O joy! that in our embers Is something that doth live, The thought of our past years in me doth breed For that which is most worthy to be blest; Of childhood, whether busy or at rest, With new-fledged hope still fluttering in his breast:Not for these I raise The song of thanks and praise; But for those obstinate questionings Blank misgivings of a creature High instincts before which our mortal nature But for those first affections, Are yet the fountain light of all our day, Are yet a master light of all our seeing; Upholds us, cherish, and have power to make Our noisy years seem moments in the being Of the eternal silence: truths that wake To perish never; Which neither listlessness nor mad endeavour, Nor all that is at enmity with joy, Can utterly abolish or destroy! Hence in a season of calm weather, Though inland far we be, Our souls have sight of that immortal sea Can in a moment travel thither, And see the children sport upon the shore, Then sing, ye birds, sing, sing a joyous song! As to the tabor's sound! We in thought will join your throng, Ye that pipe and ye that play, Ye that through your hearts to-day Feel the gladness of the May! What though the radiance which was once so bright Be now for ever taken from my sight, Though nothing can bring back the hour Of splendour in the grass, of glory in the flower; Which having been must ever be ; In the faith that looks through death, In years that bring the philosophic mind. No comparison, of course, is to be instituted between this grand declamation and Coleridge's much less elaborate ode. As a remarkable illustration, however, of the difference between the poetical genius of the one and that of the other when exercised in a more light and fanciful manner, we will give an example of the treatment of the same subject by both. The following little poem by Wordsworth is entitled The Complaint :— There is a change-and I am poor; A well of love-it may be deep- What matter? if the waters sleep In silence and obscurity? -Such change, and at the very door Of my fond heart, hath made me poor. The following, entitled The Pang more sharp than All, an Allegory, is Coleridge's : VOL. II. He too has flitted from his secret nest, Hope's last and dearest child without a name!-— 2 H Yes! He hath flitted from me-with what aim, Of babe, that tempts and shuns the menaced kiss, As the dear hopes that swell the mother's breast- Like a loose blossom on a gusty night He flitted from me-and has left behind (As if to them his faith he ne'er did plight), Of either sex and answerable mind, : Two playmates, twin-births of his foster-dame :- So like him, that almost she seemed the same! Ah! he is gone, and yet will not depart !— Can wit of man a heavier grief reveal? Can sharper pang from hate or scorn arise?— Yes! one more sharp there is-that deeper lies, Which fond esteem but mocks when he would heal. Yet neither scorn nor hate did it devise, But sad compassion and atoning zeal! One pang more blighting-keen than hope betrayed! And this it is my woeful hap to feel, When, at her brother's hest, the twin-born maid, 1 Faerie Queene, iii. 2, 19. With face averted and unsteady eyes, O worse than all! O pang all pangs above But Wordsworth and Coleridge, each gaining and each losing something, come much nearer to one another in their later poetry that of Wordsworth takes more of the sky, that of Coleridge more of the earth; the former drops a good deal of its excessive realism (to use the word in a somewhat peculiar, but sufficiently intelligible sense), the latter something of its over-idealism. Among those of Coleridge's poems, however, to which an early date is fixed, there are a few, the execution of which is so perfect, that we should be inclined to think they had undergone much revision before they were published, and that, in part at least, they are to be properly considered as really the produce of his later years. His Christabel, for instance, is stated to have been written, the First Part in 1797, the Second Part in 1800; but we cannot help suspecting that the following lines, from what is called the Conclusion to Part First, may have been an addition made not very long before the first publication of the poem in 1816 : And see! the lady Christabel Gathers herself from out her trance; Grows sad and soft; the smooth thin lids And oft the while she seems to smile As infants at a sudden light! Yea, she doth smile, and she doth weep, Beauteous in a wilderness, Who, praying always, prays in sleep. And, if she move unquietly, The filmy delicacy of this writing is exquisite; every word is light and music. Equally beautiful, and in the same style, is the following little fragment, being the introductory stanzas of a poem on the Wanderings of Cain, in which we are led to understand some progress had been made at an early date, although this stanza, all of the poem that has been preserved, was not published till towards the close of the author's life :Encinctured with a twine of leaves, That leafy twine his only dress, The moon was bright, the air was free, It was a climate where, they say, In place so silent and so wild Has he no friend, no loving mother near? In most of Coleridge's latest poetry, however, along with this perfection of execution, in which he was unmatched, we have more body and warmth-more of the inspiration of the heart mingling with that of the fancy. But, before quoting the specimens we intend to give of that, we would introduce a little piece, which seems to us eminently tender and beautiful, although less remarkable for high finish; it is entitled A Day Dream :— My eyes make pictures when they are shut : I see a fountain, large and fair, A willow and a ruined hut, And thee, and me, and Mary there. O Mary make thy gentle lap our pillow! Bend o'er us, like a bower, my beautiful green willow! A wild-rose roofs the ruined shed, Two dear names carved upon the tree! And Mary's tears, they are not tears of sorrow: |