ensures complete pleasure. But something may also be due to his deep and absorbed religious feeling, which seemed to incapacitate him from perceiving the points where Voltaire, despite his scepticism, had planted his feet on firm ground. Coleridge was aware that Voltaire, in common with every Frenchman until the present generation, held it as a point of faith that the French drama was inapproachable in excellence. From Lessing, and chiefly, from his Dramaturgie, Coleridge was also aware, on the other hand, upon what erroneous grounds that imaginary pre-eminence was built. He knew that it was a total misconception of the Greek unities (excepting only as regards the unity of fable, or, as Coleridge otherwise calls it, the unity of interest) which had misled the French. It was a huge blunder. The case was this: Peculiar embarrassments had arisen to the Athenian dramatists as to time and place, from the chorus—out of which chorus had grown the whole drama. The chorus, composed generally of men or women, could not be moved from Susa to Memphis or from one year to another, as might the spectator. This was a fetter, but, with the address of great artists, they had turned their fetters into occasions of ornament. But, in this act of beautifying their narrow field, they had done nothing to enlarge it. They had submitted gracefully to what, for them, was a religious necessity. But it was ridiculous that modern dramatists, under no such necessity (because clogged with no inheritance of a personal chorus), should voluntarily assume fetters which, having no ceremonial and hallowed call for a chorus, could have no meaning. So far Coleridge was kept right by his own sagacity and by his German guides; but a very trifle of further communication with Voltaire, and with the writers of whom Voltaire was speaking, would have introduced him to two facts calculated a little to raise Voltaire in his esteem, and very much to lower the only French writer (viz., Racine) whom he ever thought fit to praise. With regard to Voltaire himself he would have found that, so far from exalting the French poetic literature generally in proportion to that monstrous pre-eminence which he had claimed for the French drama, on the contrary, from this very drama, from the very pre-eminence, he drew an argument for the general inferiority of the French poetry. The French drama, he argued, was confessedly exalted amongst the French themselves beyond any other section of their literature. But why? Why was this? If the drama had prospered disproportionately under public favour, what caused that favour? It was, said Voltaire, the social nature of the French, with their consequent interest in whatever assumed the attire of conversation or dialogue; and, secondly, it was the peculiar strength of their language in that one function, which had been nursed and ripened by this preponderance of social habits. Hence it happened that the drama obtained at one and the same time a greater interest for the French, and also (by means of this culture given to conversational forms) most unhappily for his lordship's critical discernment of flavours, as well as his Greek literature, happens to be a respectable Joe Miller from the era of Hierocles, and through him probably it came down from Pythagoras. Yet still Voltaire was very far indeed from being a 'scribbler.' He had the graceful levity and the graceful gaiety of his nation in an exalted degree. He had a vast compass of miscellaneous knowledge; pity that it was so disjointed, arena sine calce; pity that you could never rely on its accuracy; and, as respected his epic poetry, 'tis true 'tis pity, and pity 'tis 'tis true, that you are rather disposed to laugh than to cry when Voltaire solemnly proposes to be sublime. His Henriade originally appeared in London about 1726, when the poet was visiting this country as a fugitive before the wrath of Louis the Well-beloved; and naturally in the opening passage he determined to astonish the weak minds of us islanders by a flourish on the tight-rope of sublimity. But to his vexation a native Greek (viz., a Smyrniot), then by accident in London, called upon him immediately after the publication, and, laying his finger on a line in the exordium (as it then stood), said, 'Sare, I am one countryman of Homer's. He write de Iliad; you write de Henriade; but Homer vos never able in all de total whole of de Iliad to write de verse like dis.' Upon which the Greek showed him a certain line.
Voltaire admired the line itself, but in deference to this Greek irony, supported by the steady advice of his English friends, he finally altered it. It is possible to fail, however, as an epic poet, and very excusable for a Frenchman to fail, and yet to succeed in many other walks of literature. But to Coleridge's piety, to Coleridge's earnest seeking for light, and to Coleridge's profound sense of the necessity which connects from below all ultimate philosophy with religion, the scoffing scepticism of Voltaire would form even a stronger repulsion than his puerile hostility to Shakespeare. Even here, however, there is something to be pleaded for Voltaire. Much of his irreligion doubtless arose from a defective and unimpassioned nature, but part of it was noble, and rested upon his intolerance of cruelty, of bigotry, and of priestcraft—but still more of these qualities not germinating spontaneously, but assumed fraudulently as masques. But very little Coleridge had troubled himself to investigate Voltaire's views, even where he was supposing himself to be ranged in opposition to them.
A word or two about those accusations of plagiarism of which far too much has been made by more than one critic; we ourselves having, perhaps, been guilty of too wantonly stirring these waters at one time of our lives; and in the attempt to make matters more clear, only, it may be, succeeded in muddying them. Stolberg, Matthison, Schiller, Frederika Brun, Schelling, and others, whom he has been supposed to have robbed of trifles, he could not expect to lurk8 in darkness, and particularly as he was actively contributing to disperse the darkness that yet hung over their names in England. But really for such bagatelles as were concerned in this poetic part of the allegation—even Bow Street, with the bloodiest Draco of a critical reviewer sitting on the bench, would not have entertained the charge. Most of us, we suppose, would be ready enough to run off with a Titian or a Correggio, provided the coast were clear, and no policemen heaving in sight; but to be suspected of pocketing a silver spoon, which, after all, would probably turn out to be made of German silver—faugh!—we not only defy the fiend and his temptations generally, but we spit in his face for such an insinuation. With respect to the pretty toy model of Hexameter and Pentameter from Schiller, we believe the case to have arisen thus: in talking of metre, and illustrating it (as Coleridge often did at tea-tables) from Homer, and then from the innumerable wooden and cast-iron imitations of it among the Germans—he would be very likely to cite this little ivory bijou from Schiller; upon which the young ladies would say: 'But, Mr. Coleridge, we do not understand German. Could you not give us an idea of it in some English version?' Then would he, with his usual obligingness, write down his mimic English echo of Schiller's German echo. And of course the young ladies, too happy to possess an autograph from the 'Ancient Mariner,' and an autograph besides having a separate interest of its own, would endorse it with the immortal initials 'S. T. C.,' after which an injunction issuing from the Court of Chancery would be quite unavailing to arrest its flight through the journals of the land as the avowed composition of Coleridge. They know little of Coleridge's habits who suppose that his attention was disposable for cases of this kind. Alike, whether he were unconsciously made by the error of a reporter to rob others, or others to rob him, he would be little likely to hear of the mistake—or, hearing of it by some rare accident, to take any pains for its correction. It is probable that such mistakes sometimes arose with others, but sometimes also with himself from imperfect recollection; and that, owing chiefly to his carelessness about the property at issue, so that it seemed not worth the requisite effort to vindicate the claim if it happened to be his, or formally to renounce it if it were not. But, however this might be, his daughter's remark remains true, and is tolerably significant, that the people whom (through anybody's mistake) he seems to have robbed were all pretty much in the sunshine of the world's regard; there was no attempt to benefit by darkness or twilight, and an intentional robber must have known that the detection was inevitable.
A second thing to be said in palliation of such plagiarisms, real or fancied, intentional or not intentional, is this—that at least Coleridge never insulted or derided those upon whose rights he is supposed to have meditated an aggression.
Coleridge has now been dead for more than fifteen years,9 and he lived through a painful life of sixty-three years; seventy-eight years it is since he first drew that troubled air of earth, from which with such bitter loathing he rose as a phœnix might be supposed to rise, that, in retribution of some treason to his immortal race, had been compelled for a secular period to banquet on carrion with ghouls, or on the spoils of vivisection with vampires. Not with less horror of retrospect than such a