A Day with Samuel Taylor Coleridge.

by May Byron.

[Ill.u.s.tration: THE CREW OF THE SKELETON SHIP.

"Are those _her_ ribs through which the Sun Did peer, as through a grate?

And is that Woman all her crew?

Is that a Death? and are there two?

Is Death that woman's mate?

"_Her_ lips were red, _her_ looks were free, Her locks were yellow as gold: Her skin was as white as leprosy....

The naked hulk alongside came, And the twain were casting dice."

(_The Ancient Mariner_).]

A DAY WITH COLERIDGE.

In a beautiful part of beautiful Somerset, where the "soft orchard and cottage scenery" is dimpled between blue hillslopes, where meadows and woods and translucent streams compete with each other in charm,--in the lovely region of the Quantock hills, lies the quiet little market-village of Nether Stowey. About sunrise on a May morning of 1790, a young man awoke in a little wayside cottage there: and, resolutely thrusting back his natural inclination to indolence, rose and dressed, and set himself to the performance of such humble duties as devolve upon a very poor householder with a wife and child.

Samuel Taylor Coleridge was in his twenty-sixth year: pale, stoutish, black-haired: not an immediately attractive man. His face, according to himself, bore evidence of "great sloth and great, indeed almost idiotic, good nature: ... a mere carcase of a face; fat, flabby, and expressive chiefly of inexpressions," with a wide, thick-lipped, always-open mouth, and small feeble nose. Yet it was capable of being roused, on occasion, to something akin to n.o.bility and beauty, and redeemed by the animation of his full, grey eyes. It was a face, in short, to match his general appearance, which he dismissed as that of "indolence capable of energies,"

and Carlyle characterised as "weakness under possibility of strength."

For this was a man who was consistent in his faults as in his virtues: "always conscious of power, but also conscious of want of will to use his power." And it was therefore with re-doubled vigour, this particular morning, that he put on a spurt, and threw unusual force into his chopping of firewood,--his somewhat clumsy attempts to clean up the cottage, with its poor accommodation and few utensils,--and his valiant if ineffectual endeavours to have the fire lighted and the modest meal _en route_, whilst his wife, up the ladder stairs, attended to herself and the baby.

Between-whiles he cast admiring glances of the most ardent delight at his garden of an acre and a half, and its glowing ma.s.s of apple-bloom,--and at all the luscious greeneries of the May world without. These glimpses into "opening Paradise" went far to compensate him for his determination to keep no servant, but to be maid-of-all-work, and nurse if need be, himself. They ministered to that spirit of contemplation which was the ruling spirit of his life: they were the very texture of dreams....

Soon Sara Coleridge descended and took her share in the domestic preparations. She found fault, after a quick vivacious fashion, with her husband's futile efforts and perplexities. She was the typical incompatible wife for a poet: not only, socially speaking, his inferior, but naturally incapable of sharing his dreams or sympathising with his studies. Yet she was an honest and good-hearted woman; and perhaps, now and then, she felt a certain lack of human warmth in the warmest of human relationships. For there was a tepid quality about Coleridge's affections and his expression of them: fire and fervour were utterly unknown to his pensive, tender, gentle methods. He had no intensity or pa.s.sion, either in love or friendship: his feelings were steadfast and of an unblemished purity, yet the very fact that they knew neither ebb nor flow, but were always maintained at a calm level, might jar upon the inscrutable mind of a woman. One might almost imagine, as Sara bustled to and fro and scolded her husband with the volubility of a squirrel, that she was anxious to urge him, if but for one moment, out of his invariable _laisser faire_ of amiability.... But no: he remained as placid, as good tempered, as cheerful as ever.

Presently another member of the household appeared, Coleridge's pupil and paying-guest,--worth a precious 70 a year to the lean exchequer,--one Charles Lloyd. He was a young bank-clerk who had poetry on the brain, and found himself ill-attuned to the drudgery of keeping his father's ledgers.

He was also subject to epileptic fits, which did not conduce either to poetizing or banking with success. What he expected to learn from Coleridge, it is hard to say: certainly his curriculum included a good many hardships, makeshifts and _contretemps_ to which he had never looked forward. His instructor, however, had not deceived him as to the hybrid nature of his present occupation. Coleridge had deliberately set himself down at Nether Stowey to be near his friend Tom Poole, and to support himself by "a mixture of literature and husbandry." He proposed to make some 60 per annum by reviewing and magazine work: he had an offer from Cottle, the Bristol publisher, for as much verse as he chose to write, at terms working out somewhere near fourpence a line,--and for the rest, "I would rather," he declared, "be an expert self-maintaining gardener than a Milton, for I could not unite both. I mean to raise the vegetables for myself and wife, and feed a couple of snouted and grunting cousins from the refuse. My evenings I shall devote to literature."--"And what,"

enquired Charles Lamb after hearing of this desperate undertaking, "what does your worship know about farming?" But Coleridge was not to be discouraged. He allowed his natural unfitness for the task--"I am, and ever have been, a great reader, and have read almost everything.... I am _deep_ in all out-of-the-way books, whether of the monkish times or of the Puritanical era. I have read and digested most of the historic writers, but I do not _like_ history. Metaphysics and poetry and 'facts of the mind' (_i.e._, accounts of all the strange phantasms that ever possessed your philosophy-dreamers, from Thoth, the Egyptian, to Taylor, the English pagan) are my darling studies. In short, I seldom read except to amuse myself, and I am almost always reading. Of useful knowledge,--I am a so-so chemist, and I love chemistry--all else is blank--but I will be (please G.o.d) a horticulturist and farmer."

What is to be done against such impregnable obstinacy? Coleridge's friends let him "gang his ain gait": and when _mauvais quarts d'heure_ threatened to drive him to despair, they came to the rescue with timely cheques: meanwhile, Tom Poole strove hard to educate him in potato culture, and Charles Lloyd paid down his twenty-five shillings a week.

But to-day Charles Lloyd was looking ill-at-ease and sulky. He threw out hints about the general discomfort of things,--vague allusions to other people being made much of and himself contemned. He was in a disagreeable mood, and evidently dying to pick a quarrel. Half through breakfast, he took umbrage at some inoffensive jest, and flung himself out of the room.

"What can ail the lad?" asked Coleridge, in amazement.

"I suppose he has another fit coming on," observed the practical Sara.

"I don't like sour looks and bitter words in our peaceful home," said the poet, rumpling his heavy black locks with a distracted air.

"G.o.d forbid that he should take it into his head to go away," said Sara: and she got up with a very grave face and proceeded to clear the breakfast table. Coleridge betook himself to the garden and called over the back hedge to the neighbour for whose companionship he had taken this inefficient little cottage. Thomas Poole, his friend and benefactor, was a well-to-do tanner, well-educated and a devout student of literature: he discerned the potentialities of great things in Coleridge, and felt honoured by his acquaintanceship. For the poet had something of that peculiar fascination for more prosaic men, that magnetic charm of personality, which atones for so many minor defects,--which obviates weakness and ill-balance of mind,--which even endears him who is "impossible" from a worldly standpoint, to those of saner and robuster calibre. Coleridge could never be without a friend, without a listener: and a listener was a desideratum to him. This "noticeable man with large grey eyes" undoubtedly attracted to himself all that was best in other people: his culture allured them, his eloquence held them spell-bound, and his voice--that wonderful voice which was to Hazlitt "as a stream of rich distilled perfumes"--sank into every fibre of their being.

So you cannot be surprised that the faithful, kindly Thomas Poole, already busy in his tan-yard, hearing Coleridge calling at the hedge, instantly forsook his proper tasks and hurried to salute his comrade. When he heard of Charles Lloyd's tendency towards mutiny, "Oh," says Poole with a great laugh, "don't let that discompose you. The young man is consumed by a very common malady,--jealousy. And indeed I think he has some cause."

"Jealousy!" repeated Coleridge, rolling his fine eyes wildly. It was a word which had little or no meaning for him. "Jealousy of whom? about whom?--I do not understand you in the least."

"Why, your fine friends the Wordsworths, of course," Poole told him. "Here have you been gadding about with them the whole of this last twelve-month, trapesing the hills night and day and leaving your pupil, forsooth, to sit at home with Madam and Master Baby, a-twiddling his thumbs and scribbling schoolboy verse. You have taken precious little notice of him,--and as for your friends, they think him but a poor thing not worth mention. I say he is a lad of spirit to kick up his heels at last."

"True, true,--I may have neglected him to some extent," murmured Coleridge with a pained air, "but indeed, my good Poole, if you knew what the Wordsworths have been to me! Manna in the desert--water in the wilderness--happiness like the alighting of a paradise-bird--"

"Quite so, my dear fellow," interrupted the unemotional Poole, "but you are not now in the pulpit. Bring yourself down to earth for a moment, for I have but little time to spare this morning,--and let us see what are the most crying needs of to-day in your garden."

There is enough to do in a May garden to occupy the most diligent: and as Coleridge raked and hoed and thinned out and weeded his vegetable beds, with blistered hands and a back that longed for a hinge in it, he was inclined to wish that Lloyd had come as an agricultural rather than a poetical pupil. From time to time he rested on his tool and a.s.similated with rapt eye the innumerable surrounding touches of simple beauty. He was a man who, like Wordsworth, interested himself in every little trifle. The delicate details of sight and sound were very dear to him; they had enabled him to "become one with Nature" in an almost literal sense, as he observed, with a calm but intense enjoyment, such side-issues as:

The one red leaf, the last of its clan, That dances as often as dance it can, Hanging so light and hanging so high, On the topmost twig that looks up at the sky;

or--

The unripe flax, When through its half-transparent stalks, at eve, The level sunshine glitters with green light;

or--

The horned Moon, with one bright star Within the nether tip.

And, indeed, Coleridge was aware himself of the extraordinary power which was exercised upon him by external and visible things,--especially by the magic of scenery. He wrote:

[Ill.u.s.tration: THE CHASM IN XANADU.

"But oh! that deep romantic chasm which slanted Down the green hill athwart a cedarn cover!

A savage place! as holy and enchanted As e'er beneath a waning moon was haunted By woman wailing for her demon-lover!"

(_Kubla Khan_).]

I never find myself alone within the embracement of rocks and hills ... but my spirit careers, drives and eddies like a leaf in autumn; a wild activity of thoughts, imaginations, feelings and impulses of motion rises up within me.... The further I ascend from animated nature ... the greater in me becomes the intensity of the feeling of life. Life seems to me then a universal spirit, that neither has nor can have an opposite. G.o.d is everywhere, and where is there room for death?

And he determinedly developed in his theory of poetry, his sense of the depths that lie below nature's more superficial aspects. He had accorded to his sleeping babe, a few short months before, that tenderest of all benedictions, that gift of untarnishable joy:

Therefore all seasons shall be sweet to thee, Whether the summer clothe the general earth With greenness, or the redbreast sit and sing Betwixt the tufts of snow on the bare branch Of mossy apple-tree, while the nigh thatch Smokes in the sun-thaw; whether the eave-drops fall Heard only in the trances of the blast, Or if the secret ministry of frost Shall hang them up in silent icicles, Quietly shining to the quiet Moon:

and he had conversed at great length and frequency with Wordsworth, on what he termed "the two cardinal points of poetry--the power of exciting the sympathy of the reader by a faithful adherence to the truth of nature and the power of giving the interest of novelty by the modifying colours of imagination. The sudden charm which accidents of light and shade, which moonlight or sunset diffused over a known and familiar landscape, appeared to represent the practicability of combining both. These are the poetry of nature." He had no greater pleasure possible than to steep himself in "the loveliness and the wonders of the world before us: an inexhaustible treasure," he proclaimed, "but for which, in consequence of the film of familiarity and selfish solitude, we have eyes, yet see not, ears that hear not and hearts that neither feel nor understand." And when his imagination craved some wilder and more romantic outlook than the peaceful village where,

beside one friend, Beneath the impervious covert of one oak, I've raised a lowly shed, and know the names Of Husband and of Father,--

that imagination could at will supply its wants. His eyes could "make pictures when they are shut," and could carry him momentarily, as on some magic carpet, to a dreamland beyond the limitations of mortal experience.

The same exquisite and meticulous perception which enabled Coleridge to realize and remember the double sound of rain, the "quiet sounds from hidden rills," among the heather, the slanting shower of blossoms on the "faint gale of departing May,"--revealed to him how

In Xanadu did Kubla Khan A stately pleasure-dome decree: Where Alph, the sacred river, ran Through caverns measureless to man Down to a sunless sea.

So twice five miles of fertile ground With walls and towers were girdled round: And there were gardens bright with sinuous rills Where blossomed many an incense-bearing tree; And here were forests ancient as the hills, Enfolding sunny spots of greenery.

But oh! that deep romantic chasm which slanted Down the green hill athwart a cedarn cover!

A savage place! as holy and enchanted As e'er beneath a waning moon was haunted By woman wailing for her demon-lover!