slopes, resting here and there upon some glorious crest to drink in all the joy and colour of the landscape, and to reflect, in Coleridge's own words, how—
Flowers are lovely; Love is flower-like;
Friendship is a sheltering tree.
Each of them young,—each of them passionate lovers of Nature,—each brimming with hopes, and equipped with commanding intellect,—they formed the three-fold chord, with its tonic, dominant and mediant, of which is born all music....
It was nearly eight o'clock when Coleridge parted from the Wordsworths at the gate of Alfoxden. They were happily tired after some nine hours' rambling, and a serene joy lit up their faces, as of those who have passed through some enchanting experience,—who have touched at some oasis of sheer delight. Coleridge tried to frame his thoughts into words, as he strode homeward with his loose shambling gait, continually shifting from one side of the path to the other after his notorious "corkscrew" habit. The notes of the nightingale, poignantly sweet, echoed to him out of the woods,—and he would gladly have lingered to listen; but, instead, he thought—
Farewell, O Warbler! till to-morrow eve,
And you, my friends! farewell, a short farewell!
We have been loitering long and pleasantly,
And now for our dear homes.—That strain again!
Full fain it would delay me! My dear babe,
Who, capable of no articulate sound,
Mars all things with his imitative lisp,
How he would place his hand beside his ear,
His little hand, the small forefinger up,
And bid us listen! And I deem it wise
To make him Nature's play-mate. He knows well
The evening star; and once, when he awoke
In most distressful mood (some inward pain
Had made up that strange thing, an infant's dream)
I hurried with him to our orchard-plot,
And he beheld the Moon, and, hushed at once,
Suspends his sobs, and laughs most silently,
While his fair eyes, that swam with un-dropped tears,
Did glitter in the yellow moonbeam! Well!—
It is a father's tale. But if that Heaven
Should give me life, his childhood shall grow up
Familiar with these songs, that with the night
He may associate joy! Once more farewell,
Sweet Nightingale! Once more, my friends! farewell.
Sara met him in the road with a despondent air. "Lloyd has gone," said she.
"Gone! what, actually gone! Do you mean to say he has left us?" exclaimed Coleridge, horrorstruck.
"He packed up his things and took leave of me," she replied; "it seems he hired a conveyance from Bristol to fetch him home."
"Good Heavens!" cried her husband: and all the tranquil joy died out of his face; nothing but weariness, flabbiness and dejection remained. "Did he give no reason?"
"O, he said things about the Wordsworths," replied Sara. "He thinks you have neglected him shamefully. So do I." And she shut her mouth with a snap.
Coleridge, though so prolific a conversationalist, and so prone to speech, knew when there was a time to be silent. He attempted no defence or excuse. He simply went indoors, and sitting distastefully to an unprepossessing supper, let Sara say her say upon the subject of Lloyd: it was an extensive and a justifiable recrimination. Then—still in the same abstracted and monosyllabic state,—he helped to wash up, attended—better late than never—to the pigs and fowls, and sat before the fire, with a note-book in his hands and baby-clothes pinned to warm upon his knees, while Sara put the child to bed. He was working out with patient care those apparently unpremeditated effects which go to make up the haunting melody of Christabel. For, skilful and accomplished metrist as he was, it was only by dint of "repeated experiments and intense mental effort" that he achieved those results in which his art appears most artless. However, he was in no fit state, over-tired and distressed as he felt, for laborious efforts of this kind: and presently Nature took vengeance upon him in the form of intolerable toothache. A little while he bore it: then, moving tip-toe lest he should be heard in the upper room where Sara was soothing the little one to sleep, he stole to a corner cupboard and took out a bottle of laudanum. In this false friend and insidious comforter he had already found relief and repose from mental, as from physical troubles,—more and more frequently he had recourse to it. He knew its fatal tendency to undermine the will and debilitate the constitution, yet he could not deny himself an artificial peace which he described as "a spot of enchantment, a green spot of fountains and trees in the very heart of a waste of sand."
And immediately he began to view things couleur de rose. The sharp tongue and angry face of Sara became transmogrified into the gentle semblance of her anagram, the imaginary Asra of his poems,—
To be beloved is all I need,
And whom I love I love indeed.
· · · · · ·
O ever—ever be thou blest!
For dearly, Asra! love I thee!
This brooding warmth across my breast,
This depth of tranquil bliss—ah, me!
Fount, tree and shed are gone, I know not whither,
But in one quiet room we three are still together.
The shadows dance upon the wall,
By the still dancing fire-flames made;
And now they slumber moveless all!
And now they melt to one deep shade!
But not from me shall this mild darkness steal thee:
I dream thee with mine eyes, and at my heart I feel thee!
The visions born of opium floated in vague, rich phantasmagoria across his slumbrous brain,
And so, his senses gradually wrapt
In a half-sleep, he dreams of better worlds,
—sitting in the failing firelight. With a great effort he roused himself to creep up the stair-ladder, and to lay his drugged limbs upon the hard straw bed. The child and Sara were already dreaming: he gazed at them with serene affection:
Dear Babe, that sleepest cradled by my side,
Whose gentle breathings, heard in this deep calm,
Fill up the interspersed vacancies
And momentary pauses of the thought!
