While engaged in these argumentations with his best friend, Coleridge was striving to think out in his deep philosophic and musing mind many problems of the time; and there arose in his imagination the Idea of the Permanent. He was henceforth no longer the Poet of Romanticism, whose significance he had exhausted, but the philosopher of the Permanent, which presented itself as a splendid possibility in all departments of human knowledge and activity. In his prose works and letters we find a continual reference to what Coleridge now calls "The Permanent"--the permanent principles of Morals, Philosophy, and Religion, and of the permanent principles of criticism as applied to Poetry and the Fine Arts. Everything is now adjusted by Coleridge to this idea. Art, morals, religion, and politics are tried by its standard, to find if they are founded in the permanent principles of human nature. It is in the light of this Idea, the ideal of Coleridge's later life, that we must judge Coleridge and weigh him. To continue to see in opium the sole or even the principal cause of his failure, is to misjudge him altogether. To compare him with others of different powers who accomplished more in one direction in the matter of literary output, with Sir Walter Scott or Byron, for instance, is misleading. It is the man of profound genius, who in his own time, is feeling on all sides into the Future, who is least likely to give forth "finished productions," as they are called, in which the subjects of which they treat are often exhausted, and please the ear of the Present. Coleridge is such a man of genius; nearly all his works are fragmentary, unfinished, suggestive rather than "complete," just because they verge upon that Transcendentalism which he was the first to make audible to English ears in his day. Ill health, and opium in conjunction with ill health, contributed no doubt to enfeeble his utterance; but to assert that opium was the cause or the main cause of Coleridge's inability to do what he wanted himself to do, or what his friends and contemporaries expected him to do, is a gross perversion of the facts of the case. Coleridge's inability arose from his multiplicity of motive, his visionary faculty of seeing in the light of a new principle a host of problems rise up on all sides, all claiming recognition and solution. "That is the disease of my mind--it is comprehensive in its conceptions, and wastes itself in the contemplations of the many things which it might do." (Letter to Poole, 4th January 1799, "Letters", p. 270). A greater than Coleridge had felt this tendency before him, and created as its embodiment "Hamlet"; and Coleridge has been called the Hamlet of literature. CHAPTER X ILL HEALTH; SOUTHEY COMES TO KESWICK On 13th April 1801 Coleridge wrote to Southey the following letter, and Southey replied in cordial terms, from which it will be gathered a reconciliation had been made since the Lloyd and Lamb quarrel. [1]