of amusing Coleridge's pupil, Joseph Henry Green, during the epidemic of 1832.

241. Fragment 62, p. 460.

Written after Coleridge had parted company with William and Dorothy Wordsworth on the Scotch tour of 1803. See Recoll. of a Tour . by D. W., edited by J. C. Shairp, 1874; and Coleorton Letters, edited by W. Knight, 1888, i. 6-9.

242. Fragment 76, p. 462.

Compare with this the following from a letter written in 1806 to W. Allston, printed in Scribner's Mag. Jan, 1892: 'Enough of it, continual vexations and preyings upon the spirit. I gave my life to my children, and they have repeatedly given it to me-for, by the Maker of all things, but for them I would try my chance. But they pluck out the wingfeathers from the mind.'

243. Fragment 81,
P. 463.

Ashley Green is the village near Bath in

which Coleridge lived with the Morgans, before they all removed to Calne.

244. Fragment 89, p. 465. Desire.' See Note 222.'

245. Fragment 95, p. 467.

'To a Child.' To Miss Fanny Boyce, afterwards Lady Wilmot Horton. First printed in the Athenæum, Jan. 28, 1888.

246. Fragment 96, p. 467.

Cf. My Baptismal Birth-Day, p. 210; and see Note 225.'

247. Fragment 105, p. 468.

Coleridge is here, consciously or unconsciously, stabbing himself. In 1804 he received a severe lecture from Southey on his habit of overstrained expressions of affectionateness to all and sundry (L. and Corr. of R. S. ii. 266, 267).


248. Prize Ode, ' Appendix B,' p. 476.

By the kindness of the Vice-Chancellor, and of the Registrary of the University of Cambridge, I am enabled to print from the official MS. copy Coleridge's longforgotten Sapphic Ode, for which he received in 1792 the Browne Gold Medal. Nothing has hitherto been known of it except the few stanzas which Coleridge printed as a note to his portion of the Joan of Arc of 1796-the lines to which the note is appended being that which became 1. 438 of The Destiny of Nations (p. 78). These stanzas will be found in Note 102.

Coleridge's success proved very gratifying to his family as well as to himself, and he received from his elder brother, George, the following congratulatory lines, which I am permitted to print here by the courtesy of the representatives of the writer :


Say, Holy Genius - Heaven - descended beam,

Why interdicted is the sacred Fire

That flows spontaneous from thy golden Lyre?

Why Genius like the emanative Ray
That issuing from the dazzling Fount of

Wakes all created Nature into Day-
Art thou not all-diffusive, all-benign?
Thy partial hand I blame. For Pity oft
In Supplications Vast-a weeping child
That meets me pensive on the barren wild,
And pours into my Soul Compassion soft,
The never-dying strain commands to flow-
Man sure is vain -nor sacred Genius

hearsNow speak in Melody-now weep in Tears. G. C.

The distinguished scholar who did me the kindness to revise the proofs of the Prize Ode, considers that it is scarcely worthy of Coleridge, and is also likely to create an unfair impression as to the standard of such exercises among those who do not realise the wide difference between the academic conditions of 1792 and those of a quarter of a century later. It is necessary to keep this in mind, but the Ode, with all its sins on it, has an historical as well as a personal interest. It no doubt represented fairly enough the undergraduate standard of scholarship in pre- Porsonian days, seeing that it won the prize in a wide competition, and that in the same year Porson placed Coleridge among a selected four to fight for the Craven Scholarship, in succession to himself, along with such prize - boys as Samuel Butler, Keate, and Bethell, Butler gained the Craven, but if not the rose, it is worth remembering that Coleridge lived near it, and did not waste all his time at the University on current politics, as is commonly believed.

But one emendation has been made in the text of the Ode―yeúovraι (1. 85) having been substituted for the unintel

ligible yevovvтal of the MS.

It is true that the substituted word is not itself metrically permissible, but it is probably what Coleridge wrote, meaning, 'Your daughters taste justice' (i.e. its blessings). It may be as well to mention that the accentuation is not Attic, but Aeolic, as is fitting in a Sapphic ode.

See Note 102.' A translation of the four stanzas of the Ode therein quoted, was printed in The London Magazine for October 1823. It was signed "Olen," the pseudonym of Sir Charles A. Elton, Bart.

I may here give a fragment which, though hardly admissible to the text, is worthy of preservation. In his Beaten Paths (1865, ii. 117), T. Colley Grattan describes a night ramble about Namur with Coleridge, when the latter was making his Rhine tour of 1828 with Wordsworth and Dora. 'He took me by the arm, and in his low recitative way he rehearsed two or three times, and finally recited, some lines which he said I had recalled to his mind, and which formed part of something never published. repeated the lines at my request, and as well as I could catch the broken sentences I wrote them down immediately afterwards with my pencil as follows:


'And oft I saw him stray, The bells of fox-glove in his hand-and


And anon he to his ear would hold a blade Of that stiff grass that 'mong the heathflower grows,

Which made a subtle kind of melody, Most like the apparition of a breeze, Singing with its thin voice in shadowy worlds.'


[For Poems and Fragments which have no title, see 'Index to the First Lines.']

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Age, Youth and, 191.

Akenside, Elegy imitated from, 31.

Album, Written in an, 451.

Alcæus to Sappho, 470.

Ale, Song in Praise of, 445.

Alice du Clos, 193.

Allegoric Vision, 534.

Alternative, The, 451.

Always Audible, 447.

'Amelia,' With Fielding's, 20.

Anacreon, An Ode in the Manner of, 19.
Ancient Mariner, The Rime of the, 95, 512.
Anna and Harland, 11.

Answer to a Child's Question, 170.

Anthem for the Children of Christ's Hospital, 3.
Apologetic Preface to 'Fire, Famine, and
Slaughter,' 527.

Aristophanes, Imitated from, 465.

Asra, To, 171.

Ass, To a young, 35, 477.

Association of Ideas, 466.

Author and his Friend, A Dialogue between an,


Authors and Publishers, 451.

Autumnal Evening, Lines on an, 24.

Autumnal Moon, Sonnet to the, 3.

BABY BATES, To, 470.

Bala Hill, On, 33.

Ballad of the Dark Ladié, The, 136.

Baptismal Birthday, On my, 210.
Barbour, Lines to Miss, 207.

Bastile, Destruction of the, 6.

'Beareth all Things,' 208.

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Elegy, Imitated from Akenside, 31.
Eminent Characters, Sonnets on, 38.
Eolian Harp, The, 49.

Epilogue to 'The Rash Conjurer,' 461.
Epitaph, A Tombless, 180.
Epitaph [on himself ], 210, 450.
Epitaph on a bad Man, 446.

Epitaph on a mercenary Miser, 448.
Epitaph on William Hazlitt, 446.
Epitaphium Testamentarium, 210.
Ἔρως ἀεὶ λάληθρος ἑταῖρος, 183.
Erskine, Sonnet to, 38.
Evening Star, To the, 11.
Exchange, The, 144.
Exile, An, 171.

Experiments in Metre, 470.

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