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Concerning this chapter of Coleridge’s childhood, we have therefore at present no vestige of any record beyond the exquisite sketches of his schoolfellow, Charles Lamb. The five letters, however, though going over so narrow a space, go far enough to throw a pathetic light upon Coleridge’s frailties of temperament. They indicate the sort of nervous agitation arising from contradictory impulses, from love too tender, and scorn too fretful, by which already in childish days the inner peace had been broken up, and the nervous system shattered. This revelation, though so unpretending and simple in manner, of the drama substantially so fearful, that was constantly proceeding in a quiet and religious parsonage–the bare possibility that sufferings so durable in their effects should be sweeping with their eternal storms a heart so capacious and so passively unresisting–are calculated to startle and to oppress us with the sense of a fate long prepared, vested in the very seeds of constitution and character; temperament and the effects of early experience combining to thwart all the morning promise of greatness and splendour; the flower unfolding its silken leaves only to suffer canker and blight; and to hang withering on the stalk, with only enough of grace and colour left to tell pathetically to all that looked upon it what it might have been.

EDITOR’S NOTE TO THIS ESSAY.

Certainly this idea of De Quincey about the misfortune to Coleridge of the early loss of his father, separation from his mother, and removal from Devon to London, is fully borne out by the more personal utterances to be found in Coleridge’s poems. Looking through them with this idea in view, we are surprised at the deposit left in them by this conscious experience on Coleridge’s part. Not to dwell at all on what might be very legitimately regarded as indirect expressions of the sentiment, we shall present here, in order to add emphasis to De Quincey’s position, some of the extracts which have most impressed us. From the poem in the Early Poems ‘To an Infant,’ are these lines:

‘Man’s breathing miniature! thou mak’st me sigh–
A babe art thou–and such a thing am I,
To anger rapid and as soon appeased,
For trifles mourning and by trifles pleased,
Break friendship’s mirror with a tetchy blow,
Yet snatch what coals of fire on pleasure’s altar glow.’

Still more emphatic is this passage from the poem, ‘Frost at Midnight’:

‘My babe so beautiful! it thrills my heart
With tender gladness thus to look at thee,
And think that thou shalt learn far other lore,
And in far other scenes! For I was reared
In the great city, pent ‘mid cloisters dim,
And saw nought lovely but the sky and stars.
But thou, my babe! shalt wander like a breeze
By lakes and sandy shores beneath the crags
Of ancient mountain, and beneath the clouds,
Which image in their bulk both lakes and shores
And mountain crags; so shalt thou see and hear
The lovely shapes and sounds intelligible
Of that eternal language, which thy God
Utters, who from eternity doth teach
Himself in all and all things in Himself.
Great Universal Teacher! he shall mould
Thy spirit, and by giving make it ask.’

In another place, when speaking of the love of mother for child and that of child for mother, awakened into life by the very impress of that love in voice and touch, he concludes with the line:

‘Why was I made for Love and Love denied to me?’

And, most significant of all, is that Dedication in 1803 of his Early Poems to his brother, the Rev. George Coleridge of Ottery St. Mary, when he writes, after having dwelt on the bliss this brother had enjoyed in never having been really removed from the place of his early nurture: