but commensurate with the good sense, taste, and feeling, to the cultivation of which they themselves so largely contribute, as being all in kind, though not all in the same degree, productions of genius.

What it would be arrogant to promise, I may yet be permitted to hope,-that the execution will prove correspondent and adequate to the plan. Assuredly, my best efforts have not been wanting so to select and prepare the materials, that, at the conclusion of the Lectures, an attentive auditor, who should consent to aid his future recollection by a few notes taken either during each Lecture or soon after, would rarely feel himself, for the time to come, excluded, from taking an intelligent interest in any general conversation likely to occur in mixed society.

Syllabus of the Course.

I. January 27, 1818.-On the manners, morals, literature, philosophy, religion, and the state of society in general, in European Christendom, from the eighth to the fifteenth century, (that is from A.D. 700, to A.D. 1400), mor particularly in reference to England, France, Italy and Germany; in other words, a portrait of the so called dark ages of Europe.

II. January 30.-On the tales and metrical

romances common, for the most part, to England, Germany, and the north of France, and on the English songs and ballads, continued to the reign of Charles I. A few selections will be made from the Swedish, Danish, and German languages, translated for the purpose by the Lecturer.

III. February 3.-Chaucer and Spenser; of Petrarch; of Ariosto, Pulci, and Boiardo. IV. V. VI. February 6, 10, 13.-On the dramatic works of Shakspeare. Shakspeare. In these Lectures will be comprised the substance of Mr. Coleridge's former courses on the same subject, enlarged and varied by subsequent study and reflection.

VII. February 17.-On Ben Jonson, Beaumont and Fletcher, and Massinger; with the probable causes of the cessation of dramatic poetry in England with Shirley and Otway, soon after the restoration of Charles II.

VIII. February 20.-Of the life and all the works of Cervantes, but chiefly of his Don Quixote. The ridicule of knight errantry shewn to have been but a secondary object in the mind of the author, and not the principal cause of the delight which the work continues to give to all nations, and under all the revolutions of manners and opinions.

IX. February 24.-On Rabelais, Swift, and Sterne: on the nature and constituents of genuine Humour, and on the distinctions of

the Humorous from the Witty, the Fanciful, the Droll, and the Odd.

X. February 27.-Of Donne, Dante, and Milton.

XI. March 3.--On the Arabian Nights' Entertainments, and on the romantic use of the supernatural in poetry, and in works of fiction not poetical. On the conditions and regulations under which such books may be employed advantageously in the earlier periods of education.

XII. March 6.-On tales of witches, apparitions, &c. as distinguished from the magic and magicians of Asiatic origin. The probable sources of the former, and of the belief in them in certain ages and classes of men. Criteria by which mistaken and exaggerated facts may be distinguished from absolute falsehood and imposture. Lastly, the causes of the terror and interest which stories of ghosts and witches inspire, in early life at least, whether believed or not.

XIII. March 10.-On colour, sound, and form in Nature, as connected with poesy: the word "Poesy" used as the generic or class term, including poetry, music, painting, statuary, and ideal architecture, as its species. The reciprocal relations of poetry and philosophy to each other; and of both to religion, and the moral sense.

XIV. March 13.-On the corruptions of the English language since the reign of Queen Ann, in our style of writing prose. A few

easy rules for the attainment of a manly, unaffected and pure language, in our genuine mother tongue, whether for the purpose of writing, oratory, or conversation.

LECTURE I.*

GENERAL CHARACTER OF THE GOTHIC MIND
IN THE MIDDLE AGES.

MR. COLERIDGE began by treating of the races of mankind as descended from Shem, Ham, and Japhet, and therein of the early condition of man in his antique form. He then dwelt on the pre-eminence of the Greeks in Art and Philosophy, and noticed the suitableness of polytheism to small insulated states, in which patriotism acted as a substitute for religion, in destroying or suspending self. Afterwards, in consequence of the extension of the Roman empire, some universal or common spirit became necessary for the conservation of the vast body, and this common spirit was, in fact, produced in Christianity. The causes of the decline of the Roman empire were in operation long before the time of the actual overthrow; that overthrow had been foreseen by many eminent Romans, especially by Seneca. In fact, there was under the empire

* From Mr. Green's note taken at the delivery. Ed.

an Italian and a German party in Rome, and in the end the latter prevailed.

He then proceeded to describe the generic character of the Northern nations, and defined it as an independence of the whole in the freedom of the individual, noticing their respect for women, and their consequent chivalrous spirit in war; and how evidently the participation in the general council laid the foundation of the representative form of government, the only rational mode of preserving individual liberty in opposition to the licentious democracy of the ancient republics.

He called our attention to the peculiarity of their art, and showed how it entirely depended on a symbolical expression of the infinite,— which is not vastness, nor immensity, nor perfection, but whatever cannot be circumscribed within the limits of actual sensuous being. In the ancient art, on the contrary, every thing was finite and material. Accordingly, sculpture was not attempted by the Gothic races till the ancient specimens were discovered, whilst painting and architecture were of native growth amongst them. In the earliest specimens of the paintings of modern ages, as in those of Giotto and his associates in the cemetery at Pisa, this complexity, variety, and symbolical character are evident, and are more fully developed in the mightier works of Michel Angelo and Raffael. The contemplation of the works of antique art excites a feeling of elevated beauty, and exalted notions of the