The Works of Charles and Mary Lamb Volume V Part 11

LETTER 19

CHARLES LAMB TO S. T. COLERIDGE

[Dated outside: Jan. 2, 1797.]

Your success in the higher species of the Ode is such, as bespeaks you born for atchievements of loftier enterprize than to linger in the lowly train of songsters and sonneteurs. Sincerely I think your Ode one of the finest I have read. The opening is in the spirit of the sublimest allegory. The idea of the "skirts of the departing year, seen far onwards, waving on the wind" is one of those n.o.ble Hints at which the Reader's imagination is apt to kindle into grand conceptions. Do the words "impetuous" and "solemnize" harmonize well in the same line? Think and judge. In the 2d strophe, there seems to be too much play of fancy to be consistent with that continued elevation we are taught to expect from the strain of the foregoing. The parenthized line (by the way I abominate parentheses in this kind of poetry) at the beginning of 7th page, and indeed all that gradual description of the throes and pangs of nature in childbirth, I do not much like, and those 4 first lines,--I mean "tomb gloom anguish and languish"--rise not above mediocrity. In the Epode, your mighty genius comes again: "I marked ambition" &c. Thro'

the whole Epod indeed you carry along our souls in a full spring tide of feeling and imaginat'n. Here is the "Storm of Music," as Cowper expresses it. Would it not be more abrupt "Why does the northern Conqueress stay" or "where does the northern Conqueress stay"?--this change of measure, rather than the feebler "Ah! whither", "Foul her life and dark her tomb, mighty army of the dead, dance like deathflies" &c.: here is genius, here is poetry, rapid, irresistible. The concluding line, is it not a personif: without use? "Nec deus intersit"--except indeed for rhyme sake. Would the laws of Strophe and antistrophe, which, if they are as unchangeable, I suppose are about as wise, [as] the Mede and Persian laws, admit of expunging that line altogether, and changing the preceding one to "and he, poor madman, deemd it quenchd in endless night?"--_fond_ madman or _proud_ madman if you will, but poor is more contemptuous. If I offer alterations of my own to your poetry, and admit not yours in mine, it is upon the principle of a present to a rich man being graciously accepted, and the same present to a poor man being considered as in insult. To return--The Antistrophe that follows is not inferior in grandeur or original: but is I think not faultless--e: g: How is Memory _alone_, when all the etherial mult.i.tude are there?

Reflect. Again "storiedst thy sad hours" is harsh, I need not tell you, but you have gained your point in expressing much meaning in few words: "Purple locks and snow white glories" "mild Arcadians ever blooming"

"seas of milk and s.h.i.+ps of amber" these are things the Muse talks about when, to borrow H. Walpole's witty phrase, she is not finely-phrenzied, only a little light-headed, that's all. "Purple locks." They may manage things differently in fairy land, but your "golden tresses" are more to my fancy. The spirit of the Earth is a most happy conceit, and the last line is one of the luckiest I ever heard--"_and stood up beautiful_ before the cloudy seat." I cannot enough admire it. 'Tis somehow picturesque in the very sound. The 2d Antistrophe (what is the meaning of these things?) is fine and faultless (or to vary the alliteration and not diminish the affectation) beautiful and blameless. I only except to the last line as meaningless after the preceding, and useless entirely--besides, why disjoin "nature and the world" here, when you had confounded both in their pregnancy: "the common earth and nature,"

recollect, a little before--And there is a dismal superfluity in the unmeaning vocable "unhurld"--the worse, as it is so evidently a rhyme-fetch.--"Death like he dozes" is a prosaic conceit--indeed all the Epode as far as "brother's corse" I most heartily commend to annihilation. The enthusiast of the lyre should not be so feebly, so tediously, delineative of his own feelings; 'tis not the way to become "Master of our affections." The address to Albion is very agreeable, and concludes even beautifully: "speaks safety to his island child"--"Sworded"--epithet _I_ would change for "cruel."

The immediately succeeding lines are prosaic: "mad avarice" is an unhappy combination; and "the coward distance yet with kindling pride"

is not only reprehensible for the ant.i.thetical turn, but as it is a quotation: "safe distance" and "coward distance" you have more than once had recourse to before--And the Lyric Muse, in her enthusiasm, should talk the language of her country, something removed from common use, something "recent," unborrowed. The dreams of destruction "soothing her fierce solitude," are vastly grand and terrific: still you weaken the effect by that superfluous and easily-conceived parenthesis that finishes the page. The foregoing image, few minds _could_ have conceived, few tongues could have so cloath'd; "muttring destempered triumph" &c. is vastly fine. I hate imperfect beginnings and endings.

Now your concluding stanza is worthy of so fine an ode. The beginning was awakening and striking; the ending is soothing and solemn--Are you serious when you ask whether you shall admit this ode? it would be strange infatuation to leave out your Chatterton; mere insanity to reject this. Unless you are fearful that the splendid thing may be a means of "eclipsing many a softer satellite" that twinkles thro' the volume. Neither omit the annex'd little poem. For my part, detesting alliterations, I should make the 1st line "Away, with this fantastic pride of woe." Well may you relish Bowles's allegory. I need only tell you, I have read, and will only add, that I dislike ambition's name _gilded_ on his helmet-cap, and that I think, among the more striking personages you notice, you omitted the _most_ striking, Remorse! "He saw the trees--the sun--then hied him to his cave again"!!! The 2d stanza of mania is superfl: the 1st was never exceeded. The 2d is too methodic: for _her_. With all its load of beauties, I am more _affected_ with the 6 first stanzas of the Elegiac poem written during sickness. Tell me your feelings. If the fraternal sentiment conveyed in the following lines will atone for the total want of anything like merit or genius in it, I desire you will print it next after my other sonnet to my sister.

Friend of my earliest years, & childish days, My joys, my sorrows, thou with me hast shared Companion dear; & we alike have fared Poor pilgrims we, thro' life's unequal ways It were unwisely done, should we refuse To cheer our path, as featly as we may, Our lonely path to cheer, as travellers use With merry song, quaint tale, or roundelay.

And we will sometimes talk past troubles o'er, Of mercies shewn, & all our sickness heal'd, And in his judgments G.o.d remembring love; And we will learn to praise G.o.d evermore For those "Glad tidings of great joy" reveal'd By that sooth messenger, sent from above.

1797.

If you think the epithet "sooth" quaint, subst.i.tute "blest messenger." I hope you are printing my sonnets, as I directed you--particularly the 2d. "Methinks" &c. with my last added 6 lines at ye end: and all of 'em as I last made 'em.

This has been a sad long letter of business, with no room in it for what honest Bunyan terms heart-work. I have just room left to congratulate you on your removal to Stowey; to wish success to all your projects; to "bid fair peace" be to that house; to send my love and best wishes, breathed warmly, after your dear Sara, and her little David Hartley. If Lloyd be with you, bid him write to me: I feel to whom I am obliged primarily for two very friendly letters I have received already from him. A dainty sweet book that "Art and Nature" is. I am at present re-re-reading Priestley's examinat of the Scotch Drs: how the Rogue strings 'em up! three together! You have no doubt read that clear, strong, humorous, most entertaining piece of reasoning. If not, procure it, and be exquisitely amused. I wish I could get more of Priestley's works. Can you recommend me to any more books, easy of access, such as circulating shops afford? G.o.d bless you and yours.

Poor Mary is very unwell with a sore throat and a slight species of scarlet fever. G.o.d bless her too.

Monday Morning, at Office.

[Coleridge had just published in quarto his _Ode on the Departing Year_.

In order that Lamb's letter may be intelligible it is necessary, I think, to give the text of this edition in full. It will be found in the Appendix to this volume. Lamb returns to his criticism in the next letter.

The "annexed little poem" was that "Addressed to a Young Man of Fortune," which began, and still begins, "Hence that fantastic wantonness of woe."

Bowies' allegory was the poem, "Hope, An Allegorical Sketch," recently published.

The poem was not included in the 1797 volume, but was printed in the _Monthly Magazine_, October, 1797. Coleridge had moved to his cottage at Nether Stowey on the last day of 1796.

Priestley's book would be _An Examination of Dr. Reid's Inquiry into the Human Mind on the Principles of Common Sense, Dr. Beattie's Essay on the Nature and Immutability of Truth, and Dr. Oswald's Appeal to Common Sense in Behalf of Religion_, 1774.]

LETTER 20

CHARLES LAMB TO S. T. COLERIDGE

[P.M. Jan. 10, 1797.]

Sat.u.r.day.

I am completely reconciled to that second strophe, and wa[i]ve all objection. In spite of the Grecian Lyrists, I persist on [in] thinking your brief personification of Madness useless; reverence forbids me to say, impertinent. Golden locks and snow white glories are as incongruous as your former, and if the great Italian painters, of whom my friend knows about as much as the man in the moon, if these great gentlemen be on your side, I see no harm in retaining the purple--the glories that I have observed to encircle the heads of saints and madonnas in those old paintings have been mostly of a dirty drab-color'd yellow--a dull gambogium. Keep your old line: it will excite a confused kind of pleasurable idea in the reader's mind, not clear enough to be called a conception, nor just enough, I think, to reduce to painting. It is a rich line, you say, and riches hide a many faults. I maintain, that in the 2d antist: you _do_ disjoin Nature and the world, and contrary to your conduct in the 2d strophe. "Nature joins her groans"--joins with _whom_, a G.o.d's name, but the world or earth in line preceding? But this is being over curious, I acknowledge. Nor _did_ I call the _last_ line useless, I only objected to "unhurld." I cannot be made to like the former part of that 2d Epode; I cannot be made to feel it, as I do the parallel places in Isaiah, Jeremy and Daniel. Whether it is that in the present case the rhyme impairs the efficacy; or that the circ.u.mstances are feigned, and we are conscious of a made up lye in the case, and the narrative is too long winded to preserve the semblance of truth; or that lines 8. 9. 10. 14 in partic: 17 and 18 are mean and unenthusiastic; or that lines 5 to 8 in their change of rhyme shew like art--I don't know, but it strikes me as something meant to affect, and failing in its purpose. Remember my waywardness of feeling is single, and singly stands opposed to all your friends, and what is one among many! This I know, that your quotations from the prophets have never escaped me, and never fail'd to affect me strongly. I hate that simile. I am glad you have amended that parenthesis in the account of Destruction. I like it well now. Only utter [? omit] that history of child-bearing, and all will do well. Let the obnoxious Epode remain, to terrify such of your friends as are willing to be terrified. I think I would omit the Notes, not as not good per se, but as uncongenial with the dignity of the Ode. I need not repeat my wishes to have my little sonnets printed verbatim my last way.

In particular, I fear lest you should prefer printing my first sonnet, as you have done more than once, "did the wand of Merlin wave"? It looks so like _Mr._ Merlin, the ingenious successor of the immortal Merlin, now living in good health and spirits, and nouris.h.i.+ng in magical reputation in Oxford Street; and on my life, one half who read it would understand it so. Do put 'em forth finally as I have, in various letters, settled it; for first a man's self is to be pleased, and then his friends,--and, of course the greater number of his friends, if they differ inter se. Thus taste may safely be put to the vote. I do long to see our names together--not for vanity's sake, and naughty pride of heart altogether, for not a living soul, I know or am intimate with, will scarce read the book--so I shall gain nothing quoad famam,--and yet there is a little vanity mixes in it, I cannot help denying. I am aware of the unpoetical cast of the 6 last lines of my last sonnet, and think myself unwarranted in smuggling so tame a thing into the book; only the sentiments of those 6 lines are thoroughly congenial to me in my state of mind, and I wish to acc.u.mulate perpetuating tokens of my affection to poor Mary; that it has no originality in its cast, nor anything in the feelings, but what is common and natural to thousands, nor aught properly called poetry, I see; still it will tend to keep present to my mind a view of things which I ought to indulge. These 6 lines, too, have not, to a reader, a connectedness with the foregoing. Omit it, if you like.--What a treasure it is to my poor indolent and unemployed mind, thus to lay hold on a subject to talk about, tho' 'tis but a sonnet and that of the lowest order. How mournfully inactive I am!--'Tis night: good-night.

My sister, I thank G.o.d, is nigh recovered. She was seriously ill. Do, in your next letter, and that right soon, give me some satisfaction respecting your present situation at Stowey. Is it a farm you have got?

and what does your wors.h.i.+p know about farming? Coleridge, I want you to write an Epic poem. Nothing short of it can satisfy the vast capacity of true poetic genius. Having one great End to direct all your poetical faculties to, and on which to lay out your hopes, your ambition, will shew you to what you are equal. By the sacred energies of Milton, by the dainty sweet and soothing phantasies of honeytongued Spenser, I adjure you to attempt the Epic. Or do something more ample than writing an occasional brief ode or sonnet; something "to make yourself for ever known,--to make the age to come your own". But I prate; doubtless you meditate something. When you are exalted among the Lords of Epic fame, I shall recall with pleasure, and exultingly, the days of your humility, when you disdained not to put forth in the same volume with mine, your religious musings, and that other poem from the Joan of Arc, those promising first fruits of high renown to come. You have learning, you have fancy, you have enthusiasm--you have strength and amplitude of wing enow for flights like those I recommend. In the vast and unexplored regions of fairyland, there is ground enough unfound and uncultivated; search there, and realize your favourite Susquehanah scheme. In all our comparisons of taste, I do not know whether I have ever heard your opinion of a poet, very dear to me, the now out of fas.h.i.+on Cowley--favor me with your judgment of him, and tell me if his prose essays, in particular, as well as no inconsiderable part of his verse, be not delicious. I prefer the graceful rambling of his essays, even to the courtly elegance and ease of Addison--abstracting from this the latter's exquisite humour. Why is not your poem on Burns in the Monthly Magazine?

I was much disappointed. I have a pleasurable but confused remembrance of it.

When the little volume is printed, send me 3 or 4, at all events not more than 6 copies, and tell me if I put you to any additional expence, by printing with you. I have no thought of the kind, and in that case, must reimburse you. My epistle is a model of unconnectedness, but I have no partic: subject to write on, and must proportion my scribble in some degree to the increase of postage. It is not quite fair, considering how burdensome your correspondence from different quarters must be, to add to it with so little shew of reason. I will make an end for this evening. Sunday Even:--Farewell.

Priestly, whom I sin in almost adoring, speaks of "such a choice of company, as tends to keep up that right bent, and firmness of mind, which a necessary intercourse with the world would otherwise warp and relax. Such fellows.h.i.+p is the true balsam of life, its cement is infinitely more durable than that of the friends.h.i.+ps of the world, and it looks for its proper fruit, and complete gratification, to the life beyond the Grave." Is there a possible chance for such an one as me to realize in this world, such friends.h.i.+ps? Where am I to look for 'em?

What testimonials shall I bring of my being worthy of such friends.h.i.+p?

Alas! the great and good go together in separate Herds, and leave such as me to lag far far behind in all intellectual, and far more grievous to say, in all moral, accomplishments. Coleridge, I have not one truly elevated character among my acquaintance: not one Christian: not one but undervalues Christianity. Singly what am I to do? Wesley (have you read his life? was _he_ not an elevated character?) Wesley has said, "Religion is not a solitary thing." Alas! it necessarily is so with me, or next to solitary. 'Tis true, you write to me. But correspondence by letter, and personal intimacy, are very widely different. Do, do write to me, and do some good to my mind, already how much "warped and relaxed" by the world!--'Tis the conclusion of another evening. Good night. G.o.d have us all in his keeping. If you are sufficiently at leisure, oblige me with an account of your plan of life at Stowey--your literary occupations and prospects--in short make me acquainted with every circ.u.mstance, which, as relating to you, can be interesting to me.

Are you yet a Berkleyan? Make me one. I rejoice in being, speculatively, a necessarian. Would to G.o.d, I were habitually a practical one. Confirm me in the faith of that great and glorious doctrine, and keep me steady in the contemplation of it. You sometime since exprest an intention you had of finis.h.i.+ng some extensive work on the Evidences of Natural and Revealed Religion. Have you let that intention go? Or are you doing any thing towards it? Make to yourself other ten talents. My letter is full of nothingness. I talk of nothing. But I must talk. I love to write to you. I take a pride in it. It makes me think less meanly of myself. It makes me think myself not totally disconnected from the better part of Mankind. I know, I am too dissatisfied with the beings around me,--but I cannot help occasionally exclaiming "Woe is me, that I am constrained to dwell with Meshech, and to have my habitation among the tents of Kedar"--I know I am no ways better in practice than my neighbours--but I have a taste for religion, an occasional earnest aspiration after perfection, which they have not. I gain nothing by being with such as myself--we encourage one another in mediocrity--I am always longing to be with men more excellent than myself. All this must sound odd to you; but these are my predominant feelings, when I sit down to write to you, and I should put force upon my mind, were I to reject them. Yet I rejoyce, and feel my privilege with grat.i.tude, when I have been reading some wise book, such as I have just been reading--Priestley on Philosophical necessity--in the thought that I enjoy a kind of communion, a kind of friends.h.i.+p even, with the great and good. Books are to me instead of friends. I wish they did not resemble the latter in their scarceness.--And how does little David Hartley? "Ecquid in antiquam virtutem?"--does his mighty name work wonders yet upon his little frame, and opening mind? I did not distinctly understand you,--you don't mean to make an actual ploughman of him? Mrs. C---- is no doubt well,--give my kindest respects to her. Is Lloyd with you yet?--are you intimate with Southey? What poems is he about to publish--he hath a most prolific brain, and is indeed a most sweet poet.

But how can you answer all the various ma.s.s of interrogation I have put to you in the course of this sheet. Write back just what you like, only write something, however brief. I have now nigh finished my page, and got to the end of another evening (Monday evening)--and my eyes are heavy and sleepy, and my brain unsuggestive. I have just heart enough awake to say Good night once more, and G.o.d love you my dear friend, G.o.d love us all. Mary bears an affectionate remembrance of you.

CHARLES LAMB.

[The criticisms contained in the first paragraph bear upon Coleridge's "Ode on the Departing Year," which had already appeared twice, in the _Cambridge Intelligencer_ and in a quarto issued by Cottle, and was now being revised for the second edition of the _Poems_.

The personification of Madness was contained in the line, afterwards omitted:--

For still does Madness roam on Guilt's black dizzy height.

Lamb's objection to this line, considering his home circ.u.mstances at the time, was very natural. In Antistrophe I. Coleridge originally said of the ethereal mult.i.tude in Heaven--

Whose purple Locks with snow-white Glories shone.

In the 1797 _Poems_ the line ran--

Whose wreathed Locks with snow-white Glories shone;

and in the final version--

Whose locks with wreaths, whose wreaths with glories shone.

Coleridge must have supported his case, in the letter which Lamb is answering, by a reference to the Italian painters.

Coleridge in the 1797 edition of his Poems made no alteration to meet Lamb's strictures. The simile that Lamb hated is, I imagine, that of the soldier on the war field. "The history of child-bearing" referred to is the pa.s.sage at the end of Strophe II. To the quarto Coleridge had appended various notes. In 1797 he had only three, and added an argument.

The reference to Merlin will be explained by a glance at the parallel sonnets above. Merlin was entirely Coleridge's idea. A conjuror of that name was just then among London's attractions.

The "last sonnet," which was not the last in the 1797 volume, but the 6th, was that beginning "If from my lips" (see first letter).

In connection with Lamb's question on the Stowey husbandry, the following quotation from a letter from Coleridge to the Rev. J. P.

Estlin, belonging to this period, is interesting;--