and a felicity of philosophic investigation, even in this path, such as better scholars do not often attain, and of a kind which cannot be learned from books. But, as respects his accuracy, again we must recall to the reader the state of Greek literature in England during Coleridge's youth; and, in all equity, as a means of placing Coleridge in the balances, specifically we must recall the state of Greek metrical composition at that period.

To measure the condition of Greek literature even in Cambridge, about the initial period of Coleridge, we need only look back to the several translations of Gray's Elegy by three (if not four) of the reverend gentlemen at that time attached to Eton College. Mathias, no very great scholar himself in this particular field, made himself merry, in his Pursuits of Literature, with these Eton translations. In that he was right. But he was not right in praising a contemporary translation by Cook, who (we believe) was the immediate predecessor of Porson in the Greek chair. As a specimen of this translation, we cite one stanza; and we cannot be supposed to select unfairly, because it is the stanza which Mathias praises in extravagant terms. Here,' says he, 'Gray, Cook, and Nature, do seem to contend for the mastery.' The English quatrain must be familiar to every body:

'The boast of heraldry, the pomp of pow'r,

And all that beauty, all that wealth e'er gave,
Await alike the inevitable hour:

The paths of glory lead but to the grave.'

And the following, we believe, though quoting from

a thirty-three years' recollection of it, is the exact

Greek version of Cook:

̔Α χαρις εὐγενεων, χαρις ἡ βασιληίδος άρχας,
Δωρα τυχης χρυσέης, Αφροδιτης καλα τα δωρα,
Πανθ' άμα ταυτα τεθνηκε, και εἶδεν μορσιμον ἁμαρ
Ηρωων κλε όλωλε, και ώχετο ξυνον ἐς ̓Αδην.

Now really these verses, by force of a little mosaic tesselation from genuine Greek sources, pass fluently over the tongue; but can they be considered other than a cento? Swarms of English schoolboys, at this day, would not feel very proud to adopt them. In fact, we remember (at a period say twelve years later than this) some iambic verses, which were really composed by a boy, viz., a son of Dr. Prettyman, (afterwards Tomline,) Bishop of Winchester, and, in earlier times, private tutor to Mr. Pitt; they were published by Middleton, first Bishop of Calcutta, in the preface to his work on the Greek article; and for racy idiomatic Greek, self-originated, and not a mere mocking-bird's iteration of alien notes, are so much superior to all the attempts of these sexagenarian doctors, as distinctly to mark the growth of a new era and a new generation in this difficult accomplishment, within the first decennium of this century. It is singular that only one blemish is suggested by any of the contemporary critics in Dr. Cook's verses, viz., in the word surov, for which this critic proposes to substi tute borov, to prevent, as he observes, the last syllable of yεto from being lengthened by the . Such considerations as these are necessary to the trutinæ castigatio, before we can value Coleridge's place on

the scale of his own day; which day, quoad hoc, be it remembered, was 1790.

As to French, Coleridge read it with too little freedom to find pleasure in French literature. Accordingly, we never recollect his referring for any purpose, either of argument or illustration, to a French classic. Latin, from his regular scholastic training, naturally he read with a scholar's fluency; and indeed, he read constantly in authors, such as Petrarch, Erasmus, Calvin, &c., whom he could not then have found in translations. But Coleridge had not cultivated an acquaintance with the delicacies of classic Latinity. And it is remarkable that Wordsworth, educated most negligently at Hawkshead school, subsequently by reading the lyric poetry of Horace, simply for his own delight as a student of composition, made himself a master of Latinity in its most difficult form; whilst Coleridge, trained regularly in a great Southern school, never carried his Latin to any classical polish.

There is another accomplishment of Coleridge's, less broadly open to the judgment of this generation, and not at all of the next - viz., his splendid art of conversation, on which it will be interesting to say a word. Ten years ago, when the music of this rare performance had not yet ceased to vibrate in men's ears, what a sensation was gathering amongst the educated classes on this particular subject! What a tumult of anxiety prevailed to hear Mr. Coleridge'

or even to talk with a man who had heard him! Had he lived till this day, not Paganini would have been so much sought after. That sensation is now

decaying; because a new generation has emerged during the ten years since his death. But many still remain whose sympathy (whether of curiosity in those who did not know him, or of admiration in those who did) still reflects as in a mirror the great stir upon this subject which then was moving in the world. To these, if they should inquire for the great distinguishing principle of Coleridge's conversation, we might say that it was the power of vast combination in linked sweetness long drawn out.' He gathered into focal concentration the largest body of objects, apparently disconnected, that any man ever yet, by any magic, could assemble, or, having assembled, could manage. His great fault was, that, by not opening sufficient spaces for reply or suggestion, or collateral notice, he not only narrowed his own field, but he grievously injured the final impression. For when men's minds are purely passive, when they are not allowed to re-act, then it is that they collapse most, and that their sense of what is said must ever be feeblest. Doubtless there must have been great conversational masters elsewhere, and at many periods; but in this lay Coleridge's characteristic advantage, that he was a great natural power, and also a great artist. He was a power in the art, and he carried a new art into the power.

But now, finally having left ourselves little room for more one or two words on Coleridge as an opium-eater.

We have not often read a sentence falling from a wise man with astonishment so profound, as that particular one in a letter of Coleridge's to Mr. Gill

man, which speaks of the effort to wean one's-self from opium as a trivial task. There are, we believe, several such passages. But we refer to that one in particular which assumes that a single 'week' will suffice for the whole process of so mighty a revolution. Is indeed leviathan so tamed? In that case the quarantine of the opium-eater might be finished within Coleridge's time, and with Coleridge's romantic ease. But mark the contradictions of this extraordinary man. Not long ago we were domesticated with a venerable rustic, strong-headed, but incurably obstinate in his prejudices, who treated the whole body of medical men as ignorant pretenders, knowing absolutely nothing of the system which they professed to superintend. This, you will remark, is no very singular case. No; nor, as we believe, is the antagonist case of ascribing to such men magical powers. Nor, what is worse still, the co-existence of both cases in the same mind, as in fact happened here. For this same obstinate friend of ours, who treated all medical pretensions as the mere jest of the universe, every third day was exacting from his own medical attendants some exquisite tour-de-force, as that they should know or should do something, which, if they had known or done, all men would have suspected them reasonably of magic. He rated the whole medical body as infants; and yet what he exacted from them every third day as a matter of course, virtually presumed them to be the only giants within the whole range of science. Parallel and equal is the contradiction of Coleridge. He speaks of opium excess, his own excess, we mean the excess of twenty-five years