times more than sinning, he himself suffered an almost life-long punishment for his errors, whilst the world at large has the unwithering fruits of his labours, his genius, and his sacrifice. Necesse est tanquam immaturam mortem ejus defleam; si tamen fas est aut flere, aut omnino mortem vocare, qua tanti viri mortalitas magis finita quam vita est. Vivit enim, vivetque semper, atque etiam latius in memoria hominum et sermone versabitur, postquam ab oculis recessit.
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Samuel Taylor Coleridge was the youngest child of the Reverend John Coleridge, Vicar of the Parish of Ottery St. Mary, in the county of Devon, and master of Henry the Eighth's Free Grammar School in that town. His mother's maiden name was Ann Bowdon. He was born at Ottery on the 21st of October, 1772, "about eleven o'clock in the forenoon," as his father the vicar has, with rather a curious particularity, entered it in the register.
He died on the 25th of July, 1834, in Mr. Gillman's house, in the Grove,
Highgate, and is buried in the old church-yard, by the road side.
[Greek:——]
H. N. C.
TABLE TALK
December 29, 1822
CHARACTER OF OTHELLO—SCHILLER'S ROBBERS-SHAKSPEARE—SCOTCH NOVELS—LORD BYRON—JOHN KEMMBLE—MATHEWS
Othello must not be conceived as a negro, but a high and chivalrous Moorish chief. Shakspeare learned the sprit of the character from the Spanish poetry, which was prevalent in England in his time.[1]
Jelousy does not strike me as the point in his passion; I take it to be rather an agony that the creature, whom he had believed angelic, with whom he had garnered up his heart, and whom he could not help still loving, should be proved impure and worthless. It was the struggle not to love her. It was a moral indignation and regret that virture should so fall:—"But yet the pity of it, Iago!—O Iago! the pity of it, Iago!" In addition to this, his hourour was concerned: Iago would not have succeeded but by hinting that this honour was compromised. There is no ferocity in Othello; his mind is majestic and composed. He deliberately determines to die; and speaks his last speech with a view of showing his attachment to the Venetian state, though it had superseded him.
[Footnote 1:
Caballaeros Granadinos,
Aunque Moros, hijos d'algo—ED.]
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Schiller has the material Sublime; to produce an effect he sets you a whole town on fire, and throws infants with their mothers into the flames, or locks up a father in an old tower.[1] But Shakspeare drops a handkerchief, and the same or greater effects follow.
[Footnote 1: This expression—"material sublime"—like a hundred others which have slipped into general use, came originally from Mr. Coleridege, and was by him, in the first instatnce, applied to Schiller's Robbers—See Act iv, sc. 5.—ED.]
Lear is the most tremendous effort of Shakspeare as a poet; Hamlet as a philosopher or meditater; and Othello is the union of the two. There is something gigantic and unformed in the former two; but in the latter, every thing assumes its due place and proportion, and the whole mature powers of his mind are displayed in admirable equilibrium.
I think Old Mortality and Guy Mannering the best of the Scotch novels.
It seems, to my ear, that there is a sad want of harmony in Lord Byron's verses. Is it not unnatural to be always connecting very great intellectual power with utter depravity? Does such a combination often really exist in rerum naturae?
I always had a great liking—I may say, a sort of nondescript reverence—for John Kemble. What a quaint creature he was! I remember a party, in which he was discoursing in his measured manner after dinner, when the servant announced his carriage. He nodded, and went on. The announcement took place twice afterwards; Kemble each time nodding his head a little more impatiently, but still going on. At last, and for the fourth time, the servant entered, and said—"Mrs. Kemble says, sir, she has the rheumat_ise_, and cannot stay." "Add_ism!_" dropped John, in a parenthesis, and proceeded quietly in his harangue.
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Kemble would correct any body, at any time, and in any place. Dear Charles Mathews—a true genius in his line, in my judgment—told me he was once performing privately before the King. The King was much pleased with the imitation of Kemble, and said—"I liked Kemble very much. He was one of my earliest friends. I remember once he was talking, and found himself out of snuff. I offered him my box. He declined taking any—'he, a poor actor, could not put his fingers into a royal box.' I said, 'Take some, pray; you will obl_ee_ge me.' Upon which Kemble replied—'It would become your royal mouth better to say, obl_i_ge me;' and took a pinch."
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It is not easy to put me out of countenance, or interrupt the feeling of the time by mere external noise or circumstance; yet once I was thoroughly done up, as you would say. I was reciting, at a particular house, the "Remorse;" and was in the midst of Alhadra's description of the death of her husband, [1] when a scrubby boy, with a shining face set in dirt, burst open the door and cried out—"Please, ma'am, master says, Will you ha'; or will you not ha', the pin-round?"
[Footnote 1:
"ALHADRA. This night your chieftain arm'd himself,
And hurried from me. But I follow'd him
At distance, till I saw him enter there!
NAOMI. The cavern?
ALHADRA. Yes, the mouth of yonder cavern.
After a while I saw the son of Valdez
Rush by with flaring torch: he likewise enter'd.
There was another and a longer pause;
And once, methought, I heard the clash of swords!
And soon the son of Valdez re-appear'd:
He flung his torch towards the moon in sport,
And seem'd as he were mirthful! I stood listening,
Impatient for the footsteps of my husband.
NAOMI. Thou calledst him?
ALHADRA. I crept into the cavern—
'Twas dark and very silent. What saidst thou?
No! No! I did not dare call Isidore,
Lest I should hear no answer! A brief while,
Belike, I lost all thought and memory
Of that for which I came! After that pause,
O Heaven! I heard a groan, and follow'd it;
And yet another groan, which guided me
Into a strange recess—and
