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THE late M. Léo Lippmann, who was consul plays the young doctor quite charmingly. Miss used to play this part at the Paris Vaudeville. for the Grand Duchy of Luxembourg at Amster- Whitty is an excellent parlour-maid. Miss The husband was then an estimable Dutchman; dam, has left his gallery of pictures, said to be Linda Dietz, who represents the wife, is skilled and, though his monstrous taciturnity-his worth half a million of francs, to the town of in stage devices, but is stiff withal.

almost absolute incapacity of speech-was at Luxembourg. The bequest will not take effect "A

Scrap of Paper” is known by the regular times more repellent than anything in the Sir until the death of Mdme. Lippmann.

playgoer too well, either in its French or in its John Ingram of Mr. Waring, there was someTHE famous Pesaro Virgin and Child of English form, for it to be necessary to write of thing not very far from genius in M. Parade's Titian has lately been placed in the church of earliest of the successes of Sardou—and it is

“ Pattes de Mouche was the execution of the part, especially at the moment

when the almost dumb man of business breaks Santa Maria dei Frari at Venice.

down and shows that, though he has few words, painted (for 102 ducats) in 1519 for the Pesaro highly characteristic of him; but, though it was family, and several of the saints in the picture that he had studied

the stage and the conditions feeling who is like that is not a very delightful

an early success, nothing is more certain than he is likewise a man of feeling. But a man of are portraits of members of that family.

of dramatic performance very closely indeed companion, and one wonders whether it was THE pavement of the manor house of Lin- before he wrote it. For much of it has the anything but her pure impulsiveness that made tol, near Bolbec, the ancient property of the adroitness peculiar to the playwright-an the heroine marry him, both in the French families of Le Boullenger and Coq de Villeray, adroitness, of course, perfectly legitimate-piece and in the English.

Colonel Blake is noted potters of Rouen in the eighteenth cen- rather than the literary quality of the high at all events justified in regarding him as, on tury, has been bought for the Sèvres Museum dramatist. The second act-really the princi- the whole, funereal company. by M. Champfleury. This pavement is a unique pal act of the piece-is, in the English version, example of Rouen faïence, and is in excellent a notable instance of this. It is Scribe-like in preservation. the closeness of its intrigue; but, unlike Scribe's

MUSIC. A CONSIDERABLE number of Frankish tombs, intrigue generally, this intrigue deals with

SPITTA'S LIFE OF BACH. dating from about the seventh century, have small matters. All the clever dodging of the been discovered Rüdersheim, in the lady, called in the English adaptation Susan Johann Sebastian Bach. By Philipp Spitta. Palatinate. The sarcophagi were of soft stone, Hartley, to obtain that compromising little Translated from the German by Clara Bell and and the skeletons which they contained were letter which her sister wrote years ago to J. A. Fuller-Maitland. Vol. I. (Novello.) ornamented with necklaces, bracelets, and Colonel Blake is the most ingenious stage ver- Messrs. Novello are following up their transgolden plaques, the latter bearing representa- sion imaginable of the game of hide-and-seek. lation of Jahn's Life of Mozart by one tions of various subjects, generally heads sur- It presents endless opportunities to the actress; of Spitta's Life of Bach-a work of equal rounded with ornamentation.

it puts everything in her hands; but it is not interest and perhaps even deeper researchliterature-no one, we suppose, could read it of which the first part has appeared. In

for its own interest as he would read an act of his Preface the author tells us that we shall THE STAGE.

Dumas's or Emile Augier's. We do not blame find much which one would hardly seek in & A SCRAP OF PAPERAND “ A CASE it on this account in the slightest degree. We mere Life of the composer. In order thoroughly FOR EVICTION.

are glad when an actress like Mdme. Fargueil to understand and appreciate Bach's artistic

or Mrs. Kendal gets so well provided for; and career a glance at the history of his illustrious No success was ever prophesied in the ACADEMY just now at the St. James's, where Mrs. Kendal, predecessors and contemporaries becomes absofor Young Folks' Ways; "and, notwithstand- in Young Folks' Ways,” has been doing so lutely necessary. Bach stands out facile prining Mr. Hare's highly skilful bit of character much for the dramatist, it is specially fair that ceps from among the church- and organ-writers acting and Mrs. Kendal's redeeming touches in "A Scrap of Paper” the dramatist should of the eighteenth century. But it in no way of genius, it has had to be withdrawn, and do something for Mrs. Kendal.

detracts from the grandeur of his personality as its place is filled by the revival of “A The acting of “ A Scrap of Paper" is in most an artist to find that he diligently studied the Scrap of Paper”-Palgrave Simpson's adapta- respects excellent. We doubt if Mr. Kendal works of French, Italian, and German musicians ; tion of “Pattes de Mouche”—and by a new has ever been seen to greater advantage than that he took the best of them as his models; and comedietta by that very bright writer, Mr. in Colonel Blake. The mingled bonhomie and that he especially owed much to two eminent Theyre Smith. Mr. Theyre Smith is known as coolness of the man are displayed to perfection; organists and composers-Pachelbel and Buxtethe author of two or three of the best existing so is the easy fashion in which he yields to the hude. The nine Symphonies of Beethoven short pieces for two or three characters only. fascination of Susan. It has been said that would probably never have been written but for Indeed, he may be said to appear to have the Colonel Blake is not a gentleman, or he would the example and influence of Haydn and monopoly of such pieces, so far as the English never have kept the letter. We hold, however, Mozart; by starting from so firm a foundation, writing of them is concerned. Moreover, he is that his keeping the letter was after all a the Bonn master was enabled all the more original. His work, unlike so much of the much less considerable improbability than Lady easily to assert his individuality and to estabstage-work of the day, approaches literature. Ingram's ridiculous apprehension as to the use lish is supremacy. And so with Bach; the His dialogue is generally smart, often quite he would make of it. Colonel Blake was a way was prepared for him, and by means of witty; and only now and then-in obedience, gentleman. He would never have hurt Lady his commanding genius he was able to open up perhaps, to what are assumed to be stage Ingram by his employment of the little docu- new paths, and thus to surpass the most illusexigencies, though they are exigencies the ment that he retained; and the weakness of the trious men of his day. The Bach family was a really great dramatists have never recognised- plot lies really, not in his obviously half-playful remarkable one, and at a very early period a does he indulge in longueurs, in prolix observa- retention of it, but in the exaggerated fears to taste for music was shown among its members. tions beside the mark, in dialogue from which which that retention gives rise. Mrs. Kendal's Sebastian, writing about his ancestor, Veit Bach, the character has gone. Now, though some- Susan Hartley is as good as Mdme. Fargueil's tells us how he used to take his cithara with thing of this is visible in "A Happy Pair," in her best time as regards its acting, while him when he went to the mill. Music was the making the only defect in that otherwise Mrs. Kendal has obvious advantages over the special calling of his great-grandfather, the admirable piece, there is hardly anything of it admirable French comedian in the matter of merry fiddler, Hans Bach; his grandfather was in "A Case for Eviction.” On the other hand, appearance in such a part. Mdme. Fargueil, a member of a guild of musicians in Erfurt, the Case for Eviction,” like “Uncle's Will,” though ingenious, was hardly irresistible, while and his father was noted for his skill on the viola. has a good deal of the purely farcical in it; one feels that under the influence of the sunshiny His uncle, the celebrated Joh. Christoph Bach, indeed, it has more of this than has “Uncle's English lady Colonel Blake was predestined to was not only a remarkable composer, but, next Will." Its story is told in a moment. Athaw. The only other actress in the piece who to Sebastian, the most distinguished of the race, young doctor and his wife have managed to in any way demands notice is Miss Webster, Spitta devotes much space to the lives of house a genial Irishman who cannot be made who is far better than she was in “ Young these ancestors, and gives us many interesting to understand that hospitality is never meant to Folks' Ways,” and who brings to her perform- details of the manners and customs of German be permanent, and the whole action of the ance, with real naturalness, the archness of the musicians in the seventeenth and eighteenth piece is concerned with their often frustrated home and not of the theatre. Mr. Hare plays centuries. His account of the College or Union efforts to get him to depart. Like Madame one Dr. Penguin, Fellow of the Zoological of Instrumental Musicians of Upper and Lower Benoîton, in the famous comedy of Sardou, he Society, and makes of it, as usual, a character Saxony shows that a spirit of earnestness never appears upon the stage ; but the husband part which one clearly remembers. Dr. Penguin and morality prevailed among some of them, goes out to interview him, and the wife goes is burdened with a most offensive wife, of though the noble art of music had been out to interview him, and the parlour-maid whom, in the intervals of his pursuit of zoolo- brought into sad contempt by the evil morals, comes on from having interviewed him when gical study, he entertains a charitable opinion. the wandering life, the dissolute language, and he keeps his room and sends downstairs for the Mr. D. G. Boucicault represents capitally the also by the lack of skill and industry of many of newest fad in aërated waters. At last he is got precocious son of this lady, Mr. Herbert its professors. The rules of this Union are given rid of; rather by the will of the dramatist, who Waring represents the stolid baronet to whom in full ; and the quaint and homely language moves his puppet that way, than by the natural Lady Ingram-after repenting of her earlier faithfully reflects the aspirations and efforts of action of the plot. Mr. George Alexander love-letter-has given her hand. M. Parade well-meaning and upright men.

The Bachs


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formed a guild of their own, and the family wrote for him a piece of programme-music, ELLIOT STOCK'S gatherings are well known which were held for entitled “Capriccio sopra la lontananza del suo many years in Erfurt, Eisenach, and Arnstadt. fratre dilettissimo.” This and another piece of NEW PUBLICATIONS. They met to edify and delight each other as to descriptive music, still in MS., are apparently matters musical; they sang hymns to the praise Bach's only attempts in this particular direction. of God; they displayed their skill in perform- There is no doubt that Kuhnau's Biblischen Tastefully printed, in crown 8vo, vellum binding, price 5s., post-free. ances; and indulged, besides, in merry songs Historien first prompted him to try his hand at DAYS and HOURS in a GARDEN. By and harmless mirth.

programme-music; but Spitta, who evinces no E. V. B. With Head and Tall Pieces designed by the Authoress. This first volume embraces the childhood and sympathy with this branch of tonal art, tells In crown 8vo, limp vellum binding, price 25. 6d., post-free. early years of Johann Sebastian and the first us that it must have been intolerable to Bach POETRY as a FINE ART: a University ten years of his “mastership.” When nine“ to see the art limping on crutches, or reduced Lecture delivered in McGi College, Montreal. By CHARLES E. years of age he lost his mother, and in the to a subordinate position.' following year his father died. From the latter In 1705 occurred the memorable journey to Cheap Edition, in 2 vols., crown 8vo, cloth, price 10s. 6d. the boy received instruction on the violin, and Lübeck already noticed. He obtained leave of THE WAY THITHER: a Story with afterwards took clavier lessons from his eldest absence for four weeks, but remained away four brother, but at the age of fifteen he had to see times as long. On his return he got into

" Very cleverly and effectively written, and full of life and character." to himself. By the help of a friend he managed difficulties with the church authorities, and soon “Througtout the writer exhibits power of no common order," - Academy to get into the school of the Convent of St. left Arnstadt for Mühlhausen. Soon after this Michael at Lüneburg, where he gained a little he was called to Weimar by Duke Wilhelm THE PARISH of HILBY: a Simple Story knowledge of Latin, Greek, and other subjects. Ernst.. This brings us to the first important Masic, however, was his chief occupation; he epoch in Bach's artistic career.

The new post accompanied on the harpsichord and took part was twofold, combining those of Court organist appearance."-athenacum.

“We have found it to be very pleasant reading."-Spectator. in the processional singing. George Boehm, and Kammermusicus. He resided here for nine organist of St. John's Church, Lüneburg, years, and during that period wrote a quantity exerted considerable influence over the young of organ music, Concertos, and church Cantatas. THE BRIDES of ARDMORE: a Story of musician. Boehm was a pupil of Reinken, the He arranged many of Vivaldi's violin Concertos celebrated Hamburg organist, and in the for the clavier; he made many bold alterations "much reasoning concerning music” between and additions, but we must remember that he the two Reinken must have been often men- probably only regarded these transcriptions as tioned. Anyhow, Bach made at this time studies in form. It is admitted that the repeated excursions on foot from Lüneburg to changes which he made were improvements; but CHARLES DAYRELL:a Modern Bacchanal. Hamburg to hear Reinken play. The follow at the present day a composer who ventured to ing anecdote, which Bach used to delight in take similar liberties with another man's work telling later in life, gives us a graphic picture would be severely censured. "Gottes Zeit ist Just published, crown 8vo, in tasteful cloth, price 36, 6d., post-free. of the ambitious youth acquiring knowledge die allerbeste Zeit” and “ Ich hatte viel Beküm- THE LAST DAVID, and other Poems. under difficulties :-On one of his journeys to merniss, two of the most popular of Bach's Hamburg all his money was spent except å few many Cantatas, were written at Weimar. shillings. He had seated himself outside an Bach visited Dresden in 1717, and his chal- THE GRAVE of LOVE, and other Poems. inn hardly half way on his return journey, and lenge to the celebrated French organist, MarFas meditating on his hard fate while sniffing chand, forms one of the few sensational events the delicious savours proceeding from the in the life of our composer. Though the accounts kitchen, when a window was opened, and two vary slightly, the acceptance of the challenge London : ELLIOT STOCK, 62, Paternoster-row, E.C. herrings' heads were flung out. The hungry by Marchand, and his flight from Dresden lad picked them up, and found in each a before the time fixed for the musical tourna- NUMBER I, ON JANUARY 21st, price ONE SHILLING. Danish ducat. This unexpected wealth enabled ment, are established facts. him not only to satisfy his hunger, but to make

We must add a few words about the transla- THE LINK. another expedition to see Reinken.

tion. Spitta's long sentences are by no means Handel and Bach never met. Bach tried to easy to render into clear and flowing. English. NEW LIGHT ON OLD PATHS. see his great rival in 1719, and again in 1729. On the whole, however, we meet with much The first time he went to Halle, but arrived too that is good, and we are, therefore, sorry to late; the second time, being ill, he invited have to notice some careless expressions and

B. M. MARSHALL. Handel to Leipzig, but the latter was detained mistakes which cannot fail to trouble the in Halle by his mother's illness. These two attentive reader.

The phrase

are distinctly " THE LINK” is a Monthly Magazine circumstances are recorded in most biographies spoken of to begin with,

p. 489; the

designed for the entertainment of the home, and either of Bach or Handel; but there are two peculiar placing of adverb, “robbed even at for the instruction and amusement of both young and old. others noticed by Spitta, connecting the two night,” p. 15; the last sentence on p. 215, Stories or Longer Serials by well-known Authors; Articles names, which are of special interest. Both the with the preposition “far, far away " from the by Eminent Writers on the Current Topics of the Day, composers were attracted in early youth to word which it governs; the doubling of the Political Socied, and Scientific, as well as Reviews and Hamburg, one of the most flourishing centres tenth” as a translation of Decimen-Verdopplun- History and Biography and Records of Travel. of artistic life in Germany. Bach probably gen;" choral subject" for Chorsatz; the "theme" Every endeavour will be made, in the choice and arrange

ment of the Contents of the Magazine, to satisfy the tastes paid his last visit there in 1703, the very for thematische Material, in speaking of a

of all those who are interested in Literature. date of Handel's arrival. They may have fugue with two themes—all these are examples

The following is a List of Contributors whose Stories both listened at the same time to Keinken's of carelessness. But there is worse than this. and Papers will appear in the first and forthcoming masterly organ-playing; for aught we know, The second paragraph as it stands on p. 85 is numbers :they may have sat side by side at the opera utterly unintelligible; and there are sentences,

HAMILTON AÏDE. bonuse, and listened to the music of Keiser. pp. 63, 271, 384, and 491, &c., which are both Each received the first touch of ambition there, clumsy and incorrect. The translators have not each went his own way, and independently even carried out their promise of giving Bible

G. LATHOM BROWNE (Author of ALFRED SCOTT GATTY (Rouge pade a name for himself in the world. texts in Bible words, as will be seen in the

Dragon); Again, in 1703, Handel and Mattheson paid quotation from St. Luke on p. 174. a visit to Lübeck, and made the acquaintance

J. S. SHEDLOCK. of Buxtehude. Handel heard him play, and also played to him. Two years later Bach went to Lübeck for the very same purpose, and, as

MUSIC NOTE. Spitta remarks, “stood before the organ on The next concert of Mr. Willing's Choir will which Handel had played."

take place on Tuesday, January 15, at St. In 1703, Bach became the organist of the James's Hall, when Mendelssohn's “Walpurgis KAE. EANTWELL. "new church” in Arnstadt. Already in organ- Night” will be performed. The first part of Miss JENNIE CHAPPELI.. playing Sebastian found, says Spitta,“ no one the programme will consist of a miscellaneous Rov. W. 8. DIXON. who could teach him anything, much less com- selection, including Beethoven's “ “Leonora pete with him.” In 1704, one of his elder Overture, No. 3; the Overture to Gounod's ENTON brothers, spell-bound by the adventures and “Mirella :" &c. An additional interest will be

"THE LINK" can be obtained of any Booksellor, victorious career of Charles XII., decided to given to this concert by Mr. Sims Reeves sing

and at the Railway Bookstalls. enter the Swedish Guard as oboe-player. On ing “Philistines, hark!” from Costa's “Eli,” taking leave of his family and friends, Bach and Purcell's “ Come, if you dare.”

London: ELLIOT STOCK, 62, Paternoster-row, E.C.





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SATURDAY, JANUARY 12, 1884. pretation of Coleridge's words that he subse - saying it had recently been his good fortune

quently says: No. 610, New Series.

to find his original short-hand notes of the "I take far, far more pains than would go to lectures on Shakspere and Milton delivered The Editor cannot undertake to return, or the set composition of a lecture, both by read- by Coleridge so far back as the year 1812. to correspond with the writers of, rejected ing and meditation, but for the words, illustra- He then printed in the same journal a few

tions, &c., I know almost as little as any one excerpts from his notes. Two years later Mr. manuscript.

of the audience · : · what they will be five Collier published his entire records as the It is particularly requested that all business minutes before the lecture begins.”

exact words of Coleridge, taken down from letters regarding the supply of the paper, It may further be urged that among the the lecturer's lips. The transcripts provoked fc., may be addressed to the PUBLISHER, and remaining records of the lectures there are an anonymous pamphlet, entitled Literary not to the EDITOR.

many which speak with surprise of the lec- Cookery, which discussed the disparity in turer as being unaided in his “ unhesitating the dates of the Coleridge prospectus as given

and uninterrupted fluency” by any notes. by Mr. Collier and by Mr. Gillman. Mr. LITERATURE.

This, however, fails to disturb the clear fact Collier wrote in explanation, and in doing so

that Coleridge's mode of preparation was he certainly seemed to shuffle, or at least to Lectures and Notes on Shakspere and other actually to write out at full length the results bungle over his facts. The unknown writer

English Poets. By Samuel Taylor Cole- of his reflections on points arising out of his accused Mr. Collier, mainly on the score of ridge. Now first collected by T. Ashe. subjects. That he used the memoranda so chronology, of deliberate concoction and down(Bell.)

prepared again and again in various ways, we right fraud. Eighteen months afterwards Mr. Writing to Allsop in 1821, Coleridge says know; that on each fresh opportunity for Collier made an affidavit affirming the truth that he has already the written materials and employing them he added to them materially, of his statements, and intending to ground contents ("requiring only to be put together, we also know. Moreover, we have no reason upon it a criminal action for libel against the and needing no other change, whether of to suppose that Coleridge did not intend to author of the pamphlet, who was by this omission, addition, or correction, than the incorporate those portions of his published time known to be the late A. E. Brac. The mere act of arranging brings with it”) for a writings which had direct bearing on his affidavit was printed in a pamphlet ; but it History of the English Drama, including a comprehensive scheme. All this leads us to was speedily withdrawn from publication, dissertation on the characteristics of Shak- doubt if Coleridge's letter to Allsop in 1821 and, for reasons not stated, the law prospere's works, a critical review of each of his is much of a self-deception.

ceed_ings were stopped. Then the author plays, and a critique on the works of Ben Although we are told that the written of Literary Cookery published a volume Jonson, Beaumont and Fletcher, and Mas- materials already existing in 1821 required entitled Collier, Coleridge, and Shakspeare, singer. “ This work,” he says, “ with every only to be put together, and needed no change, the argument, so far as it concerned the art of compression, amounts to three volumes whether of omission, addition, or correction, Coleridge lectures, being again based prinof about five hundred pages each.” It is is not to be hoped that any Coleridgean cipally upon anachronisms. We supposed possible that many Coleridgeans will agree will ever compile a History of the English that this controversy had passed into the with Mr. Ashe in regarding this statement as Drama out of Coleridge's notes as we find obscurity in which the Ossian and Ireland 2 marvel of self-deception. It is equally them. The public could hardly tolerate such controversies lie buried. The comments that possible that some Coleridgeans will not con- a wholesale breaking-up of connected writings have been made since the recent death of Mr. sider it so very wide of the truth. Coleridge as the author himself probably had in con- Collier show that the discussion has almost as was clearly referring to "the loose papers templation. It is conceivable that an in- much vitality as ever. and commonplace or memorandum books genious editor might make some intelligible The two-edged tool of chronology was really which had served him for at least three scheme out of the lectures and fragmentary the only thing by which Mr. Collier's transcourses of lectures. That the notes made notes if he were free to handle them at his cripts were discredited. Mr. Collier had made for each course were often very full is suffi- pleasure; but the scheme would necessarily Coleridge speak in his sixth lecture of Sir ciently proved by the mass of matter edited be his scheme, and not Coleridge's, and the Humphry Davy--a designation which, though in the Remains by H. N. Coleridge. That History that might result from it would be his afterwards so familiar, did not exist in 1811-12. the original notes from which H. N. Coleridge History with Coleridge's elucidatory com- The twelfth lecture, as advertised in the printed may have been still more full is an ments. The utmost that it was possible Times, was to be on Shakspere and Milton, inference fairly deducible from the method to do with the material as it exists Mr. Ashe and Milton did not appear in Mr. Collier's of their presentment; that they must have seems to have done. He has given us reports. If there were much graver objections been almost as copious as the entire text of Collier's transcripts from the lectures of than these, we have failed to lay hold of them. the lectures themselves, if written out as 1811-12, together with the reports of the The objections, indeed, so far as they had any delivered, is obvious enough from Coleridge's same lectures published in the Times and force or value, were, as we say, chronological. own account of his mode of preparation. In Morning Chronicle; the notes from the Remains, Let it be admitted at once that Mr. Collier his letter to Britton, as well as in other judiciously classified; Mr. Carwardine's Memo- did not make a plausible appearance in his letters, Coleridge says that it was his habit, randa (only too slight) of the lectures of attempts to explain his dates. But when we during a course of lectures, to employ the 1818 ; extracts from Crabb Robinson's Diary; come to the only question worth five minutes' intervening days in collecting and digesting the passages from the Friend, the Biographia consideration—that, namely, of whether these materials, and the day of the lecture he Literaria, and the Table Talk which deal lectures put forth by Collier are his or Coleusually devoted to the consideration, what with Shakspere and other English poets ; ridge's—we see no difficulty whatever. A of the mass before him was “best fitted to and, finally, the reports of the Bristol lectures Coleridgean having no absorbing interest in answer the purposes of a lecture.”. Of the of 1813 from the forgotten pages of the dates, and believing, with Butler, that "correct material thus collected he employed on the Bristol Gazette. The reports of the lectures information ” of that description “is the least platform only that portion which seemed most on Milton delivered in Bristol in 1814 have part of education," must surely regard it as likely to keep the audience awake and in- not been recovered. The arrangement of this inconceivable that any other Coleridgean can terested during the delivery and to leave a matter is good, and it is often brightened by have had a moment's doubt on the subject. sting behind it. What did not seem fitted happy references to parallel passages; in Mr. Ashe verifies the Collier transcripts by for the purposes of a lecture went, we pre- short, it is hardly likely that anything better the Times and Morning Chronicle reports, which sume, into “the commonplace or memorandum will ever be done with the material. We bear a general resemblance to them, and by books” out of which the projected History of now possess in a single volume almost the extracts from the Diary of Crabb Robinson ; the English Drama was to be compiled. It whole body of Coleridge's writings on Shak- but in truth the internal evidence in favour may be objected to this method of accounting spere. More than this we cannot expect. of their authenticity is overwhelming. Let for a greater body of notes than we possess, Mr. Ashe is a believer in the Collier trans- us touch on a few parallelisms. In Collier's that Coleridge, in the Britton letter, is cripts. A few words on the old “cookery" transcript of the first lecture there is a long alluding to a purely mental process of “col. controversy may not here be out of place. passage on the causes of false criticism. lecting and digesting materials. It may be The story of the controversy is this :-In Equivalents to this passage may be found in put forth as evidence in favour of this inter- 1854, Mr. Collier wrote to Notes and Queries those chaps. ii. and xxi. of the Biographi

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Literaria with which I have elsewhere to his health.

He appears to have been tating tricks of style. At Bahia a dealt at length. The transcript of the ill throughout the period of the Bristol lec- is entered, and some bottled beer consumed, second lecture may be compared, as Mr. Ashe tures of 1813 and 1814. Writing (about the which is described as having " dealings with points out, with “ The Drama generally and time of the Milton lectures) to Cottle, Cole- sundry bottles with triangular red hicroPublic Taste” in the lectures and notes of ridge says: “An erysipelatous complaint, of glyphics on them.” This may serve as an 1818. That portion of the second lecture an alarming nature, has rendered me barely average specimen of the “ funny style.” The which says that Shakspere's judgment is more able to attend and go through my lectures." "tricky style” is marked by a constant in-" to be admired than any of his other great His health was not much better during the version of subject and predicate, sometimes powers and qualifications may be placed side lectures of 1818. Crabb Robinson's Diary producing quite a ludicrous offect. by side with the note to chap. ii. of the says: “Jany. 27th. An exceedingly bad cold "A casual pedagogue he!" "A hot place is Biographia Literaria, in which Coleridge rendered his voice scarcely audiblo." Again : this Praya;” “a lovely little corner of earth speaks of having made this very point in Feby. 10th. Coleridge apparently ill.” to pass a lazy time in is this islet of Pagueta;" one of his public lectures. The definition of Writing on January 28 of the same year to and so on. But, setting aside these failings poetry in this second lecture is an amplifica- Allsop, Coleridge says:

and foibles, the work is by no means devoid tion of the homely, definition in the Table “Your friendly letter was first delivered to me of literary merit ; and those familiar with the Talk. What is said in the sixth lecture on at the lecture-room door on yesterday evening, peculiar woodland scenery of South America Shakspere's method of making his characters ten minutes before the lecture, and my spirits will admit that it has seldom been more truthtypical may be found, with some modification, were so sadly depressed by the circumstance of fully and vividly described than in the subin the Friend. Compare the seventh lecture my hoarseness that I was literally incapable of joined passage :with chap. xv. of the Biographia Literaria. reading it.” The passage on the Nurse in “ Romeo and It is needless to go farther in order to show and impressed by this gigantic and mysterious

“The most thoughtless man is strangely awed Juliet” has its equivalent in chap. xvii. of the that Coleridge was so far from deficient in nature that appeals at once to his every sense

. Biographia Literaria. What is said in the regard for the sanctity of a pledged word that Like a cataract of sound ring out around him same lecture on the peculiar charm of Field- he often kept his promise to his audience when the manifold new and terrible noises of solitude. ing corresponds with what is said on that his best friends could not have wished him to The strident cries of rainbow birds, the angry, subject in the Table Talk. Now, the obvious do so. Coleridge's health was never at any hoarse shriek of others, the fearful wail of rejoinder to any defence of the Collier trans- time robust ; and to the frailties ordinarily various beasts, the shrill ear-piercing song of cripts based on parallelisms like these is incident to the student life he added a liability cicala, and, at times, a fearful crash in the that they show that the lectures are Cole- to prolonged periods of mental depression. hushes all that noisy life for a moment—it is the

unseen depths of the woods as of thunder, that ridgcan, not necessarily Coleridge's. Further, To alleviate this depression he took opium; fall of some ancient giant of the woods, a huge that the fact of passages in the lectures having and no doubt it sometimes happened that, tree, dead long ages ago, but only now breakparallels in Coleridge's authenticated writings when haunted by the fiend that too frequently ing its way through the dense growth around rather militates against their genuineness. possessed him, he broke his lecturing engage- it to the ground. Most impressive is this teemNot so, however. Coleridge, like some other ments. The defalcations were, however, never ing life, vegetable and animal, but not human, meditative men, had the constant habit of so numerous as is commonly supposed, and we for nature here is too great and rank for man. repeating himself. He had a marvellous have small rtason to believe that they were

Here life springs up fierce and monstrous, memory, but it could not be tabulated. He ever the result of indolent neglect. Occasion drawn up from the warm alluvial swamp by the reproduced his own ideas, and often his own ally they were due to causes not less than imagine that his senses perceive-that he hears

all compelling sun of the tropics. One can almost words. He sometimes reproduced other tragic. Health was a serious thing to a the tremendous flow of sap, the intense generapeople's ideas and other people's words, but lecturer who depended for his effects largely tion, a growth so great and rapid that it goes that is another matter, and only of interest on the inspiration of the moment. It is never beyond death itself. The great tree outstrips here as a side light. If we are to allow that so serious a factor where a lecture is a written itself, and while one half is green and full of life, Collier deliberately concocted these lectures essay, and the lecturer a reader of that essay. the other is rotten and dead. Strange creepers, out of Coleridge's published writings we are Coleridge knew that, to him, health, while he with metallic-lustred leaves, wreath round bound to accredit him with a thousand times was on the platform, was a very vital matter,

skeleton branches with their graceful festoons more ingenuity, not to speak of taste, know- and he took all proper care to preserve it. familiar with and embracing it on its way.

-a life reckless, profligate, despising death, ledge, and even originality, than he was During the delivery of one course of lectures Out of leprous-looking tangles of rotten trunks otherwise known to possess.

he had a servant to follow him about the and leaves spring in horrible contrast the The Bristol lectures, as here given from the streets with the express mission of prevent- ghoul-like plants feeding on decay, rich, rank, Bristol Gazette, do not seem to possess any ing his buying opium. We trust Mr. Traill's gaudy of colour. The tree endeavours to force special value; but none the less are our forthcoming Life of Coleridge will show (what its way for life to the upper light and air above thanks due to Mr. George, of Bristol, for is the clear fact, but has never yet been stated) the dark smothering growth. So for sixty feet having rescued them.

that Coleridge was a good deal of a stoic. it puts out no leaves, but employs all its There is a further point that deserves men


strength to rise upwards to the open heavens,

where at last it sends forth branches to breathe tion. A notion was abroad in Coleridge's time

the fresh winds and feel the bright sun. Then that, though you purchased tickets for a course of his lectures, it was possible that you would The Cruise of the Falcon : a Voyage to South the parasitic creeper from below ascends the

America in a 30-ton Yacht. never hear half of them, and that, while you

tree, fighting also for the light and air, and By E. F.

winds round the trunk and branch till it chokes were sitting at the Royal Institution, or else

Knight. In 2 vols. (Sampson Low.)

its helpmate and they both die. Among this where, waiting for the lecturer, that gentle- This would have proved a much more at- vigorous life death meets one at every step. man, “with a little of his accustomed pro- tractive work had its contents been condensed Plant and animal prey on each other and live crastination,” might be sitting in the parlour into a single volume, instead of being ex

by death. The vulture awaits it on the treeof some neighbouring tavern pondering on panded into two octavos of about three tops, the wild beasts below crouching in the

jungle; all are on their guard, each preying on Kant or Hartley and a pot of ale. This hundred pages each. As it is, the really another, each fearing a greater. It is everynotion still survives. A recent writer tells us interesting and even original portions, of where pestilence is in the air, the hectic berries that Coleridge had no conception of the which there is no lack, are diluted by so

are poisonous, the rare savage of these wilds sanctity of a pledged word, and that he often much trite and commonplace stuff that the knows not what security is. He steals with took single pounds in charity when he might book cannot as a whole be described as stealthy, fearsome steps through the confused have earned hundreds by honest

labour. This pleasant reading. But, apart from wearisome growth, uncertain what next danger he will is an imputation of the grossest falseness, and accounts of “irreproachable luncheons,” “ ex- suddenly come upon, what hideous reptile

, is of itself proof enough that Coleridge's Life cellent dinners, "* "exorbitant bills," trivial what new death, lurking among the brilliant

flowers" (ii, 96). has never been properly written, and that his incidents, purposeless dialogue, and nearly character has never been understood. Cole- a whole chapter of mere “log” (the perusal It will be seen from this that the cruise ridge was not at any period a reckless of which is like eating sawdust), the general was not confined to the Atlantic seaboard. Bohemian. The truth is that he often kept effect is seriously marred by a constant effort on the contrary, its distinctive feature was a his lecturing engagements at the gravest risk to be funny, and by some curious and irri- five months' expedition up the great head

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